DRM0530 - COMPARATIVE DRAMATURGIES

Module Identifier

DRM0530

Module Title

COMPARATIVE DRAMATURGIES

Academic Year

2005/2006

Co-ordinator

Professor Richard Gough

Semester

Semester 1

Course delivery

Lecture

Lecture/presentations with seminar component: 12 x 2 hours. 24 contact hours.

Seminars / Tutorials

Lectures contain a seminar component.

Other

Each lecture includes a component of group discussion.

Assessment

Assessment Type	Assessment Length/Details	Proportion
Semester Assessment	Essay 7,500 words. Submission: one month after the end of the module	100%
Supplementary Assessment	Essay: Submission of the essay to a new title	100%

Learning outcomes

On successful completion of this module students should be able to:

demonstrate a clear understanding of non-Western forms of theatre and its impact on developments of Western Theatre.

Have a working knowledge of key concepts of theatre aesthetics fundamental to non-Western theatre forms.

Aims

To introduce students to key concepts of non-Western (Indian, Chinese, Japanese) forms of theatre.

To establish differences and similarities between a variety of world theatre traditions.

To familiarise students with the practical and theoretical techniques that distinguish these forms and lead to a comparison of the organising principles which govern their realisation.

To consider the impact and influence that Asian and African dance and theatre has had on the development of Western Theatre, particularly in the context of the 20th century and the key innovators of the theatre in this century (Stanislavsky, Meyerhold, Craig, Copeau, Artaud, Grotowski, Brook and Barba)

Content

This module will study the central concepts that form and give rise to the great traditions of world theatre: Kabuki, and Noh theatre of Japam; the dance/theatre of India (Kathakali, Kathak, Odissi and Bharata Natyam); Chinese Opera; the dance/theatres of Bali and the ritual/dance of Africa and South America. The course will analyse key texts and writings that have influenced and directed the development of these forms (e.g. the ancient treaties on Indian dance Natyasastra, and the 16th century writings of Zeami with regard to Noh), and the innovations that have enriched and promoted the practice of these forms (e.g. Mei Lan Fang of Peking Opera)

Reading Lists

Books
** Recommended Text
Brandon, James (1967) Theatre in Southeast Asia Cambridge, Mass
Ghosh, Manomohan, ed & trans. (1950) The Natyasastra: A Treatise on Hindu Dramaturgy and Histrionics Calcutta
Zarrilli, Phillip (1984) The Kathakali Complex: Actor, Performance & Structure New Delhi, Abhinav
Richmond, Swann & Zarrilli (1990) Indian Theatre Univ. of Hawaii Press
Extracts from the following key texts will be made available. Multiple copies of the original books are available for reference in the CPR archive.
Keene, Donald (1966) No: The Classical Theatre of Japan Palo Alto, California, Kodansha
Kompary, K (1983) The Noh Theatre: Principles and Perspectives Tokyo: Weatherhill
Sekine, Masaru (1985) Zeami and his Theories of Noh Drama London: Smythe
Ernst, Earl (1974) The Kabuki Theatre Honolulu, Univ. of Hawaii Press
Scott, A. C. (1959) Mei Lang-Fang, Leader of the Pear Garden Hong Kong
Zung, Celia (1937) Secrets of the Chinese Drama new York
de Zoete, Beryl (1938) Dance and Drama in Bali Kuala Lumpur
Bandem, I Made (1981) kaja and Kelod Kuala Lumpur
Brandon, James (1970) On Thrones of Gold Cambridge, Mass
Scott, A.C. (1957) The Classical Theatre of China London

Notes

This module is at CQFW Level 7