the1001 intro book

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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

University of Southern Queensland
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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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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Chronology of THE1001, Introduction to history and theory of drama 1


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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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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.

http://libcat.usq.edu.au/http://www.usq.edu.au/library/services/offcampushttp://libcat.usq.edu.au/http://www.usq.edu.au/library/services/offcampus


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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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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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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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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

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