Request for New Course
EASTERN MICHIGAN UNIVERSITY
DIVISION OF ACADEMIC AFFAIRS
REQUEST FOR NEW COURSE
DEPARTMENT/SCHOOL: _COMMUNICATION, MEDIA, & THEATRE ARTS__________ COLLEGE: ARTS AND SCIENCES
CONTACT PERSON:
______PIROOZ AGHSSA_________________________________________________________________
CONTACT PHONE: (734)487-1152
CONTACT EMAIL: PIROOZ.AGHSSA@EMICH.EDU
REQUESTED START DATE: TERM_____FALL________YEAR___2012________
A. Rationale/Justification for the Course
The practice of script analysis is widely considered the essential foundational component of all work within the Theatre
Arts discipline. For many academic and professional training programs, it is therefore listed as the first required course.
CTAR 150: Introduction to Theatre was originally conceived for this purpose and subsequently served our program in
this way for decades. With its adoption as a General Education offering, its academic content has shifted away from a
primary emphasis on script analysis and has adopted a more holistic examination of theatre in general; script analysis
has become only one of many topics/practices addressed in the current iteration of the course. While this broader
approach serves well the Generally Education population, it has proven highly challenging for Theatre Arts
majors/minors. Students enrolled in other beginning, intermediate and advanced coursework are, therefore,
experiencing tremendous difficulty. With no single foundation course offered that concentrates on script analysis, this
topic has been taught piecemeal in a variety of courses. This course, CTAR 140, is proposed to address this deficiency.
It will provide students necessary skills in how critically to read a play and understand its structure as an essential and
necessary prerequisite for staging, performing, and designing in the theatre. Additionally, this course will address
major historical eras, genres, styles, cultural considerations (directly related to issues of theatre production) at an
introductory level which will allow the students to be more successful when they take more advanced classes.
B. Course Information
1. Subject Code and Course Number:
CTAR 140
2. Course Title: Script Analysis for Theatre Artists
3. Credit Hours:
3
4. Repeatable for Credit? Yes_______
No__X____
If “Yes”, how many total credits may be earned?_______
5. Catalog Description (Limit to approximately 50 words.):
This course concentrates on the techniques of analyzing dramatic texts for theatre students prior to their approach to
characterization, conceptualization, and creation of a tangible visual score for a play.
6. Method of Delivery (Check all that apply.)
a. Standard (lecture/lab) X
On Campus
X
Off Campus
b. Fully Online
c. Hybrid/ Web Enhanced
7. Grading Mode:
Normal (A-E)
X
Credit/No Credit
8. Prerequisites: Courses that MUST be completed before a student can take this course. (List by Subject Code, Number and Title.)
None
Miller, New Course
Sept. 09
New Course Form
9. Concurrent Prerequisites:
Code, Number and Title.)
Courses listed in #5 that MAY also be taken at the same time as a student is taking this course. (List by Subject
None
10. Corequisites: Courses that MUST be taken at the same time as a student in taking this course.
(List by Subject Code, Number and
Title.)
None
11. Equivalent Courses. A student may not earn credit for both a course and its equivalent. A course will count as a repeat if an equivalent
course has already been taken. (List by Subject Code, Number and Title)
None
12. Course Restrictions:
a. Restriction by College. Is admission to a specific College Required?
College of Business
Yes
No
College of Education
Yes
No
b. Restriction by Major/Program. Will only students in certain majors/programs be allowed to take this course?
Yes
No
X
If “Yes”, list the majors/programs
c. Restriction by Class Level Check all those who will be allowed to take the course:
Undergraduate
Graduate
All undergraduates___X____
All graduate students____
Freshperson
Certificate
Sophomore
Masters
Junior
Specialist
Senior
Doctoral
Second Bachelor________
UG Degree Pending_____
Post-Bac. Tchr. Cert._____
Low GPA Admit_______
Note: If this is a 400-level course to be offered for graduate credit, attach Approval Form for 400-level Course for Graduate
Credit. Only “Approved for Graduate Credit” undergraduate courses may be included on graduate programs of study.
Note: Only 500-level graduate courses can be taken by undergraduate students. Undergraduate students may not register for
600-level courses
d. Restriction by Permission. Will Departmental Permission be required?
Yes
No
(Note: Department permission requires the department to enter authorization for every student registering.)
13. Will the course be offered as part of the General Education Program?
Miller, New Course
Sept. ‘09
Yes
No
X
X
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If “Yes”, attach Request for Inclusion of a Course in the General Education Program: Education for Participation in the Global Community
form. Note: All new courses proposed for inclusion in this program will be reviewed by the General Education Advisory Committee. If this
course is NOT approved for inclusion in the General Education program, will it still be offered? Yes
No
C. Relationship to Existing Courses
Within the Department:
14. Will this course will be a requirement or restricted elective in any existing program(s)? Yes X
No
If “Yes”, list the programs and attach a copy of the programs that clearly shows the place the new course will have in the curriculum.
Program
Major in Theatre Arts
Required X
Restricted Elective _____
Program
Minor in Theatre Arts
Required X
Restricted Elective _____
15. Will this course replace an existing course? Yes X
No
16. (Complete only if the answer to #15 is “Yes.”)
a. Subject Code, Number and Title of course to be replaced:
CTAR 150: Introduction to Theatre
b. Will the course to be replaced be deleted?
Yes
No
X
17. (Complete only if the answer #16b is “Yes.”) If the replaced course is to be deleted, it is not necessary to submit a Request for
Graduate and Undergraduate Course Deletion.
a. When is the last time it will be offered?
Term
Year
b. Is the course to be deleted required by programs in other departments?
Contact the Course and Program Development Office if necessary.
Yes
No
c. If “Yes”, do the affected departments support this change?
Yes
No
If “Yes”, attach letters of support. If “No”, attach letters from the affected department explaining the lack of support, if available.
Outside the Department: The following information must be provided. Contact the Course and Program Development office for
assistance if necessary.
18. Are there similar courses offered in other University Departments?
If “Yes”, list courses by Subject Code, Number and Title
Yes
No
X
19. If similar courses exist, do the departments in which they are offered support the proposed course?
Yes
No
If “Yes”, attach letters of support from the affected departments. If “No”, attach letters from the affected department explaining the lack of
support, if available.
D. Course Requirements
20. Attach a detailed Sample Course Syllabus including:
a.
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Course goals, objectives and/or student learning outcomes
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b.
c.
d.
e.
f.
g.
h.
Outline of the content to be covered
Student assignments including presentations, research papers, exams, etc.
Method of evaluation
Grading scale (if a graduate course, include graduate grading scale)
Special requirements
Bibliography, supplemental reading list
Other pertinent information.
NOTE: COURSES BEING PROPOSED FOR INCLUSION IN THE EDUCATION FOR PARTICIPATION IN THE GLOBAL
COMMUNITY PROGRAM MUST USE THE SYLLABUS TEMPLATE PROVIDED BY THE GENERAL EDUCATION
ADVISORY COMMITTEE. THE TEMPLATE IS ATTACHED TO THE REQUEST FOR INCLUSION OF A COURSE IN THE
GENERAL EDUCATION PROGRAM: EDUCATION FOR PARTICIPATION IN THE GLOBAL COMMUNITY FORM.
E. Cost Analysis (Complete only if the course will require additional University resources.
Fill in Estimated Resources for the
sponsoring department(s). Attach separate estimates for other affected departments.)
Based upon current enrollment trends, our instructional resources (faculty, staff, full/part-time lecturers), equipment, and
established course offering patterns are sufficient to add this course to the theatre curriculum.
Estimated Resources:
Year One
Year Two
Year Three
Faculty / Staff
$_________
$_________
$_________
SS&M
$_________
$_________
$_________
Equipment
$_________
$_________
$_________
Total
$_________
$_________
$_________
F. Action of the Department/School and College
1. Department/School
Vote of faculty: For ___29_______
Against ___0_______
Abstentions _____0_____
(Enter the number of votes cast in each category.)
10/14/11
______________
Date
_______________________________________________________________
Department Head/School Director Signature
2. College/Graduate School
A. College
College Dean Signature
Date
B. Graduate School (if Graduate Course)
Graduate Dean Signature
Date
G. Approval
Associate Vice-President for Academic Programming Signature
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Sept. ‘09
Date
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CTAR 140: Script Analysis for Theatre Artists
Course Description:
This course is a study of the techniques of analyzing a dramatic text specific to the needs of actors, designers,
technicians, and playwrights. These techniques will help students to read analytically in order to discern how the play
works. From this discernment students will arrive at a more informed understanding of the meaning and the themes of
the play in order to conceptualize a dramatic text for the stage. During the process of turning a dramatic text into a
visual score for performance in the theatre, a dramatic text must be deeply analyzed to determine its themes and
structure. Such analysis is essential for the actor in the process of creating a character, for the director in the process of
arriving at a logical concept for the performance, and for the designer in the process of creating a tangible visual
environment for the play.
The main goal of the course is to use techniques of text analysis as a starting point to create a cohesive discussion of
thematic/stylistic/performance requirements of each play and each historical era in order to help students make
informed and sophisticated decisions in the process of staging a play.
Course Format:
Lecture and discussion. Structural analysis, thematic considerations, philosophical theories, historical facts, and
stylistic points are introduced and discussed in lectures. For every historical period there is required reading of a
pertinent play that will be discussed in class by all members.
Course Outcomes:
• To gain the ability to analyze a play in order to have a clear understanding of its structure and how it works
• To be able to utilize the techniques of text analysis and to combine them with an artist’s personal point of view
in order to arrive at the possible meanings and themes of a play
• To understand the historical context within which each play is structured and the themes it wants to
communicate within that context
• To learn that reading plays is as essential for theatre students as seeing them
• To apply all of the above in order to facilitate the process of turning a play into a performance
Course Policies:
Attendance is of primary importance. Because of the large scope of the course and the volume of work that it covers, it
is imperative to be in class at all times. There is a participatory and engaged energy that is required while in this class.
Assigned reading must be done prior to class. It will provide a substantial background and context for the lectures.
Assignments:
Written Assignments & Quizzes
There are written assignments for every play under discussion. These assignments are meant to deepen one’s
knowledge of the plays and they are due during the weeks that each play is discussed. Do not turn it late assignments.
There are also short quizzes on the plays themselves (the story, the events, the characters, etc.).
Exams
There will be three exams based on the material covered in class and all the reading assignments. It is important to
keep up with the reading assignments.
Final Project
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The final project is a group presentation in class on an assigned play per group. Each group will be given a copy of the
play that they will study and research for the purpose of a presentation in class. The components of the presentation
will be divided up amongst members of the group.
The presentation will include:
• Historical context for the play
• Biographical information of the playwright relevant to his/her work and to the assigned
• A structural and thematic analysis of the play
• Reviews of major performances
play in particular
Grading Procedure:
Exam I, II, III
Written assignments
Final Project
Participation
Total
150 points (%30)
200 points (%40)
100 points (%20)
50 points (%10)
500 points (%100)
100-90=A
89-80=B
79-70=C
69-60=D
Required Textbooks:
Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays. Carbondale, 1983.
Barnett, Sylvan, Morton Berman, William Burto and Rena Draya. Eds. Types of Drama: Plays and Contexts. New
York: Longman Inc., 2001.
A Weekly Break-down of the Semester
Week One
We will concentrate on the techniques of text analysis as discussed in textbook, Backwards and Forwards.
There will be two (or three) selections from several plays that we will read and from the text and the language
alone, we will try to decipher the given circumstances, the characters, the setting, etc.
Week Two
Trojan Women – Euripides Adapted by Ellen McLaughlin (Ancient Greek Tragedy)
415 BCE
We will study this play as an example of and a model for ancient Greek tragedy at its zenith. We want to find
out how the purely moral and ethical considerations of previous generations of Greek playwrights have
developed here into psychologically complex and nuanced characters.
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We will apply the techniques of text analysis to this play in order to gain an understanding of its structure and
themes. We will break down the play into logical sections in order to find out how the story unfolds and what
the build of the play is.
We will also consider the notion of myth-making and the ritualistic roots of theatre. We will explore the role of
the “chorus.” The themes of exile, exploitation, and the burden that women carry are central to Trojan Women.
We will attempt through this adaptation to find contemporary parallels that may help us with a visual score.
Week Three
King Lear – William Shakespeare (Elizabethan Tragedy) - 1605
Our this discussion of this play will begin with text analysis (stasis, intrusion, obstacle, conflict, action) in order
to discover the ways to retell this story in the theatre with utmost clarity and logic.
We will also do a comparison/contrast of King Lear and The Trojan Women to find the structural and thematic
differences between these two tragedies. By comparing the two texts we will discover the similarities and
differences between them and the historical progress that tragedy has undergone in terms of form and content.
We will also discuss the performance requirements that are specific to Shakespeare and the demands that they
place on actors, directors, and designers who work on his texts.
Week Four
Misanthrope – Moliere (17th Century French Comdey) - 1666
We will attempt to define “comedy of manners.” We will look at the stylistic and traditional constraints under
which Moliere wrote his plays. We will discuss farce, satire, and broad stereotypes that the 17th century (and
Moliere) used in order to make commentary on political and social issues. We will look at The Misanthrope
specifically to see how Moliere distanced himself from those traditions to embark on a more serious study of
human relationships. This move away from broad depiction of characters to a more detailed study of human
behavior foreshadows an ongoing attempt in the history of theatre toward a study of human psychology that
finally culminated in the realistic movement at the turn of the 20th century.
Week Five
EXAM I
The Cherry Orchard – Anton Chekhov (Realism) - 1904
We will analyze the play in order to gain a structural knowledge that led Chekhov to create a revolution in the
theatre by writing texts that required a whole new method of acting and directing. There will be a discussion of
the performance demands for this text and its specific requirements which changed the totality of staging a play
in terms of directing, acting, and design.
We will attempt to arrive at reasons why Chekhov has labeled this play as a comedy.
This play will be discussed as a significant historical moment in the theatre of the 20th century and its ongoing
outcomes.
Week Six
The Cherry Orchard (continued)
The Glass Menagerie – Tennessee Williams (Poetic Realism) - 1945
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We will analyze the play by comparing it to the realism of Chekhov in order to find out how the stasis, the
intrusion, and the transformations are handled differently than in
The Cherry Orchard. We will examine the role of the narrator in this play and the functions of narration within
a dramatic text.
We will also look at the text through a feminist and a gay lens to see what new meanings might emerge.
Week Seven
The Glass Menagerie (continued)
The Good Person of Setzuan – Bertolt Brecht (Epic Theatre) – 1939-1943
This play will give us an opportunity to discuss political theatre as a significant agent of social debate and
possible social change.
We will look at Brecht’s dramatic structure and how it affects performance requirements. We will concentrate
on Brecht’s performance techniques in order to discern his specific theatrical language and what he wanted to
communicate with it.
We will look at the central theme(s) of the play (within the context of Marxist theory) to find possible
appropriate meaning(s) to explore a contemporary production of this play.
In terms of further research, we will watch the documentary, Theatre of War, about the 2006 New York
Shakespeare Festival’s production of Mother Courage with Meryl Streep in the title role, directed by George C.
Wolfe.
Week Eight
The Good Person of Setzuan – Bertolt Brecht (Epic Theatre) – 1939-1943 (continued)
Exam II
Week Nine
The Birthday Party – Harold Pinter (Absurdism) - 1958
We will apply text analysis techniques to this play to see the ways in which it defies a traditional structure. We
will then try to correspond the themes of the text to this new structure to see what relationship we find between
form and content.
We will concentrate on Pinter’s use of language and its specific functions within a dramatic text, including the
presence of ‘silence’ to make a commentary on the sound.
We will attempt to place our findings within a historical context to gain a better understanding of these dramatic
techniques.
Weeks Ten and Eleven (exploring cultures)
The Strong Breed – Wole Soyinka (post-colonialism) - published in 1963, performed in 1966
Los Vendidos – Luis Valdez (Hispanic Theatre) - 1967
Funnyhouse of a Negro – Adrienne Kennedy (African-American Theatre) - 1964
The Sound of a Voice – David Henry Hwang (Asian Theatre) - 1983
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We will look at examples of dramatic writing beyond the mainstreams of the European and American theatres.
These examples include post-colonialism, Hispanic theatre, African-American theatre, and Asian theatre. We
will look at the techniques of storytelling used in each play to communicate cultural experiences marginalized
by the mainstream.
Week Twelve
In the Blood – Suzan Lori-Parks (Deconstruction) - 2000
The context for our text analysis for this play is the deconstruction of The Scarlet Letter from an AfricanAmerican and feminist perspective. We will look at the original novel to discover how it has been recontextualized in this play in order to communicate a specific cultural experience. We will also discuss why the
theatre (and not a novel) is the most appropriate venue for this particular deconstruction.
We will then consider how Suzan Lori-Park’s language achieves an original voice by defying theatrical
derivatives.
Week Thirteen and Fourteen
Exam III
Preparation for the presentation of Final Projects.
Weekly Assignments
WEEK #1
• Read chapters 1-4 in Backwards and Forwards. Fill out the hand-out distributed in class based on that reading.
• You will be given three selections from three different plays with all the stage directions erased. Based on your
study of the text and the language alone, determine the following:
o The given circumstances
o Description of the characters and their relationships to one another
o The social and economic status of the characters
o The major conflict of the scene
o Possible thematic exploration
• Support your answers logically.
WEEK #2
The Trojan Women
• Read chapters 5-7 in Backwards and Forwards.
• After reading The Trojan Women, answer the following questions. Type your answers and submit hard copies
in class.
o What events have occurred prior to the opening of the play?
o Who are Hecuba and Helen and what is the cause of their confrontation?
o What is the above confrontation trying to achieve thematically?
o Who is Cassandra? What had happened to her? And what is the cause of her madness?
o Describe the character of Andromache based on your reading of the text: Who is she? What has
happened to her and what is about to happen to her? And how would you describe her
character/personality?
o What do you see as the function of the chorus in the play? What do they provide in comparison/contrast
with the solo roles?
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•
Write a brief 2-3 page paper discussing some of the major themes of this play and their contemporary
resonances. This is very similar to the talk the director would give on the first day of rehearsal. It should create
a context for what the actors will be doing for the following weeks. This talk should be substantive and
inspiring.
o Divide the play into sections and support your analysis. You may even give titles to each section.
Indicate all this on your script and hand it in to me in class.
WEEK #3
King Lear
• There will be a quiz on the play.
• Using the textbook, Backwards and Forwards, determine where the stasis and intrusion take place in the script?
• Do a sequential analysis of the play to determine the domino effect of the events leading to the final tragedy.
• Class discussion: In your textbook, Types of Drama, there is a section of “Topics for Critical Thinking and
Writing” on page 318. Be ready to discuss and debate.
• Two reviews of recent major productions of King Lear will be distributed in class. Look at the reviews to see
the interpretive differences between these two versions.
WEEK #4
The Misanthrope
• After reading the play, write a scene by scene plot summary.
o Look at the very first scene of the play (between Alceste and Philinte). Break the scene down into
sections and describe the dramatic function of each. What kind of an arc do you detect? What do we
learn about the characters?
o Write a complete character description for Alceste, Philinte, and Celimene (the more fully fleshed-out
characters). How are these characters constructed differently than Arsinoe, Clitandre, and Oronte?
o Be able to discuss the themes of the play and their current resonance?
WEEK #5
The Cherry Orchard
• There will be series of questions handed out in class on the specifics of the story of the play. This will be a
take-home quiz. Type your answers and bring them to class on Wednesday of this week.
o Break down Act One of the play into logical units. Explain the function(s) of each unit. What important
information does each unit offer? What do we learn about characters and their relationships to one
another? We will discuss in class.
o What characters go through the most transformation and how?
o Determine the super-objective of each of the following characters: Ranevskaya, Lopakhin, Varya,
Dunyasha, and Yepikhodov. In other words, what is the one thing that each character wants to achieve
more than any other objective? What does each character do (or not do) to achieve that super-objective?
What is the status of these super-objectives by the end of the play?
• Read “Chekhov’s Contribution to Realism” from Modern Drama in Theory and Practice: Realism and
Naturalism by J. L. Stynan.
• The Cherry Orchard was Chekhov’s last play (1904). Be able to discuss its social and historical context. In
what ways does this play represent a more direct definition of “realism” than The Seagull and The Three
Sisters?
WEEK #6 & 7
The Good Person of Setzuan
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•
•
•
•
•
Because of sprawling nature of this play, its length, and complications, it is absolutely necessary to write an
episode by episode plot summary. For each episode, write the location and the time (if appropriate), and a list
of the characters in that particular episode. Give a title to each episode that describes the essence of the scene
(gestus).
In Brecht’s plays, the plots and characters are a stand-in for socio-political, economic, ethical, etc. messages and
themes. Take the first 5 episodes and write about how the characters and the events of each episode of
reflective of such themes.
Be able to place The Good Person of Setzuan within its appropriate historical context.
Be able to discuss how Brecht’s dramatic techniques are specifically applied to this play.
The ending of the play has been criticized for being vague. What are your thoughts?
WEEK #8
The Glass Menagerie
• After a careful reading of the play, respond to the following questions. Type your answers and bring them to
class.
o What is the event that changes the course of the play? Defend your answer.
o What are some reasons why Tom is narrator as well as a character in the play?
o Scenes 1 through 5 are entitled “Waiting for the Gentleman Caller.” Make a list of the events that lead
to the entrance of the gentleman caller.
o It has been theorized that Tom might be gay (a stand-in for Williams himself). What lines in the play
can possibly give credence to that theory?
o Come up with 5 examples of physical action (mentioned in the text) that demonstrate Amanda’s
controlling nature toward Tom.
o There are 3 moments in the play when Laura does a specific action when she is confronted with major
crises in order to isolate herself. What is the action and what are those crises?
o Choose the lines of one character (speaking about themselves or other people speaking about them) and
turn them into a monologue that best reveals the essence of that character. For example, in scene six,
when Tom and Jim talk about their futures, what do they reveal about their characters? The monologue
should not be more than a typed page.
o The historical, social, and biographical background of this play and its author are crucial to
understanding it. Be able to place the text within those contexts.
o What are the differences between the realism of Tennessee Williams and that of Anton Chekhov?
WEEK #9
The Birthday Party
• Read “Theatre of the Absurd: Beckett and Pinter” in Modern Drama in Theory and Practice: Symbolism,
Surrealism, and the Absurd.
• Be able to analyze the play sequentially to see what the formal structure is and what content may emerge from
that form.
• Concentrate on the functions of the language in this play, including the pauses.
• There will be class discussion on “Topics for Critical Thinking and Writing” on page 738.
• How is the absurdism of Pinter different than that of Samuel Beckett?
WEEKS # 10 & 11
The Strong Breed
Los Vendidos
Funnyhouse of a Negro
The Sound of a Voice
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•
The above short plays represent dramatic writings from a variety of marginalized voices: colonialism (South
Africa), Hispanic, Asian-American, and African American. We will discuss in class the strategies that each
playwright uses to communicate and explore relevant themes.
•
In a short paper (approximately 5 pages), write about the thematic similarities and differences in the four plays
under discussion.
We will also look at how these plays challenge the traditional format of theatre-making in America.
•
WEEK # 12
In the Blood
• Class discussion: strategies of adaptation. In this case, Nathaniel Hawthorne’s Scarlett Letter, being turned into
a play about an African-American woman in a severely under-privileged urban setting.
• We will do a research on Suzan-Lori Parks’ body of works to see what the common themes are.
• Discuss the use of language in this play and how it is different from a traditional play.
• How would you categorize the style of this play? Write your reasons in a short 1-2 page paper.
WEEK #13 & 14
This is the preparation time for the group projects. The in-class presentations of the projects will follow.
Bibliography
Aylen, Leo, The Greek Theatre. London, 1985.
Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays. Carbondale, 1983.
Barnett, Sylvan, Morton Berman, William Burto and Rena Draya. Eds. Types of Drama: Plays and Contexts. New
York: Longman Inc., 2001.
Bieber, Margarete, The History of Greek and Roman Theatre. Princeton, N.J., 1961.
Blau, Herbert, The Dubious Spectacle: Extremities of the Theatre, 1976-2000. Minnesota, 2002.
Brecht, Bertolt, Brecht: Development of an Aesthetic. Translated by John Willett. New York, 1992.
---, Mother Courage and Her Children. Trans. by John Willett. New York, 2007.
Case, Sue Ellen and Janelle Reinelt (eds.), The Performance of Power: Theatrical Discourse and Politics. Iowa City,
1991.
Chemers, Michael Mark. Ghost Light: An Introductory Handbook for Dramaturgy. Southern Illinois University, 2010.
Chinoy, Helen Krich, and Linda Walsh Jenkins (eds.), Women in American Theatre. New York, 2001.
Fliotsos, Anne. Interpreting the Play Script: Contemplation and Analysis. Urbana, 2011.
Fiotsos, Anne & Vierow, Wendy. American Women Stage Directors of the Twentieth Century. Urbana, 2008.
Fuegi, John, Brecht & Co.: Sex, Politics, and the Making of Modern Drama. New York, 2002.
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Gurr, Andrew, The Shakespearean Stage, 1574 to 1642. Cambridge, 1970.
Howarth, William, D., French Theatre in the neoclassical Era, 1550-1789. New York, 1997.
Ionesco, Eugene, The Bald Soprano and Other Plays, Trans. Donald Allen, New York, 1958.
Ingham, Rosemary. From Page to Stage: How Theatre Designers Make Connections Between Script and Images.
Portsmouth, NH, 1998.
Kolin, Philip C., Understanding Adrienne Kennedy. North Carolina, 2005.
Miller, Bruce. Actor’s Alchemy: Finding the Gold in the Script. New Jersey, 2011.
---. The Scene Study Book: Roadmap to Success. New Jersey, 2010.
Parks, Suzan-Lori, The American Play and Other Works. New York, 1995.
---, The Red Letter Plays. New York, 2001.
Pinter, Cal & Walters, Scott E. Introduction to Play Analysis. Boston, 2005.
Rush, David. A Student Guide to Play Analysis. Carbondale, 2005.
Saddik, Anette, Contemporary American Drama. Edinburgh, 2007.
Thomas, James. Script Analysis for Actors, Directors, and Designers. Oxford, 2009
Thompson, Peter, Shakespeare’s Theatre, London. London, 1992.
Waxberg, Charles S., The Actor’s Script: Script Analysis for Performers. Portsmouth, NH, 1998.
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