Theatre History  204
Professor Richard Kalinoski
Spring 2012
University of Wisconsin Oshkosh
Arts and Communication Building South 118
Tuesday and Thursdays 8 to 9:30 AM

OFFICE HOURS:
2:30 to 3:45 Tuesdays and Thursdays in office at 218 Arts and Communication West
Other hours by appointment.
e-mail: kalinosk@uwosh.edu
Phone: 920 424 0937
richardkalinoski.com = web site

Texts: Living Theatre (sixth edition) by Wilson and Goldfarb

Performances of plays on campus: Amost Maine by John Cariani (Feb. 15-19); Student One-Acts (titles TBA) ( March 8-10) ; Tartuffe by Moliere ( April 25-29); playwriting contest reading (May 2);

Theatre as a part of the Liberal Arts

The liberal arts engage students in the study of the human condition by exploring the disciplines broadly defined by the sciences, the arts, culture, literature and history. THEATRE is a small component of these human endeavors but its reach is ambitious. Theatre has been historically dedicated to the act of imitating, replicating and representing our lives. In many ways it is the ultimate “liberal” art if one understands the word “liberal” to mean generous or broadly encompassing.

Theatre’ mandate is to explore any and all facets of lives—it demands intellectual rigor and multifarious artistic abilities because theatre is primarily interested in uncovering the truth about how we live. It is this search for truth that puts theatre into the very core of liberal pursuits. Theatre is a genuine liberal art.

ON THEATRE HISTORY:

The nature of modern theatre is to expose, to provoke, to question and to entertain.

Theatre can happen when there is civil unrest; it can even cause further civil unrest. But because theatre does best when a society is stable (but not without conflict)…theatre is largely a stabilizing force in societies. The first part of this class will examine how people used theatre as an extension of their religion—for worship and celebration and education. Before the invention of the printing press (circa 1450) communication within a given society was slow and painful—technology changed that—and the theatre was changed as well.

The study of theatre history is the study of a very gradual historical

movement away from the religious toward the secular. It is vital that students understand the role of RITUAL in the long evolution of the theatre.

Theatre history is the study of civilization—that is, a study of people organized enough to be able to conduct themselves civilly with each other—the idea of a social contract. Much of history is about war and chaos and theatre does not thrive when chaos reigns. Ironically, theatre (and plays specifically) appear to be invented (or to have evolved) by people in order to help explain the chaos of their lives.

Theatre history is really a discipline which examines how theatre contributes to the evolution of society—theatre reflects the flaws of human beings and the flaws within the order called SOCIETY—the loose term which refers to how we organize ourselves.

The challenge to the theatre of the future is for theatre to adapt to the prominence of the moving image (which is delivered in many ways by the year 2012).

OBJECTIVES OF THE CLASS:

1. Students will demonstrate (in writing) an understanding of the relationships among rulers, those ruled and religion in a given era.

2. Students will be able to articulate (through writing and speaking) the influences of the church on the evolution of theatre in the era.

3. Students will articulate important details of theatre practice in the era—including elements of design, playwriting, theatre management,

the business of theatre and acting.

4. Students will demonstrate through speaking, writing and testing--

knowledge of the unique character of each era studied.

Major assignment: Each student will create and present an oral presentation on a question to which they will seek an answer (from theatre history).

Here ARE EXAMPLES of the kind of questions which some students may elect to pursue: How has Western Theatre affected the theatres of Japan? What did the movement to outdoor playing spaces do to the evolution of Medieval Theatre?

Why is civil order required for theatre to prosper? Why must Japanese theatre artists train for so many years in order to become accepted?

Attendance policy: Come to class and participate. If you miss more than two classes with no legitimate excuse your grade will be lowered by ½ whole point for each unexcused miss beyond 2 . Come to class-- it automatically enhances your credibility as a student and common sense dictates that you will learn more by attending class

than you will by skipping it (painfully obvious).

Extra Credit: Your professor will award extra credit to you if you volunteer to take part in some aspect of a theatre department production—onstage or backstage--as an usher or front of house; you cannot earn extra credit for tasks for which you are being compensated. Extra credit points can be added to your quizzes or tests.

Examples: Usher (one performance) 3 points added to a quiz; deck crew or light board operator or sound board operator—entire run of show including tech—30 points added to a quiz or test; acting in a main stage show—30 points added to a quiz or test; acting in student directed one-acts—20 points; other volunteer activities—points to be evaluated.

GRADES:

Quizzes……..20%

Tests………..20%

Critical responses (reflections) ……20%

Oral presentations…………………25%

Class participation/ in class projects...15%

Total= 100%

Note: This university has recently adopted a new (really old) series of grades. The following is my adaptation of those grades.

Percentages:

93 to 100 =A

90 to 92 = A-

87 to 89 = B+

83 to 86 = B

80 to 82 = B-

77 to 79 = C+

73to 76 = C

70 to 72 = C-

65 to 69 = D+

59 to 64 = D

Below 59 = F (not good; or…often considered bad)

The schedule:

January

31 Opening day; student profiles; discussion of syllabus; lecture on the state of theatre in the U.S.. Brief discussion of the text. No assignment.

Feb. 2 lecture on Thomas Hobbes’ state of nature (life in the state of nature is solitary, brutish and short); introduction to the fundamentals of ritual; need for storytelling. Assign: Pages 1-8 in Living Theatre

Feb. 7 Discussion of role playing and imitation; ritual. Lecture/discussion re: efficacious ritual; group activity—repair to experimental theatre. Assign: pages 9-15

Feb. 9 Quiz on pages 1-8 Assign pages 16 thru 21. Discussion of Greek Theatre/oligarchy .

Feb. 14 Discussion of forms of theatre investigation. Guidelines for responding to Almost Maine; Assign pages 25 thru 31—the Greeks.

Discussion of social contract of attending a play. Almost Maine opens on 15 Feb. (note: opening night reception). (15,16 17,18, at 7:30 PM; 19 at 2 PM)

Feb. 16 Discussion of the Greeks—the meaning of Greek forms (the six elements of drama) and Aristotle. Discussion of Dionysian Festival assign 32 thru 39

Feb. 21 Collect responses to Almost Maine. Discussion of Almost Maine.

Discussion of the City Dionysia. Assign: pages 40 to 49.

Feb. 23. Quiz on pages 1 thru 39 and lecture/discussion notes. Discussion of the practical facets of Greek Theatre—space, masks, :DEUS EX MACHINA—the emergence of actors. The actors plight. Assign pages 50 thru 55.

Feb. 28 Comprehensive discussion of the Greeks; review.Review of relevance of the state of nature (Hobbes). Notes about the test.

March 1 Test on the Greeks. Major assignment—one question from theatre history, oral presentation, 12 to 14 minutes. Asking a question—seeking an answer. (Guidelines distributed this day)--deadline March 27 to declare. Assign: pages 57 to 71 The Romans

March 6 Discussion of the Romans. Student directed one-acts open on March 8.

Highlight the republic and the notion of oligarchy—discussion of Roman entertainment; Plautus and Terence. Assign page 82 thru 87—Chinese Theatre.

March 8 Student directed one-acts start. (8,9,10—7:30 PM in the experimental theatre). Report topics/questions to be presented on theatre history—students should report their progress in determining their subject/question. Chinese Theatre discussion. Assign: pages 87 thru 93—No and Bunraku theatres of the Japanese.

March 13 Discussion of one-acts. Discussion of No and Bunraku; assign pages 94 thru 101—Kabuki and other.

March 15 .Quiz on NO and BUNRAKU. Sample of Kabuki shown. Discussion of the

challenges of formalism, Kabuki. No assignment (except to look for oral presentation question).

March 20, 22 Off for Spring Break

March 27 Introduction to the theatre of the Middle Ages; subject/questions due (final deadline). Religion and people of the Middle Ages—the power of the Catholic church. Assign: Pages 103 thru 111.

March 29 Discussion of liturgical drama/ Hrosvitha, vernacular drama. Assign: 112 thru 120.

April

3 Discussion of indoor/outdoor theatre; mansions; cycle plays. Assign: 120 thru 125.

5 Quiz on pages 103 thru 120. Discussion of 120 thru 125 and introduction to Elizabethan theatres. Assign pages 157 thru 167. Discussion of Elizabeth.

10 Discussion of the English Renaissance—secularity and modernity. Assign pages 168 thru 176.

12 Discussion of the meaning of public and private theatres. Assign pages 177 thru 183.

17 Lecture and discussion of acting practices and customs of the Elizabethans. Master of Revels. Assign: 184 thru 191—Jacobean and Caroline Drama.

19 Test on Elizabethan, Jacobean and Caroline theatre

24 Screening of film (to be announced) Tartuffe opens 25; discussion of Moliere—notes.

26 Screening of film part 2

May

1 Finish screening of film—discussion of same. Discussion of Tartuffe and discussion of the production. May 2; playwriting reading.

3 Oral presentations

8 Oral presentations

10 Oral presentations and wrap-up.