NYUSteinhardt
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
82 WASHINGTON SQUARE EAST, PLESS ANNEX 223
NEW YORK, NY 10003-6680
TELEPHONE: 212.998.5869
Introduction to Educational Theatre I
MPAET.UE.0050; Section 001; 3 points
Location: 133 MacDougal, The Provincetown Playhouse
Meeting Times: Fridays 9:00-11:30am
Instructor: Dr. David Montgomery
Email: dm635@nyu.edu
Office: 35 West 4th Street, 12th floor, Rm.1205
Office Hours: By appointment-email or call 212.998.5868
Course Description:
The objective of this course is two-fold. One goal is to investigate the historical developments of theatre
from Ancient Greece through Eighteenth-century German theatre. We will endeavor to gain an
understanding of the movement of theatrical expression in terms of form, content, lyrical and technical
transformation.
The other purpose of the course is to gain an understanding of the practices of the educational theatre
field, focusing primarily on the use of theatre in the classroom.
We will cover a large historical time span over the semester, so it is impossible to be all-inclusive. Instead
the intent of the course is to provide an overview, offering students tools to begin their own research into
specific theatrical periods, artists, and styles; as well as continue an inquiry into educational theatre
teaching techniques and approaches.
Course Objectives:
 To identify individual goals and questions about theatre history, teaching and learning that will be
explored through coursework and classroom sessions.
 To develop confidence with researching and presenting findings in class using educational theatre
teaching strategies.
 To explore why plays continue to have relevance long after they were written.
 To explore the social and historical context in which plays were created.
 To investigate the role of the playwright, actor and audience in society and the changes over time
 To accumulate resources that will help students and their classmates in their continuing studies
of drama, theatre, theatre history, and education.
 To analyze and critique a play performance for high school students and brainstorm active ways
to explore the play using drama.
Required Text:
Worthen, W.B. (2007). The Wadsworth Anthology of Drama (6th Edition). Boston: Thomson.
The above text should be available at the NYU Main Bookstore at 726 Broadway. This text will was also
used for Introduction to Educational Theatre II.
Additional handouts will be distributed in class and/or posted on blackboard.
Recommended Texts:
Brockett , O.G. (1995). The History of the Theatre, 7th Edition. Boston: Allyn and Bacon.
Dobson, W. and J. Neelands (2000). Drama and Theatre Studies at AS /A Level. London: Hodder
Murray.
Hartnoll, P. (1998). The Theatre: A Concise History. Thames & Hudson. 3rd edition
Neelands, J. (2000). Structuring Drama Work: a Handbook of Available Forms in Theatre and
Education. Cambridge: Cambridge University Press.
Zarrilli, P.B., B. McConachie, G.J. Williams, and C.F. Sorgenfrei (2006). Theatre Histories: An
Introduction. New York: Routledge.
Requirements:
1. Participation and attendance:
The work in this course demands personal motivation, commitment to exploration, collaboration with the
instructor and colleagues, and an openness to new ideas and techniques. It also requires attendance and
participation in every session. Because the course only meets once a week over the course of the
semester, attendance at all class sessions and promptness are mandatory. The attendance policy for this
course allows for one unexcused absence. More than one unexcused absence will adversely affect the
participant’s final grade in the course. Official university excused absences must be documented. If you
know you will be missing class, advance written notification would be appreciated.
In addition to attending and participating in class each week and doing the assigned readings, you will
complete various assignments and projects. Completion of all assignments is required. The assignments
are tools to facilitate learning and reflection so that each participant’s thinking may be challenged and
stretched. These assignments will assist participants in evaluating their learning as they consider the ways
in which their thinking has been altered, affirmed or deepened as a result of this course.
2. Self-Assessments:
Each participant will create two self-assessments this semester. The first assessment will involve
composing a personal history and identifying your individual goals and questions for the semester. What
is your prior experience in theatre and drama, why did you choose to come to the Program in Educational
Theatre, and what questions and/or goals can you identify for yourself for this class and generally for
studying in the program? This assessment is due September 16 and should be 2 to 4 pages in length
(12 font; double-spaced).
For the final assessment, you will discuss the ways in which your goals and questions for the semester
were met or not met. You will also evaluate your work for the entire semester and assign yourself a grade
for the course. This assessment is due December 16 and should be 4 to 5 pages in length (12 font;
double-spaced).
Note: You will receive that grade as long as you provide evidence to support WHY you deserve that
grade in your final self-assessment.
3. Drama/Theatre Resource Share
Students will give a report on a drama/theatre “resource” for educational theatre students. Resources can
include useful books, professional organizations, conferences, journals, and websites. The resource
should be something that will help you and your classmates as you all continue studies in drama, theatre,
theatre history, and education. Students will share their findings with the class. Please make a copy of the
resource for everyone in the class and include a description of why you chose the resource you did, as
well as why it is important for your classmates to know about. This assignment should be 3 to 5 pages
long including the description of the resource and the resource itself.
Due October 21
*Note: please make copies for everyone in class.
4. Performance Essay
As part of your continuing exploration of theatre and drama in educational settings, you will see the
matinee performance for young people of the play, Triangle, produced by the Program in Educational
Theatre. You will analyze and critique the performance and brainstorm ways to incorporate the play into
a school curriculum.
As a class, we will attend Triangle, a devised theatre production that will honor the 100th year
anniversary of the Triangle Shirtwaist Factory Fire, which erupted on the corner of Washington Place and
Greene Streets in March 1911, killing hundreds of workers. Through a historical investigation of the
Triangle Fire, which marked a turning point in the social awakening of America, the ensemble will aim to
present a vibrant portrait of a dynamic age where emigrants fought sweatshop owners and politicos for
social justice. Using the dramatic means of storytelling, physical theatre, music, song, and environmental
theatre, the ensemble will explore the hardships of New York City life n the early part of the 20th century,
as well as the struggle for worker's rights, workplace safely and labor reform, amidst the rise of
progressive urban liberalism.
Dr. Nan Smithner will direct this piece, and it will take place in the Black Box Theatre on November 4th
at 10:00am. We will meet at 9:00am, have class for close to an hour and then head over to the Black Box
Theatre together.
Once you’ve seen the performance, you will complete a 4 to 5 page essay that evaluates the performance
and brainstorms ways to integrate that performance into a classroom curriculum. You need not create a
lesson plan here, but rather discuss ideas for integrating and/or expanding on the theatre performance with
secondary students. As you prepare your essay, please consider the following questions:
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What was the performance about? Please give a brief overview in approximately two or three
sentences.
How did the student-audience react to the performance?
Was the performance appropriate for secondary students? Why or why not?
What elements of the performance appealed to secondary students? Think about the visual and
aural worlds of the performance. What did the students have to say in the post performance
discussion? What questions did they have?
Did you enjoy the performance? Why or why not?
How might you integrate this performance into your curriculum in a secondary school setting?
What dramatic activities might you use to explore themes from the play? Please provide specific
examples.
Please type and double space your work. Due November 18
5. Teaching Theatre History Presentations: In trios, students will be assigned to research a period of
theatre history and present their findings to the rest of the class. In addition to providing information
from the period, trios will be asked to find a way to actively engage the class in learning about the time
period using educational theatre techniques. Plays from various time periods will be assigned for all
students to read, so trios should feel free to use the play as a way to engage the class in an exploration of
the time period. These presentations will begin on November 18th and continue through to the end of the
semester. Presentations should be 40-50 minutes in length. The historical time periods include: Classical
Japan, The Golden Age of Spain, The Golden Age of France, and Theatre of India.
A 3 page paper (12 font, double spaced) that reflects on the experience of doing the research and coming
up with one or more dramatic activities must be submitted to the instructor on December 9
Also, please submit a list of books and resources consulted in preparation for the theatre history
presentation. Each group must consult at least 10 sources.
Overall Grading Breakdown in Percentages:
 Participation and attendance:
20%
 Self-assessments
20%
 Triangle Performance Essay
20%
 Drama/Theatre Resource Share
20%
 Theatre History Presentations
20%
 Total:
100%
Academic Honesty
You are responsible for knowing the University’s issued standards of academic honesty outlined in the
student handbook. While the nature of this course demands that you discuss ideas and opinions with
fellow participants, your writing and other individual work must be something that you do on your own.
If this is unclear now or later in the semester, please make it a point to meet with me.
The standard penalty for academic dishonesty consists of an automatic “F” for the course and
notification of campus authorities.
Email and Blackboard
Each participant must have an active NYU email account that they check on a regular basis. This is the
easiest way for me to communicate with you regarding last minute changes and for you to contact me
regarding questions and concerns about the coursework. There is a Blackboard account for the course,
and I will use this for communication and to post important documents related to the course.
Do You Have Any Particular Needs?
Please let me know if there is anything I should be aware of regarding you and a particular need or
characteristic, such as a medical condition, a sensory or hidden disability, etc. that may influence our
interactions, your participation, or your personal well-being. I want to make the course as inclusive as
possible, so I’d appreciate your communication to keep me informed about you. This disclosure is
optional or, if you wish, only for selected individuals.
Note: Any student attending NYU who needs an accommodation due to a chronic, psychological, visual,
mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the Moses Center
for Students with Disabilities at 212 998-4980, 240 Greene Street, www.nyu.edu/csd
Open Door Policy
It is my every intention to create a safe environment and a comfortable learning community for everyone
in the class. If at any time you feel unsafe or uncomfortable, please feel free to address these issues with
the instructor. I would suggest setting up a time to speak with me during my office hours, and if my
available times conflict with your other obligations, please email me with other possible times that might
work for you, and we’ll make an appointment.
COURSE SCHEDULE *(subject to change)
September 9
The Infinite Variety of Theatre
What is Educational Theatre?
September 16
The Foundations of Drama and Theatre
Ancient Greece: Acting in Style
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Reading Due:
Worthen, pages 1-24
Excerpt from The Poetics, Aristotle, pages 153-161 in Worthen
Agamemnon, Aeschylus, page 30 in Worthen
*Initial self-assessment due
September 23
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September 30
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October 7
Ancient Greece and Rome
Drama in the Classroom
Reading Due:
Lysistrata, Aristophanes, page 111 in Worthen
“Classic Drag: The Greek Creation of Female Parts” by Sue Ellen Case, page 165 in
Worthen
European Theatre and Drama in the Late Middle Ages
Reading Due:
Worthen, pages 251- 257
Everyman, Anonymous, page 283
Theatre of the Italian Renaissance
Commedia Del’Art: Acting in Style
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Reading Due:
Worthen, pages 455-458
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Crawford, J.L, C. Hurst, & M. Lugering (1980). Acting in Person and in Style.
Chicago: Brown & Benchmark Publications. Chapter 11: “Commedia dell’arte:
Regeneration” (handout).
Duchartre: The Italian Comedy, Chapters I-IV (handout)
October 14
English Theatre from the Middle Ages to 1642
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Reading Due:
Worthen, pages 258-263
Doctor Faustus, Christopher Marlowe, page 257
October 21
Drama/Theatre Resource Share
Theatre for Young Audiences
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Reading Due
TBD
*Hard copy of resource due in class
October 28
Shakespeare
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November 4
Reading Due:
Worthen, pages 264-276
Romeo and Juliet, Shakespeare, The entire play can be downloaded at:
http://shakespeare.mit.edu/romeo_juliet/full.htm
Triangle Performance
Reading Due: TBD
November 11
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Classical Japan
Reading Due:
Worthen, pages 179-196
Matsukaze, Kan’ami Kiyotsugu, page 199 in Worthen
Excerpt from “A Mirror Held to the Flower,” by Zeami Motokiyo, page 224
“Aristotle’s Poetics, Bharantamuni’s Natyasastra, and Zeami’s Treatises: Theory as
Discourse” by Graham Ley, page 234.
*1st group’s theatre history presentation due in class
November 18
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The Golden Age of Spain (1700) and France (1642-1800)
Reading Due:
Worthen, pages 445-457
Life is a Dream, Pedro Calderón De La Barca, page 461
Triangle Performance Essay due in class
*2nd and 3rd group’s theatre history presentations due in class
November 25
(NO CLASS—Thanksgiving break)
December 2
Theatre of India and 18th Century Germany
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Reading Due:
An excerpt about Postromantic German Drama from O.G. Brocket’s History of Theatre
will be distributed in prior class (pages 430-441).
4th group’s theatre history presentation due to be presented in class
December 9
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The English Theatre, 1642-1800
Reading Due:
Worthen, pages 451-453
The Rover, Aphra Behn, page 536
* Final self-assessment due
* Reflection papers on Theatre History Presentation due
December 16
Final Reflections and Wrap-up
Looking ahead