English 6341 SEMINAR IN AMERICAN DRAMA - Angelo State ...

English 6341
SEMINAR IN AMERICAN DRAMA
Spring 2013
. . . there is more to drama than mere communication. True, a communication takes place, an
ultimate residue of meaning is left behind for the individual spectator, all the codes, all the signifiers
are in operation and can be analyzed ad infinitum, but what really matters in the end in such a
dramatic performance is that the spectator should emerge having had an emotional, poetic, and
intellectual experience of an intensity and significance perhaps as great, perhaps even greater than
one of the pivotal, decisive experiences of his or her “real” life.
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Martin Esslin, The Field of Drama
The theatre to me is life--the substance and interpretation of life. . . [And] life is struggle, often, if
not usually, unsuccessful struggle; for most of us have something within us which prevents us from
accomplishing what we dream and desire. And then, as we progress, we are always seeing further
than we can reach.
Eugene O’Neill (qtd. in Bigsby Vol. I 42)
Of all writing I love only that which is written in blood. Write with blood: and you will soon
discover that blood is spirit.
Nietzsche, Thus Spake Zarathustra
Instructor Information
Dr. Chris Ellery
Office: A021B
Office Hours: 8-9 MWF, 2-3MW; 8-9:30, 2-3 TR
Phone: 486-6142
E-mail: cellery@angelo.edu
Course Description
Catalogue Description: “In-depth study of one or more American dramatists.”
Section Description: Survey of representative works of 20 th century American drama with
special attention to Eugene O’Neill. The course will cover a broad range of theatrical movements
and styles, with emphasis on individual dramaturgy and the social and cultural contexts of
drama.
Student Learning Outcomes
Students should gain knowledge of trends, theories, themes, figures, and works of
American drama from O’Neill to the present.
Students should know the historical and social contexts of the selected works and explain
how that context contributes to meaning.
Students should know terminology related to the study of drama as a literary genre.
Students should be able to analyze and write critically about American drama.

Texts
Albee, Edward. Collected Plays of Edward Albee: 1958-1965. New York and London: Overlook
Duckworth, 2007.
Glaspell, Susan. “Trifles.” [handout]
Miller, Arthur. Death of a Salesman. New York: Viking Critical Library, Penguin, 1996.
Norman, Marsha. ‘night Mother. New York: Dramatists Play Service, 1998.
Nottage, Lynn. Ruined. New York: Dramatists Play Service, Inc., 2010.
Odets, Clifford. Waiting for Lefty and Other Plays. New York: Grove Press, 1994.
O’Neill, Eugene. Three Great Plays: The Emperor Jones, Anna Christie and The Hairy Ape.
Mineola, NY: Dover, 2005.
---. The Iceman Cometh. New Haven and London: Yale UP, 2006.
---. Long Day’s Journey into Night. New Haven and London: Yale UP, 1989.
Williams, Tennessee. Streetcar Named Desire. New York: New Directions, 2004
Wilson, August. Ma Rainey’s Black Bottom. New York: Theater Communications Group, 1981.
Daily Work 20%
Conference Paper 40%
Presentation 10%
Exams 30%
Grading
Daily Work includes weekly response essays (see below for instructions) and miscellaneous inclass
quizzes, exercises, and activities. The Conference Paper will be an 8-10 page essay
suitable for reading at SCMLA or other conference. For the Presentation, each student will
introduce a topic relevant to one of the playwrights. There will be two Exams, somewhat in the
style of the current MA departmental exam.
Response Essays: Students should write a short response (150-250 words) on each week’s
reading. Do not summarize the play; rather, focus on an interesting image, character, theme,
symbol or symbolic action. I am looking for some evidence of close reading here. Consider the
following questions to help you get started:
What details (signifiers) stood out in the reading?
What was most interesting? Most confusing? Most disturbing?
What concerns or points do you want to talk about during class?
What questions do you have about the play?
What do you like? Dislike?
If you were leading the class discussion, what is the first question you would ask?
Each response should be printed (double-spaced) and ready to hand in at the beginning of class.
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Attendance and Make-up Policy
Regular attendance is essential for success in the course. Be prepared for class each week. You
are responsible for obtaining and making up missed assignments. You must have a legitimate
(documented) excuse to make up any assignment, and the nature of all make-up work is at the
instructor’s discretion. Points for most in-class activities cannot be made up, even if the absence
is excused.
Departmental Policy on Academic Honesty
“Angelo State University expects its students to maintain complete honesty and integrity in their
academic pursuits. Students are responsible for understanding the Academic Honor Code, which
is contained in both print and web versions (www.angelo.edu/forms/pdf/honorcode5.pdf) of the
Student Handbook.”
Accommodations for Disabilities
“Persons with disabilities that may warrant academic accommodations must contact the Student
Life Office, Room 112 University Center, in order to request such accommodations prior to any
being implemented. You are encouraged to make this request early in the semester so that
appropriate arrangements can be made.” (Dean of Student Life)
Selected Resources
ASU Reference Works:
American Playwrights (Ref. PS351 .M35)
American Drama Criticism (Ref. PS332 .F44)
Cambridge Guide to American Theatre (Ref. PN2220.C35 1993)
Contemporary Dramatists (Ref. PR737 .C57 1993)
Guide to American Drama Explication (Ref. PS332 .O84 1995)
20th Century American Drama (DLB 7) (Ref. PN451 .D53 vol. 7)
ASU Periodicals:
American Theatre
American Literature
Journal of American Studies
The Drama Review (TDR)
Performing Arts Journal (PAJ)
Blackboard
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Theatre Journal
New Theatre Quarterly
Modern Drama
Eugene O’Neill Newsletter
Eugene O’Neill Review
Blackboard (Bb) will be used for posting content (handouts) and class announcements. You
should receive an e-mail when new announcements and handouts are posted.

Tentative Schedule
T 1/15 Introduction: Reading Drama as a Genre
Lecture/Discussion: Provincetown and the New American Drama
Susan Glaspell, “Trifles” (1916) [handout]
T 1/22 Lecture/Discussion: Modernism, Expressionism, and Comedy
Eugene O’Neill, The Emperor Jones (1920) and The Hairy Ape (1922)
T 1/29 Student Presentation: Freud, Jung, and Mythological Criticism
O’Neill, The Iceman Cometh (1939)
T 2/5 Student Presentation: Nietzsche on Tragedy
O’Neill, Long Day’s Journey into Night (1941)
T 2/12 Student Presentation: Marxist Criticism and Left-wing Theater of the 1930s
Clifford Odets, Waiting for Lefty (1935) and Awake and Sing (1935)
T 2/19 Student Presentation: The Southern Renaissance
Tennessee Williams, Streetcar Named Desire (1947)
T 2/26 Mid-term Exam
T 3/5 Student Presentation: Arthur Miller’s Moral Vision
Arthur Miller, Death of a Salesman (1949)
T 3/12 Spring Break
T 3/19 Student Presentation: Theater of the Absurd
Edward Albee, The Zoo Story (1959) and The American Dream (1961)
T 3/26 Student Presentation: Naturalism and Postmodernism
Albee, Who’s Afraid of Virginia Woolf (1962)
T 4/2 Student Presentation: African-American Drama
August Wilson, Ma Rainey’s Black Bottom (1982)
T 4/9 Student Presentation: Gender Theory and Feminist Criticism
Marsha Norman, ‘night Mother (1983)
T 4/16 Student Presentation: Post-colonialist Criticism
Lynn Nottage, Ruined (2010)
T 4/23 Conference Papers
T 4/30 Conference Papers and Review
T 5/7 Final Exam
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