CdSLINGUE, LETTERATURE E FILOLOGIE EURO - AMERICANE
|STORIA DEL TEATRO INGLESE B||L-LIN/10||LEZIONI||54|
NB: PER VISUALIZZARE IL PROGRAMMA (E LA DATA EFFETTIVA DI INIZIO DELLE LEZIONI) CARICARE LA PAGINA IN INGLESE
LE SPECIFICHE RELATIVE AL PROGRAMMA DA 6 CFU OFFERTO AGLI STUDENTI DELLA LM SAVS SONO RIPORTATE NEL CAMPO "NOTE" IN FONDO A QUESTA PAGINA.
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 discussion.
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.
“Imagine you see those wretched strangers…”: Shakespeare’s outcasts, then and now.
Outline description of the course:
The tremendous popularity enjoyed by Shakespeare’s contribution to Sir Thomas More – the now widely dubbed “refugee speech” – in the context of today’s migrant crisis is but the more recent example of the continued viability of his plays as a tool to elucidate and interrogate the position of “others” in a given socio-political juncture. During the course, we will engage with Shakespeare’s construction of outcasts, outsiders and subaltern groups by means of in-depth analysis of Othello and The Tempest alongside some highly topical (and controversial) selections from Sir Thomas More. We will then move on to consider the cross-cultural and cross-historical relevance of Shakespeare’s discourse of difference by looking at some paradigmatic takes on the three plays in 20th and 21st-century cultural production (performance, film, literature, criticism).
Anthony Munday et al., Sir Thomas More, ed. by John Jowett, Arden Shakespeare, 2011.
William Shakespeare, Othello, ed. by M. Neill, Oxford Shakespeare, 2006.
William Shakespeare, The Tempest, ed. by V.M. Vaughan and A.T. Vaughan, Arden Shakespeare, 2011.
Lolita Chakrabarti, Red Velvet, 2nd edn, London, Bloomsbury Methuen Drama, 2014.
Margaret Atwood, Hag-Seed: The Tempest Retold, London, Hogarth, 2016.
Matthew Hahn, The Robben Island Shakespeare, London, Bloomsbury Methuen Drama, 2017.
The Johannesburg Market Theatre production of William Shakespeare's Othello, dir. by Janet Suzman (1987); DVD available from the LM2 library.
“Che cosa sono le nuvole?”, dir. by Pier Paolo Pasolini, in Capriccio all’italiana, Episode 4 (Italia, 1968, 20’); DVD available from the LM2 library.
Stage Beauty, dir. Richard Eyre (Germany, UK, USA, 2004, 110’); DVD available from the LM2 library.
Nella Tempesta (2013-2015), devised by Enrico Casagrande and Daniela Niccolò (Motus); online at https://vimeo.com/92512775.
Sea Sorrow, dir. Vanessa Redgrave (UK, 2017, 74’); DVD available from the LM2 library.
The Tempest, dir. by Phyllida Lloyd (2016), in The Donmar Shakespeare Trilogy on Screen; accessible through Drama Online.
Ruben Espinosa and David Ruiter (eds), Shakespeare and Immigration, Abingdon and New York, Ashgate, 2014: Introduction (pp. 1-11); E. Griffin, "Shakespeare, Marlowe, and the Stranger Crisis of the Early 1590s" (pp. 12-36); B. Malieckal, "'Boat People': Wars of Religion, Women Refugees, and Shakespeare's The Tempest" (pp. 113-134); I. Habib, "The Black Alien in Othello: Beyond the European Immigrant" (pp. 135-148); P. Erickson, "Race Words in Othello" (pp. 159-176).
Marianne Novy, Shakespeare and Outsiders, OUP, 2013: Introduction (pp. 1-16); Ch. 4, "Othello and Other Outsiders" (pp. 87-120); "Epilogue: The Tempest, Outsiders, and Border Crossings" (pp. 147-155).
Students are also required to read carefully the introductions to the critical editions of Sir Thomas More, Othello and The Winter’s Tale listed in the “Core Texts” section.
A further selection of critical material (8-10 max. between journal articles, book chapters and scholarly reviews) will be made available during term time 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 in print from the LM2 library and/or are accessible online for Unipi users.
Students who are unable to attend classes will sit an oral exam. They are also required to prepare a 4,000-word essay on an agreed topic, to be submitted at least two weeks prior to the date of the oral exam.
Students will be assessed by a formative oral presentation (20%), an argumentative essay (40%), and a final oral discussion (40%). Attendance and contribution to group discussion will also count towards the final mark.
Programma da 9 CFU (Storia del teatro inglese B -- cod. 1308L):
Per gli studenti della LM LETFIL, il corso di 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.
Programma ridotto da 6 CFU (Storia del teatro inglese -- cod. 741LL):
Gli studenti della LM SAVS che seguono il corso di Storia del teatro inglese da 6 CFU (cod. 741LL) sono esonerati dalla lettura e dallo studio dei seguenti testi primari e dalla frequenza delle lezioni ad essi dedicate:
Margaret Atwood, Hag-Seed
Matthew Hahn, The Robben Island Shakespeare
Stage Beauty, dir. Richard Eyre
Per il programma da 6 CFU, inoltre, la bibliografia critica aggiuntiva indicata nel corso delle lezioni sarà limitata a un massimo di 5 tra saggi e articoli.
COURSE START: TUESDAY, 29 SEPTEMBER 2020
Students are advised sign up on the Moodle course page and read the instructions for preliminary reading in preparation for the first week of class.