Course Form
I. Summary of Proposed Changes
Dept / Program
School of Theatre & Dance
Course Title
Graduate Seminar in Theatre History
Prefix and Course #
C THTR 531
Short Title (max. 26 characters incl. spaces)
Grad Sem Theatre Hist
Summarize the change(s) proposed
Requesting approval to co-convene
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office
Please type / print name Signature
Requestor:
Jere Hodgin
Phone/ email :
x2877
Program Chair/Director:
Date
jere.hodgin@umontana.edu
Mark Dean
mark.dean@umontana.edu
Other affected programs
Dean:
Dr. Stephen Kalm
stephen.kalm@umontana.edu
Are other departments/programs affected by this modification Please obtain signature(s) from the
because of
Chair/Director of any such department/
(a) required courses incl. prerequisites or corequisites,
program (above) before submission
(b) perceived overlap in content areas
(c) cross-listing of coursework
III: To Add a New Course Syllabus and assessment information is required (paste syllabus into
section V or attach). Course should have internal coherence and clear focus.
Common Course Numbering Review (Department Chair Must Initial):
YES
NO
Does an equivalent course exist elsewhere in the MUS? Check all relevant disciplines if
course is interdisciplinary. (http://mus.edu/transfer/CCN/ccn_default.asp)
If YES: Do the proposed abbreviation, number, title and credits align with existing course(s)? Please indicate
equivalent course/campus. 
If NO: Course may be unique, but is subject to common course review. Be sure to include learning outcomes
on syllabus or paste below. The course number may be changed at the system level.
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.) 
Justification: How does the course fit with the existing curriculum? Why is it needed?
Are there curricular adjustments to accommodate teaching this course?
Complete for UG courses (UG courses should be assigned a 400 number).
Describe graduate increment - see procedure 301.30
http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx
Complete for Co-convented courses
Companion course number, title, and description (include syllabus of companion course in section V)
See procedure 301.20 http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.
New fees and changes to existing fees are only approved once each biennium by the
Board of Regents. The coordination of fee submission is administered by Administration
and Finance. Fees may be requested only for courses meeting specific conditions
according to Policy 940.12.1 http://mus.edu/borpol/bor900/940-12-1.pdf . Please
indicate whether this course will be considered for a fee.
YES
NO
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:
Level U, UG, G X From:
Co-convened
To:
To:
Description Change
Change in Credits
X
From:
To:
Prerequisites
1. Current course information at it appears in catalog
(http://www.umt.edu/catalog) 
G 531 (DRAM 522) Graduate Seminar in Theatre
History 3 cr. (R-9) Offered intermittently. Prereq., consent
of instr. Selected topics and issues with individual research
projects presented in seminar concerning various genres,
periods, themes, and cultural contexts in theatre history.
G
C
Repeatability
Cross Listing
(primary
program
initiates form)
Is there a fee associated with the
course?
2. Full and exact entry (as proposed) 
C 531 Graduate Seminar in Theatre History
3 cr. (R-9) Offered intermittently. Prereq.,
consent of instr. Selected topics and issues
with individual research projects presented in
seminar concerning various genres, periods,
themes, and cultural contexts in theatre
history. Co-convenes with THTR 331H.
3. If cross-listed course: secondary program & course
number
4. If co-convened course: companion course number, title, and description
(include syllabus of companion course in section V) See procedure 301.20
http://umt.edu/facultysenate/committees/grad_council/procedures/default.aspx.
U 331H Theatre History II 3 cr. Offered spring. Prereq., THTR 330H (DRAM 320H). Continuation of
330H. The many and varied periods of the 19th and 20th centuries as reflected in the theatre of the times.
5. Is this a course with MUS Common Course Numbering?
http://mus.edu/transfer/CCN/ccn_default.asp
If yes, please explain below whether this change will eliminate the course’s common course
status.
6. Graduate increment if level of course is changed to UG.
Reference procedure 301.30:
http://umt.edu/facultysenate/committees/
grad_council/procedures/default.aspx
(syllabus required in section V)
7. Other programs affected by the change
8. Justification for proposed change
YES NO
X
Have you reviewed the graduate
increment guidelines? Please check (X)
space provided.
We are requesting approval to co-convene the
above-referenced courses.
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.
THTR 531—GRADUATE SEMINAR IN THEATRE HISTORY
1915-Present
3 credits
Spring 2011
TTh 9:40-11:00 Liberal Arts 11
“Art is not a mirror held up to reality, but a hammer with which to shape it.”
—Bertolt Brecht
Professor: Dr. Ann C. Wright
Office: McGill 212B Phone: 243-5846 Mailbox: PARTV 197
Email: ann.wright@umontana.edu
Office Hours: MW 9:30-11:00
COURSE DESCRIPTION & OBJECTIVES:
This course is an introductory survey of Western Theatre from the twentieth century through the
Present. Throughout the course we will be considering, through various methodologies, what we
mean by “theatre” and “history,” as well as what “Theatre History” means to us and why it is useful
to students and practitioners of Theatre.
This course is divided into three Units:
Unit I: European Theatre and American Theatre—Early 20th Century
Unit II: Continental European, Latin American, and American Theatre—Mid 20th
Century
Unit III: English-Language, African, and Contemporary Theatre—Late 20th Century to the
Present
Students will be spending each Unit (in part) working closely with one of three focus groups. In
this way each student will be exposed to a variety of ways to approach the study of Theatre History
and Dramatic Literature:
(1) through the lens of literary criticism and formalist script analysis,
(2) through attention to theatre as a practical art form (acting, directing, design, etc.), and
(3) through the lens of contextual dramaturgy.
Each focus group will have different assignments as you learn to explore history through their
particular lens. At the end of each Unit your group will rotate to a new focus area for exposure to
another method of examining Dramatic Literature and Theatre History.
In this way, we will explore various kinds of evidence theatre historians use to construct theatre
history, and discuss ways in which that evidence has been and can be interpreted. Through readings,
lectures, class discussions, videos, group presentations, writing and research, as well as focus group
meetings, students will become familiar with theatre practices, practitioners, and texts from a variety
of cultures and points of view. Students will be expected to demonstrate their knowledge both
orally (in class discussions and group presentations), and in writing (in short papers and on tests).
This course, faithfully undertaken, will provide students with a strong foundational knowledge of
past theatrical activity that will enhance both their skills and experiences as readers, writers,
practitioners, audience members, and scholars of Theatre.
Students enrolled in this class will 1) serve as focus group “facilitator” during class discussions
(meant to occasionally interject comments to keep the student conversation going during this
activity,) 2) read and score student one-two page assignments from one focus group (one-third of the
class,) 3) read and score a portion of the class Unit Tests using a Key provided by the instructor.
Graduate Students will also 4) participate in scoring unit presentations (accomplished in class at the
time of the presentations) using a Rubric provided by the instructor, and participate in other minor
responsibilities essential to the smooth administration of THTR 331H.
In addition to the responsibilities outlined above, students will 1) be responsible for at least one
lecture session (to include the lecture itself, all PowerPoint material, as well as getting PowerPoint
notes and image reviews to the TA for posting prior to the lecture. They will also be asked 2) to
provide two questions covering the material in their lecture for each question type (True/False, fillin-the-blank, multiple choice, image identification, and essay) used on the Unit tests.
REQUIRED TEXTS:
Brockett, Oscar G. with Franklin J. Hildy. History of the Theatre. 10th ed.
Boston: Allyn and Bacon. Boston: Allyn & Bacon, Inc. 2002. (Or latest
version) ISBN-13:9780205511860
Jacobus, Lee A., Bedford Introduction to Drama, New York: Bedford/St.
Martin’s, 2008. ISBN-13: 9780312474881
Thomas, James, Script Analysis for Actors, Directors, and Designers, New York: Elsevier Science
& Technology Books, 2004. ISBN-13: 9780240806624
POLICIES:
Basic Requirements:
– Students are required to complete reading, writing, and performance assignments by the
specified due date. Follow the course schedule carefully to keep track of assignments.
– Students are required to bring the appropriate texts to class, or for focus group sessions,
for discussion. In addition, I recommend a three-ring binder for compiling copies of
assigned material and handouts, taking notes, and maintaining a class journal.
– Students are required to bring blue books to class for use on Test days. If you do not have a
blue book on a test day, you may not take the Test, and you will not be able to take a makeup. Pick up at least three of them from the bookstore now, and keep them ready in your
notebook.
– Class participation 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.
Moodle and the Library
We will be using Moodle for managing notification for all class assignments and announcements, as
well as providing a location for chat rooms and focus group forums. Moodle will also contain
supplemental reading material (plays and essays) required in the class. It will be your responsibility
to print this supplementary material for use in class on the appropriate day. In addition, we will be
using Moodle as a central location for information on grades and attendance records.
Several assignments require familiarity with the Library. If you haven’t already, gain this expertise
now. For special assistance, ask for Tammy Ravas, Fine Arts Librarian and Media Coordinator.
She can be reached through her office at MLIB 315, by phone at 243-4402, or via Email at
tammy.ravas@umontana.edu. She’s awesome, and very familiar with the needs of this class.
Departmental Rules and Regs:
All Theatre & Dance students must have an in-depth knowledge of the practices and procedures
outlined in the School of Theatre & Dance Student Handbook. The Handbook is available online at
http://www.umt.edu/theatredance/about/handbook. Please consult the 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.
Please Note: There is inherent risk involved in many Theatre & Dance classes as they are very
physical in nature. Please proceed through class, shop time, or rehearsal with caution. Always be
mindful of your personal safety and the safety of others. Students participating in
class/shop/rehearsal/performance do so at their own risk.
A Note about Attendance, Late Policy, and Make-up Tests:
School policy allows for two unexcused absences for classes that run 1 ½ hours twice a week. Each
subsequent unexcused absence will result in the lowering of your final grade by 1/2 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 Handbook.
Class begins promptly at 9:40, and two excessive tardies (after 9:45) 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 your TA or me.
Written work will not be considered if it is not typed and ready to be 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!) In other words, NO LATE WORK, OR
SUBMISSIONS VIA EMAIL, WILL BE ACCEPTED. Also, please don’t try to hastily knock
something out by hand during the class period for which an assignment is due. It will not be
accepted.
* Please turn in all written assignments typed, double spaced, 1.3” margins, 12 pt. Times
New Roman (or other “readable font”), following MLA guidelines for style. Please cite all
sources. 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. Please STAPLE pages together!!!
Make-up tests are a nuisance for everyone, and are offered only with a proper excuse. You will
need to schedule an appointment. Test material will be similar, but not identical, to that offers
during the original testing period. Some sections may be conducted orally. Let’s try to avoid this
circumstance if at all possible.
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.
Bottom line: This is your field, folks! Don’t miss class, don’t skim on the assigned reading, don’t
miss Tests or Unit Presentations. Complete all of the written assignments. The information you
will gain from this class is vital to your development of a strong foundation in your discipline.
Overview of Assignments and Study Aids:
Power-Point Notes for each lecture will be made available on Moodle prior to the each lecture
session (as soon as we have the platform fully operational.) You may choose to print them for use
in class. These outlines provide space for additional note taking during class, and can ultimately be
used as study aides for Unit Tests.
Tests: There are three scheduled Tests that are designed to measure your progress with the material
from the large lecture sessions and the readings assigned for the whole class. These tests will not
cover any material discussed in, or readings specifically assigned to, individual focus groups. Hint:
Do your reading assignments religiously, take good notes, and attend review sessions when offered.
There will be no cumulative final exam in this class.
A separate review session will be offered before each Test (at a location and time TBA). No class
time will be available for review. These sessions are not mandatory, but highly recommended, as
there is a great deal of material to digest.
Quizzes: May, or may not, happen. Be prepared!
Focus Group Assignments: Specific descriptions of the three focus groups primary objectives are
located in your Course Schedule and on Moodle. Each group will receive detailed criteria for all
focus group assignments throughout the course of this class. Often the turn-around is intentionally
quick. This helps develop strong critical thinking and decision-making skills. Learn to work with
it, and benefit from the experience. Written work will be returned to you, graded and with
comments, no later than one week from the time it is turned in.
Unit Presentations: Specific Unit Presentation guidelines are posted on Moodle. There will be
three Unit Presentation (two class periods) throughout the course of the semester—one such doublesession for each Unit and focus area offered by the course.
The manner in which your group decides to present your material will be determined in advance
with your TA and instructor’s guidance, from an initial proposal through a final submission of a
presentation abstract. We will provide detailed criteria for both the presentation, and the required
written documentation that must accompany each presentation (both from the group and from
individual participants), early in each Unit. We will be available during office hours, or by
appointment, to meet with you to offer advice and encouragement. Plan to work closely with your
group, both inside and outside of class, as well as on Moodle, to prepare for each of these events.
These presentations involve, just as any theatrical production, extensive creative effort, serious
research, careful planning, and intense collaborative work. Your group will be presenting to the
entire class, working from the material covered and focus emphasized during your unit study. 100%
participation is required. In addition, we expect high quality work, and a thorough knowledge of
your subject matter. We look forward to significant issues of Theatre History reaching the entire
class.
Grading/Assessment:
You will receive a grade for each Unit of the course (three Unit Grades = final grade.)


You will be assigned a Unit grade based on your completion of the assignments
required in each Unit. Detailed criteria for each of these assignments will be
distributed well in advance of the due date.
You will also receive Unit grades for the Test given in each Unit, class participation,
and the final Unit Presentation given at the end of each Unit.
Completed work will be scored and returned to you no later than one week from the date you turned
it in. Remember, no late work will be accepted.
Grading breakdowns for each of the three Units are as follows:
25%
Unit focus group assignments
250 pts.
(cumulative)
35%
Unit Test
350 pts.
30%
Unit Presentations
300 pts.
(including written work)
10%
100%
Class Attendance and Participation
100 pts.
1000 pts.
These three Unit grades (including all focus group, test, and class participation grades) will be
tallied together at the end of the semester to determine your final grade for the course, based on a
3000 pt. system. You may meet with your TA or me at any time during the semester to see how you
are doing.
How to Challenge a Grade:
We are all willing to discuss grades with you at any time. If you are dissatisfied with a grade, you
must first address the issue with your grading TA or reader for the project. They have the option to
adjust your grade if they see fit. If you do not feel satisfied with the response, you may then meet
with me to discuss the problem. I will review the TA’s grading and comments—along with your
argument. If I agree with you, your grade will be raised, as I see fit. Please be aware, however, that
I also reserve the right to decide to lower your grade if I feel the work merits it. If I lower your
grade, you cannot then decide to take the TA’s or reader’s grade instead. My grades are final. Are
we on the same page here?
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
http://life.umt.edu/vpsa/student_conduct.php. Please see your instructor or TA if you are having
difficulty defining plagiarism.
Students with Special Needs:
Students with disabilities may request reasonable modifications by contacting me. The University
of Montana assures equal access to instruction through collaboration between students with
disabilities, instructors, and Disability Services for Students (DSS). “Reasonable” means the
University permits no fundamental alterations of academic standards or retroactive
modifications. For more information, please consult http://life.umt.edu/dss/.
The University of Montana assures equal access to instruction through collaboration between
students with disabilities, instructors, and Disability Services for Students (DSS). If you think you
may have a disability adversely affecting your academic performance, and you have not already
registered with DSS, please contact DSS in Lommasson 154. I will work with you and DSS to
provide an appropriate accommodation.
A Note about your Syllabus:
This syllabus and Course Schedule (also available on Blackboard) 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 your TA or me about it before the day it’s due.
Work noted on the syllabus is DUE on the date marked. In other words, if the assignment for 1/27
says: Assignment: Review Chapter 16: The Beginnings of Modern Realism and Chapter 17: Early
Alternatives to Realism, then you must read and digest that material before this date so you are
prepared to discuss it in class on that day.
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.
Tuesday, January 25
Thursday, January 27
Course Schedule
Class Introduction and Catching Back Up after the Holiday
Lecture/Discussion:
Assignment: Review Chapter 16: The Beginnings
of Modern Realism and Chapter 17: Early
Alternatives to Realism
Tuesday, February 1
Lecture/Discussion:
Assignment: Chapter 18: Continental European and
Latin American Theatre in the Early Twentieth
Century
Thursday, February 3
Focus Group
Group I Assignment: Glaspell’s Trifles (Bedford) using
Script Analysis, construct a study of this
play as a study in gender differences, and
cite evidence of this work being an early
example of feminist expression. Write a 2page analysis of this play. Be prepared to
discuss in class.
Group II Assignment: Brecht’s Mother Courage and Her
Children (Bedford) write a short response
paper defining the play’s theme as it fits
into world events, and how such matters
could be brought to the contemporary
stage. Discuss how Brecht chose to
express this theme (his various “epic
theatre” techniques for achieving
“alienation), and why these techniques are
particularly effective for achieving his
goals. Be prepared to discuss in class.
Group III: Assignment: Pirandello’s Six Characters in
Search of an Author, (Bedford), and write
a response paper (two pages) on the
relationship between art (drama) and life,
between characters and actors. Be
prepared to discuss in class.
Tuesday, February 8
Lecture/Discussion: Special Topic (Artaud and the Theatre
of Pain)
Guest Lecturer: Ann Dubla-Barnett
Thursday, February 10
Focus Group
Group I: Research manifestos written by a leading
playwright/theorist of this period—your choice.
Using at least two cited sources of dramatic
criticism, write a response paper critiquing their
philosophy toward theatre and playwriting, as
well as their influence on future theatre
practitioners. Be prepared to
discuss in class.
Group II: Dada and Surrealist Performance
Research the movement. Each student in the
focus group prepare a response paper on
at least two sources of research material to
be used for class discussion. Be prepared to
relate your research to the emphasis of your
focus group.
Group III: Futurist Performance Research the
movement. Each student in the focus group
prepare a response paper on at least two
sources of research material to be used for
class discussion. Be prepared to relate your
research to the emphasis of your focus
group.
Tuesday, February 15
Lecture/Discussion:
Assignment: Chapter 19: English-Language
Theatre in the Early Twentieth Century
Thursday, February 17
Monday, February 21
Tuesday, February 22
Thursday, February 24
Tuesday, March 1
Unit Presentations
Review Session TBA
Unit Presentations
Unit I Test
Lecture/Discussion (Annie at SETC)
Assignment: Chapter 20: Continental European and
Latin American Theatre in the Mid-Twentieth
Century
Guest Lecturer: Eric Hersh
Thursday, March 3
Focus Groups (Annie at SETC)
Group I: Samuel Beckett’s Happy Days,
and commentaries. Prepare
response papers on each of the
commentaries. Be prepared to
discuss in class.
Group II: Arthur Miller’s Death of a
Salesman, and commentaries
(Bedford, pp. 1168-1205.) Prepare
a response paper on one of the
three essays, or the casebook,
paying particular attention to how
the play reflects tragedy as
portrayed by the common man.
Group III: Tennessee Williams’ Cat on a
Hot Tin Roof, and commentaries
(Bedford, pp. 1116-1125) Prepare
a response paper on one of the
three essays, paying particular
attention to how the play reflects
social and economic conditions of
the time in which it was written.
Tuesday, March 8
Lecture/Discussion:
Assignment: Chapter 21: English-Language
Theatre in the Mid-Twentieth Century
Thursday, March 10
Lecture/Discussion: Special topic (Contemporary
Community Theatre)
Guest Lecturer: Reid Reimers
Tuesday, March 15
Focus Groups
All Groups: Select a contemporary community
theatre group, as discussed in Reid’s lecture,
and write a response paper on how they
approach season selection.
Group I: pay particular attention to how their play
selections serve their audiences through
script analysis—do they explore new works,
or re-design classical material?
Group II: pay particular attention to how this group
Thursday, March 17
Monday, March 21
Tuesday, March 22
Thursday, March 24
Tuesday, March 29
Thursday, March 30
April 4-8
Tuesday, April 12
Thursday, April 14
Tuesday, April 19
Thursday, April 21
approaches acting, directing, and design
issues. Are their tactics affective?
Group III: pay particular attention to how the
group’s season reflects their artistic
identity and addresses issues significant to
their contemporary audience.
Lecture/Discussion:
Assignment: Chapter 22: Continental European and
Latin American Theatre in the Late
Twentieth Century
Review Session TBA
Unit Presentations
Unit Presentations
Unit II Test
Lecture/Discussion:
Assignment: Chapter 23: English-Language
Theatre in the Late Twentieth Century
SPRING BREAK
Lecture/Discussion: Special Topic (Feminisms and
feminist theatres)
Guest Lecturer TBA
Focus Groups
All Groups: Select a “feminist play” from the
contemporary era. Discuss in a response
paper how the play expresses the ideas of
the feminist movements, and cite at least
two print sources concurring with your
discoveries as they relate to your focus
group emphasis.
Lecture/Discussion:
Assignment: Chapter 25: The Theatre of Africa
Lecture/Discussion:
Assignment: Chapter 24: Contemporary Theatre
Tuesday, April 26
Thursday, April 29
Lecture/Discussion: Special Topic (Theatre Movements of
the Mid-Twentieth Century to the Present,
Performance Art, and Beyond)
Guest Lecturer: Randy Bolton
Focus Groups
All Groups: Read “Contemporary Drama”
(Bedford pp. 1289-1298) Prepare a
response paper for discussion in class.
Select one play from the anthology (pp.
1303-1785). Read ,and write a three-page
critical analysis discussing your selected
play’s content and impact on contemporary
literary, practical, and cultural processes.
Stress your focus group emphasis. Be
prepared to share your discoveries in class.
Tuesday, May 3
Thursday, May 5
Friday, May 6
Thursday, May 12
Unit Presentations
Unit Presentations
Review Session TBA
FINAL EXAMINATION (This will be a regular Unit III
test) (8:00-10:00, LA 11)
THTR 331H
3 credits
TTh 9:40-11:00 Liberal Arts 11
Theatre History II: 1915-present
“Art is not a mirror held up to reality, but a hammer with which to shape it.”
—Bertolt Brecht
Professor: Dr. Ann C. Wright
Office: McGill 212B Phone: 243-5846 Mailbox: PARTV 197
Email: ann.wright@umontana.edu
Office Hours: MW 9:30-11:00
COURSE DESCRIPTION & OBJECTIVES:
This course is an introductory survey of Western Theatre from the twentieth century through the
Present. Throughout the course we will be considering, through various methodologies, what we
mean by “theatre” and “history,” as well as what “Theatre History” means to us and why it is useful
to students and practitioners of Theatre.
This course is divided into three Units:
Unit I: European Theatre and American Theatre—Early 20th Century
Unit II: Continental European, Latin American, and American Theatre—Mid 20th
Century
Unit III: English-Language, African, and Contemporary Theatre—Late 20th Century to the
Present
Students will be spending each Unit (in part) working closely with one of three focus groups. In
this way each student will be exposed to a variety of ways to approach the study of Theatre History
and Dramatic Literature:
(1) through the lens of literary criticism and formalist script analysis,
(2) through attention to theatre as a practical art form (acting, directing, design, etc.), and
(3) through the lens of contextual dramaturgy.
Each focus group will have different assignments as you learn to explore history through their
particular lens. At the end of each Unit your group will rotate to a new focus area for exposure to
another method of examining Dramatic Literature and Theatre History.
In this way, we will explore various kinds of evidence theatre historians use to construct theatre
history, and discuss ways in which that evidence has been and can be interpreted. Through readings,
lectures, class discussions, videos, group presentations, writing and research, as well as focus group
meetings, students will become familiar with theatre practices, practitioners, and texts from a variety
of cultures and points of view. Students will be expected to demonstrate their knowledge both
orally (in class discussions and group presentations), and in writing (in short papers and on tests).
This course, faithfully undertaken, will provide students with a strong foundational knowledge of
past theatrical activity that will enhance both their skills and experiences as readers, writers,
practitioners, audience members, and scholars of Theatre.
REQUIRED TEXTS:
Brockett, Oscar G. with Franklin J. Hildy. History of the Theatre. 10th ed.
Boston: Allyn and Bacon. Boston: Allyn & Bacon, Inc. 2002. (Or latest
version) ISBN-13:9780205511860
Jacobus, Lee A., Bedford Introduction to Drama, New York: Bedford/St.
Martin’s, 2008. ISBN-13: 9780312474881
Thomas, James, Script Analysis for Actors, Directors, and Designers, New York: Elsevier Science
& Technology Books, 2004. ISBN-13: 9780240806624
POLICIES:
Basic Requirements:
– Students are required to complete reading, writing, and performance assignments by the
specified due date. Follow the course schedule carefully to keep track of assignments.
– Students are required to bring the appropriate texts to class, or for focus group sessions,
for discussion. In addition, I recommend a three-ring binder for compiling copies of
assigned material and handouts, taking notes, and maintaining a class journal.
– Students are required to bring blue books to class for use on Test days. If you do not have a
blue book on a test day, you may not take the Test, and you will not be able to take a makeup. Pick up at least three of them from the bookstore now, and keep them ready in your
notebook.
– Class participation 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.
Moodle and the Library
We will be using Moodle for managing notification for all class assignments and announcements, as
well as providing a location for chat rooms and focus group forums. Moodle will also contain
supplemental reading material (plays and essays) required in the class. It will be your responsibility
to print this supplementary material for use in class on the appropriate day. In addition, we will be
using Moodle as a central location for information on grades and attendance records.
Several assignments require familiarity with the Library. If you haven’t already, gain this expertise
now. For special assistance, ask for Tammy Ravas, Fine Arts Librarian and Media Coordinator.
She can be reached through her office at MLIB 315, by phone at 243-4402, or via Email at
tammy.ravas@umontana.edu. She’s awesome, and very familiar with the needs of this class.
School Rules and Regs:
All Theatre & Dance students must have an in-depth knowledge of the practices and procedures
outlined in the School of Theatre & Dance Student Handbook. The Handbook is available online at
http://www.umt.edu/theatredance/about/handbook. Please consult the 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.
Please Note: There is inherent risk involved in many Theatre & Dance classes as they are very
physical in nature. Please proceed through class, shop time, or rehearsal with caution. Always be
mindful of your personal safety and the safety of others. Students participating in
class/shop/rehearsal/performance do so at their own risk.
A Note about Attendance, Late Policy, and Make-up Tests:
School policy allows for two unexcused absences for classes that run 1 ½ hours twice a week. Each
subsequent unexcused absence will result in the lowering of your final grade by 1/2 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 9:40, and two excessive tardies (after 9:45) 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 your TA or me.
Written work will not be considered if it is not typed and ready to be 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!) In other words, NO LATE WORK, OR
SUBMISSIONS VIA EMAIL, WILL BE ACCEPTED. Also, please don’t try to hastily knock
something out by hand during the class period for which an assignment is due. It will not be
accepted.
* Please turn in all written assignments typed, double spaced, 1.3” margins, 12 pt. Times
New Roman (or other “readable font”), following MLA guidelines for style. Please cite all
sources. 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. Please STAPLE pages together!!!
Make-up tests are a nuisance for everyone, and are offered only with a proper excuse. You will
need to schedule an appointment. Test material will be similar, but not identical, to that offers
during the original testing period. Some sections may be conducted orally. Let’s try to avoid this
circumstance if at all possible.
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.
Bottom line: This is your field, folks! Don’t miss class, don’t skim on the assigned reading, don’t
miss Tests or Unit Presentations. Complete all of the written assignments. The information you
will gain from this class is vital to your development of a strong foundation in your discipline.
Overview of Assignments and Study Aids:
Power-Point Notes for each lecture will be made available on Moodle prior to the each lecture
session (as soon as we have the platform fully operational.) You may choose to print them for use
in class. These outlines provide space for additional note taking during class, and can ultimately be
used as study aides for Unit Tests.
Tests: There are three scheduled Tests that are designed to measure your progress with the material
from the large lecture sessions and the readings assigned for the whole class. These tests will not
cover any material discussed in, or readings specifically assigned to, individual focus groups. Hint:
Do your reading assignments religiously, take good notes, and attend review sessions when offered.
There will be no cumulative final exam in this class.
A separate review session will be offered before each Test (at a location and time TBA). No class
time will be available for review. These sessions are not mandatory, but highly recommended, as
there is a great deal of material to digest.
Quizzes: May, or may not, happen. Be prepared!
Focus Group Assignments: Specific descriptions of the three focus groups primary objectives are
located in your Course Schedule and on Moodle. Each group will receive detailed criteria for all
focus group assignments throughout the course of this class. Often the turn-around is intentionally
quick. This helps develop strong critical thinking and decision-making skills. Learn to work with
it, and benefit from the experience. Written work will be returned to you, graded and with
comments, no later than one week from the time it is turned in.
Unit Presentations: Specific Unit Presentation guidelines are posted on Moodle. There will be
three Unit Presentation (two class periods) throughout the course of the semester—one such doublesession for each Unit and focus area offered by the course.
The manner in which your group decides to present your material will be determined in advance
with your TA and instructor’s guidance, from an initial proposal through a final submission of a
presentation abstract. We will provide detailed criteria for both the presentation, and the required
written documentation that must accompany each presentation (both from the group and from
individual participants), early in each Unit. We will be available during office hours, or by
appointment, to meet with you to offer advice and encouragement. Plan to work closely with your
group, both inside and outside of class, as well as on Moodle, to prepare for each of these events.
These presentations involve, just as any theatrical production, extensive creative effort, serious
research, careful planning, and intense collaborative work. Your group will be presenting to the
entire class, working from the material covered and focus emphasized during your unit study. 100%
participation is required. In addition, we expect high quality work, and a thorough knowledge of
your subject matter. We look forward to significant issues of Theatre History reaching the entire
class.
Grading/Assessment:
You will receive a grade for each Unit of the course (three Unit Grades = final grade.)


You will be assigned a Unit grade based on your completion of the assignments
required in each Unit. Detailed criteria for each of these assignments will be
distributed well in advance of the due date.
You will also receive Unit grades for the Test given in each Unit, class participation,
and the final Unit Presentation given at the end of each Unit.
Completed work will be scored and returned to you no later than one week from the date you turned
it in. Remember, no late work will be accepted.
Grading breakdowns for each of the three Units are as follows:
25%
Unit focus group assignments
250 pts.
(cumulative)
35%
Unit Test
350 pts.
30%
Unit Presentations
300 pts.
(including written work)
10%
Class Attendance and Participation
100 pts.
100%
1000 pts.
These three Unit grades (including all focus group, test, and class participation grades) will be
tallied together at the end of the semester to determine your final grade for the course, based on a
3000 pt. system. You may meet with your TA or me at any time during the semester to see how you
are doing.
How to Challenge a Grade:
We are all willing to discuss grades with you at any time. If you are dissatisfied with a grade, you
must first address the issue with your grading TA or reader for the project. They have the option to
adjust your grade if they see fit. If you do not feel satisfied with the response, you may then meet
with me to discuss the problem. I will review the TA’s grading and comments—along with your
argument. If I agree with you, your grade will be raised, as I see fit. Please be aware, however, that
I also reserve the right to decide to lower your grade if I feel the work merits it. If I lower your
grade, you cannot then decide to take the TA’s or reader’s grade instead. My grades are final. Are
we on the same page here?
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
http://life.umt.edu/vpsa/student_conduct.php. Please see your instructor or TA if you are having
difficulty defining plagiarism.
Students with Special Needs:
Students with disabilities may request reasonable modifications by contacting me. The University
of Montana assures equal access to instruction through collaboration between students with
disabilities, instructors, and Disability Services for Students (DSS). “Reasonable” means the
University permits no fundamental alterations of academic standards or retroactive
modifications. For more information, please consult http://life.umt.edu/dss/.
The University of Montana assures equal access to instruction through collaboration between
students with disabilities, instructors, and Disability Services for Students (DSS). If you think you
may have a disability adversely affecting your academic performance, and you have not already
registered with DSS, please contact DSS in Lommasson 154. I will work with you and DSS to
provide an appropriate accommodation.
A Note about your Syllabus:
This syllabus and Course Schedule (also available on Blackboard) 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 your TA or me about it before the day it’s due.
Work noted on the syllabus is DUE on the date marked. In other words, if the assignment for 1/27
says: Assignment: Review Chapter 16: The Beginnings of Modern Realism and Chapter 17: Early
Alternatives to Realism, then you must read and digest that material before this date so you are
prepared to discuss it in class on that day.
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.
Tuesday, January 25
Thursday, January 27
Course Schedule
Class Introduction and Catching Back Up after the Holiday
Lecture/Discussion:
Assignment: Review Chapter 16: The Beginnings
of Modern Realism and Chapter 17: Early
Alternatives to Realism
Tuesday, February 1
Lecture/Discussion:
Assignment: Chapter 18: Continental European and
Latin American Theatre in the Early Twentieth
Century
Thursday, February 3
Focus Group
Group I Assignment: Glaspell’s Trifles (Bedford) using
Script Analysis, construct a study of this
play as a study in gender differences, and
cite evidence of this work being an early
example of feminist expression. Write a 2page analysis of this play. Be prepared to
discuss in class.
Group II Assignment: Brecht’s Mother Courage and Her
Children (Bedford) write a short response
paper defining the play’s theme as it fits
into world events, and how such matters
could be brought to the contemporary
stage. Discuss how Brecht chose to
express this theme (his various “epic
theatre” techniques for achieving
“alienation), and why these techniques are
particularly effective for achieving his
goals. Be prepared to discuss in class.
Group III: Assignment: Pirandello’s Six Characters in
Search of an Author, (Bedford), and write
a response paper (two pages) on the
relationship between art (drama) and life,
between characters and actors. Be
prepared to discuss in class.
Tuesday, February 8
Lecture/Discussion: Special Topic (Artaud and the Theatre
of Pain)
Guest Lecturer: Ann Dubla-Barnett
Thursday, February 10
Focus Group
Group I: Research manifestos written by a leading
playwright/theorist of this period—your choice.
Using at least two cited sources of dramatic
criticism, write a response paper critiquing their
philosophy toward theatre and playwriting, as
well as their influence on future theatre
practitioners. Be prepared to
discuss in class.
Group II: Dada and Surrealist Performance
Research the movement. Each student in the
focus group prepare a response paper on
at least two sources of research material to
be used for class discussion. Be prepared to
relate your research to the emphasis of your
focus group.
Group III: Futurist Performance Research the
movement. Each student in the focus group
prepare a response paper on at least two
sources of research material to be used for
class discussion. Be prepared to relate your
research to the emphasis of your focus
group.
Tuesday, February 15
Lecture/Discussion:
Assignment: Chapter 19: English-Language
Theatre in the Early Twentieth Century
Thursday, February 17
Monday, February 21
Tuesday, February 22
Thursday, February 24
Tuesday, March 1
Unit Presentations
Review Session TBA
Unit Presentations
Unit I Test
Lecture/Discussion (Annie at SETC)
Assignment: Chapter 20: Continental European and
Latin American Theatre in the Mid-Twentieth
Century
Guest Lecturer: Eric Hersh
Thursday, March 3
Focus Groups (Annie at SETC)
Group I: Samuel Beckett’s Happy Days,
and commentaries. Prepare
response papers on each of the
commentaries. Be prepared to
discuss in class.
Group II: Arthur Miller’s Death of a
Salesman, and commentaries
(Bedford, pp. 1168-1205.) Prepare
a response paper on one of the
three essays, or the casebook,
paying particular attention to how
the play reflects tragedy as
portrayed by the common man.
Group III: Tennessee Williams’ Cat on a
Hot Tin Roof, and commentaries
(Bedford, pp. 1116-1125) Prepare
a response paper on one of the
three essays, paying particular
attention to how the play reflects
social and economic conditions of
the time in which it was written.
Tuesday, March 8
Lecture/Discussion:
Assignment: Chapter 21: English-Language
Theatre in the Mid-Twentieth Century
Thursday, March 10
Lecture/Discussion: Special topic (Contemporary
Community Theatre)
Guest Lecturer: Reid Reimers
Tuesday, March 15
Focus Groups
All Groups: Select a contemporary community
theatre group, as discussed in Reid’s lecture,
and write a response paper on how they
approach season selection.
Group I: pay particular attention to how their play
selections serve their audiences through
script analysis—do they explore new works,
or re-design classical material?
Group II: pay particular attention to how this group
approaches acting, directing, and design
issues. Are their tactics affective?
Group III: pay particular attention to how the
group’s season reflects their artistic
identity and addresses issues significant to
their contemporary audience.
Lecture/Discussion:
Assignment: Chapter 22: Continental European and
Latin American Theatre in the Late
Twentieth Century
Review Session TBA
Unit Presentations
Unit Presentations
Unit II Test
Thursday, March 17
Monday, March 21
Tuesday, March 22
Thursday, March 24
Tuesday, March 29
Thursday, March 30
Lecture/Discussion:
Assignment: Chapter 23: English-Language
Theatre in the Late Twentieth Century
April 4-8
Tuesday, April 12
SPRING BREAK
Lecture/Discussion: Special Topic (Feminisms and
feminist theatres)
Guest Lecturer TBA
Focus Groups
All Groups: Select a “feminist play” from the
contemporary era. Discuss in a response
paper how the play expresses the ideas of
the feminist movements, and cite at least
two print sources concurring with your
discoveries as they relate to your focus
group emphasis.
Lecture/Discussion:
Assignment: Chapter 25: The Theatre of Africa
Lecture/Discussion:
Thursday, April 14
Tuesday, April 19
Thursday, April 21
Assignment: Chapter 24: Contemporary Theatre
Tuesday, April 26
Thursday, April 29
Lecture/Discussion: Special Topic (Theatre Movements of
the Mid-Twentieth Century to the Present,
Performance Art, and Beyond)
Guest Lecturer: Randy Bolton
Focus Groups
All Groups: Read “Contemporary Drama”
(Bedford pp. 1289-1298) Prepare a
response paper for discussion in class.
Select one play from the anthology (pp.
1303-1785). Read ,and write a three-page
critical analysis discussing your selected
play’s content and impact on contemporary
literary, practical, and cultural processes.
Stress your focus group emphasis. Be
prepared to share your discoveries in class.
Tuesday, May 3
Thursday, May 5
Friday, May 6
Thursday, May 12
Unit Presentations
Unit Presentations
Review Session TBA
FINAL EXAMINATION (This will be a regular Unit III
test) (8:00-10:00, LA 11)
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.
Revised 5-4-11