I’m excited to launch the Spring 2021 iteration of World Theatre I.
See below for our syllabus or download :). Do come back to this page, it will be updated as we move through the semester.
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Preliminaries
This course provides a historical survey of theatre across the globe, covering early theatrical forms until the 15th Century. Through traditions in Africa, Western Europe, Asia, and the Americas, we will examine a variety of theatre forms and styles, as well as individual plays, playwrights, and designers. We will study theoretical texts on theatre and performance from the periods and locales covered. We will also consider the influences on theatre from different cultural, social, political, and economic contexts, and the manners in which theatre has engaged critically and politically in different societies.
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The syllabus proposed below covers roughly ancient Greek theatre, Sanskrit theatre, traditional Japanese forms, Medieval miracle plays, and New World dramas. As we move along with the materials, we might decide to change this selection.
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Early in the semester, you will choose a research topic to be presented and discussed in class. From this first assignment, you’ll build up your final project. It is my wish you refer to this knowledge in your future studies and work. Thus, your final project should take the form that best suits your practice as a theatre artist.
SCHEDULE OF READINGS AND ASSIGNMENTS
Week One
Tuesday, Feb 02: Introductions and overview
Friday, Feb 05: Open Educational Resources and Critical Thinking
Week Two
Tuesday, Feb 09: Theatre vs. Performance
- READ Taylor, Diana. “Scenes of Cognition: Performance and Conquest.” Theatre Journal (Washington, D.C.) 56.3 (2004): 353–372. Project Muse. @HUNTER LIBRARY
In class presentation by Naftalyia St. Rose.
**** FEB 12, 2021: COLLEGE CLOSED ****
Week Three
Tuesday, Feb 16: Rabinal Achí: A Mayan Drama
- READ Dennis Tedlock, trans., Rabinal Achi: A Mayan Drama of War and Sacrifice (Oxford: Oxford University Press, 2003). The Brasseur version was published as Teatro indígena prehispánico (Rabinal Achí) (Mexico City: Universidad Nacional Autónoma de México, 1979) @HUNTER LIBRARY
In class presentation by Nellie Campbell.
Friday, Feb 19: Greek Drama
- Watch Crash Course Theater #2: Thespis, Athens, and The Origins of Greek Drama.
+++ Aristophanes, The Birds.
In class presentation Samuel Taveras.
Week Four
Tuesday, Feb 23:
- READ Case, Sue-Ellen. “Classic Drag: The Greek Creation of Female Parts.” Theatre Journal 37, no. 3 (1985): 317-27. @HUNTER LIBRARY
+++ Aeschylus, Agamemnon.
In class presentation by Kimberly Burgering on Agamemnon and Sarah Nowik on Sue-Ellen’s essay.
**** FRIDAY FEB 26, 2021: COLLEGE CLOSED ****
Week Five
Tuesday, March 02:
Focus question: In your opinion, what is the most evident innovation present in Euripides’ The Bacchae, regarding the previous tradition of Greek tragedy?
- READ Euripides, The Bacchae.
In class presentation by Safa Ahmed.
Friday, March 05:
- READ Selections from Aristotle, The Poetics.
+++ Horace. The Art of Poetry.
In class presentation by Zoe Mintz.
Week Six
Tuesday, March 08:
- Watch Crash Course Theatre #6: Roman Theatre with Plautus, Terence, and Seneca.
+++ Terence. The Eunuch.
In class presentation by Katherine Newell.
Friday, March 12: WRITING WORKSHOP
Week Seven
Tuesday, March 16:
Focus question: What is, in your opinion, the main differences between Sanskrit theatre and Greek theatre?
- READ Kalidasa. Shakuntala and the Ring of Recognition.
+++ Theatre History Podcast #48: Learning About Kutiyattam with Dr. Erin Mee
In class presentation by Michael Bacchus.
Friday, March 19:
- READ Indian literary and commemorative drama and theatre p.110-118 + Rasa-bha¯va aesthetic theory in practice p.136
OPTIONAL: CASE STUDY: Kutiyattam Sanskrit theatre of India: Rasa-bha¯va
aesthetic theory and the question of taste. p.133; Kutiyattam and its distinctive style of performing Sanskrit dramas like The Hermit/Harlot p.138.
from the course’s textbook: Theatre Histories: @Hunter Library
In-class presentation by Taylor Black.
Week Eight // European Catholic Drama
Tuesday, March 23:
Focus question: How does this work contribute to the conception of the author’s religious community? How does she express disjuncture between religion and gender?
- Watch Crash Course Theater #9: Hrotsvitha, Hildegard, and the Nun who Resurrected Theater.
+++ Hroswitha, Dulcitius.
In class presentation by Dawn Ressy.
Friday, March 26:
- READ Anon, The Second Shepherd’s Pageant.
+++ Carlson, Marvin. “The City as Theatre.” In Places of performance: the semiotics of theatre architecture. Ithaca, NY.:Cornell University, 1989.
In class presentation by Derek Chong on The Second Shepherd’s Pageant and Alexander Decoteau-Fredericks on Carlson’s essay.
**** SPRING BREAK ****
Week Nine
Tuesday, April 06: Ta’ziyeh of the Martyrdom of Hussein
- READ the Martyrdom of Hussein translated and with an introduction by Rebecca Ansary Pettys. @HUNTER LIBRARY
+++ Theatre History Podcast #27: Learning About Ta’ziyeh with Dr. William O. Beeman.
In class presentation by Laurel Cutler on the Martyrdom of Hussein and Adrian Feliciano on Ta’ziyeh.
Friday, April 09: Ibn Daniyal, The Shadow Spirit.
- READ Chen, Fan Pen. “Shadow Theaters of the World.” Asian Folklore Studies 62, no. 1 (2003): 25-64. @HUNTER LIBRARY
In class presentation by Diana Gor on The Shadow Spirit and Kristen Hoffman on Chen’s essay.
Week Ten // Noh and other traditional Japanese forms
Tuesday, April 13:
- READ Zeami, Atsumori.
+++ Anon, The Mushrooms.
In class presentation by
Friday, April 16:
Focus question: How do you think, kabuki and bunraku relate to the social changes in Japan?
- READ Chikamatsu, The Love Suicide at Sonezaki.
+++ Case study: Zarrilli et. al., “Samurai Warriors and Kabuki actors” and “Regulating Kabuki.” @Hunter Library
In class presentation by Yukina Doi on Chikamatsu and Tiffany Muñoz on Kabuki.
Week Eleven
Tuesday, April 20:
In class presentation by Bepasha Nandi on Yuan Plays.
Friday, April 23: WORKSHOP FINAL PROJECTS.
*** *** PLAY TEXT ANALYSIS DUE ***
Week Twelve // New World Dramas
Tuesday, April 27:
Friday, April 30:
- Watch Crash Course Theater # 22: Pre-Columbian Theater, Spanish Empire, and Sor Juana.
+++ Holy Wednesday: A Nahua Drama from Early Colonial Mexico. Edited by Louise M. Burkhart, 1996. @HUNTER LIBRARY
In class presentation by Nikki Quesada on Holy Wednesday.
*** FINAL PROJECT PROPOSAL ***
Week Thirteen
Tuesday, May 04: Anon, The End of Atau Wallpa, a Tragedy.
- READ Diana Taylor, “Introduction to The End of Atau Wallpa.”
In class presentation by Sebastian Roa on The End of Atau Wallpa.
Friday, May 07:
- READ Sor Juana Inés de la Cruz, Loa to Divine Narcissus.
+++ Manuscrito: Los Empeños de una Casa.
In class presentation E. Diana Cruz
*** ANNOTATED BIBLIOGRAPHY DUE + Draft of an ARGUMENT & OUTLINE***
Week Fourteen // FINAL PROJECTS
Tuesday, May 11: Final Project Presentations
Friday, May 14: Final Project Presentations
**** READING DAY: Tuesday, May 18 ****
*** FINAL PROJECT DUE: Friday 21 May 2021 ***
This syllabus is subject to change over the course of the semester. You will be notified of changes through our announcements on our class Blackboard site.
