TH393 Syllabus

Office Hours: T,R: 2:30-4:00p.m.

TH 393:
SEMINAR IN CONTEMPORARY PERFORMANCE	DR. GARY GRANT
Fall, 1994	Office: Coleman T207
W, 1:00-4:00 PM	Office Phone: 1235
Tustin Rug Room

COURSE DESCRIPTION
This study of experimental aesthetics traces the development of a new paradigm for 20th Century art "multi-media" art forms and the aesthetics of "total theatre." The course explores the international aspect of theatrical experimentation by studying playwrights/theorists connected with the Italian Futurists, the Swiss and German Dadaists and the French Surrealists, Latino Theatre of Social Change, The Poor Theatre in Poland , American Environmental and Formalist Experiments, Happenings and Performance Art. Through presentations and performances in topics such as The Self as Content and Theatre and Therapy, students learn how the visionaries of 20th C. theatre have influenced the relationship between art and culture. In the development of their own original work, students begin a process of understanding their role as artists in contemporary society.

COURSE OBJECTIVE

--an introduction to a new paradigm for 20th Century "multi-media" art forms and the: aesthetics of "total theatre"
--an introduction to "performance theory"
--an appreciation of the international aspect of 20th Century theatrical: experimentation
--an appreciation of the interdisciplinary aspect of this movement
--the development of communication skills and techniques necessary for oral: presentation
--the development of research and writing skills necessary for the development of: essays which correlate theory and performance documentation
--an inspiration for the individual's search for alternative processes of theatre work
--experience in the evaluation of experimental theatre events

REQUIRED READING
A. Textbooks:

Goldberg, Roselee. Performance Art from Futurism to the Present.: NY: Harry Abrams, 1988.
Kumiega, Jennifer The Theatre of Grotowski. London: Methuen, 1987.
Marranca, Bonnie and Gautam Dasgupta. Interculturalism and Performance.: NY: Performing Arts Journal Publications, 1991.

B. Plays & Performances:
The Gas Heart - Tristan Tzara
The Breasts of Tiresias - Guillaume Apollinaire
The Wedding on the Eiffel Tower - Jean Cocteau
Jet of Blood - Antonin Artaud
Sintesi - F. T. Marinetti
The Brig - Kenneth Brown
The Connection - Jack Gelber
Akropolis - Polish Laboratory Theatre
Domestic Resurrection Circus - Bread & Puppet Theatre
Ascent to the Sea - Odin Teatret
The Dead End Kids- Mabou Mines
Swimming to Cambodia - Spalding Gray
The Fun House - Eric Bogosian
Pig, Child, Fire - Squat Theatre
Einstein on the Beach - Robert Wilson
Pandering to the Masses - Richard Foreman
USA- Laurie Anderson
16 Happenings - Alan Kaprow
Stage Blood and Irma Vep - Charles Ludlum

C. Journal articles, Essays and Manifestos.
Handbook on Contemporary Performance handed out at the first class.

RECOMMENDED READING (On reserve in Bertrand Library)
Brockett, Oscar and Robert Findlay. Century of Innovation. Boston: Allyn and Bacon, 1991.
Shank, Theodore, American Alternative Theatre. NY: St. Martin's Press, 1989.
Other titles in the reading list.

COURSE REQUIREMENTS
1. Reading: Each week, readings will be assigned from the textbooks, reserve reading list and xerox packet. We begin with a lecture or a presentation concerning the social and cultural conditions surrounding various avant-garde movements and we end with a discussion of a performance connected with this movement. This discussion method of conducting a class is an effective way to develop analytical abilities, but it works only if you prepare for each class session. Each class will begin with a brief written quiz on one of the reading selections. See guidelines on grading.
Reading list attached.

2. Attendance: It is imperative that you attend every class. Your learning process and final grade will be significantly enhanced by your attention to and participation in these class lecture/discussions. Your attendance, also, helps to develop a supportive community for the class performances. You may accumulate one absence for any reason. After one absence, your final grade will be lowered one letter grade. If you are ill, I would appreciate your contacting me prior to the class and informing me of your situation.

3. Class Presentation: Working in a group, students will conduct a 3 hour session of the seminar. The following are the topic areas and the date of presentation:

#1 Oct. 12 The New Formalism

#2 Oct. 26 Theatre and Therapy

#3 Nov. 9 The Self as Content

#4 Nov. 24 Environmental Theatre

#5 Nov. 30 Theatre of the Ridiculous

#6 Dec. 7 Feminism and Performance Art
For further information, see Appendix A

4. Short Essays on Avant-Garde Performance:
Paper Deadlines: October 12

Nov. 30
For further information, see Appendix B

5. Sunday Theatre on Film Series: Two films that document avant-garde performances will be screened only on the following dates:

Nov. 11 The Dead End Kids- Mabou Mines
Nov. 20 Ascent to the Sea-Odin Theatret

In addition, there are weekly video viewing assignments.
6. Workshops in Avant-Garde Performance: All students are expected to attend the following guest artists workshops:

MEYERHOLD WORKSHOP- led by Nikolai Guzov
Vera Komissarzhevskaya Theater
St. Petersburg, Rus
September 26 and 27, 7 p.m. in Tustin Studio Theatre

TOTAL THEATRE WORKSHOP-led by Ping Chong
October 3 and 4, 7 p.m. in Tustin Studio Theatre

LECTURE DEMONSTRATION ON JAPANESE THEATRE-
led by Teviot Fairservis
Artistic Director/East West Fusion Theatre
November 1, 7 p.m. In University Theatre

N.B. I realize that some students may be involved in other department performance projects or evening classes. I will work with the project director or professor to enable you to attend these significant artistic experiences.
7. Performance Projects: Either as solo performers or as members of an ensemble with other members of the class, students will create an original performance piece based on the concepts of experimental theatre explored in the course. See Appendix C for further details.
Deadline: The instructor proposes an Evening of Avant-Garde Performance during the week of December 12

GRADING
My "Policy on Deadlines": Written Projects: One project will be automatically extended by three days. All other projects have an absolute deadline. NO EXCEPTIONS.

PROJECT GRADING SCALE
Class Presentation:

1. Preparation A = 20 B = 14 C = 8 D = 5

2. Presentation A = 20 B = 14 C = 8 D = 5

Papers A.= 15 B.= 10 C.= 5 D. =2

Rewrites up to 6 additional points per paper

(Based on an average of the 3 papers)

Performance Project

1. Preparation A.= 20 B.= 14 C.= 8 D.= 5

2. Performance A.= 20 B.= 14 C.= 8 D.= 5

Weekly Quiz A.= 10 B.= 7 C.= 3 D.= 1

(based on an average of all quizzes)

TOTAL POINTS (OPTIMUM) 105

A = 100 and above total points, meeting all deadlines, fulfilling the attendance requirement, participation in class, completion of all projects.
B = 72 - 86 total points , meeting all deadlines, participation in class, completion of all projects.
C = 39 - 53 total points, meeting all deadlines, participation in class.
D = 29 and below total points

TH.393 Seminar in Contemporary Performance Dr. Grant

CLASS PRESENTATION
(Appendix A)
As I see it, your presentation has three goals. First of all, to present information about a particular experimental theatre movement. Second, to guide the class in a discussion of a filmed event and third, to inspire the group in their own theatrical explorations. To help in the accomplishment of these goals, I propose the following process:
I. Preparation
a. A lengthy (1 1/2hr.) meeting with the instructor to outline aspects of the presentation. This meeting should take place at least two weeks before the presentation and after the presenter has done initial research and assembled a rough draft outline for the presentation.
b. An annotated bibliography of ten (10) citations relating to the topic area or the period to be presented. At the end of this appendix is an example of an annotated bibliography. Deadline: day of the presentation.
c. An map/outline of the presentation available to the class on the day of the presentation.
d. A study guide and/or questions about the topic readings and film viewing available the Friday before the class presentation. Any handouts or additional readings available the Friday before the presentation.
II. Presentation
The class presentation needs to focus on some of the following areas:
a. A brief history of the topic area including persons, performances, dates, etc.
b. A brief sketch of the history/cultural context of the topic area.
c. A discussion and showing of art and musical pieces that will help to illuminate the theatre art of the topic.
d. A discussion of the important aesthetic principles of the work defined by the topic.
e. A discussion of the film viewed by the class in preparation.
f. A demonstration (with class participation) of the training or work process of groups in the topic area.
After this preparation and presentation, you will be able to serve as an "expert" on your topic. In subsequent presentations, you can use your knowledge and your particular insight into experimental theatre to comment on similarities and differences in the work under consideration. You can act as a guide for those students wishing to create a theatre piece that utilizes the principles you have presented.

TH 393 - Seminar in Contemporary Performance Dr. Grant

PERFORMANCE PAPERS
(Appendix B)
With these paper, I encourage you to explore connections between your topic area, your own development as a performance artists and other directions explored in the class presentations.
1. Preparation: I envision two different kinds of writing projects:
a. A personal, impressionistic, journal-oriented description of the work with Ping Chong and Nikolai Guzov. This writing can incorporate some of the information about total theatre total theatre that we will discuss and read about, but the primary focus of the work is to find a way to communicate your inner experience in writing. Taking notes before, during and after the workshop may be helpful.
b. An enthnomethodological analysis of one of the various kinds of performances taking place before Thangsgiving Break 1994, including athletic events, the Theatre and Dance Dept. productions/process, Greek parties, Parent/student activities, or an avant-garde theatrical event seen live or on video. Derived primarily from the social sciences and the concepts of performance theory, this method provides useful, nonevaluative insights into performance contexts. This essay will also give you the opportunity to comment on the issues of interculturalism, and postmodernism which form the subtext of our reading.
The following reading list will help in the development of the performance studies essay:
PERFORMANCE THEORY AND ETHNOMETHODOLOGY (xeroxes in handbook)

Jones David and Jack Halstead, "Performance Theory," A Dictionary of Dramaturgical
Terms, unpub. manuscript, 1988.
Higgins, Dick. " The New Humanism," Performing Arts Journal.
Schechner, Richard. "The End of Humanism," Performing Arts Journal.
Turner, Victor, "Introduction," Acting in Everyday Life and Everyday Life in
Acting," From Ritual to Theatre, NY: Performing Arts Journal,
1982, pp7-19, 102-123.
_________, "Dramatic Ritual/Ritual Drama: Performative and Reflexive
Anthropology. in Marranca. pp. 99-112.

N.B. Throughout the class, the methods used by the instructor to present the material of the course will help to explain the possibilities of these various kinds of writing projects. Timely submission of a rough draft and first draft will allow students to revise their writing based on the instructor's comments.
2. Papers-Technical Requirements: a. Format -MLA Stylesheet (on reserve)
b. These are intended as medium length writing assignments (5-7 pages) that call upon your ability to present your ideas concisely yet with detailed examples. Most of your writing can be organized around a thesis statement, and should present unified paragraphs, complete sentences, correct grammar, punctuation and spelling, and, where appropriate, footnotes indicating your source material Papers must be typed, double spaced. I suggest that you work with a word processor since I will suggest revisions and award extra points for your rewrite.

NB. Please feel free to meet with me about your ideas and the your writing process..

Deadlines: October 12 Papers on Ping Chong and ??? Workshop

November 30 Ethnomethodology Paper

TH 393 - Seminar in Contemporary Performance Dr. Grant

PERFORMANCE PROJECT
(Appendix C)

My idea here is to create an environment where you can explore your own creativity in new ways, incorporating and developing concepts and techniques discussed in the course. I propose two parts to this project:
1. Preparation: "A Personal Manifesto"
We will read provocative, somewhat curious, idiosyncratic, somewhat crazed statements by many influential 20th C. theatre artists, including essays, prefaces and manifestos by Appia, Jarry, Marinetti, Eisenstein, Meyerhold, Tzara, Artaud, Cocteau, Breton, Grotowski, Foreman, Scheckner and Wilson.
This writing project is designed so that you might explore on a personal level an appreciation of this work, the significance of these ideas in your own artistic work and a critique of their historical or personal importance. It should help you to prepare for your performance project.
Your essay should contain three parts. The first two parts depend upon your understanding of one or more of the writers listed above and upon your ability to impersonate the style and concepts of these writers. The third part depends upon your ability to articulate your own position on theatre vis a vie these writers.
Part I
Imagine that you are Tristan Tzara or another of the writers listed above. You might also be a combination of a few of them (a kind of Appia-Artaud schizophrenic). Comment on contemporary theatre (anywhere that you have experienced it "as if" you were this artist. Compose your comments, as best you can, in his style.
Part II
Once again, working from your understanding of the fundamental concepts of this artist or artists, compose a statement on the role of performance/theatre in society today, the value of the theatrical experience for a contemporary audience, the nature of an ideal theatrical language, etc. You should declaim upon the ideas that interested your model, adapting them to comment on our contemporary situation. Again, the appropriate style might help you find the right "expressive tone" for your statement.
Part III
Comment upon the relationship (or lack thereof) of the concepts declaimed in Parts I and II to your own theatre work. Be specific, if possible. Does it relate to you as a designer, performer or director. Does it relate to your experience as an audience member, art gallery goer, cultural/societal commentator? Does it have any effect on your living or way of thinking or feeling?
2. Performance
There are a few suggestions here:
a. We will try to create An Evening with the Avant-Garde probably during Reading Period or Exam Week.
b. Share your ideas with me well before you begin your rehearsal process. Two weeks before the performance, you should schedule a meeting with me.
c. No less than one week before the performance you must have make a public announcement of this performance published in some manner, unless the nature of this event is such that those in attendance (excepting this class) must be surprised at the beginning of the performance .
d. You may want to work solo or to create an esemble composed of other members of the class. It is possible that the entire class could work together as an ensemble to create one piece. WE need to discuss these options with one another.
e. You will need to make all arrangements needed for the performance. Neither the Department nor the instructor can assume any responsibility in this area.
f. Bucknell University, the Department of Theatre and Dance, and the instructor cannot be responsible for any statements, confiscations, arrests, or consequences arising from these performance projects.
Best wishes on your journey.

TH 393 Seminar in Performance

COURSE OUTLINE AND READING LIST

AUGUST:

31 APPROACHES TO EXPERIMENTAL/ALTERNATIVE THEATRE

Film in class: Excerpts from various topic areas

Marranca, Bonnie abd Gautam Dasgupta, "Thinking about interculturalism," in

Interculturalism and Performance, NY: Performing Arts Journal

Publications, 1991., pp. 9-26.

SEPTEMBER:

7 ART AS POLITICS: DADA CABARET, DANCE AND FILM

THE DYNAMO OF REVOLUTIONARY CHANGE: THE ITALIAN FUTURISTS:

Goldberg, Roselee. "Futurism," "Dada," "The Punk Aesthetic," Performance Art: From

Futurism to the Present. New York: Abrams, 1988, pp. 11-30; 50-74;

181-184

Tzara, Tristan. Dada Manifesto, 1918 (xerox)

Tzara, Tristan. The Gas Heart in Modern French Theatre. ed and trans. Michael

Benedikt. (xerox)

Marinetti, Tommaso, Emilio Settimelli and Bruno Corra."The Futurist Synthetic

Theatre." Futurist Performance. ed., Michael Kirby. New York: Dutton & Co.,

1971 (xerox)

Marinetti, Tommaso.

"Feet"

"A Landscape Heard"

"Silences Speak Among Themselves"

"They are Coming" in Kirby (xerox)

Film in class: Entre'Act

14
SURREALISM: THE PRIVATE POLITICS OF THE SUBCONSCIOUS

Goldberg, Roselee. pp. 75-96.

Breton, Andre. "The Manifesto of Surrealism," The Autobiography of Surrealism. ed. Marcel Jean. NY: The Viking Press, 1980 (xerox)

Artaud, Antonin. The Jet of Blood. in Benedikt. (xerox)

___________. "No More Masterpieces." and "The Theatre of Cruelty" (xeroxes) and "Oriental and Western Theatre," (on reserve) in The Theatre and Its Double. trans. Mary Caroline Richards. NY: Grove Press, 1958, pp. 267-274 (on reserve)

Ionesco, Eugene. "Experience of the Theatre." in Robert Corrigan. The Making of the Theatre. NY: Scotts, Foresman, 1967,pp.19-21. (xerox)

Weber, Carl. " AC/TC: Currents of Theatrical Exchange," in Marranca, pp 27-37.

Film in class: Un Chien Andalou - Bunuel & Dali

Film on reserve: Mysteries of an Afternoon- Maya Deren

21
THE MOTHER OF THEM ALL: THE LIVING THEATRE AND THE POLITICS OF ECSTASY

Brustein, Robert. "Junk and Jazz: The Connection," "A Harrowing Night in The Brig""Postscript: The Death of the Living Theatre" Seasons of Discontent: Dramatic Opinions, 1959-1965, NY, Simon & Schuster, 1967. (xerox)

Wetzsteon, Ross. "Incriminated for Life," Village Voice, Oct. 26, 1986, pp. 97-99

Beck, Julian. "Notes Toward a Statement on Anarchism and Theatre"

"Acting Exercises: Notes for a Primary Lesson"

"Body"

"Break Down the Resistance Both of Spectator and Performer"

"The Trance State of the Performer"

"The Tribe"

"Techniques of Confrontation Politics: NYC, March 1969"

The Life of the Theatre. San Francisco, City Lights 1972. (xerox)

Shank, Theodore. "Primary Explorations," American Alternative Theatre. St. Martin's Press, 1989. (on reserve)

Film on reserve : Signals Through the Flames-documentary

Film in class: The Connection by Jack Gelber

The Brig- Kenneth Brown performed by The Living Theatre

26,27
WORKSHOP WITH NIKOLAI GUZOV

TUSTIN STUDIO THEATRE, 7-9PM

28
RUSSIAN FUTURISM AND CONSTRUCTIVISM: THE FORMALIST EXPERIMENT:

Guest Lecturer: Nikolai Guzov

Baker, Rob. "Bauhaus," Theatre Crafts. (xerox)

Goldberg, "Russian Futurism and Constructivism," "Bauhaus," pp. 31-49, pp. 97-120.

Eisenstein, Sergi. "Montage of Attractions," Film Sense, ed. and trans. Jay Leyda. (xerox)

Meyerhold, . "Biomechanics, " Meyerhold on Theatre .ed. and trans. Edward Brown. NY: Hill and Wang, 1969 (xerox)

Film in class:"Odessa Steps segment" from Potemkin -directed by Eisenstein

Angel City -Sam Shepard, directed by Gary Grant

OCTOBER

3,4 WORKSHOP WITH PING CHONG

TUSTIN STUDIO THEATRE, 7-9PM

5
THE LIVING SPACES OF PING CHONG

Guest Lecturer: Ping Chong

Ping Chong material TBA

Film on reserve: Elephant Steps performed by Ping Chong

American Composers: Meredith Monk

***FALL BREAK****

12
CLASS PRESENTATION #1

THE NEW FORMALISM

Shank, "The New Formalism," (on reserve)

Goldberg, "The Art of Ideas," pp. 152-171

Creese, Robb. "The Theatre of Mistakes," The Drama Review (70) (xerox)

Flakes Susan, "Robert Wilson's `Einstein onthe Beach'," The Drama Review, 20:4 (72), pp. 69-83.

Stearns, Robert. Robert Wilson: The Theatre of Images. NY: Harper & Row, 1984, pp. 44-53 (xerox)

Wirth, Andrzej. "interculturalism and Iconophilia in the New Theatre," in Masrranca. 281-290.

Film in class: Fire a video by Robert Wilson

Film on Reserve: Einstein on the Beach-Robert Wilson

DEADLINE: PAPERS ON MEYERHOLD AND PING CHONG WORKSHOPS

19
JERZY GROTOWSKI AND THE THEORY OF THE POOR THEATRE

Kumiega, Jennifer. The Theatre of Grotwoski. London: Methuen, 1987, pp. 39-143.

Kauffman, Stanley. "Grotowski's Theatre," Persons of the Drama. NY: Harper and Row, 1976, pp. 63-72.

Grotowski, Jerzy. "Statement of Principles," Towards a Poor Theatre. NY: Simon & Schuster,1968, pp. 15-25 (xerox)

____________ "Statement (accompanying the film Akropolis)

Film on Reserve: Acropolis-Polish Laboratory Theatre

26
CLASS PRESENTATION #2

THEATRE & THERAPY

Kumiega, 145-238

Brown, J.F. "System of Correspondences Used in Rites of Eleusis in: Alister Crowley's Rites of Eleusis." The Drama Review, v. 22, No. 2 (June 1978), page 13.(xerox)

Creese, Robb. "Everything as Visible Speech in Anthroposophical Performance." TDR, v. 22, No.2 (June 1978), pages 64-65. (xerox) Notes in program copy of Living Theatre's Paradise Now.

Kott, Jan. "Grotowski or The Limit," in The Memory of the Body: Essays on Theatre and Death. Illinois: Northwestern University, 1992, pp. 61-69. (on reserve).

Ronen, Dan. "A Workshop with Ryszard Cieslak," TDR (T80) (xerox)

Shank, T. "Linda Montano's Autobiographical Performance:Mitchell's Death," The Drama Review (T81) (xerox)

Film in class: Fire a video by Robert Wilson

Film on reserve: My Dinner with Andre - directed by Louis Malle

NOVEMBER

1 LECTURE DEMONSTRATION ON JAPANESE THEATRE-TEVIOT FAIRSERVIS

University Theatre 7-9PM

2
THE JAPANESE AVANT GARDE: BUTOH

Guest Lecturer: Professor Teviot Fairservis

Campbell, R.M. "A dance of the ugly and beautiful comes to Seattle," Seattle Post Intelligencer, September 5, 1985 Sec C, p. 1. (xerox)

Flynn, John J. "Transiting from the 'Wethno-centric' An Interview with Peter Sellars in Marranca, pp. 191. (xerox)

Hahn, John. "A life hangs on a thread-and the thread snaps," Seattle Post Intelligencer, Sept. 11, 1985, Sec. A, p. 1. (xerox)

Grant, Gary, "We are born into the world upside down," unpublished essay. (xerox)

Hunt, Marilyn, "Saburo Teshigawara: Violent Beauty," Dance Magazine, April 1991, pp.50-53. (xerox)

Stein, Bonnie Sue, "Celebrating Hijikata: Bow to the Butoh Master," Dance Magazine, May 1988, pp. 44-47. (xerox)

Suzuki, Tadashi. "Culture is the Body," in Marranca, pp. 241-248.

Additional Reading TBA

Film on reserve: Sankai Juku

9
CLASS PRESENTATION #3

THE SELF AS CONTENT: FROM COCTEAU TO MABOU MINES

Cody, Gabrielle, "Behavior as Culture: An Interview with Lee Breuer, in Marranca, pp. 208-215.

Demastes, William. "Sp[alding Gray's "Swimming to Cambodia" and the evolution of an ironic presence. Theatre Journal, 41 (March 1989), pp. 75-94. (on reserve)

Foreman, Richard, "How Truth. . . Leaps(Stumbles) Across the Stage," Performing Arts Journal. (xerox)

Goldberg, "Autobiography," "Lifestyle: That's Entertainment," pp. 172-181.

Shank, Theodore. "Squat's Pig, Child, Fire," TDR (T75) (on reserve)

Shank, Theodore. "Self as Content." (on reserve)

Witchel, Alex. "Yes, Spalding Gray, This Is Your Life. . . ," New York Times, November 11,1990, p.H8.

Film on Reserve: Swimming to Cambodia - Spalding Gray

Films in class: Wedding on the Eiffel Tower - Jean Cocteau

Reel to Reel-Mabou Mines

13
Theatre on Film Series: Dead End Kids

Location TBA

16
THE DEAD END KIDS AND THE THEATRE OF SOCIAL CHANGE

"Performing in Dead End Kids:Statements by Mabou Mines Actors" Theatre (xerox)

Schechter, Joel "Notes From Under my Desk: On the end of the World and Other Spectacles," Theatre pp. 38-40. (xerox)

Shewey, Don, "The Many Voices of Mabou Mines," American Theatre,1:3 (1984),pp. 5n

________, "A Revue for the Nuclear Era Moves From Stage to Film," The New York Times, Nov. 9, 1984. (xerox)

Steritt, David, " Transmuting political theatre into film, " The Christian Science Monitor, Nov. 7, 1986. (xerox)

Shank, "The Theatre of Social Change" (on reserve)

Davis, R.G. "Guerrilla Theatre: 1965," The San Francisco Mime Troupe: The First Ten Years. Calif.: Ramparts, 1975, pg. 149-153. (xerox)

Valdez, Luis. "Notes on Chicano Theatre," Guerilla Street Theatre, ed. Henry Lesnick, NY: Avon, 1973, pp. 190-197 (xerox)

20
Theatre on Film Series: Ascent to the Sea

Theatre Meets Ritual

Location TBA

23
CLASS PRESENTATION # 4

THE ENVIRONMENTALISTS

Amankulor, J. Ndukaku, " The Condition of Ritual in Theatre," in Marranca. pp. 227-240

Barba, Eugenio, "Letter to Actor D," Waiting for the revolution," "Barter," Beyond the Floating Islands, NY: Performing Arts Journal, 1985. (xerox)

Shank, "Environmental Theatre" (on reserve)

Scheckner, Richard. "The Tooth of Crime ". Theatres, Spaces, Environments, NY: Drama Book Specialists, 1975, pp. 130-137. (xerox)

_______" Third Theatre :An Interview with Jerzy Grotowski About Eugenio Barba," Village Voice, May 1, 1984, p. 103.

Schevill, James. "A Manifesto for a Living Room Theatre," Breakout. Chicago: The Swallow Press, 1973, pp. 120-123. (xerox)

Goldberg, "Living Art - 1933 to 1970's," pp. 121-151. "The Media Generation," pp. 190-209.

Taviani, Ferdinando, "The Odin Story," in Beyond the Floating Islands, pp 262-269.

***THANKSGIVING BREAK****

30
CLASS PRESENTATION # 5

THE THEATRE OF THE RIDICULOUS:

CHARLES LUDLUM AND GAY AND LESBIAN THEATRE

Ludlum, Charles. "Stage Blood" in The Complete Plays of Charles Ludlum. NY: Harper and Row, 1989 (on reserve)

___________ " Manifesto:Ridiculous Theatre, Scourge of human folly" in Complete Plays, (on Reserve)

Katz, Leon. "Charles Ludlum," Drama Review, 31:4 (1987), pp8-9. (on reserve)

"Charles Ludlum," Village Voice, June 9, 1987, p88n. (xerox)

Additional reading on Lesbian Theatre TBA

DEADLINE: PAPER ON ETHNOMETHODOLOGY

December

7 CLASS PRESENTATION #6

FEMINISM AND PERFORMANCE ART

Berger, Maurice. "The Mythology of Ritual: Reflections on Laurie Anderson." Arts Magazine, 57:10, pp120-1.

Bourdon, David. "An Eccentric Body of Art," The Art of Performance, ed. Gregory Battcock and Robert Niclas, NY: Dutton, 1984, pp. 183-193. (xerox)

Findley, Karen. "The Constate of Desire." in Out from Under. Ed. Lenora Champagne. NY: TGI, 1990.
Hughes, Holly. "World Without End. in Out from Under.
Mifflin, Margot. "Performance Art: What is it and where is it going?" ARTnews, April 1992, pp. 84-89. (xerox)

Schechner, Richard. "Karen Finley: A Constant of Becoming," 1987, pp. 152-58.(xerox)

Film on reserve: Home of the Brave- Laurie Anderson

Film in class: Excerpts from Alive Off Center

Fun House- Eric Bogosian

11-16 FINAL PERFORMANCE PROJECTS

AN EVENING OF THE AVANT GARDE

TUSTIN STUDIO THEATRE

ENJOY THE TRIP!

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#1	Oct. 12	The New Formalism
#2	Oct. 26	Theatre and Therapy
#3	Nov. 9	The Self as Content
#4	Nov. 24	Environmental Theatre
#5	Nov. 30	Theatre of the Ridiculous
#6	Dec. 7	Feminism and Performance Art

Class Presentation:
1. Preparation	A = 20	B = 14	C = 8	D = 5
2. Presentation	A = 20	B = 14	C = 8	D = 5
Papers	A.= 15	B.= 10	C.= 5	D. =2
Rewrites	up to 6 additional points per paper
(Based on an average of the 3 papers)
Performance Project
1. Preparation	A.= 20	B.= 14	C.= 8	D.= 5
2. Performance	A.= 20	B.= 14	C.= 8	D.= 5
Weekly Quiz	A.= 10	B.= 7	C.= 3	D.= 1
(based on an average of all quizzes)

Deadlines:	October 12	Papers on Ping Chong and ??? Workshop
	November 30	Ethnomethodology Paper

31	APPROACHES TO EXPERIMENTAL/ALTERNATIVE THEATRE
	Film in class: Excerpts from various topic areas
	Marranca, Bonnie abd Gautam Dasgupta, "Thinking about interculturalism," in
	Interculturalism and Performance, NY: Performing Arts Journal
Publications, 1991., pp. 9-26.
SEPTEMBER:
7	ART AS POLITICS: DADA CABARET, DANCE AND FILM
	THE DYNAMO OF REVOLUTIONARY CHANGE: THE ITALIAN FUTURISTS:
	Goldberg, Roselee. "Futurism," "Dada," "The Punk Aesthetic," Performance Art: From
	Futurism to the Present. New York: Abrams, 1988, pp. 11-30; 50-74;
	181-184
	Tzara, Tristan. Dada Manifesto, 1918 (xerox)
	Tzara, Tristan. The Gas Heart in Modern French Theatre. ed and trans. Michael
	Benedikt. (xerox)
	Marinetti, Tommaso, Emilio Settimelli and Bruno Corra."The Futurist Synthetic
	Theatre." Futurist Performance. ed., Michael Kirby. New York: Dutton & Co.,
	1971 (xerox)
	Marinetti, Tommaso.
	"Feet"
	"A Landscape Heard"
	"Silences Speak Among Themselves"
	"They are Coming" in Kirby (xerox)
	Film in class: Entre'Act
14	SURREALISM: THE PRIVATE POLITICS OF THE SUBCONSCIOUS
	Goldberg, Roselee. pp. 75-96.
	Breton, Andre. "The Manifesto of Surrealism," The Autobiography of Surrealism. ed. Marcel Jean. NY: The Viking Press, 1980 (xerox)
	Artaud, Antonin. The Jet of Blood. in Benedikt. (xerox)
	___________. "No More Masterpieces." and "The Theatre of Cruelty" (xeroxes) and "Oriental and Western Theatre," (on reserve) in The Theatre and Its Double. trans. Mary Caroline Richards. NY: Grove Press, 1958, pp. 267-274 (on reserve)
	Ionesco, Eugene. "Experience of the Theatre." in Robert Corrigan. The Making of the Theatre. NY: Scotts, Foresman, 1967,pp.19-21. (xerox)
	Weber, Carl. " AC/TC: Currents of Theatrical Exchange," in Marranca, pp 27-37.
	Film in class: Un Chien Andalou - Bunuel & Dali
	Film on reserve: Mysteries of an Afternoon- Maya Deren
21	THE MOTHER OF THEM ALL: THE LIVING THEATRE AND THE POLITICS OF ECSTASY
	Brustein, Robert. "Junk and Jazz: The Connection," "A Harrowing Night in The Brig""Postscript: The Death of the Living Theatre" Seasons of Discontent: Dramatic Opinions, 1959-1965, NY, Simon & Schuster, 1967. (xerox)
	Wetzsteon, Ross. "Incriminated for Life," Village Voice, Oct. 26, 1986, pp. 97-99
Beck, Julian. "Notes Toward a Statement on Anarchism and Theatre"
	"Acting Exercises: Notes for a Primary Lesson"
	"Body"
	"Break Down the Resistance Both of Spectator and Performer"
	"The Trance State of the Performer"
	"The Tribe"
	"Techniques of Confrontation Politics: NYC, March 1969"
	The Life of the Theatre. San Francisco, City Lights 1972. (xerox)
	Shank, Theodore. "Primary Explorations," American Alternative Theatre. St. Martin's Press, 1989. (on reserve)
	Film on reserve : Signals Through the Flames-documentary
	Film in class: The Connection by Jack Gelber
	The Brig- Kenneth Brown performed by The Living Theatre
26,27	WORKSHOP WITH NIKOLAI GUZOV
	TUSTIN STUDIO THEATRE, 7-9PM
28	RUSSIAN FUTURISM AND CONSTRUCTIVISM: THE FORMALIST EXPERIMENT:
	Guest Lecturer: Nikolai Guzov
	Baker, Rob. "Bauhaus," Theatre Crafts. (xerox)
	Goldberg, "Russian Futurism and Constructivism," "Bauhaus," pp. 31-49, pp. 97-120.
	Eisenstein, Sergi. "Montage of Attractions," Film Sense, ed. and trans. Jay Leyda. (xerox)
	Meyerhold, . "Biomechanics, " Meyerhold on Theatre .ed. and trans. Edward Brown. NY: Hill and Wang, 1969 (xerox)
	Film in class:"Odessa Steps segment" from Potemkin -directed by Eisenstein
	Angel City -Sam Shepard, directed by Gary Grant
OCTOBER
3,4	WORKSHOP WITH PING CHONG
	TUSTIN STUDIO THEATRE, 7-9PM
5	THE LIVING SPACES OF PING CHONG
	Guest Lecturer: Ping Chong
	Ping Chong material TBA
	Film on reserve: Elephant Steps performed by Ping Chong
	American Composers: Meredith Monk
	*FALL BREAK**
12	CLASS PRESENTATION #1
	THE NEW FORMALISM
	Shank, "The New Formalism," (on reserve)
	Goldberg, "The Art of Ideas," pp. 152-171
	Creese, Robb. "The Theatre of Mistakes," The Drama Review (70) (xerox)
	Flakes Susan, "Robert Wilson's `Einstein onthe Beach'," The Drama Review, 20:4 (72), pp. 69-83.
	Stearns, Robert. Robert Wilson: The Theatre of Images. NY: Harper & Row, 1984, pp. 44-53 (xerox)
	Wirth, Andrzej. "interculturalism and Iconophilia in the New Theatre," in Masrranca. 281-290.
	Film in class: Fire a video by Robert Wilson
	Film on Reserve: Einstein on the Beach-Robert Wilson
	DEADLINE: PAPERS ON MEYERHOLD AND PING CHONG WORKSHOPS
19	JERZY GROTOWSKI AND THE THEORY OF THE POOR THEATRE
	Kumiega, Jennifer. The Theatre of Grotwoski. London: Methuen, 1987, pp. 39-143.
	Kauffman, Stanley. "Grotowski's Theatre," Persons of the Drama. NY: Harper and Row, 1976, pp. 63-72.
	Grotowski, Jerzy. "Statement of Principles," Towards a Poor Theatre. NY: Simon & Schuster,1968, pp. 15-25 (xerox)
	____________ "Statement (accompanying the film Akropolis)
	Film on Reserve: Acropolis-Polish Laboratory Theatre
26	CLASS PRESENTATION #2
	THEATRE & THERAPY
	Kumiega, 145-238
	Brown, J.F. "System of Correspondences Used in Rites of Eleusis in: Alister Crowley's Rites of Eleusis." The Drama Review, v. 22, No. 2 (June 1978), page 13.(xerox)
	Creese, Robb. "Everything as Visible Speech in Anthroposophical Performance." TDR, v. 22, No.2 (June 1978), pages 64-65. (xerox) Notes in program copy of Living Theatre's Paradise Now.
	Kott, Jan. "Grotowski or The Limit," in The Memory of the Body: Essays on Theatre and Death. Illinois: Northwestern University, 1992, pp. 61-69. (on reserve).
	Ronen, Dan. "A Workshop with Ryszard Cieslak," TDR (T80) (xerox)
	Shank, T. "Linda Montano's Autobiographical Performance:Mitchell's Death," The Drama Review (T81) (xerox)
	Film in class: Fire a video by Robert Wilson
	Film on reserve: My Dinner with Andre - directed by Louis Malle
NOVEMBER
1	LECTURE DEMONSTRATION ON JAPANESE THEATRE-TEVIOT FAIRSERVIS
	University Theatre 7-9PM
2	THE JAPANESE AVANT GARDE: BUTOH
	Guest Lecturer: Professor Teviot Fairservis
	Campbell, R.M. "A dance of the ugly and beautiful comes to Seattle," Seattle Post Intelligencer, September 5, 1985 Sec C, p. 1. (xerox)
	Flynn, John J. "Transiting from the 'Wethno-centric' An Interview with Peter Sellars in Marranca, pp. 191. (xerox)
	Hahn, John. "A life hangs on a thread-and the thread snaps," Seattle Post Intelligencer, Sept. 11, 1985, Sec. A, p. 1. (xerox)
	Grant, Gary, "We are born into the world upside down," unpublished essay. (xerox)
	Hunt, Marilyn, "Saburo Teshigawara: Violent Beauty," Dance Magazine, April 1991, pp.50-53. (xerox)
	Stein, Bonnie Sue, "Celebrating Hijikata: Bow to the Butoh Master," Dance Magazine, May 1988, pp. 44-47. (xerox)
	Suzuki, Tadashi. "Culture is the Body," in Marranca, pp. 241-248.
	Additional Reading TBA
	Film on reserve: Sankai Juku
9	CLASS PRESENTATION #3
	THE SELF AS CONTENT: FROM COCTEAU TO MABOU MINES
	Cody, Gabrielle, "Behavior as Culture: An Interview with Lee Breuer, in Marranca, pp. 208-215.
	Demastes, William. "Sp[alding Gray's "Swimming to Cambodia" and the evolution of an ironic presence. Theatre Journal, 41 (March 1989), pp. 75-94. (on reserve)
	Foreman, Richard, "How Truth. . . Leaps(Stumbles) Across the Stage," Performing Arts Journal. (xerox)
	Goldberg, "Autobiography," "Lifestyle: That's Entertainment," pp. 172-181.
	Shank, Theodore. "Squat's Pig, Child, Fire," TDR (T75) (on reserve)
	Shank, Theodore. "Self as Content." (on reserve)
	Witchel, Alex. "Yes, Spalding Gray, This Is Your Life. . . ," New York Times, November 11,1990, p.H8.
	Film on Reserve: Swimming to Cambodia - Spalding Gray
	Films in class: Wedding on the Eiffel Tower - Jean Cocteau
	Reel to Reel-Mabou Mines
13	Theatre on Film Series: Dead End Kids
	Location TBA
16	THE DEAD END KIDS AND THE THEATRE OF SOCIAL CHANGE
	"Performing in Dead End Kids:Statements by Mabou Mines Actors" Theatre (xerox)
	Schechter, Joel "Notes From Under my Desk: On the end of the World and Other Spectacles," Theatre pp. 38-40. (xerox)
	Shewey, Don, "The Many Voices of Mabou Mines," American Theatre,1:3 (1984),pp. 5n
	________, "A Revue for the Nuclear Era Moves From Stage to Film," The New York Times, Nov. 9, 1984. (xerox)
	Steritt, David, " Transmuting political theatre into film, " The Christian Science Monitor, Nov. 7, 1986. (xerox)
	Shank, "The Theatre of Social Change" (on reserve)
	Davis, R.G. "Guerrilla Theatre: 1965," The San Francisco Mime Troupe: The First Ten Years. Calif.: Ramparts, 1975, pg. 149-153. (xerox)
	Valdez, Luis. "Notes on Chicano Theatre," Guerilla Street Theatre, ed. Henry Lesnick, NY: Avon, 1973, pp. 190-197 (xerox)
20	Theatre on Film Series: Ascent to the Sea
	Theatre Meets Ritual
	Location TBA
23	CLASS PRESENTATION # 4
	THE ENVIRONMENTALISTS
	Amankulor, J. Ndukaku, " The Condition of Ritual in Theatre," in Marranca. pp. 227-240
	Barba, Eugenio, "Letter to Actor D," Waiting for the revolution," "Barter," Beyond the Floating Islands, NY: Performing Arts Journal, 1985. (xerox)
	Shank, "Environmental Theatre" (on reserve)
	Scheckner, Richard. "The Tooth of Crime ". Theatres, Spaces, Environments, NY: Drama Book Specialists, 1975, pp. 130-137. (xerox)
	_______" Third Theatre :An Interview with Jerzy Grotowski About Eugenio Barba," Village Voice, May 1, 1984, p. 103.
	Schevill, James. "A Manifesto for a Living Room Theatre," Breakout. Chicago: The Swallow Press, 1973, pp. 120-123. (xerox)
	Goldberg, "Living Art - 1933 to 1970's," pp. 121-151. "The Media Generation," pp. 190-209.
	Taviani, Ferdinando, "The Odin Story," in Beyond the Floating Islands, pp 262-269.
*THANKSGIVING BREAK**
30	CLASS PRESENTATION # 5
	THE THEATRE OF THE RIDICULOUS:
	CHARLES LUDLUM AND GAY AND LESBIAN THEATRE
	Ludlum, Charles. "Stage Blood" in The Complete Plays of Charles Ludlum. NY: Harper and Row, 1989 (on reserve)
	___________ " Manifesto:Ridiculous Theatre, Scourge of human folly" in Complete Plays, (on Reserve)
	Katz, Leon. "Charles Ludlum," Drama Review, 31:4 (1987), pp8-9. (on reserve)
	"Charles Ludlum," Village Voice, June 9, 1987, p88n. (xerox)
	Additional reading on Lesbian Theatre TBA
	DEADLINE: PAPER ON ETHNOMETHODOLOGY
December
7	CLASS PRESENTATION #6
	FEMINISM AND PERFORMANCE ART
	Berger, Maurice. "The Mythology of Ritual: Reflections on Laurie Anderson." Arts Magazine, 57:10, pp120-1.
	Bourdon, David. "An Eccentric Body of Art," The Art of Performance, ed. Gregory Battcock and Robert Niclas, NY: Dutton, 1984, pp. 183-193. (xerox)
	Findley, Karen. "The Constate of Desire." in Out from Under. Ed. Lenora Champagne. NY: TGI, 1990.
	Hughes, Holly. "World Without End. in Out from Under.
	Mifflin, Margot. "Performance Art: What is it and where is it going?" ARTnews, April 1992, pp. 84-89. (xerox)
	Schechner, Richard. "Karen Finley: A Constant of Becoming," 1987, pp. 152-58.(xerox)
	Film on reserve: Home of the Brave- Laurie Anderson
	Film in class: Excerpts from Alive Off Center
	Fun House- Eric Bogosian
11-16 FINAL PERFORMANCE PROJECTS
	AN EVENING OF THE AVANT GARDE
	TUSTIN STUDIO THEATRE