DEPARTMENT OF TV-RADIO-FILM-THEATRE

CONTEMPORARY THEATRE
TA
127 #26962 • ENG 127
#28908
SYLLABUS - Spring 2009
http://www.tvradiofilmtheatre.org/MA/Pages/127S09.html

Link to: schedule - response essays - research paper

FACULTY

Dr. David Kahn
TV-Radio-Film-Theatre

Office Hours:
T/Th 11 - 1:30 pm
HGH 110
408-924-4540
David.Kahn@sjsu.edu
FAX 924-4543

RESOURCES

Course Writing Rubric

MLA Paper Style

SJSU Library Theatre Page

Library Articles and databases

Theatre journals and publications

Kite Runner at SJ Rep

Article on Ngugi wa Thiong'o

more to follow. . .

 

CLASS TIME AND LOCATION -- T/Th 1:30-2:45 pm; DMH 208

PREREQUISITES

Students must meet the Advanced/SJSU Studies GE Requirements:

  • have upper division standing
  • have completed the Core GE requirements
  • have passed the WST

REQUIRED TEXTS

Kotis/Holman, Urinetown: The Musical (ISBN: 9780571211821)
Hosseini/Spangler, The Kite Runner (download .pdf)
Cruz, Anna in the Tropics (ISBN: 9781559362320)
Kushner, Angels in America Pt. 1 & 2 (ISBN: 9781559362320)
Moses, Yellowjackets (download .pdf)
Thiong'o, I Will Marry When I Want (ISBN: 9780435902469)

Additional readings, screenings, theatre performances including:
Urinetown
SJSU Theatre (January 23-31)
Secret in the Wings
SJSU Theatre (March 6-14 )

COURSE DESCRIPTION

This advanced SJSU Studies GE course fulfills Area V, Culture, Civilization & Global Understanding. AREA V LEARNING OBJECTIVES:

  1. Compare systematically the ideas, values, images, cultural artifacts, economic structures, or attitudes of people from different societies or cultures;
  2. Identify the historical context of ideas and cultural practices and their dynamic relations to other historical contexts;
  3. Explain how culture changes in response to internal and external pressures.

This course explores contemporary theatre by critically examining selected plays and productions of the last fifty years, focusing on the following questions: How do these recent popular plays express the diversity and complexity of post-modern global society? How do different forms of contemporary theatre reflect cultural changes and changing perceptions of the human condition? How are various peoples and ideas represented in theatrical form? How has global theatre performance influenced and been influenced by American culture and society?

We will study theatre performances and texts not only as historical documents of their time and mirrors of their worlds, but also as material for contemporary interpretation and production.Through class activities, lectures, reading, viewing performances, discussion, research and written responses, students in this class will learn systematic, analytical skills for assessing contemporary theatre practice (and other "narrative" performance media such as film, television, etc). These skills will also help students to more actively and more articulately position themselves in relation to surrounding media cultures. Finally, this course provides a method for understanding how the written script functions in relation to live theatre performance – bearing in mind that a play on paper is, as writer Tennessee Williams famously observed, "hardly more than an architect's blueprint for a house not yet built." In this course you will learn to read the blueprint.

 

Course Content Learning Outcomes
Upon successful completion of this course, students will be able to:

  1. identify theatre artists who represent from cultures around the world;
  2. articulate how the various artists speak from a universal and individualistic viewpoint, and how the works affect audiences;
  3. recognize different forms, styles, and presentational modes, especially in relationship to live performances in a post-modern global society;
  4. research relationships between the literature and economic, historical, political, and social aspects of contemporary society related to the lives of the students and their communities;
  5. articulate in academic writing how various forms of contemporary theatre communicate distinctive perceptions about the human condition, representing perceptions from different cultures.

STUDENT RESPONSIBILITIES • CLASSROOM PROTOCOL

This course has a learning curve. If you stay on the curve you will do well. If you fall behind the curve you will have difficulties. You can do well by:

  • being in class ready to learn;
  • paying attention and following directions;
  • doing all assignments thoroughly, correctly and ON TIME;
  • contributing to discussion/activities in class;
  • demonstrating that you are learning something, and that you can do something imaginative with your new knowledge

EVALUATION ITEMS

Class participation
Response Essays
Research Paper
Final Exam
100 pts
100 pts
100 pts
100 pts

ASSIGNMENT DESCRIPTION

  • Class Participation: Active class participation is expected and you must be present in class to participate. There will be short in-class writing assignments, discussion and activities in most class sessions. More than two unexcused absences will lower your participation grade. (Students are required to document excused absences.)

  • Response Essays: Five 500-word essay responses on class reading. (guidelines below)

  • Research Paper: 2000 words (guidelines below )

  • Final Examination: Short answer and essay questions on course content related to GE Objectives.

SCHEDULE (rev. 2/15/09) subject to change:

week
date
topic assignment due
1 1/22 Course Introduction

SEE Urinetown
January 23, 24, 28, 29, 30, 31 at 7 pm
January 24, 30, 31 at 2 pm Todd Studio Theatre HGH 103

2 1/27 Defining the Stage: The functions of theatre in society
Theatre Games: The elements of performance

REGISTER turnitin.com

1/29

Dramaturgy: Reading theatre scripts as theatre performance. Setting the Stage: The historical context of "contemporary" theatre
(see Powerpoint)

READ Urinetown

3 2/3 Background: Context of the American musical
(see Powerpoint)

 

2/5 Discussion: Urinetown

RESPONSE ESSAY Urinetown

4 2/10 Script and Performance in Urinetown  
2/12 Background: Realism, narrative and the American stage

READ Anna in the Tropics

5 2/17 Background: Anna in the Tropics

RESPONSE ESSAY Anna

2/19 Discussion: Anna in the Tropics  
6 2/24 Background: Yellowjackets PEER REVIEW (guidelines)
2/26 Yellowjackets READ Yellowjackets
7 3/3 Discussion: Yellowjackets

RESPONSE ESSAY Yellowjackets

3/5 Background: Post-modern Physical Theatre SEE Secret in the Wings
March 6, 7, 11, 12, 13, 14 at 7pm
8 3/10 Background: Adaptation, Documentary, Ethnography and Theatre  
3/12 Research in Contemporary Theatre READ The Kite Runner
9 3/17 Discussion: Secret in the Wings & The Kite Runner RESPONSE ESSAY The Kite Runner
3/19 Background: Theatre and social action
PAPER PROPOSALS
10 3/24 SPRING BREAK
3/26
11 3/31 CEASAR CHAVEZ HOLIDAY
4/2 Background: The Context of African protest theatre READ I Will Marry When I Want
12 4/7 Screen: Delta Force RESPONSE ESSAY I Will Marry
4/9 Discussion: I Will Marry When I Want PAPER BIBLIOGRAPGY & ABSTRACT
13 4/14 Background: El Teatro Campesino and Luis Valdez  
4/16 Performance Strategies of Agit-Prop  
14 4/21 Activity: SJSU "Actos" ACTOS
4/23 Background: "Queer" Politics and Queer Theatre
(see Powerpoint)
READ Angels in America pt. 1
15 4/28 Screen: Angels in America pt. 1 READ Angels in America pt. 2
4/30 Discussion RESPONSE ESSAY Angels pt. 2
16 5/5 Screen: Angels in America pt. 2  
5/7 Discussion Angels in America  
17 5/12 Course review

RESEARCH PAPER

5/19
(12:15-2:30)
FINAL EXAM Bring blue book

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RESPONSE ESSAYS GUIDELINES

Response essays (20 pts. each) provide the opportunity to apply a systematic method of "dramaturgical" analysis whereby play scripts can be better understood as representative artifacts of different cultures (LO 1). Assessment of the papers is based on your application of dramaturgical analysis to the selected play script. Assessment will also be based on writing style, form, and content (see specific writing criteria in the Writing Rubric). Instructor's comments on each paper and peer review provide ongoing feedback designed to assist improvement both in writing and analytical skills.

At the beginning of each class session in which a text is scheduled for a Response Essay, students must submit a 500-word paper discussing that play text from one of the following perspectives:

  • World of the play
  • Issues
  • Story
  • Character
  • Event Chain
  • Patterns

Each paper must begin with a statement of the play's intention (that is, your interpretation of the "experience" this text produces when it is performed), and then proceed to a systematic analysis from the specific perspective you have chosen.

Papers must be typed, double-spaced and include numbering on each page, written in academically correct English and in essay form. Quotations from a play or other published sources should be followed by an in-text citation listing author and page number(s) in parentheses.

The following information must appear in the upper left hand corner: 1) your name; 2) TA/ENG 127; 3) date; 4) play title; 5) perspective (e.g.: "Character").

Due Dates: (only the five highest grades will count)
Feb. 5 - Urinetown, the Musical
Feb. 17 - Anna in the Tropics
Mar 3 - Yellowjackets
Mar 17 - The Kite Runner
Apr 7 - I Will Marry When I Want
Apr 30 - Angels in America pt. 2

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RESEARCH PAPER GUIDELINES

Research Paper - Due Beginning of class May 12

Length: 8 typed pages (2000 words).

The research paper (100 pts) provides an opportunity to research relevant background information and use that information to help articulate responses to one play from the contemporary theatre. Your paper is a forum for examining wider social realities that affect, and are affected by, the theatre. Your use of research information is to expand your ongoing analysis of how the play's specific dramatic intentions are achieved by the experience that a performance creates for its audience.

Your approach is dictated by the following considerations: Your readers are your academic peers who are familiar with your chosen play and with the elements of contemporary theatre we've studied in class. In your paper, develop an interesting and supportable thesis, preferably based on a specific personal question you have in response to your play (e.g.: How does Angels in America respond to the American political climate of the early 1980s? or How are various ideas about the importance of cultural heritage expressed in Anna in the Tropics? or What different traditions of performance are employed in Urinetown?). Use your research to expand your knowledge about how theatre and society interact. Give reasons and evidence for your assertions. Point to specific elements in the script and in your research to support your arguments.

    Suggested Topics (and related GE Learning Objectives):

  • Ideas, values, images, and attitudes of people from different societies. (LO 1)
  • Background and intentions of the particular playwright. (LO 2)
  • Influences of, or attitudes towards, contemporary events and/or theatre practice. (LO 2, 3)
  • Attitudes towards power and authority, class distinctions, social change, justice, morality, history. (LO 3)
  • Attitudes toward the individual and questions of identity. (LO 2)
  • Attitudes toward the audience, the theatre, the public. (LO 2, 3)

Paper Proposal - Due 3/19

Each student is responsible for turning in an individual Paper Proposal of 1-2 typed paragraphs. Elements of the Proposal should include:

  • identification of the focus play;
  • concise, specific statement of the proposed topic and research question;
  • relationship of the paper topic to the GE Area V Learning Objectives;
  • description of methodology (what is the plan, strategy, critical approach of the paper?).
Bibliography and Abstract - Due 4/9

Using the Library's databases, create a list of at least 10 bibliographic references.

The references should be primarily scholarly in nature, and should look into some aspect of your chosen play/theme. They may offer theoretical, historical, or other background information. They may be books, chapters in books, or articles in an academic journal. These are often published by a university press or university-sponsored journal. Internet sources must be carefully evaluated for their scholarly validity.

Follow a formal Bibliography format (MLA) when listing your 10 sources, citing author, article or chapter title, publication title, publisher, date of publication, page numbers.

From your 10 references choose one article or chapter from a book to write a brief Abstract--a 2 paragraph summary of the argument and methodology (or approach) and goal (or conclusion) of the article/chapter. Discuss how you plan to use the article/chapter in your research.

Matters of Form:

  1. Research Papers must be typed, double-spaced, using a 12 point font and 1" margins, and written in academically correct English. Write clear, correct prose. Poor writing will affect the quality of your paper and your grade. This is a General Education course, and the ability to write clearly and effectively is an important component. Grades will be reduced for repeated (more than 5) spelling and grammatical errors. Formulate a definitive thesis sentence and use correct paragraph structure to develop that thesis. Papers should include an introduction, body, and conclusion. Writing should be clear, succinct, and demonstrate originality and knowledge of the subject matter.
  2. In the upper left corner of the first page, list: 1) your name, 2) title of the course, 3) professor's name, and 4) date. Include an appropriate title for the paper. Titles should be informative and, if possible, interesting.
  3. Number the pages of the paper.
  4. Quote or acknowledge all sources of information (critical studies of the plays, genre or author; social, political or cultural histories; etc.). Quotations from a play or other published sources should be followed by an in-text citation listing author and page number(s) in parentheses. For quotations longer than three lines, indent from the left margin and single space (block quote). Block quotes do not have quotation marks. See standard guides to term paper form (MLA) for correct usage. Be aware of plagiarism issues.
  5. Rewrite. First drafts are rarely, almost never, satisfactory. Thoroughly proof-read papers for errors, and make corrections. Be responsible about both the form and content of your paper.
  6. Attach full bibliography in MLA format.

No late or untyped papers will be accepted and missed assignments cannot be made up.

Writing Rubric for 127

Academic Integrity: Your own commitment to learning, as evidenced by your enrollment at San Jose State University, and the University's Academic Integrity Policy requires you to be honest in all your academic course work. Faculty members are required to report all infractions to the Office of Student Conduct and Ethical Development. The policy on academic integrity can be found at http://sa.sjsu.edu/student_conduct. One form of academic dishonesty is plagiarism--taking ideas, writing, or work from another person or source and representing them as one's own.  Plagiarism includes both having someone else write your papers and cutting and pasting from the Internet.  For advice on how to avoid plagiarism, consult the following site: http://owl.english.purdue.edu/handouts/research/r_plagiar.html

Persons with Disabilities: San Jose State University encourages qualified persons with disabilities to participate in its programs and activities. If you need course adaptations or accommodations because of a disability, or if you need special arrangements in case the building must be evacuated, please make an appointment with me as soon as possible, or see me during office hours. Presidential Directive 97-03 requires that students with disabilities must register with DRC to establish a record of their disability.

Adding and Dropping: Students are responsible for understanding the policies and procedures about add/drops, academic renewal, etc. Information on add/drops are available at http://info.sjsu.edu/web-dbgen/narr/soc-fall/rec-324.html . Information about late drop is available at http://www.sjsu.edu/sac/advising/latedrops/policy/ . Students should be aware of the current deadlines and penalties for adding and dropping classes.