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The Cambridge Guide to Asian Theatre Article in
Asian Theatre Journal · August 1994
DOI: 10.2307/2059736
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SEMESTER AT SEA COURSE SYLLABUS Voyage: Spring 2013 Discipline: DRAMA DRAM 3050: WORLD THEATRE AND PERFORMANCE Division: UPPER Faculty Name: Susan Kattwinkel Pre-requisites: None
COURSE DESCRIPTION What is performance and how do performances represent the cultures in which they develop? Exploring texts, theories and practices, this course will investigate the broad range of theatrical performance in the countries on our itinerary. We will analyze the cultural, historical, political and aesthetic conditions of drama and performance and reflect on cross-cultural currents and influences on Western drama. Class discussions and readings will be supplemented with films in class, attendance at live performances and meetings with theatre practitioners in port. COURSE OBJECTIVES · Develop a working knowledge of the major performance practices of countries visited in spring 2013. · Investigate the socio-political and cultural background of theatre and consider the ways in which theatre reflects a society’s history, aesthetics and values. · Compare traditional and contemporary theatre forms and analyze theatre’s historical development and function in society. · Learn to critique productions, research and write clear analyses. · Experience performance styles from around the world.
REQUIRED TEXTBOOKS
AUTHOR: James R Brandon TITLE: The Cambridge Guide to Asian Theatre PUBLISHER:Cambridge University Press ISBN #: 978-0521588225 DATE/EDITION: 1997 COST: 46.00 AUTHOR: John Kani and Zakes Mda TITLE: Nothing but the Truth PUBLISHER: Witwatersrand University Press ISBN #: 978-1868143894 1
DATE/EDITION: 2003 COST: 19.95 AUTHOR: Wole Soyinka, Percy Mtwa, Ama Aidoo TITLE: Contemporary African Plays PUBLISHER: A&C Black ISBN #: 978-0413723307 DATE/EDITION: 2003 COST: 27.50 AUTHOR: Athol Fugard TITLE: “Master Harold”…and the boys PUBLISHER: Samuel French ISBN #: 978-0573640391 DATE/EDITION: 2010 COST: 8.95
TOPICAL OUTLINE OF COURSE
Readings and Assignments should be completed by the date assigned in the syllabus. “Cambridge” refers to the class textbook Class 1
Introductions and Business What is Performance? Assign group projects
Class 2
Interculturalism and Cultural Tourism Introduction to Hawaiian performance Reading: Interculturalism, hybridity and tourism: The performing world on new terms (Gary Jay Williams) pp 551-564. Cambridge, pp 203-204, 208-210.
Class 3
The Evidence of Performance Post-port performance discussion: Hawaii. Reading: Interculturalism, hybridity and tourism: The performing world on new terms (Gary Jay Williams) pp 565-572. Cambridge, pp 1-11.
Class 4
Introduction to Japanese Performance Noh and Kyogen Reading: Cambridge, pp 142-147, 176-178. Longman, 358-367, 377-381 (on reserve). 2
Class 5
Japanese Performance: Kabuki and Bunraku Reading: Cambridge, pp 147-152, 170-176. Longman, pp367-372, 384-395 (on reserve).
Class 6
Japanese Theatre: Contemporary Theatre Reading: Cambridge, pp 153-160, 170, 178. Longman pp 372-3 (on reserve).
Class 7
Post-port performance discussion (Noh and Kabuki) Introduction to Chinese Performance Reading: Cambridge, pp 26-45, 50-63. Longman, pp 322-332 (on reserve).
Class 8
Post-port performance discussion: China and Hong Kong Introduction to Vietnamese Performance Field Lab Preparation Reading: pp 245-250. “Vietnamese Water Puppetry as a Representation of Modern Vietnam” (Kathy Foley) pp 129-141.
Class 9
Theatre in Singapore Post-port and field lab performance discussion: Vietnam and water puppetry Reading: Cambridge, pp 222-225.
Class 10
Malaysian Performance Post-port performance discussion: Singapore Reading: Cambridge, pp 193-200
Class 11
Indian Performance (Kutiyattam and Kathakali) Post-port performance discussion: Malaysia and shadow puppetry Reading: Zarilli, pp 133-156 (on reserve). Cambridge, 64-116 (selections TBD).
Class 12
Indian Performance (post colonial theatre) Reading: “Enacting an Alternative Modernity” (Erin Mee) pp 1 -40. - in Theatre of Roots:Redirecting the Modern Indian Stage
Class 13
Post- performance discussion, India Performance in Mauritius Reading: African Theatre in Development (Banham, et. al) Theatre in Development in Mauritius (Mooneeram), pp 24-37
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Class 14
Introduction to Performance in Africa Field Report Due Reading: Dimensions of Theatricality in Africa (Fiebach) pp 24-38.
Class 15
Theatre in South Africa Reading: The Drama of South Africa (Loren Kruger) Introduction, pp 1-22. Longman, pp 1249-1258 and 1276-1277, (on reserve). Percy Mtwa, Mbongeni Ngema and Barney Simon, Woza Albert , in Contemporary African Plays
Class 16
Theatre of Protest Reading: Zarilli, pp 505-510 (on reserve) Longman, pp 1278-1281 and 1300, (on reserve). Athol Fugard, “Master Harold”…and the boys
Class 17
Theatre of Reconciliation Reading: Kani, Nothing but the Truth Beyond the Miracle: Trends in South African Theatre and Performance after 1994 (Johan Van Heerden), 85-112 Zarilli, pp 474-479, (on reserve)
Class 18
Post-performance discussion: South Africa Introduction to West African Theatre Reading: Three West African Popular Theatre Forms: A Social History (Karen Barber et. al) pp 1-55.
Class 19
West African Theatre Reading: Longman, pp 1301-1303 and 1329-1337. (on reserve) Wole Soyinka Death and t he King’s Horseman, in Contemporary African Plays
Class 20
Theatre in Ghana Reading: Ama Aidoo, Anowa, in Contemporary African Plays
Class 21
Post-performance discussion: Ghana
Class 22
Performance in Morocco Last Chance to hand in Site Reports Reading: The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb (Khalid Amine and Marvin Carlson), Introduction, pp 1-8.
Class 23
Cultural heritage/cultural tourism? 4
Reading: Performance and intangible cultural heritage (Diana Taylor), pp 91104. in Cambridge Guide to Performance Studies
Class 24
Final Essay Due
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FIELD WORK FIELD LAB
Shanghai, China, Feb 3, 2013 Attend a performance of traditional Chinese acrobatics that employs modern and western forms and then a performance of traditional Peking opera. OR Singapore, February 21, 2013 Visit a museum to view artifacts of traditional Chinese Opera, and then view of performance of modern Chinese intercultural theatre.
Students will submit a 5 page analysis paper of the Field Lab performance experience. The paper should include a review of the performance(s) seen as well as how the performance reflects its genre as discussed in class. Discussion elements will include the performance as an intercultural artifact, the performance as cultural tourism, and as an audience member, articulating your own experience. FIELD ASSIGNMENTS
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Students are required to see at least two other performances during the voyage. Students may select a performance from a suggested list, or may attend an individual performance pre-approved by the instructor. · As part of the participation grade, after each port call, students will discuss the performances seen. Please contribute your observations of productions viewed and listen actively to those observations if you did not see the performance. · Students will submit Site reports for the two performances seen independently.
METHODS OF EVALUATION / GRADING RUBRIC 1. Attendance and Participation, 15% Students are expected to participate in all discussions, both faculty led and student led. Active contribution to in-class discussions will contribute to your grade. 2. Quizzes on Readings 10% This course requires significant reading of plays and essays on performance. In order to participate fully and get value from the class students must keep up with the reading material. There will be several very short unannounced quizzes based on the day’s reading. 3. Field Report 20% Students will submit a 5 page analysis paper of the Field Lab performance experience. The paper should include a review of the performance(s) seen as well as a researched analysis of this type of theatre practice. A full assignment and rubric will be provided to you. The paper will be due on the 14th day of class. 4. Group Project 15% 6
The Group project will include a short presentation to the class on the day’s performance topic and a discussion led by the group using pre-written questions. Students should meet with the professor prior to the assigned class to discuss their questions for the day and the plans for the presentation. Be creative with your presentation, but use it to expand on the reading and discussion topic of the day. For example: imagine you are a group of dramaturges presenting ideas to a director and designers who are planning a production in a specific “style”; create a researched PowerPoint presentation with video clips; perform a small scene from a play; or imagine you are archeologists reporting on site and artifact evidence and what it means. Typed questions should be submitted at the end of the class. 5. Site Reports (10% each) Site reports should be 1-2 pages and include your critical observations of and response to the performances you experience. A full assignment and rubric will be provided to you. Site reports are due on the 2nd class after the port of performance. 6. Final Paper (20%) The final paper is a 5 page grant proposal based on your field report, site reports, or other performance experiences you had on the voyage. You will complete a grant proposal to bring one theatrical form you have witnessed abroad to your home campus. You will have to articulate how the performance will culturally enhance your campus and what it has to say to students at their school. A full assignment and rubric will be provided to you. The final paper is due on the 24th day of class.
RESERVE LIBRARY LIST
AUTHOR: Phillip Zarrilli, Bruce McConachie, Gary Jay Williams and Carol Fisher Sorgenfrei TITLE: Theatre Histories: an Introduction PUBLISHER: Routledge ISBN #: 978-0-415-46224-2 DATE/EDITION: 2010/2nd COST: $125 AUTHOR: Michael Greenwald, Roger Schultz, Roberto D. Pomo TITLE: The Longman Anthology of Drama and Theatre: a Global Perspective PUBLISHER: Longman ISBN #: 978-0321291387 DATE/EDITION: 2009, 7th COST: $138 AUTHOR: Mira Felner and Claudia Orenstein TITLE: The World of Theatre: Tradition and Innovation PUBLISHER: Allyn and Bacon ISBN #: 978-0205360635 7
DATE/EDITION: 2005 COST: $125 ELECTRONIC COURSE MATERIALS
AUTHOR: Phillip Zarrilli, Bruce McConachie, Gary Jay Williams and Carol Fisher Sorgenfrei ARTICLE/CHAPTER TITLE: Chapter 13, “Interculturalism, hybridity, tourism” JOURNAL/BOOK TITLE: Theatre Histories: an Introduction VOLUME: DATE: 2010 PAGES: 551-579 AUTHOR: Kathy Foley ARTICLE/CHAPTER TITLE: Vietnemese Water Puppetry as a Representation of Modern Vietnam JOURNAL/BOOK TITLE: TDR: The Drama Review VOLUME: 45.4 DATE: 2001 PAGES: 129-141 AUTHOR: Erin Mee ARTICLE/CHAPTER TITLE: Introduction: Enacting an Alternative Modernity JOURNAL/BOOK TITLE: Theatre of Roots VOLUME: DATE: 2008 PAGES: 1-40 AUTHOR: Martin Banham, James Gibbs, Femi Osofisan, editors ARTICLE/CHAPTER TITLE: Theatre in Development in Mauritius: From a Theatre of Protest to a Theatre of Cultural Miscegenation by Roshni Mooneeram JOURNAL/BOOK TITLE: African Theatre in Development VOLUME: DATE: 1999 PAGES: 24-37 AUTHOR: John Conteh-Morgan and Tejumola Olaniyan ARTICLE/CHAPTER TITLE: Dimensions of Theatricality in Africa by Joachim Fiebach JOURNAL/BOOK TITLE: African Drama and Performance VOLUME: DATE: 2004 PAGES: 24-38 AUTHOR: Kene Igweonu 8
ARTICLE/CHAPTER TITLE: Beyond the Miracle: Trends in South African Theatre and Performance after 1994 by Johann Van Heerden JOURNAL/BOOK TITLE: Trends in 21st Century African Theatre and Performance VOLUME: DATE: 2011 PAGES: 85-112 AUTHOR: Karen Barber, John Collins and Alain Richard ARTICLE/CHAPTER TITLE: Three West African Popular Theatre Forms: A Social History JOURNAL/BOOK TITLE: West African Popular Theatre VOLUME: DATE: 1997 PAGES: 1-55 AUTHOR: Khalid Amine and Marvin Carlson ARTICLE/CHAPTER TITLE: Introduction JOURNAL/BOOK TITLE: The Theatres of Morocco, Algeria and Tunisia: Performance Traditions of the Maghreb VOLUME: DATE: 2011 PAGES: 1-8 AUTHOR: Tracy Davis, ed. ARTICLE/CHAPTER TITLE: Performance and intangible cultural heritage by Diana Taylor JOURNAL/BOOK TITLE: The Cambridge Companion to Performance Studies. VOLUME: DATE: 2008 PAGES: 91-104
HONOR CODE Semester at Sea students enroll in an academic program administered by the University of Virginia, and thus bind themselves to the University’s honor code. The code prohibits all acts of lying, cheating, and stealing. Please consult the Voyager’s Handbook for further explanation of what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: “On my honor as a student, I pledge that I have neither given nor received aid on this assignment.” The pledge must be signed, or, in the case of an electronic file, signed “[signed].”
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