Gwybodaeth Modiwlau
Module Identifier
DR27120
Module Title
MAKING THEATRE, MAKING HISTORY
Academic Year
2008/2009
Co-ordinator
Semester
Semester 2
Pre-Requisite
Successful completion of Part 1
Other Staff
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | 10 x 1 hour lectures |
| Seminars / Tutorials | 10 x 1 hour seminars |
| Workload Breakdown |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | Creative portfolio of research tasks and materials (equal to 2000 words) | 50% |
| Semester Assessment | Essay on critical approaches to theatre history and historiography (2000 words) | 50% |
| Supplementary Assessment | Creative portfolio of research tasks and materials (equal to 2000 words) | 50% |
| Supplementary Assessment | Essay on critical approaches to theatre history and historiography (2000 words) | 50% |
Learning Outcomes
On successful completion of this module students should be able to:
1. Articulate the relation between the disciplines of theatre and history in presentation and written form.
2. Demonstrate an understanding, in particular, of how a theatrical event can sometimes be an historical event.
3. Understand the key difference between the role of 'theatre in history' and the role of 'history in theatre'.
4. Critically consider the politics surrounding the making of theatre history.
5. Develop idependent research skills by identifying, accessing and presenting relevant historical research in a creative way.
Aims
This builds upon the broad historical approach to theatre that students encounter on core level one modules. These courses are necessarily of an introductory nature, whereas this module, by focusing, in this instance, on the theatres of the French Revolution, adopts a tighter historical focus and addresses theatre historiography and methodologies for examining the role of theatre in history analytically and creatively.
Content
The course is divided into two halves. The first half considers: a) different approaches to theatre history before focusing, specifically, on the different roles played by theatre in making an historical event: in this instance, the French Revolution. The second half (weeks 8,9,10) encourages students to think creatively and independently about historical research. The different historiographies introduced in the first lecture will fold back into the course here as students are encouraged to apply them.
1. Theatre histories
2. Theatre and Revolutionary Consciousness: The French Revolution
3. Case Study : Beaumarchais and The Marriage of Figaro
4. Theatre of the French Revolution
5. The French Revolution as Theatre
6. Case Study: Revolution in the Theatre: Danton's Death
7. Reflections on French Revolution: Wrap up Session for Part One and Tutorials
8. Archival Research, including visits to the Library, the National Library and Cavanagh Collection (some of this will have to be done outside of class time)
9. Practicing historiographical research (seminar and presentation)
10. Practicing historiographical research (seminar and presentation)
Weeks 8, 9 and 10 will look at types of evidence and their uses: e.g. primary/secondary sources; contemporary accounts/subsequent commentaries. These will include:
a) sources and resources: play texts, handwritten documents, programs, byiographies, costume, posters, buildings, designs, etc.
b) interpretive frameworks: source-led, problem-led and theory-led, creative-led
c) this will provide the necessary engagement with sources so as to allow the students to produce their 'creative portfolios'
1. Theatre histories
2. Theatre and Revolutionary Consciousness: The French Revolution
3. Case Study : Beaumarchais and The Marriage of Figaro
4. Theatre of the French Revolution
5. The French Revolution as Theatre
6. Case Study: Revolution in the Theatre: Danton's Death
7. Reflections on French Revolution: Wrap up Session for Part One and Tutorials
8. Archival Research, including visits to the Library, the National Library and Cavanagh Collection (some of this will have to be done outside of class time)
9. Practicing historiographical research (seminar and presentation)
10. Practicing historiographical research (seminar and presentation)
Weeks 8, 9 and 10 will look at types of evidence and their uses: e.g. primary/secondary sources; contemporary accounts/subsequent commentaries. These will include:
a) sources and resources: play texts, handwritten documents, programs, byiographies, costume, posters, buildings, designs, etc.
b) interpretive frameworks: source-led, problem-led and theory-led, creative-led
c) this will provide the necessary engagement with sources so as to allow the students to produce their 'creative portfolios'
Brief description
The course studies the interaction of theatre with history in order to demonstrate how this contributes to understanding the discipline as a whole. It introduces students to some of the principal methodologies used by theatre theorists and historians, and it provides them with the opportunity to gain knowledge and understanding of core conceptual and critical approaches to theatre history.
Module Skills
| Skills Type | Skills details |
|---|---|
| Application of Number | |
| Communication | Students' oral and written communication skills will be developed (e.g appropriate language and style, accuracy, precision and ability to be concise). Opportunities will be given through interactive contact and discussion sessions for students to display confidence in using their speaking and listening skills when communicating their ideas |
| Improving own Learning and Performance | Students will be able to develop their skills of information location, bibliographic resources and interdisciplinary research methodology. Students will be given opportunity to expand on their effective note-taking skills. Students will develop the ability to analyze, interpret, evaluate and integrate knowledge and understanding gained from lectures, texts as well as performance analyses so as to encourage new ideas |
| Information Technology | Students will be given the opportunity to develop their authorial and note-taking skills during lecture-demonstrations and in preparation of the oral and written assignments. Students will be given opportunities to develop their skills using the CPR archive's audio-visual resources, electronic databases and retrieval of sources both on the web and on the UWS LIS. Students will develop their skills when referencing from the web and related sources, whilst the ability to evaluate (not describe) and ability to be selective in using these materials are also essential key skills. E-Mail and Blackboard will be major forms of communication and information-sharing in this module and students will be given the assignment to actively engage in these processes by contributing their work to the online forum. The Department stipulates that students must present all of their written assignments in type-script and according to MLA-Style Guide. |
| Personal Development and Career planning | Students will be given the opportunity to evaluate current knowledge and skills and set targets for self-improvement. Students will be encouraged to take increasing responsibility for managing their own learning. Students will be encouraged to build upon the knowledge gained from lectures through developing skills in self study (supported by the general and specific reading lists and other resources distributed through the module) |
| Problem solving | Problem identification and analysis, particularly when exploring probolems relating to theatre history and the varying theories and practices. Ability to choose from a variety of related source materials as well as organize and critically assess research material from an interdisciplinary perspective. Skill to evaluate methodological choices and approaches when using interdisciplinary sources. |
| Research skills | Students will be able to develop their skills of information location, bibliographic databases and interdisciplinary research methodology. Students will be given opportunity to expand on their effective note-taking skills. Students will develop the ability to analyze, interpret, evaluate and integrate knowledge and understanding gained from lectures, dramatix text as well as performance analysis so as to encourage new ideas |
| Subject Specific Skills | Problem identification and analysis, particularly when exploring theatre and performance research from a theatre/dance focused comparative perspective on corporeality and the body. Ability to choose from a variety of related source materials as well as organize and critically assess research material from an interdisciplinary perspective. Skill to evaluate methodological choices and approaches when using interdisciplinary sources |
| Team work | Team work will be developed in preparation for the oral report as well as through interactive lecture and seminar participation. Group/work and seminar collaboration will empower the student to develop their team-working and leadership skills |
Reading List
General TextArasse, Daniel (1991) The Guillotine and Terror Penguin Primo search Badir, Magdy and David Langdon (1986) Eighteenth Century French Theatre: Aspects and Contexts University of Alberta Press Primo search Balme, Christopher (2008) The Cambridge Introduction to Theatre Studies Theatre Historiography Cambridge University Press Primo search Bradby, David (1991) Landmarks in French Classical Drama (see introduction) Methuen Primo search Carlson, Marvin (1989) Place of Performance: the Semiotics of Theatre Architecture Cornell University Press Primo search Carlson, Marvin (2003) The Haunted Stage: Theatre as a Memory Machine Primo search Carlson, Marvin (1984) Theories of Theatre: A Historical and Critical Survey From the Greeks to the Present Cornell University Press Primo search Case, Sue-Ellen and Janelle Reinelt (1991) The Performance of Power: Theatrical Discourse and Politics University of Iowa Press Primo search Cremona, Vicky Ann et al (2004) Theatrical Events: Borders Dynamic Frames Thomas Postlethwait 'Constructing Events in Theatre History: A Matter of Credibility' 33-53 Rodopi Primo search Diamond, Elin (1997) Unmaking Mimesis: Essays on Feminism and Theatre Routledge Primo search Fay, Brian et. al. (ed) (1998) History and Theory: Contemporary Readings Blackwell Primo search Hemmings, F.W.J. (1987) Culture and Society in France 1789: 1848 Leicester University Press Primo search Howarth, W.D. (1995) Beaumarchais and the Theatre Routledge Primo search Jones, Anwen (2007) National Theatres in Context: France, Germany, England, Wales Cardiff University Press Primo search McConachie, Bruce and Thomas Postlewait (eds) (1989) Interpreting the Theatrical Past: Essays in the History of Performance University of Iowa Press Primo search Pearson, Mike and Michael Shanks (2001) Theatre/ archaeology Routledge Primo search Ranciere, Jacques (1994) The Names of History: on the Poetics of Knowledge University of Minnesota Press Primo search Ranciere, Jacques (2006) The Politics of Aesthetics Continuum Primo search Rodmell, Graham (1990) French Drama of the Revolutionary Years Routledge Primo search Rokem, Freddie (2000) Performing History: Theatrical Resresentations of the Past in Contemporary Theatre University of Iowa Press Primo search Root-Bernstein, Michele (1984) Boulevard Theatre and Revolution in Eighteenth Century Paris Michigan University Press Primo search Warren, J. (1998) The Past and its Presenters: an Introduction to Issues in Historiography Hodder and Stoughton Primo search Worthen, W.B. et. al. (2003) Theorizing Practice, Redefining Theatre History Palgrave Primo search Bratton, Jacky (1994) Working in the Margins: Women in Theatre History 10 NTQ Primo search McConachie, Bruce (1985) Towards a Postpositivist Theatre History Theatre Journal 37: 4 465-86 Primo search Essential Reading
Beaumarchais, Pierre The Marriage of Figaro Primo search Buchner, Georg Danton's Death Primo search Schama, Simon (1989) Citizens: A Chronicle of the French Revolution Penguin Primo search
Notes
This module is at CQFW Level 5