THEATER 252

Fall Semester 2016

MW 12: 20
Mudd 050
Taught by Roger Copeland
Professor of Theater and Dance
Roger.Copeland@Oberlin.edu
Phone: #5-8152
Hall Annex 207:
Office Hours:
Monday
4:30 -6:00
Wednesday
5:00 - 6:00
Additional times by appointment
(Please call Janice Sanborn, the Theater/Department secretary at x8152 to make an appointment for Mon./Wed. office hours--that way you'll know
you have a scheduled appointment and won't have to wait. Also, Im usually free right after class at 2: 20. So, if you have any questions, thats an
ideal time to ask them.
Required Texts:
Aeschylus, The Oresteian Trilogy
Aristophanes, The Clouds and The Frogs
Euripides, The Bacchae (in Three Tragedies)
Shakespeare, King Lear
Sophocles, Oedipus The King
Note: With one exception (Euripides The Bacchae) it doesnt matter which translation of the classical Greek plays you purchase. But
in the case of The Bacchae, I would like you to purchase the translation by William Arrowsmith that has been ordered for this course
by the Oberlin Bookstore.
All additional required reading for this course can be found on-line at

http://foundationsoftheater16.weebly.com/

Two of the plays well be reading this semester (The Second Shepherds Play and Everyman ) can be found on the website for this course.
They are anthologized in a book (currently out of print) called The Genius of the Early English Theatre, edited by Sylvan Barnet. A third play from
that anthology (Marlowe's Dr. Faustus, is also available there --although its recommended --rather than requiredreading. In addition, the
website contains a number of essays that constitute required reading. There are also several recommended (rather than required) texts on
Reserve for this course at the main information desk in Mudd. You will be expected to have completed all required reading in advance of the
lecture it pertains to.
Course Requirements:
Two written examinations (a mid-term and a final). The mid-term will be a "take-home" exam, handed out at the end of class on Mon. October 11th
and due (via e-mail) by 5 P.M. on Tuesday, October 12 th. The final exam is scheduled for Friday Dec. 16 th , from 79 P.M. in Mudd 050 (during
final exam period). Detailed information about the format of both exams appears on p. 3 of this syllabus.
The two exams will each count for one-half of the final grade. However, if you're uncomfortable with the prospect of having your entire grade rest on
the scores of two examinations, you can also choose to write an eight -to -twelve page essay due by 4:00 P.M.. on Tuesday Dec. 13 th, the last day
of Reading Period. (This optional paperif you choose to write it -- should compare and contrast the central argument in two or more of the
assigned essays posted on the website for this course.) If you opt to write a paper: the mid-term, the final and the essay will each count for onethird of the eventual grade. No one will be permitted to take a make-up exam unless he or she can present a medical or emergency justification from
the office of the Dean of Students. All conflicts with the final exam schedule must be resolved before Fall Recess. All students are expected to be
familiar with and to abide by--Oberlins Honor Code as it pertains to examinations and papers.

ATTENDANCE POLICY: An attendance sheet will be posted on the door of Mudd 050. Please sign your name as you enter the classroom. Make
sure you sign in with your full name, not just your initials . Sam Marchiony , our TA, will keep track of attendance; so if you need to miss class
(due to illness, travel, etc), please try and let Sam know in advance of the class meeting. Poor attendance will result in the lowering of
grades, or, in extreme cases, the loss of credit for the course. To be more specific: if you accumulate more than three unexcused absences or
five late arrivals, your final grade will be automatically lowered. Those who accumulate more than four unexcused absences will not receive
credit for the course, regardless of how well they do on the exams.

Deadline for Declaring Pass/No Pass or Withdrawing from the Course :

Please note that you will automatically receive a letter grade for this course unless you opt to take it on a Pass/No Pass basis. (If you choose the
latter option, the Registrar must be notified of your decision by Tuesday, Nov. 1 st. This is also the last day on which you can withdraw from the course
without receiving a grade that will appear on your transcript and be factored into your GPA.)
Teaching Assistant:
As mentioned above, Samantha (Sam) Marchiony will be serving as the Teaching Assistant for this course. Shell be conducting out of class ,
group study sessions on a regular basis. If you want to meet with her for individual tutoring, she can be reached at smarchio@oberlin.edu.

Syllabus
Mon. Aug. 29
INTRODUCTION AND OVERVIEW
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Wed. Aug. 31
SEMESTER OVERVIEW : PART II
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Mon. Sept. 5
Labor Day (No Class)
________________________________________________________________________________________
Wed. Sept. 7

FROM DIONYSIAN RITUAL TO THEATER: THE ORIGINS OF TRAGIC DRAMA

(Read J. Harrison, "From Ritual to Art", also B. Myerhoff, "The Transformation of Consciousness in Ritual
Performances) These essays are both posted on the website for this course.)

______________________________________________________________________________________________________

Mon. Sept. 12
MYTHOLOGY AND EPIC: THE BUILDING BLOCKS OF PLOT
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Wed. Sept. 14

GREEK THEATER ARCHITECTURE AND STAGING CONVENTIONS

(Read Tony Harrison's "Introduction to Trackers." (on the course website.)
________________________________________________________________________________________
Mon. Sept. 19

THE TRAGIC VIEW OF LIFE

(Read R. Wetzsteon, "The Whirling Dervishes." and H.V. Kleist, "Puppet Theatre" --both of which are on the course
website.)
________________________________________________________________________________________
Wed. Sept. 21

THE POETICS: MIMESIS, CATHARSIS , AND THE SIX CONSTITUENT ELEMENTS OF TRAGIC DRAMA
(Recommended reading: Gerald Elses translation of The Poetics, on reserve for this course in Mudd. Pay particular
attention to pp. 21-22 and 25-29)
________________________________________________________________________________________
Mon. Sept. 26
AESCHYLUS ORESTEIA: FROM CHTHONIAN TO OLYMPIAN VALUES
(Read The Oresteian Trilogy)
________________________________________________________________________________________
Wed. Sept. 28

THE LIBATION BEARERS AND THE EUMENIDES: FROM MATRIARCHY TO PATRIARCHY

(Re-read the final two plays in the trilogy.)
________________________________________________________________________________________
Mon. Oct. 3

SOPHOCLEAN TRAGEDY: OEDIPUS THE KING

(Read the play)
_______________________________________________________________________________________
Wed. Oct. 5

EURIPIDES The Bacchae

(Read The Bacchae , as well as Arrowsmiths introduction to his own translation)
________________________________________________________________________________________

Mon Oct 10.

DIONYSUS AND HIS DOUBLE (The Bacchae , cont.)

Note: The out of class mid-term will be handed out following the lecture.
________________________________________________________________________________________
Wed. Oct. 12
Yom Kippur (No Class)
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FALL BREAK
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Mon. Oct. 24
ARISTOPHANES AND OLD COMEDY
(Read The Clouds )
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Wed. Oct. 26
FROM OLD COMEDY TO NEW COMEDY
(Read The Frogs, Recommended reading:
Menander's Dyskolos, on reserve in Mudd)
________________________________________________________________________________________
Mon. Oct. 31
ROMAN DRAMA IN THE 3RD AND 2ND CENTURIES B.C.
( Recommended Reading: Plautus' Twin Menaechmi and Terence's The Brothers,
both in The Complete Roman Drama, on reserve in Mudd)
________________________________________________________________________________________
Wed. Nov. 2
ROMAN THEATER ARCHITECTURE AND STAGING PRACTICES/ SENECA AND THE DECLINE OF ROMAN
DRAMA
(Recommended Reading: Thyestes in The Complete Roman Drama, on reserve)
Syllabus, cont.
________________________________________________________________________________________
Mon. Nov. 7
THEATER IN THE EUROPEAN MIDDLE AGES
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Wed. Nov. 9
MEDIEVAL DRAMA: MYSTERY CYCLES AND THE ETERNAL PRESENT
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Mon. Nov. 14

THE SECOND SHEPERD'S PLAY

(Read The Second Sheperds Play in the Barnet anthology on the course website)
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Wed. Nov. 16

THE TRANSITION FROM MEDIEVAL TO EARLY RENAISSANCE DRAMA:

THE DANCE OF DEATH AND THE MORALITY PLAYS
(Read Everyman on the course website , Recommended Marlowes Dr. Faustus ,
also on the website.)
____________________________________________________________________________________________________________________
___
Mon. Nov. 21
THE ITALIAN RENAISSANCE: THE AGE OF NEOCLASSICISM
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Wed. Nov. 23
THE EVOLUTION OF THE PROSCENIUM STAGE
____________________________________________________________________________________
Mon. Nov. 28

THE ELIZABETHAN WORLD-VIEW

(Read E.M.W. Tillyard's essay Order" on the course website)
________________________________________________________________________________________

Wed. Nov. 30
ELIZABETHAN STAGING PRACTICES
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Mon. Dec. 5

SHAKESPEARE: THE PLAYWRIGHT AND THE PERSON ( Intro to King Lear)

(Begin reading King Lear. )
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Wed. Dec. 7

KING LEAR: TRAGEDY AND "THE THING ITSELF"

(Finish reading Shakespeares Lear)
____________________________________________________________________________________________________________________
__
FINAL EXAM:
Friday. DECEMBER 16th, 7:00-9:00 P.M. MUDD 050
ALL CONFLICTS WITH THE FINAL EXAM SCHEDULE MUST BE RESOLVED BEFORE FALL BREAK.
Note: If you choose to write a paper as the third component of your grade, it will be due by 4:00 P.M. on Tuesday. Dec. 13th (the last day of
Reading Period). Please e-mail the paper directly to me at Roger.Copeland@Oberlin.edu.
________________________________________________________________________________________

Study Guide for the Mid-Term and Final Exam

Both the mid-term and the final will cover comparable amounts of material. The Final will not be cumulative. It will cover only the material
addressed following Fall Break. Both exams will be two hours long, and both will contain two sections: (1) An essay portion --worth
approximately 30 points --and (2) a short answer portion (worth the remaining 70 points.) You should be able to adequately answer the
essay question in approximately 800 words (two double spaced, typewritten pages.) The shorter questions in Part II can be answered in
three or four concise sentences. Examples of typical questions from both categories appear below.
You will receive an extensive study guide prior to both exams. The guide will include a list of three or four possible essay questions. The
essay questions that actually appear on the exam will be chosen from that list of possibilities. In other words, the exam wont contain any
surprise questions you havent prepared for. Note: Both the mid-term and the final are closed book exams no notes, handout sheets ,
books, etc. maybe be consulted.

Part I: (Typical Essay Questions which might appear on the Mid-Term) :

1. Define both theater and ritual. Discuss the essential differences between them. Trace the transition from ritual to theatre in ancient
Greece. More specifically: Discuss the way in which the choric dithyramb is thought to have evolved over time into the sort of tragic drama
we find in Sophocles Oedipus Rex or Euripides The Bacchae.
Part II: Sample Short Answer Questions:
1. In what sense do the characters Cassandra and Teiresias both embody the tragic view of life?
2. List three reasons why full facial masks were so essential to the classical Greek theater.

Course Credos:
The Whole Purpose of Education is to turn mirrors into windowsSydney J. Harris,
To converse with those of other centuries is almost the same as to travel."---Descartes, Discourse on Method

Approaches to Theater History:

Excerpts from Bertolt Brechts A Worker Reads History :
Who built the seven gates of Thebes?
The books are filled with names of kings.
Was it the kings who hauled the craggy blocks of stone?
And Babylon, so many times destroyed.
Who built the city up each time?..
Young Alexander conquered India.
He alone? Caesar beat the Gauls.
Was there not even a cook in his army?...
So many particulars.
4

So many questions.
A Preface to the study of Classical Greek Theater (or, a brief meditation on the complex co-existence of beauty and
barbarism): "Athens has given us the greatest gift imaginable: the ideal and the reality of a democratic polity based on a
complex and moral conception of citizenship. On the other hand, with the hand that held the sword, Athens bequeathed a cruel and
imperial domination of other Greek cities, the slaughter and enslavement of its wartime opponents, the occasional genocide of
another polis, not to mention the ownership of tens of thousands of domestic and industrial slaves and the almost total exclusion
of women from cultural and political life. It is of crucial importance to try to understand what gross immoralities are still compatible
with the forms of democratic society. Athens provides us with one of the sharpest examples, if not the sharpest, of this awesome
human contradiction."--Eli Sagan, The Honey and the Hemlock