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THE1001
Introduction to history andtheory of drama 1
Faculty of ArtsSchool of Creative Arts
Introductory bookSemester 1 2012
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Published byUniversity of Southern QueenslandToowoomba Queensland 4350
Australia
http://www.usq.edu.au
University of Southern Queensland, 2012.1.
Copyrighted materials reproduced herein are used under the provisions of the Copyright Act1968 as amended, oras a result of application to the copyright owner.
No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any
means electronic, mechanical, photocopying, recording or otherwise without prior permission.
Produced by Learning Resources Development and Support using the ICE Publishing System.
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Table of contents
Page
Essential information 1
Introduction 2Welcome 2Introduction 2Course outline 3Chronology of THE1001, Introduction to history and theory of drama 1 5Course overview 6Resource material 6
Study schedule 9
Assessment 11Assignment 1 13Assignment 2 15
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THE1001 Introduction to history and theory of drama 1 1
Essential information
The topics in the following list provide important information that will assist you withyour study. You can access a handout containing the information on your StudyDesk through
the Essential information (study materials) link . You will need your UConnect usernameand password to access the file. Please make sure you read this information carefully before
commencing your study.
Getting started
Course specification
Support
UConnect
Assignment submission
Grading levels
Course evaluation
Residential schools
Library
Referencing APA
Referencing Harvard AGPS
Optional purchase of study materials
USQ policies and procedures
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http://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/essentialhandout.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/essentialhandout.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/getting_started.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/course_specification.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/support.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/u_connect.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/assignment_submission.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/grading_levels.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/course_evaluation.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/residential_school.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/library.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/apa_referencing_guide.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/harvard_referencing_guide.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/optional_purchase.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/policies_procedures.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/getting_started.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/course_specification.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/support.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/u_connect.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/assignment_submission.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/grading_levels.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/course_evaluation.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/residential_school.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/library.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/apa_referencing_guide.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/harvard_referencing_guide.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/optional_purchase.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/policies_procedures.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/essentialhandout.pdfhttp://usqstudydesk.usq.edu.au/file.php/1/sitefiles/DeC/essential_info/essentialhandout.pdf -
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2 THE1001 Introduction to history and theory of drama 1
Introduction
Welcome
Hello and welcome to the courseIntroduction to history and theory of drama 1.
There are two academic staff who have been involved in the writing of this course and you
might like to know something about them.
The examiner for this course is Dr Darryl ChalkBA (Hons) PhD (USQ) who has been a
Lecturer in Drama and Theatre Studies at USQ for over 10 years. He teaches theatre history,
theory and practice. Dr Chalks research interests lie primarily in Shakespearean
performance, theatre historiography, and the theatre and culture of the EuropeanRenaissance. He has served as research assistant in a number of projects involving ancient
Greek Theatre. His PhD thesis dealt with theatre and plague in early modern England. He is
co-editor of a collection of essays on Shakespeare entitledRapt in secret studies: emergingShakespeares (Cambridge Scholars Publishing, 2010) and has published articles inEarlyModern Literary Studies and international edited volumes. Dr Chalk wrote modules 1, 4, 5and part of module 2.
Module 3 and the majority of module 2, were written by Professor Greg McCart BA
(Hons) MA QldPhDNewc who has lectured in theatre studies at tertiary level for the pasttwenty five years. His principal area of research is ancient Greek tragedy which he has
translated and directed for public performances. He has addressed a number of international
and national conferences on his research outcomes. His commissioned translation ofEuripides Medea was premiered by the Sydney Theatre Company in August 1996 and
published by Five Islands Press in 1998 (edited by John Senczuk). Professor McCarts
translations ofOidipous the Kingand Oidipous at Kolonos, along with notes on theirproduction, are published in Sophocles: Four dramas of maturity (1999) and Three dramasof old age (2000), edited by Michael Ewans for the Everyman Classics series. He is a
professionally produced playwright and has directed over forty university productions for the
stage. Professor McCart retired in 2003.
IntroductionIn this course, you will need to become familiar with theatre practices and dramatic writing
which initially will appear quite foreign to you. By the end of the course however, you
should be quite confident in your knowledge about these and be able to write and speak ofthem with some authority.
When we speak of theatre or theatre practice, we are referring to the actual play in
performance. This includes the people who are central to the creation of theatre, such as the
playwright, the director, the designer, the actor and the audience. You will find as you study
the materials in this package that there has been a great variety of theatre practicesthroughout history.
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THE1001 Introduction to history and theory of drama 1 3
When we speak of dramatic writing, we are referring to the playtexts which have beenpreserved up to the present time. Some of these texts, or scripts as theatre workers usually
call them, are 2500 years old while others, from 300400 years old, are regularly performed
on the worlds stages. You will find in your study of these texts that they too varyconsiderably in the way they are constructed.
A strong emphasis in this course will be placed on encouraging you to visualiseperformances of plays. Although it is fine to read novels or poems and allow various images
to play before our minds eye, we need to read playtexts differently. This is because these
texts comprise both dialogue and stage directions. When you read a play, you should act outin your imagination how the lines might be delivered, where the actors might stand or move
in your imagined setting, what they might be wearing or holding, and how they might relate
to an audience. The stage directions in the text are very helpful guides in imagining dramatic
action.
The four modules in this course vary in length depending on the amount of material andactivities you will be required to address. Three different lecturers have made contributions
to the modules and you will find that each of them presents her or his material in a slightly
different way. This avoids the monotony of a single-handed approach and makes for a variety
which we hope will keep your interest high. And we must remember that the first rule oftheatre is: Thou Shalt Not Be Boring!
Now get ready to embark on a wonderful journey. You are going to go to far-distant times
and places foreign to you. And the great thing is that by the time you get to the end of this
course, you will be familiar with what is now strange. Bon voyage! Or, as we say to the cast
on opening night of a performance, break a leg. It might sound like a strange thing to wishon anyone, but in western theatre tradition, breaking a leg means taking a bow by bending
(breaking) one leg out whilst leaning backward so its a way theatre people wish oneanother success. In another meaning, break a leg wishes you so much success that you
break a leg from bowing so much! You get the idea. Enjoy the show.
Course outline
The material in the course includes an introductory module, followed by four other modules
which cover three of the major periods in the history of the theatre.
Module 1 introduces you to theatre as a concept and as a practice. You will look at ways of
defining theatre and how the notion of performance encompasses a broad range of human
endeavours. The readings and activities will challenge your preconceptions about theatre and
introduce you to the importance of historical context in determining what theatre means todifferent cultures at different times.
Module 2 takes you to the olive groves and snow-capped mountains of ancient Greece where
western theatre was in fact invented. It was a very specific form of theatre which, although ithas had many imitators throughout history, has retained its absolute uniqueness. The great
legacy of ancient Greek tragedy has had a profound influence on Western culture. The stories
acted out in the ancient performing sites have retained their exceptional significance for
thousands of generations and right up to modern times have been re-enacted on historys
stages. The module helps you imagine how an ancient Greek performance took shape and itguides you through four plays of the period whose impact remains powerful and moving.
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Module 3 examines in the culture and society of medieval Europe before focussing the
pageantry and pomp of theatre in England of the same period. You will trace the re-birth ofdrama, after its decline coincident with the Roman Empire. You will learn how this re-birth
occurred in the Christian church, of all places. You will see how the workers of NorthernEngland took to playwriting and play-acting with a passion and, after dramatising the whole
of the Bible, went on to create their own unique brand of theatre.
Module 4 takes you to the end of the 16th century and the beginning of the 17th when
England enjoyed what are, in the eyes of many, the greatest theatrical achievements of all
time: the work of Shakespeare and his contemporaries on the public stages of RenaissanceEngland. In examining the theatre of Shakespeares Stratford and London, you will be led on
a journey which will commence in our own time and, after a number of challenging and
enjoyable activities, will arrive at an understanding of the theatre performed on the
Elizabethan and Jacobean stages.
Module 5, finally, turns its attention towards the Iberian Peninsula and the theatre of theGolden Age in Spain that in many ways paralleled (and, one might say, rivalled) thepopularity and achievements of English playhouse culture. We will trace the development of
Spanish Renaissance drama through two of its most significant figures, Lope de Vega and
Pedro Calderon de la Barca. You will be required to read and understand Lope's
Fuenteovejuna and Calderon'sLa vida es Sueno.
And so, by the time you have completed the five modules, you will be familiar with a number
of theatrical practices and dramatic writing up to the 17th century and you will appreciate
how the infinite variety of theatre, while contingent in time and place, reaches out and
beyond these constraints to times and places far removed; in particular, to our own post-millennial culture.
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THE1001 Introduction to history and theory of drama 1 5
Chronology of THE1001, Introduction to history and theory of drama 1
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6 THE1001 Introduction to history and theory of drama 1
Course overview
Introduction to history and theory of drama 1
Resource material
Study package
CD and online delivery
The course materials are available on the CD (in your study package) and from the
USQStudyDesk.
They contain the following:
Introductory materials. This is what you are reading now. They contain details about
how to study the course, the study schedule, and also include details about yourassignments. Make sure you read your introductory materials thoroughly. It will answer
many of your questions about the course.
Study modules. These are a detailed guide to your reading and learning in the course.
They provide you with information, self-assessment questions and activities to carry outat home or in class. It tells you what to read in your set texts and in your selected
readings.
Selected readings. We have gathered articles and chapters from textbooks designed to
supplement the material in your study modules and in the set texts. You will be directedto your selected readings throughout the study modules. You can access the readings via
the List of readings link on the course CD and also via the links from the course content
on Study Desk.
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THE1001 Introduction to history and theory of drama 1 7
Optional print
Please refer to the Essential information section for details.
Videotapes/DVDs
Sophokles Oidipous the King
It is recommended that you borrow a copy of this video/DVD from the USQ Library to
assist your understanding of ancient Greek performance style and reading of the play.
Borrowing CDs, videos, DVDs, audiotapes etc. from Library
To obtain a copy ofOidipous the King, log on to DocEx from the Library website. Access toDocEx can be gained from:
the USQ Library website, Get it ... and select DocEx .
The Library>Off-Campus Support
.
Textbooks
The course specification lists the textbooks you need to complete this course.
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Study schedule
Week Module Activity/Reading Assessment
1 1.What is theatre Discussion group logon
Read: Study book Introduction, 1.1
Selected readings 1.1, 1.2
2 2. Ancient Greek theatre Read: Study book 2.1
Selected reading 2.1
3 Read: Study book 2.3 The play,
Agamemnon
4 Read: Study book The play, Oidipous theKingWatch video ofOidipous the King
Reminder: End of week 4 is the last date to drop courses without academic or financial penalty.
5 2. Ancient Greek theatre Read: Study BookThe play, Medea Essay on Greek Theatre(20%)Due date: 30 March 2012
6 BREAK Study notes for assignment 2: Major Essay
7 BREAK
8 2. Ancient Greek theatre Read: The play,Lysistrata
Reminder: End of week 8 is the last date to drop courses without academic penalty.
9 3. Medieval theatre inEurope
Read: Study book 3.2Selected readings 3.2, 3.3, 3.4
10 4. Renaissance in England Study book 4.1, 4.2
Selected readings 4.1, 4.2, 4.3, 4.4Read: Study book 4.1.3, 4.1.4
Selected reading 2.1
11 Read: The play OthellloWatch a video ofOthello
12 5. Theatre of the Golden
Age in SpainRead: Study book 4.1.5, 4.1.6 The play
The Duchess of Malfi
Selected reading 4.5, Study book 4.2.1Selected reading 4.7
Essay on Medieval
Theatre (40%)
Due date: 18 May 2012
13 5. Theatre of the Golden Age
in SpainRead: Study book 4.2.2
14
15 Exam revision
1617 EXAMINATION PERIOD
(2 hours closed exam 40%)
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Assessment
There are three items of summative assessment. Marks awarded for each of these items arecollated to arrive at the final grade for the course. The three items of assessment are:
Description Due date Weighting
Assessment 1 Essay on Greek Theatre 30 March 2012 20%
Assessment 2 Essay on Greek or Medieval Theatre 18 May 2012 40%
Examination 2 hours End semester 1 40%
We will look at each of these in turn and discuss the criteria examiners will use in assessing
these items.
Examination
The examination will be of two hours duration.
A sample examination
There are three things you would like to know about the examination. What is the format of
the paper? What material is examinable? And what is on the exam paper? Well, we can
answer the first two questions but we will not answer the third one! However you will findthis sample examination paper not only reflects the format but also indicates the type of
question which might be asked.
The exam paper has two sections.
The first section includes questions which require you to write about a paragraph in
response. These questions are designed to test your knowledge of main issues in the course
and also your ability to be succinct and to the point in your response.
The second section includes questions which require you to write a page or more in
response (depending on the size of your handwriting, of course). These questions are
designed to test your ability to make evaluative or comparative comment or to addresscomplex or contentious issues.
REMEMBERthe examiners dont want to find out how much you dont know; they
want to find out how much you do know! So even if you are unsure about how to
approach a particular answer, write as much as you can so that the examiner is
impressed and inclined to be lenient if you happen to be a bit off the mark.
MANAGE your examination time well. You should spend a proportional length of time
on each of the two sections.
USE the exam to show us what you know.
And one more time break a leg!
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THE1001 Introduction to history and theory of drama 1 13
Assignment 1
Description Due date WeightingAssessment 1 Essay on Greek Theatre 30 March 2012 20%
Length: 1500 words
Choose one of the following topics and write an essay that analyses the playtext (where
appropriate) and use research and commentary from scholars to support your argument:
a. Pretend you are the magistrate in ancient Athens with responsibility of drawing up the
program for this year's City Dionysia. Using Rush Rehm's discussion of the festivalcontext, and in particular, the City Dionysia, as your main guide, draw up a timetable of
events in chronological order and write an essay commenting on the social, political,
religious or theatrical significance of the festival and these events.
b. To what extent is Oidipous responsible for his own downfall in Sophokles Oidipous theKing?
c. Thinking about plays within a specific performance context can greatly enhance our
understanding of them. The staging of ancient Greek tragedies was simple but effective.
Examine eitherAgamemnon orOidipous the Kingand discuss how the staging helped todramatize and enhance the argument and didactic message of the play.
You might find it helpful in writing this essay to go through the following steps.
i. You should read the plays carefully. Dont rush the reading it is not a novel. Imaginethe action. Read any stage directions carefully. As you read the plays, various ideas will
come to you and you should jot them down as they do.
ii. After reading the play a first time, give some thought to the critical suggestions byscholars included in the readings. You should avail yourself of any critical or scholarly
works that you can get access to in order to help you build up a comprehensive
understanding of the plays.
iii. Read over the essay topics and see if you are in a position to make your choice at this
stage.
iv. Read the plays a second time and again jot down ideas as they come, especially ideas
which support or seem to contradict comment by scholars.
v. You should now be in a position to outline your essay. Many people prefer to do this in
rough and using just points rather than complete sentences. Some people find a
diagrammatic representation of the planned essay very helpful especially in developing alogical train of thought.
vi. Once you have shaped up the outline of your essay, you are ready to write a first draft.
Dont always try to start with your introduction. It is often the hardest thing to write.Start where you feel comfortable and as you write, with your notes or outline beside you,
include abbreviated references to critical opinion as they occur to you.
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14 THE1001 Introduction to history and theory of drama 1
vii. When you have done this, read over what you have written, using the opportunity to re-
phrase parts of it, or correct punctuation or spelling (use a dictionary or spell-check!).Tidy it up, make sure it is logical, and particularly pay close attention to the first sentence
in each paragraph. A reader should be able to read every first sentence in every paragraphonly and get a pretty good idea of your entire argument. Dont bury really important
comment in the middle of a paragraph.
viii.If you havent already done so, you might like to write your introductory and concluding
paragraphs at this point, now that you have a good overview of your argument or
discussion.
ix. Word process your essay including footnotes and a bibliography. If you havent yet got
access to a word processor, write very neatly.
These are just thoughts to help you if you havent yet developed your own successful way ofwriting essays.
Marking criteria
The criteria which will be used to assess your essay are:
Criteria Weighting
(a) The demonstration of accurate knowledge of the main issues relatingto your topic.
30%
(b) The clarity of your analysis, argument or discussion. 20%
(c) The logical development in your essay. 20%
(d) Use of critical opinion and correct referencing. 20%
(e) Correct use of spelling, syntax and punctuation. 5%
(f) Neatness of presentation. 5%
Late submission will attract a penalty of 5% per day .
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THE1001 Introduction to history and theory of drama 1 15
Assignment 2
Description Due date WeightingAssessment 2 Essay on Greek or Medieval Theatre 18 May 2012 40%
Length: approximately 2000 words
Choose one of the following topics:
a. Lysistrata has often been seen as a feminist drama, but Aristophanes play does more topromote the idea of peace than it does for championing the cause of womens rights.
Discuss.
b. We cannot expect men whose principal role in ancient Greek society was to protect thecity and ensure its financial stability to comprehend in any way the position of women.That is why the great female characters in tragedy behave, not like women, but like
men. Discuss with reference to two of the following plays:Agamemnon,Lysistrata,Medea
c. Trace the development of staging practices in medieval European theatre. Consider thefollowing in your response: social and religious contexts; changes in dramatic form;
stage architecture; actor-audience relationship; costume; examples of how plays were
staged.
Marking criteria
The criteria which will be used to assess your essay are:
Criteria Weighting
(a) The demonstration of accurate knowledge of the main issues relating
to your topic.
30%
(b) The clarity of your analysis, argument or discussion. 20%
(c) The logical development in your essay. 20%
(d) Use of critical opinion and correct referencing. 20%
(e) Correct use of spelling, syntax and punctuation. 5%(f) Neatness of presentation. 5%
Late submission will attract a penalty of 5% per day .
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STUDENT NAME:________________________________ STUDENT NUMBER: ______________
UNIVERSITY OF SOUTHERN QUEENSLAND
FACULTY OF ARTS
Course No: THE1001Course Name: INTRODUCTION TO HISTORY AND
THEORY OF DRAMA 1
Assessment No: Internal X This examination carries 40% of the total
assessment for this courseExternal X
Examiner: DARRYL CHALK Moderator: JANET MCDONALD
Examination Date: JUNE 2010
Time Allowed: Perusal:- Ten (10) Minutes
Working:- Two (2) Hours
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Special Instructions:
This is a CLOSED examination.
Students are permitted to write on the examination paper during perusal time.
All examination question papers must be submitted to supervisors at the end of every examination and
returned to USQ.
The answers to PART A are worth FOUR (4) marks each for a total of 40.
The answers to PART B are worth TWENTY (20) marks each for a total of 60.
You must answer TEN (10) of the fifteen questions in PART A.
You must answer THREE (3) of the four questions in PART B.
All examination question papers must be submitted to supervisors at the end of every
examination and returned to USQ.
Any non-USQ copyright material used herein is reproduced under the provision of Section 200(1)(b)
of the Copyright Amendment Act 1980.
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PART A
Answer ten (10) of the following fifteen (15) questions
Each answer is worth a maximum of four (4) marks
QUESTION 1
Define the following terms from Ancient Greek theatre (1 mark each):
choregos
dithyramb
choros
agon
QUESTION 2
What were the expected outcomes of tragedies suggested by Aristotle?
QUESTION 3
What were the political and religious significances of the City Dionysia?
QUESTION 4
Define the following terms related to the performance conventions of Ancient Greek
Theatre (1 mark each):
skene
orchestra
ekkyklema
stichomythia
QUESTION 5
To what extent does Agamemnon deserve his fate inAgamemnon?
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QUESTION 6
For what reasons could Euripides Medea be aptly described as the theatre of fear.
QUESTION 7
What do we mean when we speak of miracle, mystery and morality plays?
QUESTION 8
How might the Globe playhouse have looked to a Renaissance playgoer? Describe its
main features.
QUESTION 9
Give reasons for why the platform stage at Shakespeares Globe playhouse has been
described as open, public and interactive.
QUESTION 10
Comment on the significance of Othellos statement in Act 5 Scene 2: Thats he that
was Othello. Here I am (290)
QUESTION 11
Discuss the context and significance of the line, I am Duchess of Malfi still.
QUESTION 12
Outline the structure and significant features of the Spanish corrales.
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QUESTION 13
Define the following terms related to Spanish Renaissance Theatre (1 mark each):
Counter-Reformation
comedia nueva
Siglio de Oro
mosqueteros
QUESTION 14
Comment on the significance of the title Fuenteovejuna, which means fountain of the
sheep, to the themes of the play.
QUESTION 15
Why could Calderons La Vida es Sueno be described as a metatheatrical play?
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PART B
Answer three (3) of the following four (4) questionsEach answer is worth a maximum of twenty (20) marks
QUESTION 1
Othello can be described as a dramatic story about the dramatic art of storytelling.
Discuss with examples from the play.
QUESTION 2
Othello and The Duchess of Malfipresent worlds in which the most theatrical characters
are also the most powerful. Discuss.
QUESTION 3
Compare and contrast the behaviour and fates of Othello in Shakespeares Othello and
the Duchess in Websters The Duchess of Malfi. To what extent are these characters
responsible for their own downfall?
QUESTION 4
Lopes Fuenteovejuna and Calderons La vida es Sueno are both concerned with themes
of tyranny and rebellion. Compare and contrast how each play deals with these themes.
To what extent do these plays justify rebellion against authority? What do these plays
affirm as the ideal political situation for Spain?
END OF EXAMINATION