Upper-division Writing Requirement Review Form (2/11)
I. General Education Review – Upper-division Writing Requirement
Dept/Program
Course # (i.e. ANTH U THTR 331Y
School of Theatre &
Subject
455) or sequence
Dance
Course(s) Title
Theatre History II
Description of the requirement if it is not a single course.
II. Endorsement/Approvals
Complete the form and obtain signatures before submitting to Faculty Senate Office.
Please type / print name Signature
Instructor Requestor
Jillian Campana
Phone / Email
x5846
Program Chair
Dean
Date
jillian.campana@umontana.edu
Jere Hodgin
jere.hodgin@umontana.edu
Dr. Stephen Kalm
stephen.kalm@umontana.edu
III. Type of request
New
One-time Only
X
Renewal
Reason for new course, change or deletion
Change
Remove
IV Overview of the Course Purpose/ Description
Theatre History II is a survey of Western Theatre from the eighteenth century through the present. Each
student is exposed to a variety of ways to approach the study of theatre history: through the lens of
literary criticism and script analysis, through attention to theatre as a practical art form (acting, directing,
design, etc.), and through the lens of contextual dramaturgy. There is also some reference made to nonWestern theatre history of the period, and to Native American theatre.
In addition to the study of a broad selection of dramatic literature, students explore 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, students become familiar with theatre practices, histories, practitioners, and texts from a
variety of cultures and points of view. Students demonstrate their knowledge both orally (in class
discussions and group presentations) and in writing (in research and response papers and on tests). This
course provides students with a strong foundational knowledge of past and contemporary theatrical
activity and dramatic literature, enhancing skills and experiences for readers, writers, practitioners,
audience members, and scholars of theatre.
V Learning Outcomes: Explain how each of the following learning outcomes will be achieved.
Student learning outcomes :
Identify and pursue sophisticated questions for
academic inquiry
This course is designed to introduce the student to
more sophisticated discipline-specific writing
conventions and clarify approaches to more
complicated areas of academic pursuit within the
discipline. Moving into the later 19th, 20th, and 21st
Find, evaluate, analyze, and synthesize
information effectively and ethically from
diverse sources (see
http://www.lib.umt.edu/informationliteracy/)
Manage multiple perspectives as appropriate
centuries—periods in which an abundance of
scholarly research material becomes available—
students now have the opportunity to broaden
their academic perspectives through emphasis on
critical analysis and more advanced writing skills.
The more students write, the more aware they
become regarding their academic inquiry and the
better they understand the significance and
relevance of what they find. Students are
encouraged to use writing as a tool to improve
communicative, analytic, and cognitive skills.
Assessment of the assigned essays and research
papers is deeper and more demanding than in
THTR 330H: Theatre History I.
Using the abundance of resource materials
available to them, students have the opportunity to
find, evaluate, analyze, and synthesize information
in almost every written assignment. They are
encouraged to collaborate with fellow students, to
use Library resources such as the disciplinespecific librarian and other information specialists,
to consult web-based subject resources, and to
utilize the skills of both the instructor and graduate
teaching assistant(s) as they develop and improve
their writing skills. The primary objective of this
course is to promote critical thinking and hone the
development of the set of skills needed to find,
retrieve, analyze, and use information. Once these
skills have been introduced and practiced,
students are encouraged to communicate their
findings, via written formats, on a regular basis.
Students are encouraged to seek information from
sources as varied as archeology, economy,
politics, religion, philosophy, visual art, music,
dance, cultural anthropology, architecture, etc.,
and incorporate that information into the theatre
history of the era being studied. This helps
students understand the significance of theatre
and its reflection on or anticipation of its culture.
Writing assignments address such consequences
and serve as one of the tools used in this course
to stretch student thinking beyond the traditional
disciplinary foundation.
Recognize the purposes and needs of
discipline-specific audiences and adopt the
academic voice necessary for the chosen
discipline
Use multiple drafts, revision, and editing in
conducting inquiry and preparing written work
Follow the conventions of citation,
documentation, and formal presentation
appropriate to that discipline
Develop competence in information
technology and digital literacy (link)
Instructional methods used to teach students to
write for specific audiences, purposes, and genres
include close attention to information included in
The Norton Anthology of Drama, Volume 1. Other
key texts in this area such as History of the
Theatre by Oscar Brockett and Franklin J. Hildy, or
Theatre Histories: an Introduction by Phillip Zarrilli,
Bruce McConachie et al., are also referenced.
Writing styles used in the other class texts such as
Vincent Longman’s From Page to Stage also
provide models for student work. Through close
attention to these texts, students are introduced to
a discipline-specific style of writing and analysis
and expectations for its use in areas such as script
analysis, history, review/critical analysis of plays in
production, technical aspects of theatre (lighting,
scenic, and costume design), and theory and
criticism. Written assignments throughout the
semester address all of these aspects of theatrical
production and critique.
Students write two substantial research papers for
this course. They receive detailed feedback on the
first paper and have at least one-on-one meeting
on their writing with either the course TA(s) or
professor. They then submit proposals for their
second paper and are encouraged to incorporate
feedback from Paper One in the writing of Paper
Two. Students are offered the opportunity to
discuss research proposals with their peers and/or
instructors and to submit drafts. Outlines are
discussed with peers in class. Paper Two is not
given a final assessment until after the revisions
and editing are completed.
Students are expected to follow the current MLA
style manual on all written assignments.
Throughout the course, students are encouraged
to use and cite academically appropriate webbased materials. Students are also expected to
make full use of the electronic reserves available
for this course through the Library and to utilize all
the features of the course’s Moodle site for
information, group discussions, and project
organization.
VI. Writing Course Requirements
Enrollment is capped at 25 students.
If not, list maximum course enrollment.
Explain how outcomes will be adequately met
for this number of students. Justify the request
for variance.
Briefly explain how students are provided with
tools and strategies for effective writing and editing
in the major.
Which written assignment(s) includes revision in
response to instructor’s feedback?
The enrollment cap is currently 100, and 43
students were enrolled for Spring 2012; 42
students were enrolled for Spring 2013.These
numbers are based on the School of Theatre &
Dance requirement for this course in both the two
BA and the two BFA curricula. Outcomes can be
adequately met because, in addition to the
instructor, there is always at least one graduatestudent teaching assistant. Assessment and
advising responsibilities for this course rest with
the instructor, but initial grading and reading
responsibilities are shared.
In this course, web-based tools are examined as
resources for improving writing skills. Peer review;
script, article, and chapter review; and ongoing
assessment of writing throughout the semester are
also employed, as is one-on-one feedback on
student writing from the instructor and/or teaching
assistant(s).
Essay Two (see syllabus below).
VII. Writing Assignments: Please describe course assignments. Students should be required to
individually compose at least 20 pages of writing for assessment. At least 50% of the course grade
should be based on students’ performance on writing assignments. Quality of content and writing
are integral parts of the grade on any writing assignment.
Formal Graded Assignments
Students are graded on formal writing
Informal Ungraded Assignments
requirements, which are more substantial than
those of THTR 330H: Theatre History I. At least
80% of the student’s course grade is based on
performance on written assignments, with at least
20 pages of written material turned in for
assessment by each student.
Several class activities, such as impromptu
development of student-generated lines of inquiry
and brief critical analysis of University productions,
are conducted during the course of this class.
These projects are interspersed throughout the
semester in order to encourage students’
continual awareness of the need to develop strong
critical thinking and decision-making skills. The
turnaround is intentionally quick (from onset of
assignment to turning in results) in order to
encourage students to habitually write as
concisely and effectively as possible.
VIII. Syllabus: Paste syllabus below or attach and send digital copy with form.  For assistance
on syllabus preparation see: http://teaching.berkeley.edu/bgd/syllabus.html
The syllabus must include the following:
1. Writing outcomes
2. Information literacy expectations
3. Detailed requirements for all writing assignments or append writing assignment instructions
THTR 331Y.01 THEATRE HISTORY II
LA 11 TUES 9.40-11.00 & THURS 9.40-11.00
Dr. Bernadette Sweeney
Kate Morris
Chelsea Elwood
Office: MCGILL 212C
email: bernadette.sweeney@mso.umt.edu
Office Hours: MW 12.00-1.30pm or by appointment
Course Description:
Students will study each play, the context of each play and its period, selected scenes through
performance, participate in class discussion, write 2 papers for formal assessment, present a
group production proposal and/or scene, and complete in-class quizzes throughout the semester.
Course Outcomes:
On completion of this course students will:
Have a broad knowledge of theatre history, style, context and audiences.
Have a knowledge of chosen play texts through close reading
Have a critically informed understanding of chosen play texts through reading and analysis of
critical material
Have an understanding of how each play performs its time, its politics and the conditions of
contemporaneous production
Have engaged with this work through script analysis, scene study, research and analysis
Have articulated their engagement with the work through formal research and writing, through
informal review and other writing, and through reflection on their own experience of the work as
performers, dramaturgs, researchers and/or audience members
Will have collaborated with each other to present scenes and/or production proposals
Required Texts:
Norton Anthology of Drama Vol.2
Materials on Reserve, Hand Outs and Moodle
Work for Assessment:
10% -- attendance and in-class writing and contribution, participation, effort,
attitude, and respect
10% -- quizzes and tests on course material, distributed throughout the
semester
10% -- group scene/presentation
30% -- PAPER One, 6 pages in length. [1500 – 1800 words] MOODLE AND
HARDCOPY
40% -- PAPER Two, 8 pages in length [2000 – 2400 words]
MOODLE ONLY
All papers must be printed with course details etc. on the first page, all pages numbered, and
include a bibliography or works cited. This must include a range of internet and printed sources,
at least 4 of each, which are beyond those offered by the class [articles on Moodle etc.].
Plagiarism will be taken very seriously, and may result in course failure.
Essays will be graded on:
 Relevance to the topic
 Evidence of original research
 Originality and creativity,
 Thorough response to the material
 Levels of analysis and critique
 Writing: syntax, structure of argument, coherency,
 Formatting, style and presentation, management of the task [submitted on time and in
full etc]
Ground Rules:
I do not accept late papers unless the student contacts me with a reasonable
excuse before the beginning of the class on the day the paper is due.
Attendance is required - each unexcused absence will result in your grade
falling by a third of a letter grade. Continued absence will result in course failure.
It is your responsibility to keep up with your attendance. Please follow your
attendance record on moodle – if there are any discrepancies contact Kate Morris
asap. If you are encountering any health or related issues that affect your
attendance, please contact me Bernadette Sweeney about this as soon as possible.
Please feel free to ask and answer questions inside and outside class. If you have any
questions about how you are doing, what you want to write about, or any of the material, contact
me or Kate Morris by e-mail, or arrange to see one of us during our office hours.
Syllabus: (always subject to change)1
WEEK 1
Tues JAN 29
Introduction
WEEK 1
Thurs JAN 31
Biloxi Blues by Neil Simon and HISTORY OF
BROADWAY
___________________________________________________________________
Please refer to the current schedule for relevant dates with regard to adding, dropping, and
withdrawing. Please make contact with a colleague or two to find out what has been assigned
if you miss class.
1
WEEK 2
Tues FEB 5
Biloxi Blues by Neil Simon and HISTORY OF
BROADWAY
WEEK 2
Thurs FEB 7
A Doll’s House by Ibsen [Chelsea Elwood]
___________________________________________________________________
WEEK 3
Tues FEB 12
A Doll’s House by Ibsen
WEEK 3
Thurs FEB 14
FOUNDING OF THE ABBEY Riders to the Sea by J. M.
Synge
__________________________________________________________________
WEEK 4
Tues FEB 19
FOUNDING OF THE ABBEY Riders to the Sea by J. M.
Synge
WEEK 4
Thurs FEB 21
Naturalism and Realism
___________________________________________________________________
WEEK 5
Tues FEB 26
The Cherry Orchard by Anton Chekhov
WEEK 5
Thurs FEB 28
The Cherry Orchard by Anton Chekhov
___________________________________________________________________
WEEK 6
Tues MAR 5
Six Characters in Search of an Author by Luigi
Pirandello [Kate Morris]
[PAPER 1 DUE Tues 5th March]
WEEK 6
Thurs MAR 7
Six Characters in Search of an Author by Luigi
Pirandello
___________________________________________________________________
WEEK 7
Tues MAR 12
The House of Bernarda Alba by Frederico Lorca
WEEK 7
Thurs MAR 14
The House of Bernarda Alba by Frederico Lorca
[Kate Morris on Federal Theatre project]
___________________________________________________________________
WEEK 8
Tues MAR 19
Galileo by Bertolt Brecht
[Cohen Ambrose]
WEEK 8
Thurs MAR 21
Galileo by Bertolt Brecht
___________________________________________________________________
WEEK 9
Tues MAR 26
The Maids by Jean Genet
[Kate Morris]
WEEK 9
Thurs MAR 28
The Maids by Jean Genet
___________________________________________________________________
WEEK 10
April 1-5
Spring Break
___________________________________________________________________
WEEK 11
Tues APR 9
Death of a Salesman by Arthur Miller [Chelsea Elwood]
WEEK 11
Thurs APR 11
Death of a Salesman by Arthur Miller
___________________________________________________________________
WEEK 12
Tues APR 16
Krapp’s Last Tape and Play by Samuel Beckett
[PAPER 2 DUE Tues 16TH APRIL]
WEEK 12
Thurs APR 18
Krapp’s Last Tape and Play by Samuel Beckett
___________________________________________________________________
WEEK 13
Tues APR 23
Mud by Maria Irene Fornes
WEEK 13
Thurs APR 25
Mud by Maria Irene Fornes
___________________________________________________________________
WEEK 14
Tues APR 30
A Number by Caryl Churchill
[Kate Morris]
WEEK 14
Thurs MAY 2
A Number by Caryl Churchill
___________________________________________________________________
WEEK 15
Tues
MAY 7 Copper Thunderbird by Marie Clements
WEEK 15
Thurs MAY 9 Copper Thunderbird by Marie Clements
[Final course quiz Thursday May 9th]
_____________________________________________________________
UDWPA—Upper-Division Writing Proficiency Assessment. Every student, without exception,
must successfully complete this exam following completion of WRIT 101 (or its equivalent), after
having attained 45 University credits (any combination of UM and transfer credits), and after
having taken a lower-division writing course. THTR 330H: Theatre History I, is just such an LDW
course. Students are strongly encouraged to visit the above website and research/register
for/prepare for/take the UDWPA during this semester. http://umt.edu/udwpa/
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.
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.
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.
Due to safety considerations, at no point during a student’s time spent in class or serving on a
production (in any capacity) should non-enrolled persons be guests of that student without my
consent. Presence of such unauthorized persons in a class, shop, or any backstage/off-stage area
will negatively affect a student’s grade.
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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.