THEA 600A: Research and Bibliography /
Intro. to Graduate Studies
Professor Shelley Orr
Email: morr@mail.sdsu.edu
Office: Theatre Arts Bldg., Rm. 213
Office Hours: Tuesday 11-12 PM, or by appointment
OBJECTIVES OF THE COURSE
Students will be introduced to traditional and creative research practices, as well as methods for documenting
research results and using those results in written work. Students will have a working knowledge of a variety of
forms of theatre and performance writing, through reading assignments and short writing projects. Ideas about styles
of theatre writing and practical skills for writing will be developed in assignments that give students the opportunity
to explore these writing styles for themselves. Skills in the mechanics of writing, research, and composing a
bibliography will be developed. Students will be exposed to current ideas in the field of theatre studies through
essays assigned by the instructor. Students will also gain practice in both casual and formal forms of public
presentation. Students will become familiar with technologies in research and presentation, with support from the
instructor and a library specialist.
REQUIRED TEXTS
 A Short Guide to Writing About Theatre, Marcia L. Ferguson.
 Angels in America, Parts I and II, Tony Kushner.
Note: Additional required readings will be posted to Blackboard for download or available online. If you choose to
read this downloaded material on paper — as opposed to on a computer screen — anticipate additional cost in
printing fees or replacement printer cartridges. I strongly recommend that you bring assigned readings to class.
GRADING will be based on a 200 point system.
 Four (4) independent projects: 25 points each, 100 points total. (50% of the final grade)
 One (1) group presentation: 20 points. (10% of the final grade)
 Attendance, 10 points; Participation, 20 points: 30 points total. (15% of the final grade)
 Research project: proposal + bibliography (25), and presentation (25), totaling 50 points. (25% of final grade)
The instructor reserves the right to modify a student’s final score +/- one third of a letter grade, based on the
student’s conduct and sustained performance (ex. from a B+ to an A-).
The grading scale for this class:
98–100
93–97
90–92
87–89
83–86
80–82
77–79
73–76
70–72
67–69
63–66
60–62
59 and belowF
A+
A
AB+
B
BC+
C
CD+
D
D-
READINGS
The schedule of readings and assignments is provisional. The instructor reserves the right to adjust the schedule
according to the developing needs and interests of the class.
Week
1
Date
August 29
2
September 5
3
September 12
4
September 19
5
September 26
6
October 3
7
October 10
8
October 17
9
October 24
10
October 31
Material Covered
Class Business. Introduction to the course(s).
Discussion: What is a writing?
Writing About Theatre: The Review
Reading: See Review reading from NYTimes, New Yorker, Salon.com, UnionTribune, Theatre Journal on Blackboard.
*Multi-media Historical Self-presentation With Full Bibliography due.
>> NOTE: Review assignment due by Nov. 3.
Performing Research—Library Session. Meet at the Library.
Guest Presenter: Pamela A. Jackson, Information Literacy Librarian
Reading: Ferguson, Chapter 1.
Teaching Theatre History—clinic on syllabus structure, classroom
management, grading
Reading: See Teaching reading on Blackboard
*Teaching Presentation with visuals on a topic of your choice
Writing About Theatre: The Interview
Reading: See Interview reading on Blackboard, plus Ferguson, Chapter 5. Sources,
Plagiarism.
Writing About Theatre: The Manifesto
Reading: See Manifesto reading on Blackboard by Marinetti, Artaud, NeoRomantic, plus Theatre Topics article on manifestoes.
*Interview due.
Reading: Ferguson, Chapter 2.
*Manifesto due, presented to the class.
Writing About Theatre: Scholarly Research
Grammar Review, MLA Style
*Research topic proposal and bibliography due.
Creative/Critical Research
Kushner, Angels in America.
*Group presentations, with bibliography.
Writing About Theatre: Scholarly Research
*Revised research topic proposal, Symposium style presentation to the class.
LIBRARY SESSION
The class will meet at the campus library for a tour and a training session on research methods on September 12.
Plan to meet AT THE LIBRARY, not at our classroom; we will rendezvous under the dome on the top floor before
going to room LA78.
INDEPENDENT PROJECTS
There are four short projects assigned in the course of the class. They are: the multi-media historical selfpresentation, a theatre review, an interview of a classmate, and an artistic manifesto. The expectation is that each
assignment will be approximately 2–4 pages (500 – 1000 words) in length. These assignments must be handed in
BOTH as type-written hard copy AND emailed to me at the address on the front of the syllabus. Due dates for
assignments are on the schedule. Descriptions for each follow. Additional instructions will be provided, based on
class readings.
ASSIGNMENTS
1. Review. We will be reading several different styles of theatre review. For this assignment you must attend a live
performance and write a review of that performance. The performance can be theatre, performance art, dance, or
another event — and yes, before you ask, professional wrestling and rock concerts are ok. Important: you must
choose, and state clearly at the top of your review, the KIND of review you have written (journalistic, essayistic,
scholarly, etc.) and the ideal VENUE in which your review should be published (ex. NYTimes, New Yorker, Salon).
The style and length of your review should be appropriate to these decisions.
2. Multi-media Historical Self-presentation. Come to class ready to give a very short (5 minute max.)
autobiographical presentation. Be clear and focused (and feel free to have a bit of fun). You must use some form of
MEDIA in addition to just talking: PowerPoint, slide projector, 16mm film (bring own equipment), photo album, tin
whistle, video — anything goes, but you must have something. Plan ahead if you will need equipment not available
in the room’s audio-visual podium. In addition to autobiography, you must briefly note a significant EVENT IN
THEATRE HISTORY that occurred on the day that you were born in the town in which you were born. (Depending
on where you were born, you may need to stretch the concept of “theatre”: parades, Masonic rites, horse races… you
be the judge.) Lastly: Keep track of every source that you consult — “interviews” with parents or friends, websites,
almanacs — and include them all in a properly formatted BIBLIOGRAPHY. For notes on formatting a bibliography
and an example, see pages 126–30, and 138 in Ferguson.
3. Interview. We will be reading and studying three or more recent interviews in class. Interviews may take different
forms and address different issues. Each of you will be paired with a partner: interview each other, and each of you
will write up and hand in a SEPARATE interview. These interviews are to be “professional,” i.e. the ostensible
subject is the career (past, present, and future) of your interviewee. However, what you actually focus on in the
interview that you write will vary. Style and length requirements are similar to the Review assignment.
4. Manifesto. Manifestoes have been an important part of theatre history. They can focus new ideas, alter paradigms,
set new agendas, and occasionally amuse readers and listeners. We’ll read three select examples of the theatre
manifesto, two classics and one new, along with an article on the subject. You will write a manifesto about the
theatre. Your manifesto should focus on big ideas, and the FORM of the manifesto should reflect the IDEAS in the
manifesto, as will be made clear in class discussion. Each manifesto will be read aloud in class on the scheduled date
(time permitting!).
GROUP DISCUSSION / PRESENTATION
We will be reading Angels in America in class (both parts). To facilitate reading, the class will be divided into five
groups and each group will be assigned a section. The group will introduce the act, present any pertinent information
(NOT plot summary), and lead the class in a discussion of the act. Participation by all members of the group is key
to the assignment. Each group should do the following: 1. demonstrate a thorough knowledge of this act; 2. describe
two potential research topics based on the assigned section; bring a number of recent, reliable, scholarly secondary
sources in support of each topic; and 3. describe two potential topics for creative research (ex. What do angels’
wings look like?), and a number of sources for each. (The term “a number” is intentionally vague.)
RESEARCH TOPIC
For this project, you will select a topic that is interesting to you and that seems to be a rich source for study. If you
are an MA student going on immediately to 600B, this topic will be the start of a term paper. If you are in the
Design / Technology MFA, you will not have to actually write a paper. In fact, your research proposal can (perhaps
should?) be for a creative research project — either a hypothetical one (“I’ve always wanted to design a costume for
Ophelia…”) or a real one (“I’m designing a costume for Ophelia next semester!”). Assignment details will be
provided by Simas.
A. Proposal. The first draft of the proposal should be a clear, focused description of the research project (real or
hypothetical) that you plan to pursue. Length is 250–500 words (1–2 pages, double-spaced). You will have an
opportunity to revise the proposal based on class discussion and instructor response (part C. below), if you choose.
B. Bibliography. In conjunction with a revised proposal, prepare a preliminary bibliography of about ten (10) items.
Each entry should be properly formatted (as we will discuss in class).
C. Presentation. Give a brief presentation about your chosen research topic. Length of presentation will be about 5
minutes. Multi-media content is required. An updated project proposal may be handed in following the presentation.
ABSENCE, TARDINESS, DISRUPTIONS, LATE ASSIGNMENTS
Attendance and participation are not only important to keeping the class lively and interesting, both will be a part of
your grade. With only ten meetings of a graduate class, attendance is critical. Contact me in advance if you will not
be able to attend a class. Late arrivals are not proper etiquette for a graduate seminar; if you arrive late, please don’t
disrupt the class, and don’t make a habit of tardiness. Expect to speak with me after class. If you have a conflict that
will prevent prompt arrival, notify me. Consistent, disruptive side-talking will be discouraged and if necessary
penalized. Penalties for absence or for late essays / papers / projects will be waived for students with a legitimate,
written excuse that covers a significant period of time (not just the day before the assignment was due). Legitimate
excuses take the form of a written note from a medical professional, university administrator, military commanding
officer, or other authority recognized by SDSU.
CONTACTING ME
If you have a question about an assignment or a reading that can be answered briefly, email me. If you need to let
me know about a conflict that will prevent you from handing in a project on time or attending class, email me. If you
would like a more involved response, come to my office hours or make an appointment to meet.
NOTE ABOUT ACADEMIC HONESTY
Academic honesty is an important tenet of the university community, one that I take seriously. Including another’s
writing as your own in an essay or otherwise cheating on an assignment will be grounds for failing that assignment.
Flagrant or repeated cheating or plagiarism will be grounds for failing the course. I regularly use the internet to
confirm the originality of students’ work.
IMPORTANT NOTE REGARDING THEATRE-GOING
In all live performances, I take the role of the audience seriously, and so should you. Respect for acting and the work
of making theatre is a job for every audience member. Anyone in this class who is seen by me or any other TTF
faculty or staff member misusing a cell phone or other device during any performance will automatically fail the
class.