LIT 2040 Syllabus (World Stages: Staging and Restaging Tragedy), Fall 2013

LIT 2040.002: Introduction to DramaWorld Stages – Staging and Restaging Tragedy

Fall 2013Mrs. Angela Eward-Mangione

Instructor InformationOffice: CPR 319 Office Phone: (813) 974-0082Office Hours: T/R 9:30-11:45 and by appointment Email: [email protected]

General Course InformationThis is a 3 credit hour course. It carries no prerequisites. It is offered through the Department of English in the School of Humanities, College of Arts and Sciences. The course meets Tuesdays and Thursdays from12:30 pm to 1:45 pm in BSN 1400.

Introduction to Drama is part of the University of South Florida’s Foundation of Knowledge and Learning Core Curriculum. It is a writing-intensive course that is certified for the Humanities core area and for the following dimensions: Critical Thinking, Inquiry-Based Learning, Ethical Perspectives, Creative and Interpretive Processes, and Experience.

This is a Gordon-Rule 6A Communications course. Students in this course will engage in writing as a “process,” which means employing strategies such as pre-writing, co-authoring, document design, peer feedback, revising, and editing. Students will learnhow to develop ideas and texts that follow academic/disciplinary conventions for different contexts, audiences, and purposes. An integral part of writing instruction is the opportunity to revisedocuments in response to feedback, so students will be required to revise at least some course writing assignments (including onemajor assignment) after receiving feedback from the instructor. At a minimum, students will write 4500 words for this course.

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Students must achieve a proficiency level of at least C- in the course in order to receive Gordon Rule Communication credit.

Students enrolled in this course may be asked to participate in the USF General Education Assessment effort. This might involve submitting copies of writing assignments for review, responding to surveys, or participating in other measurements designed to assess the FKL Core Curriculum Learning Outcomes.

Course DescriptionThis course will introduce students to the literary art form of drama. Students will read representative selections of dramatic literature by a wide range of authors from various historical periods and cultural contexts. They will develop tools for reading and writing critically about literature through the application of close reading and various “schools” of literary criticism. They will develop an understanding of the creative process involved in the production of drama. Finally, they will develop an understanding of what it means to be human and humane through an appreciation of literature as an expression of the human spirit.

Course Theme: World Stages – Classical, Renaissance, Postcolonial

This course will explore the staging of tragedy in Classical Europe (Greece) and the restaging of tragedy in Early Modern Europe (England) and the post-colonial Americas (United States, Argentina). We will explore notions of innovation, imitation, andinterrogation in representations of tragedy through three world stages. Full-length dramatic texts from Classical Athens, Renaissance England, and the Post-colonial Americas will comprisethe course’s primary texts. These texts will be analyzed primarily as written texts, but we will also view Gregory Doran’sRoyal Shakespeare Company (RSC) Hamlet (2009), Oliver Parker’s Othello (2000), and Anthony Harvey’s Dutchman (1967). Additionally, theory on dramatic tragedy will develop and enrich our understanding of this genre, and literary criticism will provide us with lenses through which to interpret the plays.

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Course Objectives Students will investigate the formal elements of drama such

as plot, character, style, tone, language, symbolism, allegory, myth, imagery, figures of speech, themes and staging, and their function in the creative process of producing drama.

Students will become familiar with some of the major schoolsof literary criticism and learn to develop their own skills in literary analysis, both in writing and orally.

Students will read a representative selection of drama from various cultural and historical periods and will explore therelationships of these selections to these contexts.

Students will explore and evaluate human values and ethics as they are expressed in dramatic texts.

Students will become familiar with some of the major theories of dramatic criticism as well as how such theories have changed over time.

Student Learning Outcomes Students will demonstrate knowledge of the formal elements

of dramatic literature through correct definitions of these terms and through the correct use of them in analytical writing and oral exposition. (General Education Core Objectives (A3, B3, C1, D4).

Students will demonstrate their familiarity with and abilityto apply selected “schools” of literary criticism. (General Education Core Objectives (A3, C1, C2, C5, D1, D3, D4).

Students will demonstrate their knowledge of how dramatic texts relate to the historical and cultural periods in whichthey were produced. (General Education Core Objectives B3, D1, D2, D3, D4).

Students will correctly demonstrate how human values and ethics in dramatic texts inform the behavior of individuals in their stance before others and the world. (General Education Core Objectives A3, B3, D2, D3, E1, E2).

Students will demonstrate their familiarity with and ability

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to apply select theories of literary criticism. (General Education Core Objectives (A3, C1, C2, C5, D1, D3, D4).

General Course Requirements

Class Format: This class relies primarily on collaborative and interactive strategies such as group discussions and workshops. I will offer some lectures on various aspects of the genre of drama, authors’ backgrounds, primary texts, dramatic theory, and literary criticism. Students will collaborate frequently in groups to discuss the assigned texts. Discussions will occur online and in face-to-face meetings. Prompts and “questions for consideration” will guide the themes and topics for our discussions. Screenings of select cinematic adaptations of plays will enhance our discussions of the written texts by offering performance texts for consideration.

Course Organization:

The course is designed to chronologically explore three stages ofworld drama and six schools of literary criticism. The course begins with an overview of theater in Classical Europe (Athens), an in depth study of Sophocles’ Oedipus (c. 431 B.C.E.), and an enriching exploration of Euripedes’ Medea (431 B.C.E.). We will seek to understand how the earliest dramatists staged tragedy, balanced pity and terror, and dramatically represented humanity. To explore the revival and revision of classical dramatic theory and form in Early Modern Europe (England), the course will read and analyze William Shakespeare’s Hamlet (1603) and Othello (1604).We will also view Gregory Doran’s Royal Shakespeare Company Hamlet (2009) and Oliver Parker’s Othello (2000). A study of Amiri Baraka/Leroi Jones’ Dutchman (1964) will elucidate the critical development of African American theater in the United States. Here, we will observe the artists’ impulses to interrogate ratherthan imitate, to innovate rather than reiterate, and to revise and restage. Anthony Harvey’s Dutchman (1967) will complement ourstudy of this play. We will conclude with Griselda Gambaro’s

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Information for Foreigners (1973), which will invite us to continue examining dramatic interrogation, particularly through the play’srevising and restaging of a portion of Shakespeare’s Othello.

An overview of Ethical, Formalist, Feminist, New Historicist, Psychoanalytical, and Postcolonial Literary Criticism will further complement our exploration of world drama, enabling us tointerpret the plays through various lenses.

Course Assignments: Students will write two formal papers (a short interpretive analysis and a literary analysis paper), contribute to weekly in-class and online discussions of the texts, and take three quizzes. Students will also create and present on a Facebook page. Prompts and “questions for consideration” will be provided to help us understand and think critically about the texts and contexts taken up in the course; students should be prepared eachday to orally wrestle with one or more of those questions in class.

Course Resources: The course syllabus and schedule are both available in the “Syllabus” section of Canvas. The “Assignments” section of Canvasoffers descriptions of the short interpretive essay and literary analysis, prompts for the “Response Notes,” supplemental historical and/or authorial background information, links to pertinent film clips and/or author interviews, and other resources. Students may also find Writing Commons (http://www.writingcommons.org) helpful for planning, organizing,drafting, revising, and editing their essays.

Required Texts1. The Wadsworth Anthology of Drama, brief sixth edition. Boston:

Wadsworth, 2007. 2. “Literary Criticism”:

http://www.writingcommons.org/genres/academic-writing/literary-criticism (Free, Open Access Resource)

3. Othello, the Moor of Venice through Folger Digital Texts: http://www.folgerdigitaltexts.org/#http%3A//www.folgerdigita

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ltexts.org?chapter=5&play=Oth&loc=p7 (Free, Open Access Resource)

We will also screen the following films in class: Hamlet (Dir. Gregory Doran, 2009), Othello (Dir. Oliver Parker, 2000), and Dutchman (Dir. Tom Hooper, 1967). If you miss an in-class screening, you will need to make arrangements to watch the film.

Students with DisabilitiesStudents in need of academic accommodations for a disability may consult with the office of Students with Disabilities Services toarrange appropriate accommodations. Students are required to givereasonable notice prior to requesting an accommodation. Contact SDS at 974-4309 or www.sds.usf.edu. For more information about student responsibilities related to disability accommodations, see http://www.sds.usf.edu/content/docs/SDS%20Student%20Handbook.pdf.

Academic Grievance ProceduresIf a serious issue or conflict arises, the student should first make an attempt to reach a satisfactory resolution with the course instructor. It the instructor and student are unable to resolve the situation to their mutual satisfaction, the student may, within three weeks of the incident, file a letter of notification with Dr. Joyce Karpay, the Assistant to the Chair of the English Department.

Academic IntegrityStudents attending USF are awarded degrees in recognition of successful completion of coursework in their chosen fields of study. Each individual is expected to earn his/her degree on the basis of personal effort. Consequently, any form of cheating on quizzes or plagiarism on assigned papers constitutes unacceptabledeceit and dishonesty. Plagiarism is defined as “literary theft” and consists of the unattributed quotation of the exact words of a published text, or the unattributed borrowing of original ideasby paraphrase from a published text. On written papers for which the student employs information gathered from books, articles,

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web sites, or oral sources, each direct quotation, as well as ideas and facts that are not generally known to the public at large, or the form, structure, or style of a secondary source, must be attributed to its author by means of the appropriate citation procedure. Only widely known facts and first-hand thoughts and observations original to the student do not require citations. Citations may be made in footnotes or within the body of the text. Plagiarism also consists of passing off as one’s ownanother person’s work in part or in total.

The University of South Florida has an account with an automated plagiarism detection service which allows instructors to submit student assignments to be checked for plagiarism. I reserve the right to submit assignments to this detection system. Assignmentsare compared automatically with a huge database of journal articles, web articles, and previously submitted papers. I will receive a report showing exactly how a student’s paper was plagiarized.

A student who submits a plagiarized assignment will receive an “F” with a numerical value of zero on the assignment, and the “F”shall be used to determine the final course grade. The instructorhas the right to assign the student a grade of F or FF (the latter indicating dishonesty) in the course. An “FF” grade assigned to indicate academic dishonesty is reflected only on internal records and prevents the student from repeating the course using the Grade Forgiveness Policy. If a student who has been accused of academic dishonesty drops the course, the student’s registration in the course may be reinstated until the issue is resolved. A student who is suspected of cheating may notdrop a course to avoid a penalty.

See http://www.ugs.usf.edu/catalogs/1112/pdf/AcademicIntegrityOfStudents.pdf for USF’s definitions of plagiarism and its policy on academic honesty. Consult with me if you have any questions aboutthese issues.

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Attendance Policy

Attendance:

Regular attendance is expected and mandatory. Classes will be spent engaged in activities and discussions that directly addressyour needs as a student of drama. Since this class only meets twice per week, students are permitted two absences. Instances ofleaving class early or arriving significantly late will be considered absences. Students who have incurred more than two absences will have their final grade lowered by 1/3 for each missed class beyond two (e.g., If you have an “A-”at the end of the semester, yet you have missed two classes, your final adjusted grade is a “B+”). Blackboard will always reflect your current grade as well as an “adjusted” grade for attendance deductions, if applicable.

Scheduled Absences: Students who anticipate the necessity of being absent from class due to the observation of a major religious observance must provide notice of the date(s) to the instructor, in writing, by the second class meeting. Should an examination or the due date for an assignment fall on one of these dates, I will make arrangements with you for a make-up exam or an alternate date forsubmission of written work.

Unscheduled absences:Unscheduled absences involve rare, unforeseen emergencies such asillness, injury, hospitalization, deaths in the immediate family,consequences of severe weather, and other crises. Students shouldcontact the instructors as soon as possible in these cases. Documentation or verification to excuse unscheduled absences may be required. Students who miss more than five class meetings--regardless of the reason--will be advised to drop the course.

Perfect Attendance Incentive:

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Students who achieve perfect attendance will earn two bonus percentage points at the end of the semester. These points will be added to the student’s final grade at the conclusion of the term.For example, if you have an 89% (B+) at the end of the semester, and you achieve perfect attendance, you will receive a final grade of 91% (A-). Only students with perfect attendance (no missed classes and no more than one tardy) are eligible for the bonus percentage points, and students who utilize cell phones, laptops, or other electronic devices in class without permission will be automatically disqualified from receiving the extra points.

Late Work:

Formal papers that are submitted on the due date, but after the start of class, will be penalized by 1/3 of a letter grade. For each class day the project is late (for a limit of one week), onewhole letter grade will be deducted (an “A” becomes a “B” and so on).

In-class discussion and response notes cannot be made up at a later date, regardless of why they were missed.

Other Course Requirements and/or Policies

Technology Requirements and Instructions

Turnitin Web Site

Students will submit writing projects to a plagiarism detection site called Turnitin, which is accessed through Canvas. In order to comply with federal (FERPA) and state privacy laws, you are not required to include personal identifying information such as your name, SSN, and/or U# in the body of the work (text) or use such information in the file naming convention prior to submitting. Please follow carefully your instructor’s instructions regarding what identifying information to include. Your submission will be placed in the course grade center in your

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account that can be accessed by the instructor and attributed to you.

Students should also save a copy of all their work on an entity outside of Blackboard and Turnitin, such as a USB flash drive.

Grading

Response Notes 20%Facebook Page, Presentation, and Interpretive Analysis 20%Literary Analysis Paper (Learning Outcomes Assignment) 40% Quizzes 20%

I will record your grades on Blackboard throughout the semester. Letter grades, including plus and minus grades, will be assigned as follows:

A+ (97–100)4.00

B+ (87–89.9)3.33

C+ (77–79.9)2.33

D+ (67–69.9)1.33

A (94–96.9)4.00

B (84–86.9)3.00

C (74–76.9)2.00

D (64–66.9)1.00

A– (90–93.9)3.67

B– (80–83.9)2.67

C– (70–73.9)1.67

D– (60–63.9)0.67

A grade of “I” will be awarded only in the case of a medical or family emergency and, in conjunction with University policy, onlywhen a small portion of the student’s work is incomplete and onlywhen the student is otherwise earning a passing grade.

Students may not take this course S/U.

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(Learning Outcomes Assignment: Final Paper, Literary Analysis) (40%)Students will write a paper on a specific literary device, thematic element, ethical issue, or issue of identity (class, gender, ethnicity, sexuality) in one or more of the plays on the syllabus, showing an awareness of a possible range of interpretations. The paper must make appropriate use of relevant formal literary terms. Students will receive peer and instructor comments on an original essay of at least 1000 words (due October22). Using comments from both peers and the instructor, students will revise the paper and submit a final draft of at least 2000 words (due December 5).

Students will also be provided a specific list of potential topics to choose from.

Assessment: The intermediate and final drafts of the learning outcomes assignments will be evaluated in the following assessment categories: Focus, Evidence, Organization, Style, and Format.

ExamsThere are no formal exams in this course.

QuizzesStudents will take three quizzes. The quizzes will cover the terms, plays, and films for each unit.

Other Assignments

Response Notes (20%)

Ten 150-word response notes are required. They should include your commentary and analysis of a particular text in response to suggested topics. Response notes are due on select Thursdays at

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12:00 P.M. See the course schedule for specific due dates. Sampleresponse notes are posted on Canvas.

Grading: Response Notes will be assigned full credit (A), three-quarters credit (C), half credit (F), or no credit (0). Response notes that meet the requirements for an A (95%) and also include relevant images or links to outside resources will be awarded an “A+.”

To receive an A (95%), the response note should meet the minimum word-count requirement, respond to at least one assigned reading,display a thoughtful and earnest engagement with the material, and be mostly free of grammatical and typographical errors. An “A” entry will also cite evidence from the primary text. Another hallmark of the full-credit entry is that it is organized and progresses logically from an initial starting point to a conclusion.

To receive a C (75%), the response note should meet the minimum word-count requirement and respond to at least one assigned reading. The hallmark of a “C” entry is that, although it offers observations, it does not cite evidence from the primary text.

Half credit (50%/F) will be assigned to notes that do not meet atleast 50% of the minimum word count. No credit (0%/F) will only be assigned if a post is not submitted at all.

At the end of the semester, I will drop your lowest response notegrade.

Note: Since Response Notes count toward the fulfillment of the Gordon Rule Requirement, you must complete at least 50% of the posts to receive Gordon Rule Communication credit (grade of at least C-) for this course.

Character Study: Facebook Page and Interpretive Analysis (20%)

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By the second week of the semester, all students will choose a character (a list of approved characters is provided at the end of this syllabus) and begin setting up a Facebook page for that character. Each student should plan, design, and create a profilepage with all of their characters’ pertinent information, such asrelationship status, political views, religious views, and “likes” that reflect the character. The page should also include at least four to five status updates that reflect the character’spersonality, thoughts, concerns, and/or conflicts. Be creative here and have fun. The posts and other design elements should cohere as a whole, however, so that they collectively represent the character. Each student will present (aim for no more than five minutes) his/her Facebook character page on a day that we discuss those characters.

Instructions for using Facebook will be provided in class. Students will be advised to create an account just for this project, however, and will not use their personal Facebook pages for this work. Students should also indicate that their page is work for a course, maintain academic standards on the page, and delete the account/page after the course concludes.

All students will also write a 750-word interpretive analysis paper for their chosen character. The paper should describe and interpret the effectiveness of characterization as relevant to your character in the play. For example, in your view, how does Shakespeare’s characterization of Hamlet contribute to the play’smeaning or theme? Does the characterization help us to identity or sympathize with Hamlet?

The interpretive analysis paper should reference both the play and your Facebook page. For example, you might consider how Shakespeare’s characterization of Hamlet functions within the play, as well as how your Facebook page reflects this characterization. Then, consider how you took that information into account when you designed your character’s Facebook Page. Why did you choose particular images, and how did you determine what to write for your character’s “status updates?”

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In most instances characters’ choices move the story along, so the Facebook page and interpretive analysis will help you think about the centrality of characterization in drama.

Course Schedule

INTRODUCTION: DRAMA, THEATER, AND CULTURE Unless otherwise indicated, all assigned readings derive from TheWadsworth Anthology of Drama, brief sixth edition.

Week 1

Tuesday (8/27): Introduction to the Course

Thursday (8/29): Introduction to the Genre of Drama -“Introduction: Drama Theater and Culture” (pp.1-9)-Response Note 1 due (Deadline: 12:00 P.M.)

Week 2Tuesday (9/3): Introduction to Drama: Tragedy

-Aristotle, Excerpt from The Poetics (pp. 88-99)

Thursday (9/5): Quiz 1, Reading and Writing about Drama, Formalist Criticism

- http://www.wwnorton.com/college/english/nadrama/ebook-lite/welcome.asp-“Why Write Literary Criticism,” “Diverse Rhetorical Situations,” New Criticism/Formalist”: http://www.writingcommons.org/genres/academic-writing/literary-criticism

UNIT 1: STAGING TRAGEDY IN THE THEATER OF CLASSICAL EUROPE (GREECE)

Week 3

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Tuesday (9/10): Introduction to Greek Drama -“The Theater of Classical Europe”: Athens (pp. 13-20)

Thursday (9/12): Oedipus the King -“Sophocles” (pp. 28-29)-Oedipus (lines 1-1250)- Response Note 2 due (Deadline: 12:00 P.M.)

Week 4Tuesday (9/17): Oedipus

-Oedipus (lines 1251-1680)

Thursday (9/19): Medea-“Euripides” (pp. 48-50)-Medea (lines 1-950)-Response Note 3 due (Deadline: 12:00 P.M.)

Week 5Tuesday (9/24): Medea

-Medea (Lines 951-1390)-“Feminist Criticism”: http://www.writingcommons.org/genres/academic-writing/literary-criticism

Thursday (9/26): Quiz 2, Preview of Unit 2 Guest Speaker: Henry Muttoo: Caribbean Drama and Ti-Jean and His Brothers

UNIT 2: RESTAGING TRAGEDY IN THE THEATER OF EARLY MODERN EUROPE (ENGLAND)

Week 6Tuesday (10/1): Introduction: Theater in Renaissance England

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-“The Theater of Medieval and Renaissance England” (pp.159-178)

Thursday (10/3): William Shakespeare, Hamlet-Response Note 4 due (Deadline: 12:00 P.M.)-“Hamlet” (pp. 219-221)-Hamlet: Acts I-II (pp. 222-238)

Week 7Tuesday (10/8): William Shakespeare, Hamlet

-Hamlet: Act III (pp. 238-248)

Thursday (10/10): William Shakespeare, Hamlet -Response Note 5 due (Deadline: 12:00 P.M.)-Hamlet: Acts IV-V (pp. 249-264)-Sir Philip Sidney, Excerpt from Apology for Poetry (pp. 265-

266)

Week 8Tuesday (10/15): Dir. Gregory Doran, Hamlet

-“Gregory Doran, Artistic Director”: http://www.rsc.org.uk/about-us/our-work/doran.aspx-“Psychoanalytic Criticism,” “A Freudian Approach to Erin McGraw’s ‘A Thief’ by Skylar Hamilton Burris”: http://www.writingcommons.org/genres/academic-writing/literary-criticism

Thursday (10/17): Dir. Kenneth Branagh, Hamlet -“Preface to Troilus and Cressida, Containing the Grounds of

Criticism in Tragedy” (pp. 383-392).

Week 9Tuesday (10/22): William Shakespeare, Othello

-Othello: Act I (See Folger Digital Texts link in “Required Texts”).

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-Literary Analysis Paper 1 (1,000 words) due (Deadline: 12:00 P.M.)

Thursday (10/24): Othello-Othello: Acts II-III (See Folger Digital Texts link in

“Required Texts”).-“New Historicism Criticism”: http://www.writingcommons.org/genres/academic-writing/literary-criticism-Response Note 6 due (Deadline: 12:00 P.M.)

Week 10Tuesday (10/29): Othello

-Othello: Acts IV-IV (See Folger Digital Texts link in “Required Texts”).

Thursday (10/31): Dir. Oliver Parker, Othello-Response Note 7 due (Deadline: 12:00 P.M.)-“Reader Response Criticism”: http://www.writingcommons.org/genres/academic-writing/literary-criticism

Week 11

Tuesday (11/5): Dir. Oliver Parker, Othello-“Ethical Criticism” (See handout on Canvas)Guest Speaker: Dramaturg Nakissa Etemad

Thursday (11/7): Quiz 3, Preview of Unit 3

UNIT 3: RESTAGING TRAGEDY IN THEATERS OF THE POST-COLONIAL AMERICAS (UNITED STATES, ARGENTINA)

Week 12Tuesday (11/12): Introduction: Theater of Postwar America

-Introduction: “The United States” (pp. 649-659)

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Thursday (11/14): Amiri Baraka / Leroi Jones, Dutchman-“Amiri Baraka / Leroi Jones” (pp. 664-765)-Dutchman (pp. 766-774)-Response Note 8 due (Deadline: 12:00 P.M.)

Week 13Tuesday (11/19): Dir. Anthony Harvey, Dutchman

-Arthur Miller, Excerpt from “The Tragedy of the Common Man”(pp. 868-

871)-Character Study Interpretive Analysis Paper due (Deadline:

12:30 P.M.)

Thursday (11/21): Dir. Anthony Harvey, Dutchman-“Postcolonial Criticism” (See handout on Canvas)-Response Note 9 due (Deadline: 12:00 P.M.)

Week 14Tuesday (11/26): Introduction: Theater of Postcolonial, Contemporary Argentina, Information for Foreigners

-“A Global Theater,” “Argentina” (pp. 875-877)-“Griselda Gambara” (pp. 899-900)-Information for Foreigners: Scenes 1-14 (pp. 901-914)

Thursday (11/28): Thanksgiving Holiday

Week 15 Tuesday (12/3): Information for Foreigners

Information for Foreigners: Scenes 16-20 (pp. 915-919)Response Note 10 due (Deadline: 12:00 P.M.)

Thursday (12/5): Course Conclusions and Class Party -Literary Analysis Paper 2 Due (2000 words) (Deadline: 11:59

P.M.

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UNIT TERMS

Introduction:

CanonCharacterComedyDialogueDramaFolioGenreLanguageMonologueMusicPlotSettingSpectacleTheaterTheatronThemeTragedy

Unit 1:

AnagnorisisAmpitheaterArchonCatharsisChorusCity of DionysiaDeus ex MachinaEpisodeEthical CriticismFeminist CriticismFormalist Criticism MonologueMythNew Comedy

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PhallusPrologueSoliloquyThemeTragedyTrilogy

Unit 2

AllegoryAnagnorisisBlank VerseCross-dressingDirect AddressFolioGrave TrapIambic Pentameter Intercultural Performance InvestigationMetatheaterMetatheatrical CriticismMorality PlaysNew Historicist CriticismPrivate TheatersPublic TheatersPsychoanalytic CriticismQuartoRepertoryRevenge TragedySharersSoliloquySubtextTiring HouseTragicomedies

Unit 3

Allusion

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CaudillosEncomiendaEnvironmental TheaterFourth WallLittle Negro Theater MovementLos Desaparecidos MetatheaterMethod ActingMythPostcolonialPostcolonial Criticism SainetesSubtextThe Federal Theater ProjectTheater of CrueltyTheater of the Absurd

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LIST OF APPROVED CHARACTERS FOR FACEBOOK PAGE ASSIGNMENT

Oedipus the King: OedipusCreonTiresiasJocastaShepherdChorus

MedeaMedeaJasonCreonAegeusNurse to MedeaTutor to Medea’s childrenMedea’s Children

HamletHamletClaudiusThe Ghost of Hamlet’s FatherPoloniusHoratioLaertesRosencrantzGuildensternFortinbrasGertrude Ophelia

OthelloOthelloDesdemonaBrabantioRoderigoIagoDuke of Venice

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Emilia Bianca

DutchmanClayLulaRiders of CoachYoung NegroConductor

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