COURSE TITLE:
PROFESSOR:
THEA 230
Gene Muto 2761
THEATRE AESTHETICS
mutoet@longwood.edu
COURSE DESCRIPTION: This is an introductory course in the aesthetics, which is to
say the study of the art, of theatre and drama. It is an exploration into the theatrical
theories, styles, dramaturgical structures, and types of dramatic literature, which have
influenced playwriting and theatrical practice from the ancient Greek to Modern periods.
TEXTS: (Students are required to obtain the texts on their own—they have not been
ordered for you.) Sophocles, Oedipus; Anon., The Second Shepherd’s Play; Carlo
Goldoni, Servant of Two Masters; Moliere, Tartuffe; Oscar Wilde, The Importance of
Being Earnest; Henrik Ibsen, A Doll’s House; Eugene O’Neill, The Hairy Ape; Paula
Vogel, How I Learned to Drive; Samuel Beckett, Happy Days. In addition, various
articles, essays, and documents will be used as lecture sources—some of which will be
provided.
COURSE OBJECTIVES: As a result of this course, students will be able to
demonstrate:
A.
Knowledge:
1. analyze a wide body of world dramatic theory, literature, and plays
2. determine literary and dramatic strategies and resources use by a variety of
theorists and playwrights
3. understand the cultural, social, and associative characteristics of dramatic
theory and practice as seen through broad and divers perspectives
B.
Skills
1. relate some of the ideas explored in these theories and plays to contemporary
life and theatre
2. develop research and writing skills, techniques, and strategies
C.
Dispositions
1. think critically and demonstrate effective understanding through discussion,
research, and written assignments
2. appreciate and reflect attitudes toward the application of research and
professional competencies in the areas of theatrical theory and practice
GOALS FOR THE COURSE:
1. Define the responsibilities of all participants in the theatrical event
(playwright, producer, director, actors, audience)
2. Recognize the intent and purpose of a theatrical production
3. Compare literary and aesthetic values in theatrical performances (dramatic
elements: theme, plot, character, language, physical context and use of space,
movement, composition)
4. Categorize theatrical genres and styles and discuss their purpose and effects
5. Discuss the value and function of spectacle, violence, and sexuality in
theatrical performances
6. Identify contributions of lighting, set design, costuming, dance, music and
other effects to the overall production
7. Aesthetics Issues (literary, political, social)
8. Role of authorial intention
9. Art as moral teacher (vs. art for art's sake and art for entertainment)
10. Theories of genres
11. Definition of art
COURSE REQUIREMENTS:





Students are expected to keep abreast of the readings and will be prepared for
discussions and, tests, and quizzes.
Students are required to attend the two university main stage performances and
write a 2-page review of each, analyzing them with regard to the theory and
vocabulary established in the class.
Students are required to write a formal abstract—3 pages plus a bibliography of at
least 10 sources
Participate in a researched group oral presentation
All written work is to be researched, word-processed (no e-mail submissions or
attachments), written in impeccable form, and handed in on time—no late work!
GRADING: (Late work is not acceptable, so don’t even ask.)
10 unannounced quizzes (which are not able to be made up if missed)
1 well written and neatly prepared abstract
1 group oral presentation
2 play reviews
Midterm exam
Final exam
A = 180+
B = 160+
C = 140+
50
30
30
20
30
40
D = 120+
TENTATIVE CLASS SCHEDULE:
Week 1:
Orientation and class introduction
Vocabulary terms
Week 2:
CLASSICISM: The Ancient Greek and Roman Theatre, Aristotle (The
Poetics); Sophocles (Oedipus)
Week 3:
The Middle Ages; Anon. (The Second Shepherd’s Play)
Structure of the medieval religious play (Miracles, Mysteries, Moralities)
Influence of Medieval staging on Elizabethan—“anti-classicism”
Weeks 4 and 5:
English Renaissance ELIZABETHAN AND JACOBEAN
Elizabethan Popular Theatre: Shakespeare, (Hamlet)
Weeks 5 and 6:
Continental Renaissance and NEOCLASSICISM:
Moliere (Tartuffe); Goldoni (The Servant of Two Masters);
The French Academy (The Opinions of the French Academy),
Poquelin (Preface to “Tarfuffe”), Racine (Preface to “Phaedre”)
Weeks 7 and 8:
Restoration and 18th Century England: Jeremy Collier (A Short
View of the Immorality and Profaneness of the English Stage);
Richard Brinsley Sheridan (Film: The School for Scandal)
MID-TERM EXAM
Week 9:
English Victoian Theatre—ROMANTICISM—Oscar Wilde, (The
Importance of Being Earnest)
Weeks 10 and 11:
The Modern Period (REALISM & NATURALISM) 19th and 20th
Century Scandinavia; George Bernard Shaw (The Problem Play);
Henrik Ibsen (A Doll’s House); August Strindberg (Preface to Miss Julie)
ORAL PRESENTATION 1: Realism/A Doll’s House
Weeks 12 and 13:
EXPRESSIONISM: Eugene O’Neill (The Hairy Ape)
Arthur Miller (Film: Death of a Salesman, Tragedy and the Common
Man)
ORAL PRESENTATION 2: Expressionism/The Hairy Ape
DADAISM; SURREALISM Antonin Artaud (No More Masterpieces, Jet
of Blood—to be provided and performed in class*); ABSURDISM:
Martin Esslin (The Theatre of the Absurd); Beckett, Happy Days
ORAL PRESENTATION 3: Absurdism/Happy Days
Weeks 13 and 14:
THEATRICALISM; Peter Brook (The Empty Space—excerpts
to be provided*); Robert Edmund Jones (The Dramatic Imagination—
excerpts to be provided*) Vogel, How I Learned to Drive
ORAL PRESENTATION 4: Theatricalism/How I Learned to Drive
Week 15:
Review and analysis
FINAL EXAM
VOCABULARY FOR THE COURSE (To be memorized!):
1. Genre
2. Form
3. Structure
4. Style
5. Classical Tragedy
6. Modern Tragedy
7. Comedy (High to Low)
8. Drama
9. Classicism
10. Miracle Play
11. Mystery Play
12. Morality Play
13. Elizabethan/Jacobean
14. Neoclassicism
15. Realism
16. Naturalism
17. Expressionism
18. Symbolism
19. Dadaism
20. Surrealism
21. Absurdism
22. Epic Theatre
23. Hamartia
24. Hubris
25. Protagonist
26. Antagonist
27. Norm
28. Catalyst
29. Ascending Action
30. Collision Factor
31. Point of Attack
32. Inciting Action
33. Recognition Scene/Agnorisis
34. Obligatory Scene
35. Climax
36. Denouement
37. Classic
38. Classicism
39. Aristotelian
40. Aesthetics
41. Aesthete