Thursday, April 26, 2012

Study Guide for Final -- EN 230 -- pt. 1

We may not be able to watch the 2008 production of The Good Soul of Szechuan, but the picture above is of Jane Horrocks' performance as Shui Ta.

The plays that will be on the objective final include the following:  Pygmalion (play & film), The Taming of the Shrew (performance only), Hedda Gabler, Trifles, The Good Person of Szechuan, Waiting for Godot, and The Metamorphoses (performance only). 

Let's start with The Taming of the Shrew.

Here is the Globe Theater's quick summary of The Taming of the Shrew:
The Summary of Taming of the Shrew
This drama is one of the great comedy plays by William Shakespeare. The play starts with the Induction where a trick is played by a nobleman on the drunkard Christopher Sly who arranges for an acting troupe to perform a play called The Taming of the Shrew...

The beautiful and gentle Bianca has no shortage of admirers (Lucentio, Gremio and Hortensio) but her father insists that she will not marry until her shrewish sister, Katharina, is betrothed. Bianca's suitors persuade fortune-seeker Petruchio to court her. The suitors pay for any costs involved and there is also the goal of Katharina's dowry. Petruchio marries Katharina and he carries Katharina off to his country house with his servant Grumio. Petruchio intends to browbeat Katharina into submission and he denies her food, sleep and her new clothes, whilst continuously singing her praises. Katharina is tamed. They return to Padua where Lucentio has won Bianca. At a banquet they wager on who has the most obedient wife. Each wife is issued with commands but only Katharina obeys and promptly lectures everyone on the importance of wifely submission.

Here is the trailer for the movie version of The Taming of the Shrew:

You may watch more of this movie here:

To compare, here are links to stage versions:

This link is more informative:

 

Let's move on to Pygmalion (play and film).

We'll start with what's on Multiply:

Here is a link to the 1938 film starring Leslie Howard and Wendy Hiller:
Do you think that this play from 1913 is still worth staging today?   




Next up is Hedda Gabler.  Earlier this year I saw a production of Ibsen's play, but until I write up my review, the picture above and this entry will have to do:

This entry has various links to versions of this play:


We watched several scenes from the 1981 Yorkshire Television production starring Diana Rigg.


The end is more compelling:

Below are links to the 1970s version with Glenda Jackson and Patrick Stewart.







Stage actor Janet Suzman played Hedda to Ian McKellan's Tesman:






More recently, there has been the Broadway production starring Mary Louise Parker.


and  the University of Washington's production of Hedda:


Thursday, April 19, 2012

Final Prompts for EN 230 -- Spring 2012


Below are the prompts for your take home part of the final.  Please choose one prompt and use the questions to create an essay with an introduction, thesis statement, body paragraphs, and conclusion.  This essay may be from two to five pages.


Question #1:

Consider the plays that we've read and seen so far this semester (including Pygmalion and Trifles).  What do they tell us about modern and contemporary drama?  (Modern drama includes "Soul Gone Home," Trifles, Pygmalion, Hedda Gabler, The Good Person of Szechuan, Waiting for Godot, Death of a Salesman, and A Streetcar Named Desire.  Contemporary drama includes Fences, Angels in America, The Metamorphoses, and M. Butterfly.)  What do these plays have in common?  How are they distinct from other, earlier plays such as The Taming of the Shrew or other plays by Shakespeare?  Or from the newer plays I showed or referred to?  Consider performance as well as the text of plays.  If you are revising your midterm, be sure to include two plays from the second half of the semester.

Below are links to some plays that may be postmodern:

First is Charles Mee's bobrauschenbergamerica:

Next is Suzan-Lori Parks' The America Play:

Finally, we have a scene from Tarell McCraney's Brother/Sister Plays, the ones that I consider more enjoyable to read.

And here are aspects of the postmodern:


Question #2:

What does performance add to the plays that we've read?  How does performance limit these plays?  How does poor or critically panned performance (like Mary Louise Parker's Hedda Gabler) affect these plays?  How have watching the various clips helped you understand our plays?  Discuss the differences between film/TV and stage versions, and feel free to consider versions we did not see in class.  Can a play still be worth reading if it is never performed?  Why?  Why not?   Which of our plays are still worth performing?  Why?  Why not?  (Consider venues as well.)

Here are some articles from the Guardian's theater blog:


http://www.guardian.co.uk/stage/theatreblog/2012/mar/16/noises-off-theatre-faithful-texts

Consider the differences between drama (play text) and theater (performance).

Question #3:

How is American modern and contemporary drama similar to European modern drama like Hedda Gabler, Pygmalion, Waiting for Godot, or The Good Person of Szechuan?  How is it different?  Which themes, characters, plot, language, and setting seem to be particularly American?  Which stagings seem to be particularly American?  Why?  What do European plays add to the mix?  Consider plays like M. Butterfly, Waiting for Godot, or The Good Person of Szechuan that are more cosmopolitan.

Question #4:

How are women represented in modern drama?  Although The Taming of the Shrew is not modern, feel free to bring in what you noticed while watching the performance at MC.  Consider the work of female directors as well as actors and playwrights.  Here are some interesting articles from the Guardian's theater blog on women playwrights:
How might a female playwright work with characters like Hedda Gabler, Linda Loman, Blanche duBois, Stella Kowalski, and so on?