Course Form
(revised 7-2008)
I. Summary of Proposed Changes
Dept / Program
School of Theatre & Dance
Course #
Course Title
Graduate Seminar in Dramaturgy
Short Title (max. 26 characters incl. spaces)
Summarize the change(s) proposed
II. Endorsement/Approvals
Grad Sem Dramaturgy
New course
Complete the form and obtain signatures before submitting to Faculty Senate Office
G THTR 532
Please type / print name Signature Date
Requestor:
Phone/ email :
Program Chair/Director:
Jere Hodgin x2877 jere.hodgin@umontana.edu
Mark Dean x2879
Other affected programs:
Dean:
Dr. Stephen Kalm x4970
III: To Add a New Course S yllabus and assessment information is required ( paste syllabus into section V or attach). Course should have internal coherence and clear focus.
Exact entry to appear in the next catalog (Specify course abbreviation, level, number, title, credits, repeatability (if applicable), frequency of offering, prerequisites, and a brief description.)

G 532 Graduate Seminar in Dramaturgy 3 cr. A graduate level introduction to literary, historical, and contextual analysis of play scripts and performance pieces intended for production.
Justification: How does the course fit with the existing curriculum? Why is it needed?
This course is designed to offer graduate students an introduction to literary, production, and contextual dramaturgy intended to complement their creative and practical work with appropriate theory and criticism. The permanent course will replace a special topic course that has been offered in previous semesters.
Are there curricular adjustments to accommodate teaching this course?
Yes.
Complete for UG courses. (UG courses should be assigned a 400 number).
Describe graduate increment (Reference guidelines: http://www.umt.edu/facultysenate/Grad/UG.htm
)

Fees may be requested only for courses meeting specific conditions determined by the
Board of Regents. Please indicate whether this course will be considered for a fee.
YES NO
X
If YES, what is the proposed amount of the fee?
Justification:
IV. To Delete or Change an Existing Course
– check X all that apply
Deletion Title
Course Number Change From:
To:
Level U, UG, G
Description Change
Change in Credits
Prerequisites
From:
To:
1. Current course information at it appears in catalog
( http://www.umt.edu/catalog )

From:
To:
Repeatability
Cross Listing
(primary program initiates form)
Is there a fee associated with the course?
2. Full and exact entry (as proposed)


3. If cross-listed course: secondary program & course number
4. Graduate increment if level of course is changed to
UG. Reference guidelines at: http://www.umt.edu/facultysenate/Grad/UG.htm
(syllabus required in section V)
Have you reviewed the graduate increment guidelines? Please check (X) space provided.
5. Other programs affected by the change
6. Justification for proposed change
V. Syllabus/Assessment Information
Required for new courses and course change from U to UG. Paste syllabus in field below or attach and send digital copy with form.

Three Credits
Dr. Ann C. Wright
Office: McGill 212B Phone: 243-5846 Email: ann.wright@umontana.edu
Course Description: This course will introduce the student to the discipline of Dramaturgy. We will attempt to define the term, explore the field’s history, and survey current practices and theories of dramaturgy in America. This course will offer a place where academic and professional theatre makers can meet and exchange energies—a contact point for practitioners and historians, directors and theoreticians. The course will emphasize interdisciplinary training and liberal arts education as “people of the theatre” have redefined the mainstream, suggesting a new model for empowerment through multidisciplinary training.
Course Objectives:

Students will gain confidence in communicating in a variety of practical and theoretical vocabularies.

Students will improve written communication skills, as well as deepen critical and analytical faculties.

Students will both broaden and strengthen their foundation in disciplinary expertise.

Through multidisciplinary exposure, they will learn to synthesize material in new and resourceful ways that can prove valuable in the interpretation of a play for production, and investigate how such research might influence the ways in which we make plays.

Students will learn the basic structure of a Dramaturgical Protocol, and create such a document designed to develop and present pre-production studies of plays for the information of a Director (and possibly the rest of the company).

They will provide assistance, as required, to the Directors of Gypsy and The House of Blue
Leaves during the spring season.
Required Texts:
Jonas, Susan, Geoff Proehl, and Michael Lupu, Dramaturgy in American
Theatre: A Source Book , Fort Worth: Harcourt Brace & Company, 1997.
Thomas, James, Script Analysis for Actors, Directors, and Designers, New
York: Elsevier Science & Technology Books, 2004.
Kislan, Richard, The Musical: A Look at the American Musical Theater , New York:
Applause Books, 1995.

Supplemental Texts:
Jean Racine, Pheadra
Stephen Sondheim, Sweeney Todd
Departmental Rules and Regs:
All Drama/Dance students must have an in-depth knowledge of the practices and procedures outlined in the Department of Drama/Dance Handbook.
The Handbook is available online at http://www.sfa.umt.edu/drama/index.html
. Please consult the 2007-2008 Handbook for specific information regarding attendance policies, absences, tardies, missed or late assignments or tests, ways to challenge a grade, special accommodations, scholastic dishonesty, and other areas of interest.
A Note about Attendance and Late Policy:
Departmental policy allows for three unexcused absences. Each subsequent unexcused absence will result in the lowering of your final grade by 1/3 of a letter grade. The only excuses accepted for absences are illness accompanied by a doctor’s note; death in the family, also with a note; university obligation, with appropriate documentation; and, religious holidays as outlined in the departmental
Handbook.
Class begins promptly at 9:10, and three excessive tardies (after 9:15) will be counted as an absence.
If you are absent, or late, you are responsible for finding out what you missed and making up all work. If you know in advance that you are going to be absent, you are required to submit in advance any work that will be due during your absence, and you will be responsible for making up all work missed during the absence. It is obviously to your advantage to learn what you have missed. If necessary, arrange a meeting with me.
Written work is considered late if it is not turned in at the beginning of the class period for which the assignment is due. Computer/printer problems do not constitute a valid excuse for a late paper.
(Notice the “period” there!)
Papers that are submitted late will lose a full letter grade per day for the first two days , after which time they will no longer be accepted and will receive a zero.
Group presentations and the accompanying written work may not be presented late. If the group presentation is not presented on the scheduled date, the assignment will count as a zero for all members of the group. Any individual not participating with their group (without an appropriate excuse) will receive a zero.
Participation:
Class participation, in all respects, is encouraged. Each student will receive a participation grade based not only on productive participation* in class, but also on behavior and attitude in the classroom. Please be courteous and respectful to your peers and your instructors.
* “Productive participation” means being prepared for class; asking relevant questions; contributing informed, relevant comments; engaging in the process of learning through group discussion; and being open to informed, intelligent debate. You do not always have to agree with your peers or your instructor, but you do always need to be respectful of differing opinions, and you must always be certain that your positions are informed by your own reading, research, and experience, not merely by what you’ve heard from someone else.

Evaluation and Assessment:
Response papers (11)………………………15%
Professional Organizations Research………..5%
Class Protocol Contributions……………….10%
Element of the Musical papers……………..10%
Final Project Protocol………………………40%
Class Participation………………………….20%
100%
Brief Description of Assignments:
Response Papers*: These short (2 page) papers will be based on the material included in the class texts (whether specifically addressed in class or not), as well as selected handout materials. These essays are intended to demonstrate your understanding of the author’s arguments and point of view. You will discuss the author’s stance, and show how he arrived at his conclusions, using a defined methodology and approach. Evidence to support your assessment can be cited from other scholarly literature (no web sites on this one, please). These papers are neither intended to serve as a criticism, nor should it present an opportunity for the writer to enter into debate with the author. Rather, we seek evidence of a grasp of the author’s intention, and the work’s significance in the greater scheme of things.
* Please turn in these written assignments typed, double spaced, 1.3”
margins, 12 pt. Times New Roman (or other “readable font”), following
MLA guidelines for style. Number all pages, after the first page, in the
upper right-hand corner, and insert your last name as illustrated on this
syllabus. Cover pages (title pages) are not necessary (save the trees!)
Place your name, the course number, the title of the assignment, and the
date in the top left-hand corner of the first page.
Professional Organizations Research: Each student will be assigned an organization for theatre professionals and academics involved in various aspects of dramaturgy. Information regarding the organization’s history, current membership and activity within the field, as well as particulars of membership and participation in conferences should be included. This information will be made available to all class members, and can be constructed in outline form.
Class Protocol Development: The class will conduct an in-depth analysis of
Jean Racine’s
Phaedra . In a collaborative effort, they will create a complete Dramaturgical Protocol for this work. Each student will be given responsibility for a portion of the completed protocol, and the final product will be made available to all class members to serve as a model for future projects.
Element of the Musical Papers: Each class member is to choose a specific element of the musical (the production history, the book, lyrics, the score, dance, or design) and research significant ways this element contributes to the overall viability of the show in production. The

resultant research papers are to be very specific, in-depth, and informative.
Papers should be five pages in length (double-spaced), complete with a bibliography of no less that five outside sources (no web sites, please), adhering to MLA standards for style.
Final Project Protocol: Each student will select a script and develop a full dramaturgical protocol for the play in production. Scripts may be chosen from next year’s season, or represent a work that could be suggested for future inclusion in either the regular season or offered as a possible choice to the Montana Rep Missoula.
Academic Misconduct and the Student Conduct Code:
All students must practice academic honesty. Academic misconduct is subject to an academic penalty by the course instructor and/or disciplinary sanction by the University. All students need to be familiar with the Student Conduct Code. The Code is available for review online at www.umt.edu/SA/VPSA/Index.cfm/page/1321 .
Additional Graduate Level Responsibilities:
Graduate students will also be responsible for various aspects of record keeping and “reading” for undergraduate assignments, as well as general mentoring of younger students. Specific assignments will be made early in the semester.
A Note about your Syllabus:
This syllabus is a guide for you to use to keep up with your assignments and to plan for important due dates—refer to your syllabus every day; that’s why it’s here. If you are confused about any assignment as it appears on the syllabus, please ask me about it before the day it’s due.
Due to the possibility of unforeseen delays and/or rapid progress, this syllabus is subject to change at the discretion of the instructor. You will always be notified in advance if there are any changes.
DRAM 395 – Dramaturgy – Spring 2008
Course Schedule
Wednesday, January 23: Introduction, review of Syllabus and Course Schedule, some definitions, and a brief look at Script Analysis for
Actors, Directors, and Designers
Friday, January 25:
Lecture/Discussion: “Precedents and New Beginnings”
Assignment: Begin reading Script Analysis for
Actors, Directors, and Designers.
Continue consulting this book throughout the semester, as it applies to almost everything that we do. Read at your own pace, but please have it finished before
February 27.
Dramaturgy in American Theater Preface and Section 1 (pp. vii-xiii, 1-38) Prepare a

response paper on this section to be used to facilitate class discussion.
Monday, January 28: Continued discussion on Section 1
Wednesday, January 30: Lecture/Discussion: “Toward a Dramaturgical
Sensibility”
Assignment: Dramaturgy in the American Theater
Section 2 (pp. 39-120) Prepare a response paper on this section to be used to facilitate class discussion.
Friday, February 1: Continued discussion on Section 2.
Monday, February 4:
Lecture/Discussion: “Models of Collaboration”
Assignment: Dramaturgy in the American Theater
Section 3 (pp. 121-240) Prepare a response paper on this section to be used to facilitate class discussion.
Wednesday, February 6: Continued discussion on Section 3.
Friday, February 8:
Lecture/Discussion: “New Contexts”
Assignment: Dramaturgy in the American Theater
Section 4 (pp. 241-372) Prepare a response paper on this section to be used to facilitate class discussion.
Monday, February 11: Continued discussion on Section 4.
Wednesday, February 13:
Lecture/Discussion: “Developing New Works”
Assignment: Dramaturgy in the American Theater
Section 5 (pp. 373-515) Prepare a response paper on this section to be used to facilitate class discussion.
Friday, February 15:
Monday, February 18:
Continued discussion on Section 5.
Washington-Lincoln Day, Holiday
Wednesday, February 20:
Lecture/Discussion: “The Significance of the Appendix”
Assignment: Dramaturgy in the American Theater
(pp. 517-590) Prepare a response paper on this section to be used to facilitate class discussion.
Friday, February 22: Continued discussion on Appendix information. Assignment of

organizations for theatre professionals and academics involved in various aspects of dramaturgy for further review, analysis, and possible membership.
Monday, February 25: Class presentations on professional organizations (Please have copies of your research available for all class members.)
Wednesday, February 27: Introduction to analysis of Jean Racine’s Phaedra , and distribution of protocol responsibilities. End result will be a class-created Dramaturgical Protocol for this work.
Assignment: Read the play, be prepared to discuss the story, and identify specific areas that could benefit from dramaturgical work. Prepare a response paper on Script Analysis for Actors,
Directors, and Designers to be used to facilitate class discussion.
Friday, February 29:
Monday, March 3:
Wednesday, March 5:
Friday, March 7:
Library
Work shopping of initial contributions to the Protocol
Work shopping, and final editing of class Protocol
Final edition of the class Protocol due. Discussion regarding the process as a collaborative effort. Self- critique of the results and plans for future work.
Monday, March 10:
Monday, March 17:
Wednesday, March 19:
Lecture/Discussion: “Problems Specific to the Musical
Theatre”
Assignment: The Musical (pp. 1-111)
Prepare a response paper on this section to be used to facilitate class discussion.
Wednesday, March 12:
Continued discussion on “Forms of Musical Theatre”.
Friday, March 14:
Lecture/Discussion: “The Mature Musical”
Assignment: The Musical (pp. 112-169)
Prepare a response paper on this section to be used to facilitate class discussion.
Continued discussion on “The Mature Musical”.
Lecture/Discussion: “Elements of Musical Theatre”
Assignment: The Musical (pp. 170-267)
Prepare a response paper on this section to

Friday, April 4: be used to facilitate class discussion.
Friday, March 21:
Wednesday, April 2:
Continued discussion on “Elements of Musical Theatre”.
March 24-28 (Monday-Friday) – Spring Break
Monday, March 31:
Lecture/Discussion: “Recent Musical Theatre”
Assignment: The Musical (pp. 268-310)
Prepare a response paper on this section to be used to facilitate class discussion.
Continued discussion on “Recent Musical Theatre”.
Lecture/Discussion: “A look at
Sweeney Todd
”
Assignment: Locate a copy of the book for
Sweeney Todd , read, and be prepared to discuss elements of initial interest to the dramaturg.
Assignment: Each class member is to choose a specific element of the musical
(the production history, the book, lyrics, the score, dance, or design) and begin
Monday, April, 7: research on significant ways this element contributes to the overall viability of the show in production. The resultant research papers (due on April 14) are to be very specific, in-depth, and informative.
Continued discussion on Sweeney Todd and beginning of viewing of movie version of the musical
Wednesday, April 9: Continued discussion on version of the musical)
Sweeney Todd (complete viewing of movie
Friday, April 11:
Monday, April 14:
Continued discussion on Sweeney Todd
Paper investigating chosen element of the musical
Sweeney Todd due. Topics will be shared in class discussion.
Wednesday, April16:
Lecture/Discussion: “Developing the Dramaturgical
Protocol”
Assignment: Introduction of the final protocol project. Discussions on play selection (consider examining a play from next year’s season), approach, avenues for research, etc. Please plan to meet with me prior to April 21 to discuss, and

finalize, your play selection.
Friday, April 18:
Monday, April 21:
Lecture/Discussion: Conversations with the Director
Lecture/Discussion: Initial presentation (initial composition of protocol Section Abstracts—one paragraph outlining objectives to be investigated in each section)
Wednesday, April 23:
Friday, April 25:
Monday, April 28:
Wednesday. April 30:
Lecture/Discussion: In-depth research. Library
Library
Library
Work shopping of final protocols
Friday, May 2: Work shopping of final protocols
May 5-9 (Monday-Friday) - Final Examinations: There will be no final examination
in this class. Individual Protocols are due on the regularly scheduled exam day (TBA), in my office, no later than 12:00 noon.
VI Department Summary
(Required if several forms are submitted) In a separate document list course number, title, and proposed change for all proposals.
VII Copies and Electronic Submission.
After approval, submit original, one copy, summary of proposals and electronic file to the Faculty Senate Office, UH 221, camie.foos@mso.umt.edu.