THF 220 Principles of Dramatic Analysis in Theatre and Film

Fall 2015/HYBRID

Associate Professor/Office Hours

Rachel Bowditch, Ph.D.
Wednesday 9am-11am, Dixie Gammage Hall 260 Email: [Link]@[Link]

Teaching Assistants /Office Hours:

Elizabeth Schildkret
[Link]@[Link]
Office Hours: Tuesdays 1:30-2:30/Towers 111

Erica Ocegueda
eocegued@[Link]
Office Hours: Tuesdays 1:30-2:30pm in the Hayden Library/Charlie’s Cafe

Nicholas Chizek
[Link]@[Link]
Office Hours: Tuesdays 11-12/ Dixie Gammage 218

Discussions Sections
Class# Days Time Location Instructor
73564 Hybrid/On-line Gateway opens On-line Bowditch
each Thursday
73565 Tuesdays/Thursdays 12:00 PM - 1:15 Tempe/Stauf 13 Ocegueda
PM
73566 Tuesdays/Thursdays 12:00 PM - 1:15 Tempe/PSH231 Chizek
PM
73567 Tuesdays/Thursdays 1:30 PM - 2:45 Tempe –PSH Chizek
PM 131
73890 Tuesdays/Thursdays 12:00 PM - 1:15 Tempe – Schildkret
PM PEBE117

**If you have questions about your mid-term or final paper, your grade, or need specific
guidance on other assignments PLEASE COME AND SEE US DURING OFFICE HOURS!
Don’t wait until the last minute to ask for help.

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COURSE DESCRIPTION:

The goal of the class is to learn critical thinking skills, both written and verbal, for the
analysis of plays and films. This class focuses on a variety of narrative (storytelling)
techniques and genres in theatre and film: from classical dramatic structure (Aristotle)
to non-linear narrative, Greek and Shakespearean tragedy, Realism, Absurdism,
docudrama, and documentary. Students will also be introduced to feminist concepts
and critical race theory as critical lenses for understanding representation in theatre
and film.

COURSE GOALS:

1. Effectively articulate written and verbal analysis of plays, films, and productions
you have read and/or viewed. (This course fulfills the general studies “L” core
area of literacy and critical inquiry, “in which students learn how to gather,
interpret, and evaluate evidence and to express their findings in writing and
speech.”)
2. Identify, apply, and contextualize principles/approaches of dramatic analysis.
3. Begin to develop, expand, and defend a personal philosophy, aesthetic, and
ethics about theatre and film.

REQUIRED VIEWING AT HOME:

For this class, you will need to register for a Netflix account and place the following films
on your cue to view at home:
• Sunset Blvd. by Billy Wilder
• Hamlet by Michael Almereyda (2000)
• Miss Representation (Viewing In-class)
• Crash by Paul Haggis (not on Netflix instant, but available in the library)
• Mr. Nobody by Jaco Van Dormael

REQUIRED READING
Plays Available On-Line:
Plays
• Hamlet by William Shakespeare
• A Doll’s House by Ibsen
Essays
• Aristotle’s Poetics
• Nick Baumann, “Waiting For Godot - & much more - in New Orleans.”
• Holland Cotter, “A Broken City. A Tree. Evening.”
• Critical Race Theory: An Introduction by Richard Delgado and Jean Stefancic
• Essay by bell hooks Teaching Critical Thinking: Practical Wisdom: Chapter One
“Critical Thinking,” Chapter 3 “Engaged Pedagogy”

In Bookstore:
• Antigone by Sophocles
• Twilight: Los Angeles by Anna Deavere Smith

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 • Waiting For Godot by Samuel Beckett
• The Laramie Project by Moisés Kaufman
• Writing about Theatre and Drama by Suzanne Hudson

**NOTE: There is no course packet for this course.

**ALL WRITTEN WORK MUST BE TURNED IN VIA TURN-IT-IN AND HARD

COPY.

EXTRA CREDIT
Each extra credit review is worth up to 10 points. You can submit TWO reviews for
extra credit. Please follow the same guidelines for review requirements (2-3 pages,
either a production or a review response).

EXTRA CREDIT CAN ONLY BE COMPLETED IF YOU HAVE COMPLETED ALL

OTHER REQUIRED ASSIGNMENTS (ALL FOUR WRITING RESPONSE
ASSIGNMENTS). THE LAST DAY EXTRA CREDIT REVIEWS WILL BE ACCEPTED
IS THE LAST DAY OF CLASS – APPROVE FILM SELECTION WITH YOUR
INSTSTRUCTOR IN ADVANCE.

COURSE POLICIES
What Is Turn-It-In?
Turn-It-In is a powerful tool for improving instruction in the proper use of sources. You will be
able to submit intermediate and final drafts of your written assignments through Turn-It-In,
where your writing will be compared against a huge database of publications and papers:

1. Millions of documents from constantly updated snapshots of the Internet

2. Published works in password-protected electronic document databases
3. Newspapers, magazines, term paper mills, electronic books, and online reference sites
4. Papers submitted by other ASU students

The result is an "Originality report" that identifies all material in your paper that appears to be
derived from other sources, including both sources that are properly acknowledged and cited and
any that are not. This report can be reviewed by student and instructor to determine if the sources
are used properly, to identify what the student still needs to learn about the use of sources, and to
develop a learning plan or strategy.

Plagiarism

Plagiarism is a VERY serious breach of academic integrity. If you are caught plagiarizing, you
will receive an automatic grade of E and possibly a grade of XE, which will remain on your
permanent academic record.

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The full ASU policy on Plagiarism and Academic Integrity can be found at
[Link] It is your responsibility as a student to know and
understand these policies and regulations.

Under the ASU Student Academic Integrity Policy ([Link]

“[e]ach student must act with honesty and integrity, and must respect the rights of others in
carrying out all academic assignments.” This policy also defines academic dishonesty and sets a
process for faculty members and colleges to sanction dishonesty. Violations of this policy fall
into five broad areas that include but are not limited to:
• Cheating on an academic evaluation or assignments
• Plagiarizing
• Academic deceit, such as fabricating data or information
• Aiding Academic Integrity Policy violations and inappropriately
collaborating
• Falsifying academic records
We sanction any incidents of academic dishonesty in my courses using University and HIDA
guidelines. Should you have any question about whether or not something falls subject to this
clause, feel free to contact us or review the university policy on academic integrity at the above
link.

Policy against threatening behavior

Self -discipline and a respect for the rights of others in the classroom or studio and university
community are necessary for a productive learning and teaching environment. Threatening or
violent behavior will result in the administrative withdrawal of the student from the class.
Disruptive behavior may result in the removal of the student from the class. Students are required
to read and act in accordance with university and Arizona Board of Regents policies, including:
The Student Code of Conduct: Arizona Board of Regents Policies 5-301 through 5-308:
[Link]

Late Assignments:
NO LATE ASSIGNMENTS WILL BE ACCEPTED except for documented medical reasons.

Attendance (60 points): Attendance is mandatory. Having done the reading with text in hand
along with extensive and consistent class participation is fundamental to success in this class.
Students are required to be active discussion participants.

You must bring a doctor’s note if you cannot attend class or email with your reason 24 hours in
advance. If we are not contacted before class you will be marked with an unexcused absence and
this will affect your grade.

After two absences, each subsequent absence will cost 10 points. If need be, points will also
be deducted from the participation grade. (Absences include ALL class time).

ATTENDANCE WILL BE TAKEN AT THE BEGINNING OF CLASS IN THE FORM OF

THE WEEKLY QUIZ ABOUT THE READINGS. IF YOU ARE LATE, YOU CANNOT

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MAKE UP THE QUIZ, AND IT IS YOUR RESPONSIBILITY TO CHECK IN WITH A T.A.
TO VERIFY YOUR ATTENDANCE.

STUDENTS WITH MORE THAN FIVE UNEXCUSED ABSENCES WILL RECEIVE A

FAILING GRADE IN THE CLASS.

Participation (25 points): Simply showing up to discussion and lecture and doing the
assignments is not enough to succeed in this class: an important part of this class is being able to
articulate your critical thoughts verbally and exchange ideas with your peers. To receive a good
participation grade, make the effort to say something in discussion section every week; raise
your hand when questions are asked in both discussion and lecture; communicate with your TA
about your written assignments and course material; and work constructively and collegially on
group assignments and exercises.

Online Participation (30 points): You are required to read and review all material for each unit
on-line. Your attendance online will be tracked and recorded. There will be a quiz each week in
discussion worth 5 points reviewing all on-line content.

Quizzes
1) Online quizzes open each Tuesday. These quizzes are to be done after reading the online
lecture content; they total 60 points, so do not forget these!
2) In-Class quizzes are taken at the beginning of class each day a film or play is to be
discussed (usually Thursdays). These also total 60 points.

Assignment Mechanics and Formatting: All assignments must be typed, double-spaced,

stapled, and marked with your last name and page number in the upper right corner. Please cite
all sources and be consistent using MLA format. NO LATE assignments will be accepted.

Students should refer to the WRITING GUIDELINES. These guidelines apply to EVERY
assignment.

NO PAPERS WILL BE ACCEPTED VIA EMAIL. ALL PAPERS MUST BE

TURNED IN VIA HARDCOPY AND TURN-IT-IN. ANY PAPER NOT
SUBMITTED TO TURN-IT-IN WILL NOT RECEIVE A GRADE. IF THERE IS
A PROBLEM WITH TURN-IT-IN PLEASE CONTACT US IMMEDIATELY.

If you miss class, it is your responsibility to turn in all assignments in advance (put it
in your TA’s mailbox). IT IS NOT OUR JOB TO REMIND YOU OF
INCOMPLETE OR MISSING ASSIGNMENTS. Please be sure to keep all graded
assignments until the end of the semester in case there is error with entered grades.
Tardiness: Your TAs will note when you are late for class or lecture. The first two tardies will
not count against you; subsequent tardies may cost up to 5 points each off of your attendance
or participation grade, at the discretion of the TA.

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TO AVOID EXCESSIVE PENALTIES FOR TARDINESS AND ABSENCES, E-MAIL YOUR
TA AS SOON AS YOU KNOW YOU WILL BE LATE OR MISS CLASS. We are more likely
to be forgiving the more you communicate with us.

Classroom Etiquette:
• If you are using a laptop and you are caught doing email or anything OTHER than taking
class notes, you will NOT be permitted to use your laptop again in class. LAPTOPS and
IPADS and all other devices must be TURNED OFF or darkened when we are screening
clips.
• NO TEXTING or cell phone calls in class. TURN YOUR PHONES OFF
COMPLETELY. If you are caught texting during class, your cellphone will be taken
away from you for the remainder of the class.

Students with Disabilities

Students with disabilities should consult the Disability Resource Center to see if there are
programs or materials to help you succeed in this class. DRC students are in various cases
allowed to engage private note-takers and make special arrangements regarding class
assignments and exams. All requests for special accommodations must be made through DRC:
if you believe you may qualify for any of these services, please contact DRC at the beginning of
the semester.

Honors Contracts Available (meet with professor)

Students may choose to take this class as part of an honors contract, which will require an
additional 5-7 page research paper, topic to be designed with the professor.

Writing Center

Students who demonstrate difficulty in successfully completing required writing assignments

may be directed to the campus Writing Center. If you have had problems with writing
assignments and grammar, we strongly suggest visiting the Writing Center EARLY in the
semester, as they will be able to give you pointers and feedback in a focused and productive
manner.

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MODULE ONE: INTRODUCTION TO DRAMATIC ANALYSIS IN THEATRE & FILM

Unit 1: Introduction to Dramatic Analysis

Homework In-Class
Thursday Aug Review syllabus and THF 220
20th writing guidelines/standards
Section A:
Discussion Review Writing Rubric

Discuss the relationship between

theatre and film

Introducing key terms and concepts

Tuesday READ: Hudson: “Responding to Theatre and Discuss Contrasting Reviews
Aug 25 Drama” Chapter One (pp1-27)
Section B: “Principles of Effective Writing” Chapter Experience paper (in-class)
Writing Lab Two (28-56)

BRING TO CLASS: two contrasting

reviews of the same work (either a play or
film). Please have read the reviews and be
prepared to discuss them.

Unit 2: Writing About Theatre and Film: Establishing A Working Vocabulary

Thursday Aug VIEW AT HOME/Netflix: Sunset Blvd. by Discussion of Sunset Blvd.

27 Billy Wilder
Section A:
Discussion CULTURAL DOCUMENT: Sunset Blvd. (5
points)
Tuesday Sept 1 DUE: Writing Response #1: Film Peer review writing response #1
Section B: Production Response of Sunset Blvd. with partner
Writing Lab (DRAFT)
Writing a critical review
READ: Hudson: “Handbook” (pp218-242)
Production Response vs. Review
Response

Writing Mechanics Quiz:

Formatting, citations, and
proofreading. (20 POINTS)

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 MODULE TWO: TRAGEDY AND LINEAR NARRATIVE STRUCTURE

Unit 3: Classical Dramatic Theory/Aristotle’s Poetics and Antigone by Sophocles

Thursday Sept 3 READ: Online: ([Link]) Discuss Poetics and Antigone

Section A: Aristotle’s Poetics
Discussion
READ: Online: ([Link])
Sophocles’ Antigone (In bookstore)

CULTURAL DOCUMENT: Antigone (5

points)

DUE: Writing Response #1: Film

Production Response of Sunset Blvd.
(FINAL)
Tuesday Sept 8 READ: Hudson “Writing the Argument
Section B: Essay” Chapter 4 p.107-143
Writing Lab

Unit 4: Shakespearean Tragedy and Hamlet

Thursday Sept READ: Hamlet (on-line) Hamlet discussion

10 [Link]
Section A: or any published version.
Discussion
CULTURAL DOCUMENT:
Hamlet/play (5 points)
Tuesday Sept 15 DUE: Writing Assignment #2: Aristotle / Peer review writing response #2
Section B: Tragedy (DRAFT)
Writing Lab

Unit 5: Women in Hamlet

Thursday Sept VIEWING AT HOME/Netflix: Hamlet by Discussion about Gertrude and

17 Michael Almereyda (2000) Ophelia—in class exercise
Section A:
Discussion CULTURAL DOCUMENT: Hamlet/film
(continued next (5 points)
page)
DUE: Writing Assignment #2: Aristotle /
Tragedy (FINAL)
Tuesday Sept 22 READ: Article on Feminism by Sue-Ellen Discuss feminism article
Section B: Case (online)

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Writing Lab

MODULE THREE: CRITICAL FRAMEWORKS/ FEMINISM(S) AND CRITICAL RACE

THEORY

Unit 6: Introduction to Feminism/s, Realism, and A Doll’s House by Ibsen

Thursday Sept READ: Henrik Ibsen, A Doll’s House at Discussion on A Doll’s House.
24 [Link]
Section A:
Discussion CULTURAL DOCUMENT: A Doll’s House
(5 points)
Tuesday Sept 29 A Doll’s House scene analysis/beat
Section B: in-class exercise
Writing Lab

Unit 7: Feminism/s/Miss Representation

Thursday Oct 1 VIEW in Class: Miss Representation Discuss Misrepresentation

Section A:
Discussion CULTURAL DOCUMENT: Miss Viewing Excerpts from Street Car
Representation (5 points) Named Desire
Tuesday Oct 6 DUE: Writing Assignment #3: Feminism/s Peer review writing response #3
Section B: (DRAFT) (**Please submit to Turn-It-In)
Writing Lab Mid-term exam review
Thursday Oct 8 In-Class Mid-term Exam
Session A:
Discussion
Tuesday Oct 13 **FALL BREAK/NO CLASS**

Unit 8: Introduction to Critical Race Theory/Twilight: Los Angeles

Thursday Oct READ (In Bookstore): Twilight: Los

15 Angeles by Anna Deavere Smith (5 points) Discuss Critical Race Theory and
Section A: Twilight
Discussion CULTURAL DOCUMENT: Twilight: Los
Angeles
Tuesday Oct 20 DUE: Writing Assignment #3: Feminism/s
Section B: (FINAL) (**Please submit to Turn-It-In)
Final Paper Prompt/Developing a
Writing Lab READ:
thesis
Hudson: “Writing the Analytical Essay”
Chapter 3 p. 57-106

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 Hudson: “Writing the Research Paper”
Chapter Six (187-208)

Unit 9: Critical Race Theory/Crash

Thursday Oct VIEW in Class: Crash by Paul Haggis Discuss Critical Race Theory and
22 Crash
Section A: CULTURAL DOCUMENT: Crash
Discussion (5 points)

READ: bell hooks reading (On-line)

Tuesday Oct 27 DUE: WRITING ASSIGNMENT #4: In-class writing assignment
Section B: CRITICAL RACE THEORY (DRAFT) Peer review writing response #4
Writing Lab (**Please submit to Turn-It-In)

MODULE FOUR: NON-LINEAR DRAMATIC STRUCTURE

Unit 10: Theatre of the Absurd/ Waiting For Godot

Thursday Oct READ: Discuss Waiting for Godot

29 Waiting For Godot by Samuel Beckett
Section A: (Bookstore)
Discussion
CULTURAL DOCUMENT: Waiting for
Godot (5 points)
Tuesday Nov 3 DUE: WRITING ASSIGNMENT #4: Exercise in Class: “Guidelines for
Section B: CRITICAL RACE THEORY (FINAL) Peer Review” Hudson (52-53)
Writing Lab (**Please submit to Turn-It-In)

READ Online: Nick Baumann, “Waiting For

Godot - & much more - in New Orleans.”

Holland Cotter, “A Broken City. A Tree.

Evening.”

Hudson: “Absurd, Absurder, Absurdist”

(p.100-104)

FINAL PAPER Workshop 1: Intro

Material (10 points):
Thesis and works cited
(Please bring TWO copies into class: one for
instructor and one for peer review)

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 Unit 11: Non-linear Dramatic Structure on Film/Mr. Nobody

Thursday Nov 5 VIEWING AT HOME/Netflix: Mr. Nobody Discuss Mr. Nobody

Section A: by Jaco Van Dormael
Discussion
CULTURAL DOCUMENT: Mr. Nobody (5
points)
Tuesday Nov 10 FINAL PAPER Workshop 2: Introductory Peer review exercise
Section B: paragraph/outline (10 points):
Writing Lab (Please bring TWO copies into class: one for
instructor and one for peer review)

MODULE FIVE: DOCUDRAMA AND DOCUMENTARY

Unit 12: Docudrama/The Laramie Project

Thursday Nov READ: The Laramie Project by Moisés Discussion on The Laramie Project
12 Kaufman (bookstore/online)
Section A: VIEWING SELECTIONS: The
Discussion CULTURAL DOCUMENT: The Laramie Laramie Project in class
Project (5 points)
Tuesday Nov 17 FINAL PAPER Workshop 3: Draft of
Section B: Final Paper (10 points):
Writing Lab (Please bring TWO copies into class: one for
instructor and one for peer review)

Unit 13: Documentary

Thursday Nov VIEW in Class: Selections from Discuss documentary film

19 Documentary Films
Section A:
Discussion
Tuesday Nov 24 CULTURAL DOCUMENT: Selected
Section B: Documentary (5 points)
Writing Lab THEATRE REVIEW DUE: Please review
due. Please attach ticket and submit Turn-It-
In. **You may turn this assignment earlier.
Thursday Nov **NO CLASS** Thanksgiving***
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Tuesday Dec 1 DUE: FINAL ANALYSIS PAPER In-class exam review
(5-7pages)
Thursday Dec 3 In-Class Final exam
Section A: DUE: EXTRA CREDIT ESSAYS (NOT
Discussion REQUIRED)

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 220 GRADING BREAKDOWN
POINTS TOTAL
ATTENDANCE 60
ON-LINE PARTICIPATION 30
PARTICIPATION 25
ABSENCES
LATES
WRITING ASSIGNMENTS
#1: Film Review 25
#2: Aristotle/Classical Tragedy 25
#3: Feminism/s 25
#4: Critical Race Theory 25

12 Cultural Documents/ 5 points each 60

Theatrical Review (Mainstage ASU Production) 25
WRITING QUIZ 20
12 ON-LINE QUIZZES / 5 points each 60
12 READING QUIZZES / 5 points each 60
Mid-term Exam 40
Final Exam 40
Final Paper Workshop 1: Thesis and Works Cited 10
Final Paper Workshop 2: Introductory
Paragraph/Outline 10
Final Paper Workshop 3: Draft of Final Paper 10
Final Dramatic Analysis Paper 50

600 points TOTAL POINTS

EXTRA CREDIT (20 points)
Extra credit review #1 10
Extra credit review #2 10

GRADING SCALE:

A+ 98-100% B+ 87-89% C+ 77-79% D+ 67-69% E 59% or below

A 93-97% B 83-86% C 73-76% D 63-66%
A- 90-92% B- 80-82% C- 70-72% D- 60-62%

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Grading Standards:
A = Original and clearly written thesis with examples from text illustrating the argument. Factual
information is correct; the form of the essay is correct; both the introduction and conclusion are
fully stated; adheres to the specific requirements of the assignment. Demonstrates outstanding
and successfully realized effort; is written in excellent, college-level English, with proper MLA
citation for all sources, and proper formatting.

B = Original and clearly written thesis with examples from the text illustrating the argument.
Essay adheres to the specific requirements of the assignment. Difficulty with some of the
following: information, form, introduction, conclusion, or examples. Demonstrates good and
consistently realized effort. May contain some minor errors in formatting, MLA citation; may
contain some slight grammatical, spelling, typographical, or proofreading errors.

C = Essay adheres to the specific requirements of the assignment. Difficulty with some of the
following: thesis, information, form, introduction, conclusion, examples, and writing. Satisfies
basic requirements. May demonstrate inadequate ability with formatting, proofreading, and
citation. NOTE: Per ASU regulations, there is no C- for a final grade.

D = Does not adhere to the specific requirements of the assignment. Difficulty with many of the
following: thesis, information, form, introduction, conclusion, examples, and writing. Generally,
not satisfactory. Demonstrates poor (below college-level) ability with formatting, proofreading,
and citation. NOTE: Per ASU regulations, there is no D+ for a final grade.

E = Does not meet minimal requirements. Demonstrates little effort.

The instructor reserves the right to change, delete and/or add to the course requirements at any
time.

Suggested Books For Further Reading and Reference

For Theatre
Page and Stage: An Approach to Script Analysis by Stanley Vincent Longman
Script Analysis: For Actors, Directors, and Designers by James Thomas
The Actor’s Script: Script Analysis for Performers by Charles S. Waxberg

For Film
A Short Guide to Writing About Film by Timothy Corrigan
Film Art by David Bordwell and Kristin Thompson
Film Analysis: A Norton Reader by Jeffrey Geiger
Dictionary of Film Terms: The Aesthetic Companion to Film Analysis by Frank E. Beaver

Highly recommended:
MLA Handbook for Writers of Research Papers (Seventh Edition) by Modern Language
Association.

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