English 2390.11145
Introduction to Drama
Instructor
Office
E-mail
Office Hours
Class Location
Class Time
Darby Burdine
Irby 414
dburdine1@uca.edu
TR, 11:00-1:00; or by appointment
Irby 303
MWF 12:00-12:50
Course Description
Welcome to Intro to Drama! In this course, we will carefully and critically
read, discuss, and write about drama and its development from a variety of
time periods and cultures. Our central focus will be to explore the ways in
which drama has historically created, reflected, and resisted various forms
of meaning from religious, cultural, artistic, political, and literary
perspectives. Drama, like any form of art, is often a reflection of culture, but
it can oftentimes reflect the disfunctionality (that’s a word now; I just made it
up) of culture that society would rather pretend isn’t there. It thus has the
capacity to offend, but also to change problems within societies around the
world. It’s revolutionary! How does drama create meaning in terms of the
complex emotions and facets of the human experience it explores? How
do dramatists of various productions use the tools at their disposal to shape
plays for different purposes? And how do audience members and readers
perceive meaning through stories fashioned for the stage.
Be prepared!
In our reading material this semester we will encounter “adult situations.” If
you choose to take this course, you are choosing to consider in a mature and
constructive manner religious, political, and ethical perspectives that differ
from your own. I’m agreeing to do the same.
Course Objectives
Our objectives for the semester are:
 To establish a good understanding of drama as a genre.
 To explore the selected plays from a variety of critical viewpoints.
 To discover connections and contradictions within and between the plays.
 To detect cultural assumptions underlying the plays of each period, and in the
process become aware of our own cultural or personal assumptions.
 To develop and present ideas logically and effectively in order to enhance
communication and collaboration with diverse individuals and groups.
 To participate in our own acts of performance, through reading, analysis,
discussion, writing—and perhaps even some performing!
 To have a constructive and enjoyable experience that enhances your
educational growth as well as that of a human being! Drama is essentially about
the human experience!
Required Text
The Norton Anthology of Drama. Vols. 1 & 2. New York: 2009.
Course Readings
You are responsible for reading all of your assignments prior to the class
period during which we will discuss them. As you read, keep track of questions
and ideas. I will welcome and respect all informed opinions and statements. I aim
to structure the class around your contributions—questions and commentaries—as
much as possible.
Course Grade
Participation
Exam 1
Reading Responses
Performance Reviews1 & 2
Performance Presentation
Examination
You will take one exam. Your final will be your performance presentation. On this
exam, you may be asked to identify and write substantially about quotations from
the works and respond briefly to short answer questions. Material covered in
exams will include readings, discussions, and lectures. You are required to write
legibly—if I cannot read your exam, I cannot grade it. I have horrible handwriting
naturally, so I understand, but try to make it legible. An exam may be rescheduled
10%
15 %
25%
25%
25%
only due to dire circumstances and only when documented appropriately.
Reading
Responses
Over the course of the term, you will have the opportunity to write 8 one-page
reading responses For each response, focus on one specific element (a character,
scene, image, theatrical device, etc.) related to the play we are currently reading.
All responses should:
 Be typed in Times New Roman or Garamond 12-point font.
 Be double-spaced, on an 8.5 x 11 inch sheet, with margins of one inch or less.
 Be as free of errors as possible (use spell and grammar check, and edit
responses carefully before turning in).
 Be one full page ((however, if you just really connect with a particular play, I
will accept up to two pages).
 Include a proper heading (your name, course, my name, date, and a title).
 Always do more than summarize the material—pick a particular aspect of the
work that interests you, think about why it interests you, and articulate your
thoughts in writing. I want to know what you think about what we’re reading,
and that you are actually thinking about it! These assignments are vital to
determining the direction of our discussions.
Reading responses are meant to prepare you for class discussion, deepen your
understanding of the texts, and encourage you to make connections among the
various texts we read. You will receive credit only if the response meets the above
technical requirements and fulfills the given assignment.
Performance Reviews
In this course, we will spend a great deal of time reading, discussing, and
writing about drama. In order to enrich your experience in the classroom,
you will attend at least 2 live theatre performances at some point during the
semester. One of the performances you are required to attend is UCA
Theatre’s production of Lysistrata (Oct 30, 31, Nov 6, 7 @7:30, and Nov 2
@2:00). You will write a 3-5 page critical review of each production and
hand it in along with a ticket stub. See schedule for specific due dates. In
each review, describe the performance and evaluate its effectiveness. What
key ideas in the play was the director trying to develop? How can you tell?
Describe your feelings and reactions as an audience member, as well as any
significant reactions of those around you. You will find our discussion of
staging options and performance history much more interesting and
relevant for having recently experienced a couple of live performances for
yourself. You may choose any local (or non-local, if you have the
opportunity) university, professional, or semi-professional productions.
You should note that UCA Theatre performances are free to all students,
but you do have to reserve tickets. Let me know if you absolutely cannot
find a play to attend, and I will help you find a suitable alternative or option
you hadn’t considered. ALSO, I will allow musicals because I adore them.
It still needs to be a well-written, scholarly, purposeful paper, however.
Here are the websites for a few local theatres:
http://uca.edu/theatre/season/
http://uca.edu/publicappearances/
http://www.therep.org/
http://www.hendrix.edu/theatrearts/
http://ualr.edu/theatre/season/
http://murrysdp.com/
***If you wish to go see a production at a theatre other than these, local or
otherwise, talk to me about it and I’ll determine if it will be a suitable
performance for this assignment.
Performance Presentations
This assignment consists of two parts: the Portfolio and the Presentation.
In groups of 5, you’ll work to create a theatrical or cinematic staging of
one scene from our selected readings. This will count as your final exam
(so it’s much more fun than just taking a two-hour long test!) The group
will determine specific roles for each member: every group should have 1
director, 1 or more designers (costume, scenic, sound, and/or lighting), and
1 or more actors. Each member of the group will prepare a portfolio
detailing your interpretation of the scene and justifying each of your
choices for your staging from your perspective as a director, designer, or
actor. You and your partners will then make a presentation to the class
during which you pitch your idea for the scene. This portion of the
assignment will require meeting to prepare outside of class.
Part I: The Portfolio (10%)
Think of the portfolio as a “director’s/designer’s/actor’s notebook.” Each
student’s portfolio will be graded individually and will be due on the day of
your presentation. You must write your own—do not merely copy a fellow
group member’s work! I’ll know! It must include:
 A description of your role and your responsibilities in that role (as
agreed upon by the group), along with a log of meeting activities outside
of class (1 page).

A brief explanation of why you chose this particular scene, your vision
for the scene, and your justification for the medium you have chosen
(stage or film) (2-3 pages).
 Your assertion of the scene’s significance to the play as a whole (2-3 pages)
Your explanation of design choices and casting preferences, with any examples you
deem appropriate (photos, material samples, drawings, etc.) (2-3 pages). Please
consider: theme (decide on the one theme/problem that your staging will address
and put it into a sentence—can be a phrase from the work, or something that your
group writes); casting (you may choose from public figures—actors, singers, athletes,
politicians, and other popular culture icons, living or dead, past or present—to cast
as the main characters); protagonist (whose story does your version of the scene
tell?); genre (is your staging part of a Broadway production of the play, a traditional
period version of the play, or an experimental black box theatreproduction? Is it
part of an artsy indie film, a Hollywood summer blockbuster or a horror flick?).
Who is your anticipated audience, and why does this matter? Make it fun! Make
us want to watch your production!


At least 2 discussion questions relevant to the scene and your particular
interpretation of it. These questions should be open-ended and aimed
at fostering discussion in class (thus you should avoid questions that
merely ask for content summary or invite “yes” or “no” responses).
You will use these questions to lead the class in a brief Q&A/discussion
during your presentation. No group member should have the same 2
questions.
Please use a folder of some kind for the portfolio.
Part II: The Presentation (10%)
For the presentation, you will convey to your classmates the work you and your
fellow group members have already compiled in your portfolio. Your goal during
the presentation is to convince the class that your particular staging choices are
valid in terms of current scholarship and will be compelling in performance.
Presentations should be creative and fun, but also must be critically sound,
professionally executed, and academically appropriate for your scholarly audience
(if it looks like a high school project you can find on YouTube, something has
gone seriously wrong). Though performance is not mandatory, your group may
choose to perform all or part of the scene during the presentation and/or include
visual aids (PowerPoint, photos, film clips, storyboard, etc.) to thoughtfully and
thoroughly persuade your audience that your version of the scene will be a smash!
It is your responsibility to make certain each student contributes adequately.
Presentations must last 10-15 minutes (no more or less, please).You can act it out
for the class or simply present your idea for us! Although I’d prefer for all of you
to try to step into the other side of drama and perform!
***You’ll want to begin preparing for this early so you aren’t cramming this in with
studying for finals!
Participation
The most crucial thing you bring to this class is your desire to actively participate. I
invite you to take control of your own education in this course—think about what
you want to learn and go for it! Participation comes in various forms, and below I
have listed several important factors contributing to your participation grade for
this course. Take note that your final grade may be swayed by the quality of your
participation.
 Discussion: you must speak in class if you hope to be successful. Please come
to class having read all of the assigned material and be prepared to engage in a
meaningful discussion of the issues it raises. Keep track of questions that
come to mind as you read, and share those with the rest of the class.
Commenting on the texts in class is a crucial part of learning to analytically
think, read, and write about literature.
 Conduct: please be on time, stay awake, and refrain from carrying on private
conversations, tweeting, texting, or working on other coursework during class.
Respect, trust, and courteous classroom conduct are essential in this course.
Please silence cell phones and other gadgets and remove them from your desk
or lap. Laptop use is not permitted during class. Failure to behave in an
appropriate manner will result in the lowering of your participation grade. If
necessary, I will ask you to leave the class. But please don’t make me do that!
 Commitment: you must attend class to be an active participant. If your
schedule has constraints that will not allow you to attend regularly or to come
to class prepared to participate, you may choose not to join us this semester. If
you decide to take this course, you are deciding to attend the class every time it
meets. In return, I am promising you that I will do my part to make class
meetings meaningful learning experiences. You will be unable to pass the
course if you are absent more than four times (this includes both excused and

unexcused absences—written excuses are not necessary).
Text: in order to fully participate, you must purchase your own copy of the
text and you must bring it to class with you. We will use it every day. Failure
to regularly bring your text to class will result in the lowering of your
participation grade. Further, you may be marked absent if you come to class
without your text.
Grade Calculation
100-90 =
89-80 =
79-70 =
A
B
C
69-60 =
Below 60 =
D
F
Academic Integrity
The University of Central Arkansas affirms its commitment to academic integrity
and expects all members of the university community to accept shared
responsibility for maintaining academic integrity. Students in this course are subject
to the provisions of the university's Academic Integrity Policy, approved by the
Board of Trustees as Board Policy No. 709 on February 10, 2010, and published
in the Student Handbook. Penalties for academic misconduct in this course may
include a failing grade on an assignment, a failing grade in the course, or any other
course-related sanction the instructor determines to be appropriate. Continued
enrollment in this course affirms a student's acceptance of this university policy.
Read this!
If caught plagiarizing, you will be dismissed with an “F” in the course. Using
unauthorized assistance of any kind in taking quizzes, tests, or exams is also grounds for
failing the course. If ever tempted to plagiarize or cheat, I encourage you first to come talk with
me. This will be far more productive than plagiarism.
Open Door Policy
Feel free to come see me whenever you need to discuss a test, problem, or any
question about the course. It is best to make an appointment with me during
office hours or reach me by e-mail. When you e-mail me, be sure to include the
topic of the message in the subject line and include your name at the end of the
message. Always include a full explanation, and please do so with courtesy and
respect. Be professional.
Compliance with
Americans with
Disabilities Act
The University of Central Arkansas adheres to the requirements of the
Americans with Disabilities Act. If you need accommodation under this act due
to a disability, contact the Office of Disability Support Services at 450.3135.
Sexual Harassment
Policy
Please consult the current UCA Student Handbook for university policies
regarding sexual harassment.
Title IX disclosure:
If a student discloses an act of sexual harassment, discrimination, assault, or other
sexual misconduct to a faculty member (as it relates to “student-on-student” or “employee-onstudent”), the faculty member cannot maintain complete confidentiality and is required to report
the act and may be required to reveal the names of the parties involved. Any allegations made by a
student may or may not trigger an investigation. Each situation differs and the obligation to
conduct an investigation will depend on those specific set of circumstances. The determination to
conduct an investigation will be made by the Title IX Coordinator. For further information, please
visit: https://uca.edu/titleix. *Disclosure of sexual misconduct by a third party who is not a student
and/or employee is also required if the misconduct occurs when the third party is a participant in a
university-sponsored program, event, or activity.
Building Emergency
Plan
An Emergency Procedures Summary (EPS) for the building in which this class
is held will be discussed during the first week of this course. EPS documents for
most buildings on campus are available at http://uca.edu/mysafety/bep/. Every
student should be familiar with emergency procedures for any campus building in
which he/she spends time for classes or other purposes.
Important Dates
Nov 14 Final date to officially withdraw with a W (unless already dropped for
nonattendance)
Dec 1 Final date to officially withdraw with a WP or WF (unless already dropped
for nonattendance)
Schedule of Readings and Assignments (subject to change)
Week 1
August 22
Discussion:
Introduction to the Course; Looking over Syllabus
Week 2
August 25
Discussion:
Due:
Discuss & sign up for Group Performance Presentations;
Jean-Baptiste Poquelin Molière, Tartuffe (1664)
August 27
Discussion:
Due:
Jean-Baptiste Poquelin Molière, Tartuffe (1664)
Reader Response 1
OPTIONAL VIEWING OF Tartuffe FILM, ROOM AND TIME TBA
August 29
Week 3
Week 4
Week 5
Week 6
Week 7
Week 8
Discussion:
September 1
Tartuffe , Continued
NO SCHOOL
September 3
Discussion:
Due:
William Shakespeare, Hamlet (1603)
William Shakespeare, Hamlet (Through Act III)
September 5
Discussion:
Due:
Hamlet continued
The rest of Hamlet
September 8:
Discussion:
Due:
Hamlet continued
September 10 Discussion:
Hamlet continued
September 12 Discussion:
Due:
TBA
TBA
September 15 Discussion:
Due:
Henrik Ibsen, Hedda Gabler (1890)
Full Play
September 17 Discussion:
Due:
Hedda Gabler, Continued
September 19: Discussion:
Hedda Gabler, Continued
September 22: Discussion:
Due:
Oscar Wilde, The Importance of Being Earnest (1895)
Full Play
September 24 Discussion:
Due:
September 26 Discussion:
The Importance of Being Earnest Continued
September 29 Discussion:
Due:
Arthur Miller, Death of a Salesman (1949)
Full Play
October 1:
Discussion:
Death of a Salesman Continued
October 3
Discussion:
DUE:
Death of a Salesman Continued
PERFORMANCE REVIEW I
October 6
Discussion:
Due:
August Wilson, Fences (1983)
Full Play
October 8
Discussion:
August Wilson, Fences
October 10
Discussion:
Fences Continued
Reader Response 2
Reader Response 3
Reading Response 4
The Importance of Being Earnest Continued
Week 9
October 13
October 15
October 17
Week 10
Week 11
Due:
Discussion:
Due:
Exam 1
Fall Break
SPECIAL READER RESPONSE 5
Exam Review
Any questions you have about the test
October 20
TBA
Optional Viewing of Death of a Salesman Film, Time and Location TBA
October 22
Discussion:
Due:
Susan Glaspell, Trifles (1916)
Full Play (Really short) and Reader Response 6
October 24
Discussion:
Due:
Trifles and Intro to Lysistrata
Intro to Lysistrata
October 27
Discussion:
Aristophanes’s Lysistrata (411 BC) Guest Speaker Dr.
Kevin Browne , Director of Lysistrata
Due: MUST HAVE LYSISTRATA READ BEFORE THIS CLASS!
Week 12
October 29
Discussion:
Lysistrata
October 31
Discussion:
Lysistrata
November 3
Discussion:
TBA
Due:
TBA
Discussion:
TBA
DUE: PERFORMANCE REVIEW 2
November 5
November 7
Week 13
Week 14
Discussion:
Due:
Wole Soyinka, Death and the King’s Horseman (1975)
Death and the King’s Horseman through Act III
November 10 Discussion:
Due:
Death and the King’s Horseman Continued
November 12 Discussion:
Due:
Death and the King’s Horseman
November 14 Discussion:
Death and the King’s Horseman
November 17 Discussion:
Due:
A Number, Caryl Churchill (2002)
November 19 Discussion:
Due:
A Number
November 21 Discussion:
A Number
The Rest of the Play
Reader Response 7
Full Play (short)
Final reader response!!!
Week 15
November 24 Discussion:
Due:
TBA
TBA
November 26 Thanksgiving Break
November 28 Thanksgiving Break
Week 16
December 1
December 3
Final Exam
Discussion:
Catching up on any plays, answering performance
assignment questions
Due:
TBA
GROUP PRESENTATIONS 1-3
Wednesday, December 10, 11:00-1:00 p.m.