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This class is predicated upon the conceit that Shakespeare--as
a member of a producing theatre company--wrote his plays as theatrical
artifacts and not literary works. To understand, appreciate and master
the plays of the Bard, students must approach the texts as performance
specimens. Functioning as scholarly artists in a laboratory
setting, students--working from both the Folio and modern editions--will
master the rudiments of Shakespearean performance, become acquainted with
historical and contemporary staging conventions, investigate the notion
of textual integrity and explore dramaturgical issues. Particular
emphasis will be placed upon the desirability and/or need to subvert through
performance problematic texts.
1) Attendance at all sessions
2) Completion & submission of all written assignments
3) Participation in all exercises, memorization of lines, in-class performance
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All’s Well That Ends Well
Measure for Measure
Othello
The Tempest
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BOOKS
Charles Marowitz’s Recycling Shakespeare
Stanley Wells, ed. The Cambridge Companion to Shakespeare Studies
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Week 1
Introduction & the Project Book
Textual Verity: Quartos, Folios & Modern Editions
Week 2
Linguistic Devices I: Iambics & Scansion
(Wells: 163-186)
Scansion Guide
Elizabethan Pronunciation
Linguistic Devices II: Wordplay
(Wells: 49-66 & 163-186)
Assigning Stress
Sound of Sonnet
Week 3
Shakespeare's England
Shakespeare Biography: www.168.216.219.18/projects/shakesp/shakesp.htm
Shakespeare Bio Documents: www.fly.hiway.net/~paul/positive.html
Tudor England: www.tudor.simplenet.com/
1595 Map of England: www.peak.org/shrewsbury/References/gb-map.html
Shakespeare at the Globe
(Wells: 67-100)
The Globe Theatre I: www.rdg.ac.uk/globe/Data.base.html
The Globe Theatre II: www.shakespeare.uiuc.edu
Week 4
Evolving Staging
(Wells: 187-212)
Stage History: www.garnet.berkeley.edu/~claudius/bibliotpage.html
Modern Staging Techniques: Voice Excercises
(Wells: 53-140 & 257-272)
Modern Productions: www.shakespearedc.org/pastprod.html
Week 5
The Soliloquy & Set Speech
Do It: www.tamut.edu/english/folgerhp/Recipes/doit.html
Week 6
Word & Vocal Work
Soliloquy Presentations
Week 7
Scene Work -- Scansion Due
Scene Work -- Paraphrase & Gist Due
Week 8
Scene Work -- Character Analysis Due
Scene Work -- Scene Analysis Due
Week 9
Scene Work
Scene Work Presentations
Week 10
Shakespeare on Film
Shakespeare On Film
Week 11
Shakespeare On Film
Shakespeare On Film: Essay Due
Week 12
Directing Shakespeare
Directing Shakespeare
Week 13
Directing Shakespeare:
Directing Shakespeare
Week 14
Soliloquy Work: Dramaturgy Exercise Due
Soliloquy Work
Week 15
Soliloquy Presentation:
Scansion/Paraphrase/Essay Due
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The Project Book is a compilation of all work done during the course of the semester. All assignments are due in class as noted on the syllabus (and as called for--even if not on the syllabus!!!). You will receive immediate feedback in class and then will have the opportunity to correct/improve for grading. Below is a general outline of assignments that will be put into project book (additional work will be assigned). You are required to include an index with page numbers and to clearly designate all 23 assignments for reference by using colored and labeled tabs.
I. Soliloquy I
a) Comparison between Folio & Modern Edition of soliloquy/set speech
b) soliloquy scansion
c) soliloquy paraphrase & Gist
d) General Character analysis
e) Specific Speech Analysis
f) Tempo & Objective chart
II. Scene
a) Comparison between Folio & Modern Edition of scene
b) Scene scansion
c) Character Analysis
d) Scene Analysis
e) Paraphrase & Gist
f) Tempo & Objective Chart
III. FILM ANALYSIS
a) Submission of comparative chart
b) Completion of essay
IV. DRAMATURGICAL ASSIGNMENTS
a) Completion of essay
b) Completion of dramaturgical research
c) Submission of directorial conception
V. SOLILOQUY II
a) Comparison between Folio & Modern Edition of soliloquy/set speech
b) soliloquy scansion
c) soliloquy paraphrase & Gist
d) General Character analysis
e) Specific Speech Analysis
f) Tempo & Objective chart
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Ball, David. Backwards & Forwards: A Technical Manual for Reading Plays. Carbondale: Southern Illinois University Press, 1983.
Barton, John. Playing Shakespeare. London: Methuen, 1984.
Brockbank, Philip, ed. Players of Shakespeare I. Cambridge: Cambridge University Press, 1988.
Brown, John Russell. Discovering Shakespeare: A New Guide to the Plays. New York: Columbia University Press, 1981.
Brown, John Russell Brown, ed. Shakescenes. New York: Applause Books, 1992.
Brown, John Russel, ed. Studying Shakespeare. London: Macmillan Press, 1990.
Coursen, Herbert R. Shakespearean Performance as Interpretation. Newark: University of Delaware Press, 1992.
David, Richard Shakespeare in the Theatre. Cambridge: Cambridge University Press, 1978.
Davies, Anthony and Stanley Wells, eds. Shakespeare and the Moving Picture. Cambridge: Cambridge University Press, 1994.
Dessen, Alan. Elizabethan Stage Conventions and Modern Interpreters. Cambridge: Cambridge University Press, 1984.
Elsom, John, ed. Is Shakespeare Still Our Contemporary? New York: Routledge Press, 1989.
Goldman, Michael. Acting and Action in Shakespearean Tragedy. Princeton: Princeton University Press, 1985.
Gross, John. Shylock: Four Hundred Years in the Life of a Legend. London: Vintage Press, 1994.
Gurr, Andrew. Playgoing in Shakespeare’s London. Cambridge: Cambridge University Press, 1987.
Kott, Jan. Shakespeare Our Contemporary. New York: W.W. Norton & Company, 1974.
Jackson, Russell and Robert Smallwood, eds. Players of Shakespeare II. Cambridge: Cambridge University Press, 1989.
McGuire, Philip. Speechless Dialect: Shakespeare’s Open Silences. Berkeley: University of California Press, 1985.
Rutter, Carol. Clamorous Voices: Shakespeare’s Women Today. London: Woman’s Press, 1989.
Taylor, Gary. Reinventing Shakespeare. Oxford: Oxford University Press, 1989.
Thompson and Thompson, ed. Shakespeare and the Sense of Performance. Newark: University of Delaware Press, 1989.
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