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Instructor: Walter Metz
Spring 2007
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Syllabus last updated: January 26, 2007.
Benji Wade's Notes:
1st Midterm Notes: Download as PDF (70 KB): February 11, 2007
2nd Midterm Notes: Download as PDF (72 KB): March 06, 2007 (There are no extensive Greek Comedy notes. The powerpoint is linked below from the syllabus, but if you want expanded notes, you should ask a classmate.)
The course meets twice per week, on Tuesdays and Thursdays from 2:10-3:25pm in Linfield Hall, Room 125. It is a lecture-based course.
Information About the Instructor
Course Goals
This course serves two purposes in the Department’s curriculum. First, it provides Motion Picture-Video-Theatre majors with a critical examination of theatre history, a foundation upon which other courses (MTA 374, Stage Production, and MTA 378, Comparative Critical Approaches to Film and Theatre, among others) will build.
The course also teaches you about the critical analysis of textuality. We will investigate the aesthetic, narrative, and ideological methods of theatre studies. We will use the critical techniques of comparative literature to arrive at the media specificity of theatre by discussing mass media equivalents of canonical plays. We will begin by studying the texts of, and learning about various productions of, plays spanning the history of the theatre from the 5th century B.C.E. until the late 20th century. Then, we will analyze these plays in reference to various media adaptations (film, television, radio) in order to see how the material specific to the theatre is refracted when transplanted to the methods of the mass media.
Students will learn from this course how to analyze theatre and mass media using academic methods. You should also emerge from this experience with a greater ability and inclination to think critically about the media environment surrounding you. In the process, you will develop a broad understanding of cultural history.
Reading Material
There are six required books for this course:
1. Jacobus, Lee A. The Bedford Introduction to Drama (5th Ed. Boston and New York: Bedford/St. Martins, 2005). ISBN 0312414412
2. Beckett, Samuel. Waiting for Godot. New York: Grove, 1976. ISBN 0802130348
3. Menander. Plays and Fragments. New York: Oxford UP, 2002. ISBN 0192839837
4. Stephenson, Shelagh. Experiment with an Air Pump. New York: Dramatists Play Service, 2000. ISBN 0822217457
5. Lindsay-Abaire, David. A Devil Inside. New York: Dramatists Play Service, 2000. ISBN 082221752X
6. LaBute, Neil. This Is How It Goes. New York: Farrar, 2005. ISBN 0571211550
The books are available for purchase at the MSU bookstore. If you do not wish to purchase the books, I have placed one copy of each on reserve at the Renne Library. In addition, there are a number of readings on electronic reserves.
Special Events
All MTA 104 students are required to see three live theatrical performances this semester. The first is David Lindsay-Abaire’s Kimberly Akimbo. This play is being presented at the SUB Mainstage Theatre from February 22-24 and March 1-3. We will discuss this play on Thursday, April 26 when we study Lindsay-Abaire’s development as a playwright. The second event is a stage reading of Michael Frayn’s Copenhagen, which will take place on the Mainstage Theatre in the SUB at 7pm on Tuesday, April 17. There will be a question about Copenhagen on the final exam. The third event is “Studio 374,” a night of one-act plays offered by the students in Prof. Watson’s and Campbell’s MTA 374 (“Junior Production: Stage”) course. These plays are being presented on the SUB Mainstage Theatre, April 26-28. There will be a question about the one-act plays on the final exam.
Cheating
Cheating on exams is a widespread problem at most universities. I will attempt to ensure your exam environment discourages this breach of academic standards. Before the exam begins, you will be asked to place your belongings at the front of the room. Once the exam begins, you will not be allowed to leave the room, so be sure to go to the bathroom beforehand. Please refrain from talking, and keep your eyes on your own exam material. Any student caught cheating by me will not pass my course, and will be disciplined further as per university regulations.
Note Taking
To do well, you must take notes in this class, on lecture material and the readings. In lecture, I'll be throwing a lot of complicated information at you, so you'll need to write it down, reflect on it, and work to understand its relevance to the "Big Picture." This is not the sort of class where if you just come and pay attention, you are guaranteed a good grade. There is a great deal of reading material, and in order to learn what is contained therein, you need to take notes on it and study it.
Grading Policy
This is NOT an easy class. The readings are heavy and the information I'll be presenting and we'll be discussing is often theoretical, and thus difficult and challenging. Don't be afraid if you're confused early on. Use our discussions and office hours to work through this new material. That confusion is invigorating and is the fuel that will drive your education. I will use the + and system when assigning grades.
Graded Course Activities
Exam #1 Tuesday, February 13 20%
Exam #2 Thursday, March 8 20%
Exam #3 Tuesday, April 10 20%
Comprehensive Final Exam Monday, May 7 40%
Attendance: See below
Description of Exams
My exams are rather challenging. However, I grade on a curve, and most students who study hard throughout the semester will do well on them. The exams will consist of short format yet open-ended questions (identifications, identify and analyze a quotation, short essay) about the material presented in class and in the readings, and its applicability to the clips we’ve watched and the plays we’ve read for the course. The material for these questions will be culled from the in-class material (including clips shown in class) and the reading material. Please write down immediately the date of the exams. If you do not take any of the exams, you will receive a grade of F for the course. Cases of extreme personal emergency must be discussed with the instructor prior to the exam.
Attendance Policy
If you don't come to lecture regularly, there's no way you'll pass the course. I'll be presenting complicated information in class, and might be showing clips that won't be available later on. Since so much of the learning will be going on during lecture, you won't be able to fully understand the lecture by looking at someone else's notes later on. I will keep track of attendance as a criterion for borderline students caught between grades. Since the course is difficult, I always give a break to students who have demonstrated their interest by coming to class diligently (and also coming to office hours, etc.).
How to do well in this class
Come to class prepared (having done the reading, having thought about the plays, being prepared with questions, etc.). Take good notes on every facet of the class (on lectures, on critical essays, and on the plays themselves). This will prove invaluable in preparing for the exams. Do the reading. Many students fall behind, and then complain that they're having trouble in the class. The reading is vital because it frames issues of the class in different words than mine in lecture. This gives you a second voice to help you understand difficult ideas. If you don't understand a particular reading or don't find it useful, come to talk with me about it; the discussion we have will benefit us both. Keep up with the reading. Set aside a few hours on Monday and/or Wednesday nights (before the class periods) to read, take notes, and ponder the significance of the readings for the class.
University Policies
1. Behavioral Expectations: Montana State University expects all students to conduct themselves as honest, responsible and law-abiding members of the academic community and to respect the rights of other students, members of the faculty and staff and the public to use, enjoy and participate in the University programs and facilities. For additional information reference: www2.montana.edu/policy/student_conduct/cg600.html
2. Collaboration: University policy states that, unless otherwise specified, students may not collaborate on graded material. Any exceptions to this policy will be stated explicitly for individual assignments. If you have any questions about the limits of collaboration, you are expected to ask for clarification.
3. Plagiarism: Paraphrasing or quoting another’s work without citing the source is a form of academic misconduct. Even inadvertent or unintentional misuse or appropriation of another's work (such as relying heavily on source material that is not expressly acknowledged) is considered plagiarism. If you have any questions about using and citing sources, you are expected to ask for clarification.
4. Academic Expectations: Section 310.00 in the MSU Conduct Guidelines states that students must: be prompt and regular in attending classes; be well prepared for classes; submit required assignments in a timely manner; take exams when scheduled; act in a respectful manner toward other students and the instructor and in a way that does not detract from the learning experience; and make and keep appointments when necessary to meet with the instructor. In addition to the above items, students are expected to meet any additional course and behavioral standards as defined by the instructor.
5. Withdrawal Deadlines: After Monday, February 19, I will only support requests to withdraw from this course with a “W” grade where extraordinary circumstances exist. You should consider carefully your performance on Exam #1, which takes place on Tuesday, February 13, as this is a good indicator of your standing in the course.
6. Students with Disabilities: If you have a documented disability for which you are or may be requesting an accommodation(s), you are encouraged to contact your instructor and Disabled Student Services as soon as possible.
7. E-mail Policy: I expect that you will check your university e-mail at least once per week. In the unlikely event that I need to revise a course policy, e-mail will stand as my good faith effort to contact you about the change.
8. Student Educational Records: All records related to this course are confidential and will not be shared with anyone, including parents, without a signed, written release. If you wish to have information from your records shared with others, you must provide written request/authorization to the office/department. Before giving such authorization, you should understand the purpose of the release and to whom and for how long the information is authorized for release. Students have the right to access their educational records by appointment. This information is protected by the Family Educational Rights and Privacy Act (FERPA). For more information contact the Dean of Students office at 994-2826.
Weekly Syllabus
Note: Each reading should be completed by the date listed below.
Please click here to learn how the watch DVDs on reserve at the library
Section One: An Introduction to Walter's Intertextual Method
Weekly Syllabus
Note: Each reading should be completed by the date listed below.
E-Reserves: To access the articles on E-Reserve, you must know your Banner ID (One-Card #) and the last 4 digits of your Social Security Number.
Section One: An Introduction to Walter’s Intertextual Method
Thursday, January 18
Introduction to the Course
Lecture #1: Hamlet and the Cinema
Tuesday, January 23
Hamlet and the Cinema (cont’d)
Reading: William Shakespeare, Hamlet {Jacobus: pp 351-407}
Thursday, January 25
Lecture #2: Intertextuality and the Classical Text: A Case Study of Hamlet
Reading: Commentaries on Hamlet {Jacobus: pp 380-391}
Tuesday, January 30
Intertextuality and Hamlet (cont’d)
Reading: Harold Bloom, “Hamlet” {reserves}
Thursday, February 1
Lecture #3: Intertextuality and the Modernist Text: A Case Study of Waiting for Godot
Reading: Samuel Beckett, Waiting for Godot
Tuesday, February 6
Intertextuality and Waiting for Godot (cont’d)
Reading Eric Gans, “Beckett and the Problem of Modern Culture” {reserves}
Per Nykrog, “In the Ruins of the Past” {reserves}
Thursday, February 8
Catch-up
Tuesday, February 13
Exam #1
Section Two: Foundational Theatre History
Thursday, February 15
Lecture #4: Ancient Greek Tragedy | Please e-mail Katie (greenkatie@wildmail.com) if you have any questions about this material.
Reading: Lee Jacobus, “Greek Drama” {pp 29-38}
Sophocles, Oedipus Rex {Jacobus, pp 68-93}
Aristotle, Poetics [excerpt] {Jacobus, pp 93-100}
Tuesday, February 20
Lecture #5: Ancient Greek Comedy | Please e-mail Benji (benjiwade@gmail.com) if you have any questions about this material.
Reading: Aristophanes, Lysistrata {Jacobus: pp 164-186}
Menander, Plays and Fragments {pp. ix-xxxiv, 3-43}
Section Three: Modern Theatre History
Thursday, February 22
Lecture #6: Early Nineteenth Century Theatre
Reading Lee Jacobus, “19th Century Drama” {Jacobus: pp 689-699}
George L. Aiken, Uncle Tom’s Cabin {reserves}
Peter Brooks, “The Melodramatic Imagination” {reserves}
Live Theatre Performance:
Thursday, February 22 – Saturday, February 24 [7:30 pm]
First weekend of performances: David Lindsay-Abaire, Kimberly Akimbo
MTA 104 students are required to see one performance of the play
Tuesday, February 27
Lecture #7: Theatre in the Late Nineteenth Century
Reading: Henrik Ibsen, A Doll House {Jacobus: pp 700-740}
Thursday, March 1
Lecture #8: Early Twentieth Century American Drama
Reading Susan Glaspell, Trifles {Jacobus: pp 910-919}
Kelly A. Marsh, “Dead Husbands and Other ‘Girls’ Stuff” {reserves}
Live Theatre Performance:
Thursday, March 1 – Saturday, March 3 [7:30 pm]
Last weekend of performances: David Lindsay-Abaire, Kimberly Akimbo
Tuesday, March 6
Catch-up
Thursday, March 8
Exam #2
March 12-March 16
No School: Spring Break
Tuesday, March 20
Lecture #9: Modernism
Reading Bertolt Brecht, The Threepenny Opera {reserves}
Bertolt Brecht, “The Alienation Effect” {Jacobus: pp 1060-1064}
Bertolt Brecht, “The Modern Theatre is the Epic Theatre” {reserves}
Thursday, March 22
Lecture #10: Post-war American Tragedy
Reading: Arthur Miller, Death of a Salesman {Jacobus: 1156-1235}
Section IV: Contemporary Theatre
Tuesday, March 27
Lecture #11: African-American Theatre
Reading Lee Jacobus, “Contemporary Drama” {Jacobus: pp 1319-1332}
Amiri Baraka, Dutchman {reserves}
Suzan-Lori Parks, Topdog/Underdog {Jacobus: pp 1735-1766}
Thursday, March 29
Lecture #12: Queer Theatre
Reading: Tony Kushner, Angels in America {Jacobus: pp 1628-1666}
Tuesday, April 3
Lecture #13: Masculinity Studies and Neil LaBute
Reading: Neil LaBute, This Is How It Goes
Thursday, April 5
Catch-up
Tuesday, April 10
Exam #3
Thursday, April 12
Lecture #14: A Case Study of a Developing Playwright: David Lindsay-Abaire
Reading: David Lindsay-Abaire, A Devil Inside
Tuesday, April 17
Lecture #15: Theatre and Science
Reading: Shelagh Stephenson, An Experiment with an Air Pump
Special Event:
Tuesday, April 17
Stage Reading: Michael Frayn, Copenhagen
7pm in the SUB Theatre
Performers: Stephanie Campbell, Joel Jahnke, and Tom Watson
MTA 104 students are required to attend this performance
Thursday, April 19
Lecture #16: David Mamet
Reading: David Mamet, Glengarry Glen Ross {Jacobus: pp 1510-1539}
Tuesday, April 24
Lecture #17: … And Even More Anna Karenina | Please e-mail Benji (benjiwade@gmail.com) if you have any questions about this material.
Reading: Nilo Cruz, Anna in the Tropics {Jacobus: pp 1790-1815}
Thursday, April 26
Lecture #18: The Theatre of the Absurd
Reading: Edward Albee, The Goat {Jacobus: pp 1767-1789}
Live Theatre Performance:
Thursday, April 26 – Saturday, April 28 [7pm]
Performances of “Studio 374” One-Act Plays
MTA 104 students are required to see one performance of these plays
Tuesday, May 1
Discussion of “Studio 374” One-Act Plays
Thursday, May 3
Catch-up
Course Evaluations
Final Exam
May 7: 2:00-3:50pm in Linfield Hall, Room 125
A Brief Introduction to Theatre History
Reading Notes for Important Plays in Theatre History
Return to the Homepage of Walter Metz
This page was last updated on January 26, 2007.
Questions or Comments? Please phone me at (406) 994-7588 or send an e-mail to: metz@montana.edu
Walter Metz, Department of Media and Theatre Arts, Montana State University--Bozeman