research project thea211
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This 8 page Study Guide was uploaded by Emma Wellington on Friday December 4, 2015. The Study Guide belongs to thea211 at James Madison University taught by Dennis Beck in Fall 2015. Since its upload, it has received 15 views. For similar materials see performance analysis in Theatre at James Madison University.
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Date Created: 12/04/15
Performance Analysis THEA 211, sect. 1 – Fall 2015 Instructor: Dr. Dennis Beck Office: EC 2222 Class meetings: MWF 12:201:10 PM Office phone: 5686386 Office hours: M/W/F 10:3011:45, M/W 2:203:30 and by appt. Email: firstname.lastname@example.org The Course What makes a performance engaging? Why can one performance be well done but leave you cold while another has all sorts of “problems” but warms your heart and grips your mind? Why are some of the most engaging and significant plays not well made? How can you begin to make sense of a play—much less effectively perform, direct, or design it—when it has no apparent plot or was written in a time or culture about which you know nearly nothing? What building blocks make for a strong performance or production, one that impacts you as a spectator or inspires your creative confidence as a participant? This course invites you to wrestle with such questions and discover answers upon which you can build throughout a career. We will discuss, debate, write about, and research plays and performances in the quest for possible answers. Analysis, meaning the “resolution of anything complex into simple elements,” will be one of our tools as we, like the Ancient Greeks, analyein (“release,” “loosen up”) the parts of these productions and plays into pieces that enable us to understand how they work, make meaning, and have an effect (Online Etymology Dictionary). Exchanges of all kinds, in activities and discussions, are central to this course and this endeavor, so I invite you to engage and participate with a fullness and passion that reflects your love of the strange, ancient, and exciting art we call theatre. Course Objectives The goals of this course are to help you learn and develop your abilities to: 1. Analyze the elements, structure, themes, and ideas in a dramatic text 2. Analyze play texts and performances from a number of theoretical perspectives 3. Identify and evaluate the key components of performances, their contexts, and their source material 4. Employ best practices when providing analysis feedback of another’s work 5. Research key components, critical assessments, and histories of play texts and performances 6. Effectively and cogently express your analysis and ideas in written and oral form Texts Performance Analysis – Colin Counsell and Laurie Wolf Wadsworth Anthology of Drama, Brief, 6 ed. – William Worthen, ed. Readings on Canvas and handed out th Recommended: Elements of Style – William Strunk and E.B. White; The MLA Handbook, 7 ed. The Tempest – William Shakespeare. Must be an annotated edition like Norton, Arden, Oxford, Signet, or Modern Library Classics – not an unannotated online edition. Course Requirements Schedule Staying abreast of reading and assignment due dates is your responsibility and one that depends on the schedule that ends this syllabus. Checking the schedule is your responsibility. Since a course is made up of human beings and my goal is to help you understand the material and appreciate its significance, the schedule may need to be adjusted to the realities of our progress. If so, I will inform you and, if changes are significant, provide you a new printed version of the schedule. Participation I evaluate participation based upon your preparedness (partially gauged by quiz grades and responses), inclass and online contributions, and respectful attentiveness to others. Lively discussions and activities will be a significant part of the course. I note participation in each discussion and activity, whether related to readings or performances. To receive points, you should be prepared to contribute meaningfully to each discussion/activity. You must bring your texts to class if we are addressing material contained in them since we will be referencing them, using them for inclass activities, and even performing from them. Analyses, Responses, and Notes We will analyze both plays and performances in various ways including papers, questionnaires, notes, online discussions, and inclass activities. On days that we discuss written plays, you are expected to bring the notes you’ve taken on the play as well as your play text. Periodically I will ask to see these notes, so please keep them in a form you can easily turn in (journal, notebook, printed types pages, etc.) Handouts available through Canvas detail the assignments. Online Discussions: For some of the plays we read or see that do NOT have an assignment attached to them, you are asked to share your thoughts via an inclass or Canvas discussion. Sometimes you will be answering a specific question, sometimes you will be guiding the conversation yourselves, and other times you will be asked to post questions you have about the play. The nature of your online post should make clear that you have read the posts of others and given thought to the play or performance. These responses facilitate a rich class discussion. For some plays you are asked to bring questions or observations to class (see the schedule). If you post after the due time (noted on the schedule), credit will be significantly reduced. Adaptation Project In a team you will get the opportunity to reimagine one of our plays and write a scene that reflects your new vision for the work. This project will be developed in and out of class. (details forthcoming) Research Project Since every artist in theatre needs to do research to ground and develop their work (on character, time period, location, circumstances, visual world, social customs and norms, significant aspects of the play, etc.), a project that focuses on the means of doing research for theatre will extend in stages over much of the semester. Each of you will research a different play, its production history, and relevant related areas (time period, political context, etc.). You are asked to present that research but not to write a paper that synthesizes that research. Various handouts detail the project. Quizzes Occasional unannounced quizzes gauge that you have done that day’s reading or viewed a performance. InClass Activities, Paper, and Notes We will be doing various solo, paired, and group activities in class to process and evaluate the performances we see and plays or essays we read. To participate meaningfully in these activities, you need to bring paper on which to write, which we will often use, and your notes on the reading or performance. Your notes should include observations, but also your thoughts, connections you make, and questions that occur to you. If something is obscure to you, asking a question or making a conjecture is the best approach and just as valid as a perceptive observation. Note that inclass activities are evaluated in two places: Participation; Activities and Canvas Responses (see Evaluation below). Performance and Workshop Attendance You are required to see the performances indicated by an asterisk in the Schedule. They include: the mainstage theatre and dance productions, Studio Theatre productions and musical revue, a staged reading, and one wild card production (indicated by a ¥ in the schedule). Studio productions vary in their run days, so check the Studio schedule. Mainstage productions run Tu.Sun or Sat. Dance varies. I strongly recommend that you attend workshops done by our visiting artists as well. These are professionals who bring extraordinary knowledge and ability to share. I also strongly recommend that you see Daniel Beaty’s performance. You are also encouraged to attend other performances in our spaces or elsewhere, for which you may earn extra credit if you write a onepage response (see me for details). They include student dance, Second City, and others that may arise. Sign up for usher training (Sept. 9 & 10 @ 6:30 PM) and then usher for a performance to see it for free. For Wildcard performances, submit a 1.52 page evaluation in hard copy (w ticket) within 3 days of attendance. Course and University Policies Attendance Because discussion and presentation of new ideas will form a major part of the classes, your participation, which depends on your attendance, is necessary. Attendance, therefore, is part of your participation grade (10% of your total grade). You are allowed three absences without penalty. All absences are “no questions asked” (i.e., there are no unexcused absences). For each absence after the third, a student’s final grade will drop onethird of a letter (33 points). I record attendance through a signin sheet. When you step into the room, sign in immediately. Being late twice counts as one absence. Being more than 10 minutes late counts as an absence. If you are late or absent you are solely responsible for material covered in class. Environment My hope and expectation is that the classroom environment is one of mutual respect, enthusiasm, and engagement with the tasks at hand. Differing perspectives enrich our understandings and discussions. Appreciative, attentive listening to others, responses considerate of others’ welldeserved respect, and mutual support in our collective mission to deepen our understandings and abilities will, I hope, characterize our time together. At times a student may radically break this trust, however, so to be aware of the consequences for the most egregious behaviors, described in the JMU Disruptive Behavior Policy: http://www.jmu.edu/academic affairs/_documents/policies/aapolicy12.pdf. ADA Statement Students with special needs or physical conditions needing academic accommodations should show documentation from the Office of Disability Services (ODS) to the instructor indicating need for such accommodations within the first week of class. Class materials are available in alternative format upon such request. ODS is located in the Wilson Learning Center, Room 107. Phone/ TYY 5686705. Honor Code Each student should become familiar with the tenets of the James Madison University Honor Code. This information can be found in the Student Handbook (http://www.jmu.edu/judicial/handbook/) Scholastic dishonesty is a very serious issue. The Internet has made it more simple and common than ever before according to a plethora of reports and articles. Some universities reward it with expulsion. In this class, scholastic dishonesty includes, but is not limited to: A) Cheating: 1) looking off of another student’s quiz or test, or having your quiz or test seen by another student; 2) using crib notes, digital devices, or the book to answer quiz or test questions; 3) having another student take a test or quiz or write a paper for you; 4) using hand or vocal signals during a test or quiz; 5) discussing an exam with another student who has not yet taken the exam. B) Plagiarism: obtaining by any means another’s work and submitting it as one’s own academic work for a paper or any assignment, and/or using another’s words or ideas without proper citation in a paper or assignment. C) Collusion: unauthorized collaboration with other person/s in preparation for an assignment, including rough drafts, outlines, and the paper or assignment itself. Consequences: STUDENTS FOUND GUILTY OF SCHOLASTIC DISHONESTY, INCLUDING PLAGIARISM FROM THE INTERNET OR OTHER STUDENTS, EVEN ON AN EXTRA CREDIT ASSIGNMENT, WILL AUTOMATICALLY FAIL THE ASSIGNMENT AND BE SUBJECT TO POTENTIAL FAILURE OF THE COURSE. Writing Guidelines Written work should follow guidelines described in the most recent edition of the MLA Handbook, which should soon be a familiar companion. For citation, quotation, and punctuation forms, consult it. The most recent edition contains proper citation format for webpage and other electronic media. Miscitations, misquotations, and bibliographic, spelling or punctuation errors will cost points on written work, particularly after the fourth week of class. Dis stuff is like grammah; it’s uh cunvenshun yuh gotta no so I kin git what yuh’s sayin’. Inclement Weather and Early Closing Policy University policy states, “Decisions to close university operations will be made by the president or a designee. If the decision to close is made, announcements will be made on JMU radio station 1610AM, on the JMU Home Page, on the JMU Weather Line (540) 4335300 and on area radio and television stations. When it is necessary to cancel classes due to weather or other emergency, faculty members have several options for making up missed instructional time. Hold class on the official university make up day, which will be designated as part of the closing announcement. Hold class at another time acceptable to class members. The department will arrange time and location. Hold class electronically, using a webbased source such as Blackboard. Accommodate for the missed instructional time within remaining class meeting time. NOTE: If the university is closed because of inclement weather conditions or emergency situations, faculty members are prohibited from requiring students to attend events, classes, laboratories or any other functions on campus.” Students are responsible for checking email frequently after a closing is announced to learn of the makeup procedure. Religious Accommodations Students should notify their instructor by no later than the end of the first week of the semester of potential scheduled absences and determine with the instructor if mutually acceptable alternative methods exist for completing the missed classroom time, lab, or activity. Contact the Office of Equal Opportunity at (540) 5686991 with additional questions. Technological Device Policy This course has a notechnology policy. No laptops, tablets, phones or other technologies can be used in the classroom except when requested for activities. Although these technologies can augment learning in many situations, research shows that in college classrooms they more often become distractions. There will be times when using a laptop or tablet may augment a class activity, so I recommend having them available but stored. Unprompted use of technologies will result at a minimum in a recorded absence and thus the loss of points for that day’s activities or the reduction of the user’s final participation grade by 20 or more points. Evaluation Grading Policies: Late work is accepted up to three calendar days after the due date, but is penalized one letter grade for each day it is late. After three days, late work is not accepted. If you anticipate being late with an assignment, please inform me before rather than after the fact so that we can work something out. Allow ample time to negotiate computer and printer problems, always backup work on portable media as well as a harddrive or cloud, have a spare printer cartridge on hand, etc., since such problems and technical calamities with technologies and alarm clocks will not be considered valid reasons for turning in work late. Quizzes cannot be taken late or made up unless the absence or tardy is excused (documented illness, etc.). Assignment Values Dramatic Analysis Questionnaire (DAQ) 50 Dramatic Analysis Paper (DAP) (abstract, outline, paper) 120 Play and Performance Responses (on Canves, Wildcard, etc.) 120 Play and Performance Notes and Questions 80 Performance Analysis Questionnaire (PAQ) 50 Performance Analysis Paper (PAP) 100 Adaptation Exercise 60 Research Project (5 related assignments + final project) 230 Quizzes and Questions (due in class) 40 Participation 100 Points Possible 1000 Grading Scale: B+ 8789 C+ 7779 D+ 6769 F 59% and below A 93100% B 8387 C 7377 D 6367 A 9092 B 8082 C 7072 D 6062 (Note: a final grade of C or better is required for major courses to count toward fulfilling major requirements.) Registrar Dates to Note: Students are responsible for registering for classes and for verifying their class schedules on e campus. Late course additions will not be permitted. The deadline for adding a fall semester class without instructor and academic unit head signature is Tuesday, Sept Last day to add a course with instructor and academic unit head signatures is Sept. 17. Please be aware that receiving an override into a full class does not automatically enroll the student in the class. The student must register on ecampus or, if the add is made between Sept. 8 and 17, at the Office of the Registrar in Warren Hall, third floor. No registration for fall Semester classes after Sept 17. Oct. 29 is the withdrawal deadline. Key PA: Performance Analysis PAP: Production Analysis Paper CS: Canvas DAQ: Dramatic Analysis Questionnaire RP: Research project DUE: Due in class DAP: Dramatic Analysis Paper * = Required Performance WA: Wadsworth Anthology of Drama PAQ: Production Analysis Questionnaire ¥ = Wildcard Performance COURSE SCHEDULE This schedule is subject to change, but I will let you know with ample time to adjust. (Readings and assignments are listed on the day due) Date Topic Assignments, Readings (due on date listed) Reminders/Performances M 8/31 Invitation & Introduction Analysis Terms Handout ; RP play choices Get familiar with syllabus handout and Analysis terms The Fundamentals of Analysis and Interpretation W 9/2 Tools of interpretation and insight Trifles (WA); read pp. 24 of Analysis Terms Take notes on Trifles and Handout (also on CS); bring your bring them to class. written/printed notes on the play to class F 9/4 Research Project introduction; Minstrelsy Minstrelsy reading (CS); The rest of the Analysis Terms Handout; RP play choices DUE M 9/7 Dutchman; Theatre and Race/Ethnicity The Dutchman (WA) (bring notes to class); “AfricanAmerican Drama and Theater” (WA 11251128) W 9/9 Ethnicity, Race, and Theatre’s Social RP choices determined (handed out); “The Roles; Play Report guidelines Resisting Viewer” (PA); Wilson/Brustein Debate (WA 14891497) F 9/11 Contemporary Dance; Why do “theory” The Poetics (WA—only pp. 153156 through *New Dance Festival, 9/11 and “theatre” share the same root? the Six Elements section); Althusser’s 12; Contribute to Mother C “Ideology” (PA) online before midnight 9/13 M 9/14 Mother Courage and Her Children; New Mother Courage (WA) – contribute to online *The Aliens, 9/1519 Dance discussion discussion by 11:59 PM Sun. 9/13 (Studio); read “Theatre Review” reading (due 9/21) before you see Aliens. W 9/16 Epic vs Dramatic theatre and the strategicBertolt Brecht’s “Theatre for Pleasure or I recommend you sign up for dramaturgy of Mother Courage; Finding Theatre for Instruction” (CS) Daniel Beaty’s workshop, valuable book sources 9/18, 3:305:00; F 9/18 Play Reports; Live feedback and critique Play Report DUE ¥ D. Beaty performance, – hopes and practices 9/19; Join Aliens online discussion by midnight 9/20 M 9/21 Aliens; Daniel Beaty’s Mr. Joy "The Theatre Review and Dramatic Criticism" (CS); Contribute to The Aliens’ online discussion by midnight 9/20 W 9/23 Library Day I – Meet in Carrier 301 5 book sources in bibliographic format DUE Analysis and Interpretation from Varied Perspectives F 9/25 Gender and/in Theatre; Creating Your “Constructing Gender II: Culture/Nature Theatre exercise Model” (PA); “The Frame” (PA) M 9/28 Cloud Nine Cloud Nine (WA) – DAQ on Cloud Nine *Anton in Show Business, DUE 9/2910/4 (Mainstage) W 9/30 Gender Theory; Evaluating Performance: “Gestic Criticism” (PA); “Feminist and a rubric for evaluating performance Gender Theory Fortier” (CS) F 10/2 Evaluating and Writing about (the Signs “The Sign” and “Myth” (PA); Your Theatre Second City, 10/2 and Symbols of) Performance; Effective and Production Interpretation DUE journal source searches M 10/5 Anton in Show Business – like fish in a Bring your categorized, wordprocessed bowl notes on Anton to class W 10/7 American Musical Theatre Read “Development of Musical Theatre” *First Lady Suite, 10/711 (CS); Bring Musical Theatre handout (CS); (Studio) Optional: explore Musicals101.com F 10/9 Source quality and format; Annotating Four Database Journal Sources DUE *Roof! (recital hall, 10/11, (Inclass exercises) 7:30 PM) M 10/12 First Lady Suite – sides of performance; PAQ on First Lady Suite DUE Roof! W 10/14 Roof! (cont if nec); The Tempest and The Tempest, Act I only (WA) Michael Milligan (guest Elizabethan Theatre workshop and performance – info and dates TBA) F 10/16 Tempest The Tempest (Acts IIV)– bring categorized notes to class M 10/19 Library Day II 4 annotations + 2 websites DUE (2 copies) W 10/21 The Tempest and Colonialism (original, “The Other” (PA); Postcolonial Theatre Engage in the Antigone post, and neo); Peer Annotation reading (CS); bring comments on peer’s online discussion by 10:00 annotations AM Friday F 10/23 Antigone Antigone (CS) – Online discussion contribution DUE by 10:00 AM 10/23 M 10/26 Antigone, Theory, and South Africa The Poetics (WA pp.156161 on drama and *The Pillowman, 10/2631 tragedy) (Studio) CrossCultural Analysis and Interpretation W 10/28 The Island The Island bring play notes to class 10 annotations due next week F 10/30 Theatre and Social Change; Writing II “Experiments with the People’s Theatre in Engage in the Pillowman Peru” (just pp. 18051811 in WA); “Forum online discussion by 11:00 Theatre” (CS) PM Sunday M 11/2 Responses to The Pillowman Online discussion contributions DUE by 11/1 *Śakuntalᾱ and the Ring of at 11:00 PM; 10 annotations DUE Recollection, 11/37 – see it early in the run W 11/4 Asian Theatre and Sanskrit Theatre; The Act I of Śakuntalᾱ (CS) ingredients of abstracts and outlines F 11/6 Writing III—a writing rubric DAP proposal DUE M 11/9 Śakuntalᾱ and the Ring of Recollection PAP DUE W 11/11 Mediated Theatre “Theatre Squared” (CSin Theories/Media) F 11/13 Adaptation Project begins DAP Play Choices Determined (in class) *Dogfight, 11/1317 (Studio) M 11/16 Adaptation Project inclass W 11/18 Adaptation Project presentations ¥Nearly Lear, 11/18 F 11/20 Dogfight discussion Research Project DUE 11/2129 THANKSGIVING BREAK M 11/30 Work day for selfeval videos; Intro to “A Student’s Guide to Performance Studies” Performance Studies (CS); “Liminal and Liminoid” (PA) W 12/2 Performance Studies DAP Abstract and Outline DUE ¥Directors’ Fest, 12/35: Block A: TH&Sat Eve; Block B: F&Sat @ 2:00 F 12/4 Chekhov and the Moscow Art Theatre; Cherry Orchard (WA), Act I Contribute to Cherry Cherry Orchard, Act I Orchard online discussion by 11:59 PM 12/6 M 12/7 Cherry Orchard; Directors Fest The Cherry Orchard, Acts IIIV Online discussion contribution DUE by 11:59 12/6 W 12/9 CO; Structures of American Theatre F 12/11 Careers in the Theatre *Virginia Repertory Dance, 12/1012 Tuesday Video Due RP Video Self Evaluation DUE by Tuesday Make sure the link is 12/15 12/15 at 1:00 PM: Post link to it in Canvas publically accessible! Wed., FINAL DAP DUE; Video Bonanza!; VA Rep Dance 12/16, discussion 10:30 12:30
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