Project South Asia - Asian Theatre and Drama Syllabus

DRAM 4400/6400: ASIAN THEATRE AND DRAMA

Spring 1999

Dr. Farley Richmond

University of Georgia

Lectures: 9:30–10:45 A.M. TUESDAY and THURSDAY

Room 201 Fine Arts Building

Office Hours by Appointment Only

GENERAL COMMENTS:

Besides being a worthy end in itself, the study of Asian theatre challenges our expectations of what constitutes theatre in its broadest terms. Some questions you might ask are:

1. What is theatre?

2. What constitutes the subject of a play, its plot and structure of organization? Can the same questions about dramatic action, character, language, spectacle, etc. (that is, those things that Aristotle poses as part of drama described in his Poetics) be applied to Asian plays?

3. What is the objective of performing theatre? Why do people see it? Who pays for it, patronizes it, sponsors it, ignores it?

4. How are companies organized? Who directs and guides the artistic concepts of the work?

5. What are its cultural values? Who criticizes it? In what form is criticism given? What are its aesthetic values? What is judged a success, what a failure?

6. Where is it performed? and why is it performed there?

7. Who performs in it? How do they qualify to do so? How are actors trained? Who teaches them? Who learns? What constitutes good acting? What is the purpose of acting?

8. How does music and dance relate to performance? What is considered music and what dance? What constitutes good movement and vocal patterns?

9. What are the scenic elements of performance and by what means are they made visible? What constitutes scene design? Costume design? Makeup design? Lighting design? What is theatre technology? What purpose does it serve?

10. Who is a professional, who is regarded as an amateur?

11. Is there a creative act? What is it and how is it governed?

12. What is style? Do the same polarities of theatricalism–realism apply to Asian performance?

One of the objectives of this course is to trace the similarities and differences, strengths and weaknesses, between performance in Asia with that in the West, so that we might better understand who "they" are and who "we" are.

GRADES:

25% Midterm

25% Final

25% Research Paper

25% On-line and class participation, and video notes and evaluation

ATTENDANCE:

As you will soon realize, attendance is mandatory. Absences will be excused only in emergencies. Three unexcused absences will adversely effect your final grade by one letter.

TENTATIVE SCHEDULE OF EVENTS:

Th Jan. 7 Introduction, Assignments and use of WebCT

T 12 Read Cambridge Guide Introduction by James R. Brandon

Th 14 Videos

T 19 Read Indonesia Chapter by Kathy Foley

Th 21 Workshop on Balinese theatre

T 26 " "

Th 28 " "

T Feb. 2 Read Japan Chapter by James R. Brandon and David Goodman & Busu, a Kyogen play

Th 4 Videos

T 9 Read Matsukaze

Th 11 Videos

T 16 Read The Love Suicides at Amijima

Th 18 Videos

T 23 Read Narukami See Narukami video this week

Th 25 Videos

T Mar. 2 Midterm Exam

Th 4 Videos

T 9 Holiday

Th 11 "

T 16 Read China Chapter by A.C. Scott and Colin McKerras

Paper topic due

Th 18 Videos

T 23 Read The Injustice Done to Tou Ngo

Th 25 Videos

T 30 Read India Chapter by Farley Richmond

Th Apr. 1 Videos

T 6 Videos and CD-ROM

Th 8 " " Update of Paper topic due

T 13 Read Farce of the Pious Courtesan and Aids to the Appreciation of Kathakali by Iyer and Rajagopalan

Th 15 Videos

T 20 Workshop on Indian theatre

Th 22 Videos

T 27 Videos

Th 29 Last day of Class; Review for Final Exam; Research Paper Due

Friday May 7 Final Exam 8–11am