(HISTORY OF ENGLISH THEATRE)
CdSLINGUE, LETTERATURE E FILOLOGIE EURO - AMERICANE
Codice1130L
CFU9
PeriodoSecondo semestre
LinguaInglese
| Moduli | Settore/i | Tipo | Ore | Docente/i | |
| STORIA DEL TEATRO INGLESE | L-LIN/10 | LEZIONI | 54 |
|
NB: PER VISUALIZZARE IL PROGRAMMA CARICARE LA PAGINA IN INGLESE
Upon successful completion of the course, students will be able to:
- advance complex and developed readings of the core texts.
- think theoretically about questions of representation, reception, style and politics.
- read play-texts with an appreciation of the choices and possibilities they offer to performers, both in theatrical and cinematic contexts.
- understand the ways in which a play’s use of theatrical conventions are central to the communication of meaning in performance
- understand how plays and performances are shaped by, and speak to, their theatrical and historical contexts.
- demonstrate a critical awareness of the various ways in which theatrical performances are ‘read’ by spectators.
A range of formative and summative assessment methods are used, including essays, presentations, and a final oral exam.
As a result of engaging fully with this course, students will be able to:
- identify and ask the relevant questions of complex texts
- have a clear grasp of the constituents of drama and theatre
- have a reasoned appreciation of different views and options and analyse these critically
- identify and apply relevant data
- engage critically and constructively with the interpretations of other scholars and students.
- learn from constructive criticism and incorporate its insights
- work as part of a team, developing a collaborative approach to problem-solving
- work to deadlines and priorities
The range of assessment methods used (presentation, essay, oral interview) are used not only for assessment purposes but also as a means of developing students’ abilities to collect, organize, evaluate and deploy relevant information and ideas from a variety of sources in reasoned arguments. Feedback on essays and presentations is designed to feed forward into future work, enabling students to develop their strengths and address any weaker areas.
Students will be asked to actively contribute to seminar sessions. They will be asked to support or challenge critical opinions by way of reasoned argument. They will be required to identify and apply data in an accurate, precise and transparent way, to learn from constructive criticism and incorporate its insights, and to develop a sound approach to problem-solving.
Students will also be expected to work to deadlines and priorities and to collaborate with other students in preparation for and during group sessions.
Students’ ability to formulate critical views and communicate them in a clear, convincing manner will be tested through their contribution to seminar sessions.
The preparation of a written essay will provide further opportunities for students to use their initiative in the collection and presentation of material, to mount a clear, cogent argument, and to draw appropriate conclusions.
Students are expected to have already acquired a good knowledge of English literature and culture.
The course is taught both by lecture and seminar. Lectures provide an overview of the key concepts and frameworks for a topic, equipping students to carry out independent research for the seminars and to develop their own. Seminars provide an opportunity for students to explore the ideas, topics and issues outlined in the lectures.
Seminars may take various formats, including plenary group discussion, small-group work and student-led presentations.
The course is delivered in English.
Course title:
“It’s story time”: the narrative dimension in Anglophone drama
Outline description of the course:
This course aims to shed light on the intersection and/or contamination between mimetic and diegetic elements as a central feature of Anglophone drama from Shakespeare's times up to the present day. Specifically, the course will look at story-telling in Shakespeare's drama and the narrativizing impulse that has informed subsequent stagings and adaptations of his plays (Module A); Beckett's experiments with the diegetic dimension on stage and his legacy to 20th and 21st-century Irish drama (Module B); the dialogue between 'showing' and 'telling' in the work of some key figures of UK new writing (Module C).
Core texts:
Module A: Shakespeare
William Shakespeare, Hamlet (Arden Shakespeare or Oxford Shakespeare)
William Shakespeare, The Tempest (Arden Shakespeare or Oxford Shakespeare)
Margaret Atwood, Hag-Seed: The Tempest Retold, London, Hogarth, 2016
Tim Crouch, I, Shakespeare: Four of Shakespeare's better-known plays re-told for young audiences by their lesser-known characters, London, Oberon, 2011
Matthew Hahn, The Robben Island Shakespeare, London, Bloomsbury Methuen Drama, 2017
Ian McEwan, Nutshell, London, Jonathan Cape, 2016
The course syllabus also includes a number of stage productions and film adaptations. Further specifications will be published on the Moodle course page during term time.
Module B: Beckett
Samuel Beckett, Endgame, Happy Days, Play, Not I, in The Complete Dramatic Works, London, Faber, 1986
Brian Friel, Molly Sweeney, London, Penguin, 1994
Martin McDonagh, The Pillowman, London, Faber, 2003
Conor McPherson, The Weir, London, Nick Hern, 1998
Module C: Pinter, Crimp, Kane
Martin Crimp, Attempts on her Life, London. Faber, 1997
Sarah Kane, Crave, 4.48 Psychosis, in Complete Plays, London, Methuen, 2001
Harold Pinter, Ashes to Ashes, London, Faber, 1996
Critical references:
A selection of critical material (essays, book chapters, reviews) will be made available later on through the Moodle course page.
NB students will be asked to read the core texts in preparation for seminar sessions.
All texts listed in the course bibliography are available from the LM2 library.
Students who are unable to attend classes will sit an oral exam. They will also be asked to prepare a critical essay (c. 4000 words) on an agreed topic. The essay must be submitted at least two weeks prior to the date of the oral exam.
Students will be assessed by a formative oral presentation (20%), a summative essay of c. 2500 words (40%), and an oral interview (40%). Attendance and contribution to group discussion will also count towards the final mark.
Le lezioni avranno inizio martedì 26 febbraio (ore 16-17.30, Laboratorio Multimediale di Palazzo Scala).
Durante il primo incontro verranno illustrati obiettivi e articolazione del corso; verranno inoltre affrontate eventuali criticità relative all’orario.
Gli studenti interessati a frequentare ma impossibilitati a presenziare alla prima lezione sono pregati di iscriversi al corso tramite Moodle in modo da essere aggiornati sulle indicazioni che verranno fornite in quell'occasione e di segnalare preventivamente alla docente eventuali problemi legati a sovrapposizioni con altri corsi.
Per gli studenti del CdS LETFIL, Storia del Teatro Inglese rientra nella rosa degli insegnamenti di letteratura straniera curricolare sia per il percorso monolingue che per quello bilingue; può essere biennalizzato dagli studenti del percorso monolingue. L’insegnamento è inoltre offerto nell’ambito dei crediti a scelta libera agli studenti delle altre Lauree Magistrali.
The course will start on Tuesday, 26th February (4.00 to 5.30 p.m., Media Lab, Palazzo Scala -- 1st floor).
Per gli studenti del CdS LETFIL, Storia del Teatro Inglese rientra nella rosa degli insegnamenti di letteratura straniera curricolare sia per il percorso monolingue che per quello bilingue; può essere biennalizzato dagli studenti del percorso monolingue. L’insegnamento è inoltre offerto nell’ambito dei crediti a scelta libera agli studenti delle altre Lauree Magistrali.