Theatre 107: Introduction to the Theatre	--------------------------------------10:00 - 10:50 Tue, Wed, Thu -------------------------------------- 1:00 - 2:20 Mon, Fri
T. Hines - Office: HJT 302 - Phone: 527-5017	-------------------------------------- e-mail: hinest@whitman.edu
How does a production of a play come into being? How does a script compare to a performance? Who are the people who create theatre, and what are their processes? How do the theatre space and the audience affect a production? The course will use the first semester of the Harper Joy season as laboratory for the study of the production process. The course will examine the elements of drama, their interaction, and their realization in theatrical production and will include attendance at and evaluation of theatre performances.   During the course of the semester we will study the productions staged at Harper Joy: four journeys from script to performance: The Instant Play Festival, The Government Inspector adapted by Jeffrey Hatcher from the original by Nikolai Gogol, Jordan Harrison's Kid-Simple, a radio play in the flesh, and The Sea by Edward Bond. Along the way we will examine the methods used at Whitman to produce theatre, and we will compare them to historic production methods. Intro to the Theatre is a discussion seminar. The topic is "Produced Theatre - Historic and Contemporary." We will be examining the evolution of the art form, the participants and the methods employed to created performed theatre. Why was it produced? Who produced it? What were their methods? How effective were their methods? Who was it produced for? And, what was the ultimate value of the effort?   This is not a theatre history class, but we will survey some history; this is not a theatre literature class, but we will read scripts; this is not a theatre design class but we will look at the design process; nor is this a performance class, but we will be attending numerous productions and discussing performances. This is as the course title suggests: an introduction to the theatre.   I have designed this course to follow the productions produced at Whitman this semester. There is no textbook that addresses our season of shows, so accordingly there is no required textbook. Instead, I have created a list of resources that will hopefully support both the class discussions and the performances we see. The resources are listed in this syllabus and the Internet links are cited. They can be accessed directly by using the on-line course syllabus at: http://people.whitman.edu/~hinest/intro.theatre.syllabus/   Given the discussion driven nature of this class, I would expect new topics requiring new resources to emerge as the course progresses, so please use the on-line syllabus: I will be updating resources and assignments as required.   In the event you want a good supplemental text that addresses many of the topics covered, I can recommend: The Essential Theatre by Oscar G. Brockett and Robert J. Ball The Theatre: an Introduction by Oscar G. Brockett (older edition of The Essential Theatre). The Theatre Experience by Edwin Wilson   All are good introductory texts and older editions are not only acceptable but available on-line at greatly reduced prices. Copies of these two texts and copies of the plays, Frenzy For Two, or More, and The Merry Wives of Windsor are on reserve at the library under "Intro to the Theatre."
1. Research Projects and Reports: (20% of final grade)	"Mini-Research" projects may be assigned as discussions evolve. A written copy of each report (no longer than a page in length) will be distributed to the class and class discussions will rely upon the accumulated results of the research to illustrate and advance the conversation.
2. Seminar Discussions: (40% of final grade)	We will be examining and discussing approaches, achievements, and reactions to historic as well as contemporary theatre practices. Each class member is expected to participate.
3. Production Attendance and Critical Review: (40% of final grade)	We will be using the four HJT season productions as source materials in this class. You will be expected to read all scripts and attend all productions. Each student will write one paper (essentially a critical review) for each of the productions
Week 1: An Introduction to the Theatre: Art & Practice	Resources: The Experience and Practice of Theatre
We will tour the Harper Joy facility and introduce the class to the spaces used for rehearsals, design, construction, and performance. We will begin the discussion of theatre as an art and as a profession	A Virtual Tour of Harper Joy Theatre: http://www.whitman.edu/theatre/hjtvirtualtour/home.htm The Experience of Theatre by Debra Bruch: http://dbruch.hypermart.net/engineer/exper.html How Theatre Happens by Debra Bruch: http://dbruch.hypermart.net/engineer/how.html Supplemental Reading: The Theatre Experience. Introduction Supplimental Reading: The Essential Theatre. Chapt. 1, The Nature of Theatre
Week 2: An Historic Perspective: The Greek Invention from ritual to festival	Resources: The Origins and Practice of Greek Theatre
The first production in this year's season is, "The Instant Play Festival." The second semester begins with the "One-Act Play Festival." It is only right that this class begins with the foundation of western drama: the rituals, ceremonies, and festivals of Ancient Greece.	Dr. J's Illustrated Greek Drama: http://people.hsc.edu/drjclassics/lectures/theater/ancient_Greek_drama.shtm Aristotle on the Origin of Drama: http://academic.reed.edu/humanities/110tech/Theater.html#origins Staging an ancient Greek play: http://academic.reed.edu/humanities/110tech/staging.html The Theatres of Greece: http://www.whitman.edu/theatre/theatretour/lectures/Site/Introduction.html The Ancient Theatre Archive: http://www.whitman.edu/theatre/theatretour/home.htm
Week 3: Oedipus the King (Latin: Oedipus Rex) by Sophocles (429 BCE, Greece)	Resource & Assignment: Read:
We will be discussing the translated script and comparing it to the 1957 Tyrone Guthrie, Stratford Shakespeare Festival production (videorecording).	Read Oedipus the King. translation by Ian Johnston of Malaspina University-College, Nanaimo, BC. <http://records.viu.ca/~johnstoi/sophocles/oedipustheking.htm> Get Tickets for Instant Play Festival (available Sept. 14) Comparison of Greek and Roman Theatres http://people.whitman.edu/~hinest/theatre.styles/classic_greek.htm
Week 4: Greek Staging Practices	Resources and Activities:
Staging a Greek play: Classic and Hellenistic staging practices and theatres	A fieldtrip to the Whitman Amphitheatre Staging an ancient Greek play: <http://academic.reed.edu/humanities/110tech/staging.html> Ancient Greek Theatre Introduction: <http://www.whitman.edu/theatre/theatretour/lectures/Site/Introduction.html> The Ancient Theatre Archive: <http://www.whitman.edu/theatre/theatretour/home.htm> Greek and Roman Theatre Glossary <http://www.whitman.edu/theatre/theatretour/glossary/glossary.htm> General Characteristics of the Attic Drama http://www.theatredatabase.com/ancient/attic_drama_001.html Greek and Roman Comedy http://www.theatrehistory.com/ancient/comedy001.html What the Roman Play Was Like http://www.theatrehistory.com/ancient/bellinger002.html   Attend: The Instant Play Festival Sept. 26 - 27
Week 5: Performance, Audience and Criticism	Resources:
"Actors should be overheard, not listened to, and the audience is fifty percent of the performance." Shirley Booth. There is no performance without an audience; is only a rehearsal. We will examine the relationship between the viewer and the performer, and we will discuss three questions asked by all good reviews: "What was attempted?" "Have the intentions been achieved?" and, "Was the attempt worthwhile?"	Theatre Criticism: < http://artswork.asu.edu/arts/teachers/standards/theatre.htm> The Role of the Audience: <http://www.britannica.com/EBchecked/topic/590186/theatre/30052/The-role-of-the-audience> Audience: Birth of Actor: < http://afronord.tripod.com/thr/audience.html> Supplemental Reading: The Theatre Experience. Chapter 3: The Critic and the Audience> Supplemental Reading: The Essential Theatre. Chapter 2: Performance, Audience, and Critic   The Instant Play Festival paper due Thursday, Oct. 1.
Week 6: The Theatre Process: Acting and Directing	Resources:
Of all the arts, I think acting must be the least concrete, and the most solitary….Audiences are the only means by which an actor may gauge the effect of his acting, but I have often wished that I were able to examine some performance of mine calmly and dispassionately as I looked at it standing on the mantelpiece. John Gielgud, Early Stages.   Directing is psychology. It's about how to work with other human being. It's also the art of inducing a psychological effect on a group of people who have come into a theatre to experience that effect. In your mind you're saying to yourself: What do I want the audience to feel? Mark Lamos in The Director's Voice.	Directing Theatre by Debra Bruch: < http://www.danillitphil.com/base.html> Meisner Technique: < http://en.wikipedia.org/wiki/Meisner_technique> Stanislavsli System: <http://en.wikipedia.org/wiki/Stanislavski%27s_%27system%27> "Stage Acting: It's Nice Work if you Can Afford It." New York Times article: <http://www.nytimes.com/2006/01/15/theater/newsandfeatures/15ishe.html> Supplemental Reading: The Theatre Experience. Chapter 6 and 7: The Actor and the Director. Supplemental Reading: The Essential Theatre. Chapter 12 and 13: Directing and Acting.
October Break - Oct. 11 - 12 (Monday and Tuesday)
Week 7: An Historic Perspective: Elizabethan Theatre	Resources and Assignment:
Theatre become a profession &endash; the theatre of Shakespeare's London	Elizabethan Theatre: <http://www.fathom.com/course/28701903/session3.html> Elizabethan Playwrights: < http://www.william-shakespeare.info/william-shakespeare-biography-elizabethan-playwright-authors.htm> Supplemental Reading: The Theatre Experience. Chapter 2: Elizabethan Theatre and Culture. Supplemental Reading: The Essential Theatre. Chapter 5: Creating a Professional Theatre. Read: Romeo and Juliet but William Shakespeare: PublicLiterature.Org: (you might want to simply check out a copy at the library)
Week: Romeo and Juliet and the theatre of Shakespeare's Lonon	Resources and Assignment:
We will read and discuss the play in class.	Romeo and Juliet but William Shakespeare: PublicLiterature.Org: Attend The Government Inspector by Nikolai Gogol Oct. 21 - 24
Week 9: Romeo and Juliet	Resources:
Discuss Romeo and Juliet performance. Compare to other Shakespeare performances that are familier to the class. Discuss current Shakespeare Festivals: Stratford, San Diego, Ashland, and the New Globe, London.	Stratford Shakespeare Festival: < http://www.stratfordfestival.ca/> Old Globe San Diego: < http://www.oldglobe.org/> Ashand Shakespeare Festival: < http://www.osfashland.org/> The New Globe London: < http://www.shakespeares-globe.org/>
	The Government Inspector paper due Thursday, Oct. 29th.
Week 10: Theatre of the Absurd	Resources:
"What do I know about man's destiny? I could tell you more about radishes." -Samuel Beckett The theatre of Genet, Beckett, and Eugene Ionesco	Theatre of the Absurd, Jerome P. Crabb: < http://www.theatredatabase.com/20th_century/theatre_of_the_absurd.html> Eugene Ionesco: < http://www.kirjasto.sci.fi/ionesco.htm> Waiting for Godot by Samuel Beckett Beckett's 'Waiting for Godot' Brooks Atkinson. New York Times Review. 1956: < http://www.nytimes.com/books/97/08/03/reviews/beckett-godot.html?_r=1>
Week 11: Theatre of the Absurd	Attend Kid Simple by Jordan Harrison Nov. 10 - 14
Two Absurdist plays on film: Beckett's Waiting for Godot, and Ionesco's Rhinoceros. Read, View and Discuss.
Week 12 : The Theatre Space	Resources:
The space used for staging drama: the proscenium, arena, thrust, created and general purpose space. How does each serve the production? Why one over the other? We will examine the theatre spaces at Whitman and evaluate.	Theatre Architectural Phototography: < http://www.rfdesigns.org/photostage/tharch.htm> Theatre Spaces: < http://www.geneseo.edu/~blood/Spaces1.html> Stage (Theatre): < http://en.wikipedia.org/wiki/Stage_(theatre)> Supplemental Reading: The Theatre Experience. Chapter 4, Stage Spaces. Supplemental Reading: The Essential Theatre. Chapter 10, Theatrical Space and Production Design.   Kid Simple paper due Thursday, Nov. 19th.
Thanksgiving Break - Nov. 19 - 29
Week 13: The Theatre Process: Design	Resources:
Scenery, costumes, lighting, and sound: the elements that define the actors' environment. What does each contribute to the performance and what is the process of design process? We will examine the various design components for The Merry Wives of Windsor and meet the designers who worked on the production.	Examples of Scenic Designs: < http://www.rfdesigns.org/> A Brief History of Scenic Design: <http://www.northern.edu/wild/scdes/sdhist.htm> Costume Archives at Williams College < http://drm.williams.edu/costumes/> Theatre Job Descriptions < http://www.aact.org/people/costumedesigner.html> Lighting Design: < http://en.wikipedia.org/wiki/Stage_lighting> Production Deigns at Whitman: < http://people.whitman.edu/~hinest/portfolio/Hines_Portfolio/Designs.html> Supplemental Reading: The Theatre Experience. Chapter 13, 14, 15, Scenery, Costumes, Lighting and Sound. Supplemental Reading: The Essential Theatre. Chapter 14, 15, 16, Scenic Design; Costume Design; Lighting and Sound.
Week 14: The Theatre Process: Production Designs at Whitman	Resources:
A Review of current and past production designs at Whitman. Discussions with designers and a chance to ask questions.	Production Deigns at Whitman: http://people.whitman.edu/~hinest/portfolio/Hines_Portfolio/Designs.html> Costume, Set, and Lighting Designs for The Merry Wives of Windsor. Attend The Sea by Edward Bond, Dec. 9 &endash; 12 The Sea paper due Dec. 17th
Exam Week December 13 - 17
Semester Break December 17 - January 18