WINONA STATE UNIVERSITY
REQUIRED CHECKLIST FOR ALL CURRICULAR PROPOSALS
Course or Program__ENG 423 Shakespeare in Performance____________
This checklist enables A2C2 representatives to endorse that their departments have accurately followed the Process for
Accomplishing Curricular Change. For each course or program proposal submitted to A2C2, this checklist must be completed, signed
by the submitting department's A2C2 representative, and included with the proposal when forwarded for approval. Peer review of
proposals is also strongly advised, e.g., departments should discuss and vote on the proposals as submitted to A2C2, rather than on just
the ideas proposed or drafts of proposals.
If a proposal fails to follow or complete any aspect of the process, the Course and Program Proposal Subcommittee will postpone
consideration of the proposal and return it to the department's A2C2 representative for completion and resubmission. Resubmitted
proposals have the same status as newly submitted proposals.
Note: This form need not be completed for notifications.
1.
The appropriate forms and the “Approval Form" have been completed in full for this proposal. All necessary or relevant
descriptions, rationales, and notifications have been provided.
____X___ Completed
2a. The “Financial and Staffing Data Sheet" has been completed and is enclosed in this proposal, if applicable.
____X____ Completed ________ NA
2b. For departments that have claimed that “existing staff" would be teaching the course proposed, an explanation has been
enclosed in this proposal as to how existing staff will do this, e.g., what enrollment limits can be accommodated by
existing staff. If no such explanation is enclosed, the department's representative is prepared to address A2C2's questions
on this matter.
_____X___ Completed
________ NA
3.
Arrangements have been made so that a department representative knowledgeable of this proposal will be attending both
the Course and Program Proposal Subcommittee meeting and the full A2C2 meeting at which this proposal is considered.
_____X___ Completed
Name and office phone number of proposal's representative: _Jane Carducci, 457 2376_______________________
4.
Reasonable attempts have been made to notify and reach agreements with all university units affected by this proposal.
Units still opposing a proposal must submit their objections in writing before or during the Course and Program Proposal
Subcommittee meeting at which this proposal is considered.
________ Completed
____X____ NA
5.
The course name and number is listed for each prerequisite involved in this proposal.
____X____ Completed ________NA
6.
In this proposal for a new or revised program (major, minor, concentration, etc.), the list of prerequisites provided includes
all the prerequisites of any proposed prerequisites. All such prerequisites of prerequisites are included in the total credit
hour calculations. ________ Completed
___X_____ NA
7.
In this proposal for a new or revised program, the following information for each required or elective course is provided:
a.
The course name and number.
b.
A brief course description.
c.
A brief statement explaining why the program should include the course.
________ Completed
____X____ NA
8.
This course or program revision proposal:
a.
Clearly identifies each proposed change.
b.
Displays the current requirements next to the proposed new requirements, for clear, easy comparison.
________ Completed
____X____ NA
9.
This course proposal provides publication dates for all works listed as course textbooks or references using a standard form
of citation. Accessibility of the cited publications for use in this proposed course has been confirmed.
____X____ Completed
________ NA
__________________________________________________
Department's A2C2 Representative or Alternate
______________________
Date
[ Revised 9-05]
WINONA STATE UNIVERSITY
PROPOSAL FOR NEW COURSES
Department ______English_____________________________________
Date ___January 19, 2007_____________________
Refer to Regulation 3-4, Policy for Changing the Curriculum, for complete information on submitting proposals for curricular
changes.
____423__________________
Course No.
__Shakespeare in Performance_________________________________
Course Name
This proposal is for a(n)
___X___ Undergraduate Course
__3___________
Credits
______ Graduate Course
Applies to:
____X__ Major
___X___ Minor
_____ Required
_____ Required
__X___ Elective
___X__ Elective
Prerequisites
___ENG 111, 290_____________________________________________________________________
Grading method __X____ Grade only
______ P/NC only
______ University Studies*
______ Not for USP
______ Grade and P/NC Option
Frequency of offering __Every summer in conjunction with the Great River Shakespeare Festival______________
*For University Studies Program course approval, the form Proposal for University Studies Courses must also be completed and
submitted according to the instructions on that form.
Provide the following information:
A.
Course Description
1.
2.
3.
4.
5.
6.
B.
Rationale
1.
2.
3.
C.
Catalog description.
Course outline of the major topics and subtopics (minimum of two-level outline).
Instructional methods utilized. Please indicate the contributions of lectures, laboratories, web-based materials, internships,
and other instructional methods to this course.
Course requirements (papers, lab work, projects, etc.) and means of evaluation.
Course materials (textbook(s), articles, etc.).
List of references.
Statement of the major focus and objectives of the course.
Specify how this new course contributes to the departmental curriculum.
Indicate any course(s) which may be dropped if this course is approved.
Impact of this Course on other Departments, Programs, Majors, or Minors
1.
2.
Does this course increase or decrease the total credits required by a major or minor of any other department? If so, which
department(s)?
List the department(s), if any, which have been consulted about this proposal.
Attach a Financial and Staffing Data Sheet.
Attach an Approval Form with appropriate signatures.
Department Contact Person for this Proposal:
_Jane Carducci_______________________________________ __457 2376__________ _jcarducci@winona.edu______________
Name (please print)
Phone
e-mail address
Form Revised 4-13-05
New Course Proposal: English 423
Catalogue Description: This intensive, two-week course is based on careful reading and discussion of Shakespeare’s plays and
their performances; the choice of plays for the class will be based on the offerings of the Great River Shakespeare Festival
(GRSF).
Extra fees: 8$ each for two (2) Front Porch Talks= 16$
20$ each for two GRSF plays=40$
Total=56$ per student
Course Objectives: This is a performance-focused class, offering students the opportunity to study the texts of Shakespeare’s
plays and then experience them in performance. More specifically, the goal is for students to join the community of
Shakespeare fans as described by Herb Coursen:
We all share—in our different ways—the sentiment that Murph
Swander reports of a young woman in Texas after her first encounter
with Shakespeare. “This,” she said, “is the greatest thing that’s
happened to me since I’ve been saved!” Some of us might endstop at “me” in that sentence, and still count ourselves among the
blessed if not the saved.
Course Outline: (for example, if we are studying Shakespeare’s Comedies and Tragedies; the last week of July, the first week
of August)
Front Porch Talk (Sunday Afternoon)
Part I
Monday: Introduction: Comedies/Midsummer Night’s Dream
Tuesday: Much Ado about Nothing
Wednesday: Merchant of Venice
Thursday: Twelfth Night
Friday: Twelfth Night
GRSF Performance 8:00 p.m. (Twelfth Night)
Talk Back after the performance
Front Porch Talk (Sunday Afternoon)
Part II
Monday: Introduction: Tragedies/Hamlet
Tuesday: Othello
Wednesday: Macbeth
Thursday: Romeo and Juliet
Friday: Romeo and Juliet
GRSF Performance 8:00 p.m. (Romeo and Juliet)
Talk Back after the performance
Saturday morning: a brief class meeting
Basic Instructional Plan/Methods:
The requirements for the class, including the readings and all writing assignments, need to be in the students’ hands by May 1
to give them time to complete all of the readings and get a solid start on their papers. The Research Paper is due several days
after the last class meeting.
When we meet, the class will consist of
 Mini-lectures
 Class discussions
 Group work (Blocking exercises/psychodrama/presenting scenes)
 Guest Speakers (e.g., Directors and actors from the GRSF; Dr. David Bratt and Professor Peggy Sannerud from the
WSU Drama Department)
 Attending and reviewing the GRSF Performances
 Film clips of plays
 Film nights to watch the whole play
 Films on acting/performance/Shakespearean verse
 Cultural/Historical background
 Biographical Information
 A consideration of various critical approaches to Shakespeare; emphasis on performance criticism
 Exams/quizzes

Research paper
Course Requirements/Evaluation:
Translation of a poetic passage Midsummer Night’s Dream (into Modern English) 10%
Exam: Comedies
20%
Exam: Tragedies
20%
Review: Twelfth Night
10%
Review: Romeo and Juliet
10%
Research Paper
20%
Class participation/quizzes (cannot be made up)
10%
Attendance: Great River Shakespeare Festival
All of the above written requirements (except for the quizzes) and attendance at the Great River Shakespeare Festival must be
completed in order to pass the class.
Text: David Bevington, Anne Marie Welch, Michael Greenwald. Shakespeare: Script, Stage, Screen. Longman, 2006.
References/Bibliography:
A Midsummer Night’s Dream
Barber, C. L. Shakespeare’s Festive Comedy. Princeton, 1959.
Greenwald, Michael L. “Broadway’s Theatre War of 1854: The Burton and Broadway
Productions of A Midsummer Night’s Dream.” Journal of American Drama and
Theatre 3:3 (Fall 1992): 5-17.
Halio, Jay. A Midsummer Night’s Dream (Shakespeare in Performance series).
Manchester, Eng., 1994.
Kott, Jan. “Shakespeare’s Bitter Arcadia.” Shakespeare Our Contemporary. New York:
1964.
Loney, Glen. Peter Brook’s Production of William Shakespeare’s “A Midsummer
Night’s Dream” for the Royal Shakespeare Company: The Complete and
Authorized Acting Edition. Stratford-upon-Avon, 1964.
Selbourne, David. The Making of “A Midsummer Night’s Dream.” London, 1982.
Warren, Roger. A Midsummer Night’s Dream: Text and Performance. London,
1982.
Watkins, Ronald, and Jeremy Lemmon. In Shakespeare’s Playhouse: “A Midsummer
Night’s Dream.” Totowa, N.J., 1974.
William, Gary Jay. Our Moonlight Revels: “A Midsummer Night’s Dream” in the
Theatre. Ames, Iowa, 1997.
Williamson, Marilyn. The Patriarchy of Shakespeare’s Comedies. Detroit, 1986.
Young, David. Something of Great Constancy: The Art of “A Midsummer Night’s
Dream.” New Haven, Conn., 1966.
Much Ado About Nothing
Cox, John D., ed. Plays in Performance: “Much Ado About Nothing.” Cambridge,
Eng., 1998. The First Night of “Twelfth Night.”
Findlay, Alsion. “Much Ado About Nothing.” A Companion to Shakespeare’s
Works: The Comedies. Oxford, 2003.
Mason, Pamela. Text and Performance: “Much Ado About Nothing.” London, 1992.
Paster, Gail Kern. “A Modern Perspective.” The New Folger Edition of Much Ado
About Nothing. New York, 1995.
Skovrmund, Michael. “Introduction with a Discussion on Branagh and Much Ado.”
Screen Shakespeare. Arhaud, Denmark, 1994. 7-12.
Wray Ramona, and Mark Thornton Burnett. “From the Horse’s Mouth: Branagh on
The Bard.” Shakespeare, Film, Fin de Siecle. Eds. Wray and Burnett. Houndmills
London, 2000. 165-178.
Merchant of Venice
Barton, John. Playing Shakespeare. London, 1984.
Buhler, Stephen M. Shakespeare in the Cinema: Ocular Proof. Albany, 2002.
Bulman, James. Shakespeare and Performance: “The Merchant of Venice.”
Manchester and New York, 1991.
Cusack, Sinead. “Portia in The Merchant of Venice.” Players of Shakespeare.
Vol. 1. Ed. Philip Brackbank. Cambridge, Eng., 1985. 29-40.
Edelman, Charles, ed. The Merchant of Venice. Cambridge, Eng., 2002.
Fiedler, Leslie. The Stranger in Shakespeare. New York, 1972.
Gilbert, Miriam. Shakespeare of Stratford: “The Merchant of Venice.” London,
2002.
Granville-Barker, Harley. Prefaces to Shakespeare: “The Merchant of Venice.”
London, 1993.
Jardine, Lisa. “Cultural Confusion and Shakespeare’s Learned Heroine: ‘These
Are Old Paradoxes.’” Shakespeare Quarterly 38 (1987): 1-18.
Leggatt, Alexander. “The Merchant of Venice: A Modern Perspective.” The New
Folger Library Shakespeare: The Merchant of Venice. New York, 2002.
Lelyveld, Toby. Shylock on the Stage. Cleveland, 1960.
Mahon, John and Ellen Macleod Mahon, eds. “The Merchant of Venice”: New
Critical Essays. New York and London, 2002.
Shapiro, James. Shakespeare and the Jews. New York, 1996.
Stewart, Patrick. “Shylock in The Merchant of Venice.” Players of Shakespeare,
Vol. 1. Ed. Philip Brockbank. Cambridge, 1985. 11-28.
Watermeier, Daniel. Between Actor and Critic: Selected Letters of Edmund Booth
And William Winter. Princeton, 1971.
Twelfth Night
Bloom, Harold. Shakespeare: The Invention of the Human. New York, 1998.
_____, ed. Modern Critical Interpretations of “Twelfth Night.” New York, 1987.
Bryant, J. A., Jr. Shakespeare and the Uses of Comedy. Lexington, Ky., 1986.
Hotson, Leslie. The First Night of “Twelfth Night.” New York: 1954.
Leech, Clifford. Twelfth Night and Shakespearean Comedy. Toronto, 1965.
Leggatt, Alexander. Shakespeare’s Comedies of Love. London and New York, 1974.
Mazur, Cary. Shakespeare Refashioned: Elizabethan Plays on Edwardian Stages. Ann
Arbor, Mich., 1981.
Osbourne, Lisa. The Trick of Singularity: The Performance Editions. Iowa City, Iowa,
1996.
Pearson, Hesketh. Beerbolm Tree. New York, 1956.
Potter, Lois. “Twelfth Night”: Text and Performance. London, 1985.
Trewin, J.C. Going to Shakespeare. London and Boston, 1978.
Hamlet
Alexander, Peter. Poison, Play, and Duel. Lincoln, Neb. 1971.
Barton, Anne. “Introduction.” Hamlet. Ed. T.J.B. Spencer. Hammondsworth, Eng.,
1980. 28.
Beasley, Catharine. “Was Hamlet a Man or a Woman? The Prince in the Graveyard,
1800-1920.” “Hamlet”: New Critical Essays. Ed. Arthur F. Kinney. New York
and London, 2002. 135-158.
Bradbrook, Muriel. Shakespeare the Craftsman. London. 1969.
Branagh, Kenneth. “Hamlet”: Screenplay, Introduction and Film Diary. New York,
1996.
Davidson, Levette. “Shakespeare in the Rockies.” Shakespeare Quarterly 4 (1953).
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York, 2004.
Jenkins, Harold. “Introduction.” The Arden Shakespeare: Hamlet. London and New
York, 1982. 97-101.
Jones, Ernest. Hamlet and Oedipus. New York, 1949.
Maher, Mary. Modern Hamlets and their Soliloquies. Iowa City, Iowa, 2003.
Margolies, Eleanor. “Hamlet.” The Times Literary Supplement (July 7, 2000): 21.
Pennington, Michael. Hamlet: A User’s Guide. New York, 1996.
Righter, Anne. Shakespeare and the Idea of the Play. Oxford, 1962.
Rosenthal, Daniel. Shakespeare on Screen. London, 2000.
Rothwell, Kenneth. A History of Shakespeare on Screen: A Century of Film and
Television. Cambridge, Eng. 1999.
Wells, Stanley. Royal Shakespeare: Four Major Productions at Stratford-upon-Avon.
Manchester, Eng. 1977.
_____. Shakespeare For All Time. Oxford, 2002.
Othello
Booth, Lynda. “Grossly Gaping Viewers and Jonathan Miller’s Othello.” Shakespeare:
The Movie. Eds. Boose and Richard Burt. London and New York, 1997. 186-197.
Bradley, A.C. Shakespearean Tragedy. Vol. 2. Greenwich, Conn., 1965.
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York and London, 2004.
Guilfoyle, Cheryl. “Mactacio Desdemonae: Medieval Scenic Form in the Last Scene of
Othello.” Shakespeare’s Play within Play. Kalamazoo, Mich., 1980. 83-96.
Hodgdon, Barbara. “Race-ing Othello, RE-engendering White-Out.” Shakespeare: The
Movie. Eds. Lynda Boose and Richard Burt. London and New York, 1997. 186197.
Kermode, Frank. “Othello, the Moor of Venice.” The Riverside Shakespeare. Ed. G.
Blakemore Evans. Dallas, 1974.
Lea, Katherine. Italian Popular Comedy; A Study in the Commedia dell’arte, 1560-1620,
with Special Reference to the English Stage. New York, 1962.
Pechter, Edward. “Othello” and Interpretive Traditions. Iowa City, Iowa. 1999.
Potter, Lois. Shakespeare in Performance. “Othello.” Manchester, Eng., 2002.
Rich, Frank. “Jones and Plummer’s Othello.” New York Times, 4 Feb. 1982: C15.
Rosenberg, Marvin. The Masks of Othello: The Search for the Identity of Othello, Iago,
and Desdemona by Three Centuries of Actors and Critics. Berkeley and Los
Angeles, 1964.
Rosenthal, Daniel. Shakespeare on Screen. London, 2000.
Ryan, Kiernan. New Readings: Shakespeare. Atlantic Highlands, N.J., 1989.
Rymer, Thomas. “Othello: A Bloody Farce.” The Critical Works of Thomas Rymer. Ed.
Curt Zimansky. New Haven, Conn., 1956.
Spivack, Bernard. Shakespeare and the Allegory of Evil: The History of a Metaphor in
Relation to His Major Villains. New York: 1958.
Trewin, J.C. Going to Shakespeare. Boston, 1978.
Macbeth
Curry, Walter. Shakespeare’s Philosophical Patterns. Baton Rouge, La., 1937.
Duerr, Edwin. The Length and Depth of Acting. New York, 1962.
Everett, Barbara. “Macbeth Succeeding.” Young Hamlet: Essays on Shakespeare’s
Tragedies. Oxford, 1989.
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York and London, 2004.
Kliman, Bernice. “Macbeth.” (Shakespeare in Performance Series). Manchester and
New York, 1992.
Knight, G. Wilson. The Wheel of Fire. 1930/65.
Pearlman, E. “Macbeth on Film: Politics.” Shakespeare Survey 39 (1987): 250-260.
Watkins, Ronald, and Jeremy Lemmon. “Macbeth”: In Shakespeare’s Playhouse.
Totowa, J.J., 1974.
Williams, Simon. “The Tragic Actor and Shakespeare.” The Cambridge Companion to
Shakespeare on Stage. Ed. Stanley Wells. Cambridge, Eng. 2002. 118-136.
Wills, Garry. Witches and Jesuits: Shakespeare’s Macbeth. New York and Oxford,
1995.
Romeo and Juliet
Agate, James. Brief Chronicles. London, 1943.
Bode, Douglas. Shakespeare in the Movies. New York, 2001.
Dench, Judi. “A Career in Shakespeare.” The Oxford Illustrated History of Shakespeare
on Stage. Eds. Jonathan Bate and Russell Jackson. Oxford, 2001. 199-210.
Evans, G. Blakemore, ed. “Romeo and Juliet.” The New Cambridge Shakespeare,
Cambridge, Eng., 1984.
Jackson, Russell. “Shakespeare in Opposition.” The Oxford Illustrated History of
Shakespeare on Stage. Eds. Jonathan Bate and Russell Jackson. Oxford, 2001.
Melchiori, Giorgio. “Peter Balthasar, and Shakespeare’s Art of Doubling.” Modern
Language Review 55: 4 (October 1983): 777-792.
Parsons, Keith, and Pamela Mason. Shakespeare in Performance. London. 1995.
Quince, Rohan. Shakespeare in South Africa: Stage Productions in the Apartheid Era.
New York, 2000.
Rosenthal, Daniel. Shakespeare on Screen. London, 2000.
Thompson, Leslie. “How the Lovers’ Scenes Were Staged in Elizabethan Times.”
Readings on Romeo and Juliet. Ed. Don Nardo., 1998. 125-134.
B. Rationale
No courses will be banked or dropped if this course is approved. This will become a third Shakespeare option (besides English
414: Shakespeare’s Comedies and Histories and English 417: Shakespeare’s Tragedies). This class will be a performancebased class rather than the traditional English Department focus on Shakespeare’s texts as literature.
C. Notification
This course will not increase or decrease any requirement for total credits in any other department. No other departments have
been consulted about this proposal.
WINONA STATE UNIVERSITY
FINANCIAL AND STAFFING DATA SHEET
Course or Program___ENG 423____________
Include a Financial and Staffing Data Sheet with any proposal for a new course, new program, or revised program.
Please answer the following questions completely. Provide supporting data.
1.
Would this course or program be taught with existing staff or with new or additional staff? If this course would be taught by
adjunct faculty, include a rationale.
Existing staff. It will be part of the rotation of Shakespeare courses and will be taught in the summer.
2.
What impact would approval of this course/program have on current course offerings? Please discuss number of sections of
current offerings, dropping of courses, etc.
This course will offer students an additional option for the Shakespeare requirement.
3.
What effect would approval of this course/program have on the department supplies? Include data to support expenditures for
staffing, equipment, supplies, instructional resources, etc.
None
[Revised 9-05]
WINONA STATE UNIVERSITY
APPROVAL FORM
Routing form for new and revised courses and programs.
Course or Program__________________________________
Department Recommendation
_________________________________
Department Chair
________________
Date
Dean’s Recommendation _____ Approved
_________________________________
Dean of College
A2C2 Recommendation
_____ Disapproved
________________
Date
_____ Approved
_____ Disapproved
_________________________________
Chair of A2C2
________________
Date
Graduate Council Recommendation
(if applicable)
_____ Approved
_________________________________
Chair of Graduate Council
________________
Date
_________________________________
Director of Graduate Studies
________________
Date
Faculty Senate Recommendation
_____ Approved
_________________________________
President of Faculty Senate
_____ Disapproved
_____ Disapproved
________________
Date
Academic Vice President Recommendation _____ Approved
________________________________
Academic Vice President
Decision of President
_____ Approved
_________________________________
President
____________________________________________
e-mail address
_____ Disapproved
________________
Date
_____ Disapproved
________________
Date
Please forward to Registrar.
Registrar
_________________
Date entered
Please notify department chair via e-mail that curricular change has been recorded.
[Revised 9-05]