Thursday, July 19, 2012

Study Guide for Midterm -- pt. 1 -- EN 190 -- Summer II 2012































Above is an image from the Orange Tree Theatre (UK)'s evening of short plays by Susan Glaspell.  For more information about this production, see these links:


But more importantly, which readings/viewings will be on our midterm (July 27)?

Death of a Salesman -- text, DVD of 1985 production, and the following clips:
 http://www.youtube.com/watch?v=brdbM9YSCq4 (2000, with Brian Dennehy)
http://www.youtube.com/watch?v=UnTqlxajQ5Q (1996, BBC, with Warren Mitchell)
http://www.youtube.com/watch?v=4nYKpvtYPG4 (2008, DC's own Arena Stage)
http://www.youtube.com/watch?v=mJNaEDrtjug (2009, with Charles S. Dutton)

Trifles -- text and the following clips  
Below are links to the videos we watched.  If you have more patience with opera, you may start here:

Otherwise, these are the movies:

"A Jury of Her Peers" is here:

Here is one clip from one version of Sophie Treadwell's Machinal:


"Love in L.A."

"Where Are You Going, Where Have You Been?"

"The House on Mango Street"

"Everyday Use"

"Why I Live at the P.O." -- http://art-bin.com/art/or_weltypostoff.html



I wouldn't mind living at the Gulfport, MS P.O. below!

 Readings continue below:

"Hills Like White Elephants"

"The Things They Carried"

"Bad Neighbors"

"The Lesson"

"This is What It Means to Say Phoenix, Arizona"

"The Lone Ranger and Tonto Fistfight in Heaven"

"The Christmas Pies"

Here are clips from Smoke Signals that we watched:

We also watched the following video of a Native American storyteller:
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Tuesday, July 17, 2012

Questions for 7/19 -- EN 190 Summer II 2012



Good evening :)

Tonight we began our exploration of fiction, focusing on plot and character but also covering other aspects.  It was a fine beginning!  For Thursday, we will move on to point of view and theme.  

These are our readings:  chapter 5 (including stories) (98-134) and “Girl” (397-8) as well as “Dinner with Dr. Aziz.”  One of our stories will be Lynda Barry's "Today's Demon: Magic," a work of graphic fiction.

Before I go onto the questions, here are links to information about MLA:

Here are a few more questions for your journal:

-- how is your extended journal entry on drama/theater coming along?  (Feel free to post your draft at Multiply.)

-- how would you apply Erikson, Kohlberg, or Gilligan's theory to the short stories we've read so far?  
You may also find Piaget's theory to be useful:

-- choose one of the terms we discussed tonight and then use it to examine one of the short stories we've read so far.  (Feel free to choose one of the stories from ch. 5, "Girl," or "Dinner with Dr. Aziz.")

-- do you believe that people can change?  why?  why not?

-- do you believe that a person's character is consistent?  why?  why not?

-- how does your experience help you interpret any of the short stories we've read so far?

-- How might doing research on history, economics, gender, ethnicity, or literature help you understand one of our short stories more?  

-- Today we looked at stories in the third person.  How does fiction change when you read a story in the first person (I, me, mine)?  Which person do you prefer?  Why?

-- How would ch. 4's stories change if they were told in the first person?

-- discuss the reliability of narrators.

-- Choose a story we've read.  What is its theme?  How is the theme different from a director's central idea?

-- How does the author's gender affect the stories we've read?  

--  Is "Girl" a short story?  why?  why not?

-- Is "Today's Demon: Magic" typical of the graphic fiction you've read?  why?  why not?

-- Which graphic fiction ought to be studied in EN 190 and other English classes?

-- Is graphic fiction literature?  why?  why not?

-- how do you define literary fiction?

-- do you read "genre" fiction (i.e., mysteries, SF, romances, fan fiction)?  should these stories be studied in En 190?

-- how did our brief exploration of storytelling help you understand fiction more?  (here is a link to the video that we watched:  

-- what purpose does literary fiction serve?

See you in class!

Dr. Szlyk 
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Questions for 7/17 -- EN 190 Summer II 2012


Good evening :)

Tomorrow night we will be moving onto fiction.  Here are our readings:

In our textbook, chapters 3 & 4 (including stories) (55-95) plus “Godfather Death” and “Coyote and Eagle Visit the Land of the Dead.”

For "Godfather Death," see this link:

For "Coyote and Eagle Visit the Land of the Dead," see this link:

Below are links to the videos we watched.  If you have more patience with opera, you may start here:

Otherwise, these are the movies:

"A Jury of Her Peers" is here:

Here is one clip from one version of Sophie Treadwell's Machinal:

And these are the questions for your journal:

-- what would you like to present on?  how will it shed light on literature?  when would you like to give your presentation?  

-- which response would you like to expand on for the first paper?  why?

-- what do you expect to see on the midterm?  (Note that the midterm and final includes only what we cover in class.)

-- what purpose does the drama serve?  what purpose does theater serve?  why might a playwright or director choose to use more experimental and less realistic techniques?  why might a playwright or director choose to adhere to realism?

-- could a play be worth reading if it is no longer being performed?  why?  why not?

-- in your opinion, which is the most important element of fiction?  why?

-- how is fiction different from drama?  how is it similar?

-- compare how dramatists convey character with the ways that writers of short stories do.

-- compare how dramatists convey setting with the ways that writers of short stories do.

-- compare how dramatists and writers of fiction use plot (including foreshadowing and flashbacks)

-- how are the folktales ("Godfather Death" and "Coyote and Eagle") different from the literary short stories?  how are they similar?

-- describe Death, the father, the godson, Coyote, and Eagle as characters

-- what do we really know about Jake or Mariana in "Love in LA" or Connie & Arnold Friend in "Where are you going..."

-- how do you feel about the ending of Trifles?

-- how do you feel about the ending of "Love in L.A." or the ending of "Where are you going...?"

-- do you feel that you have enough background in "Love in L.A." ?  why?  why not?

-- why does Joyce Carol Oates dedicate her story to Bob Dylan?  (if you don't know who he is, here are some videos for you:



See you in class!  Just a reminder that I do expect you to be there.

Dr. Szlyk
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Questions for 7/16 -- EN 190 Summer II 2012

 
In the picture above from the 2000 revival, Ben is in white.  

Good evening :)

I'm glad that we were able to have lively discussion tonight--and to watch some of the other versions of DoaS.  Here is a link to the entry with the various videos that we saw:


The latest version is here:  http://www.broadway.com/shows/death-salesman/

You may also be interested in reading various reviews:

Here are reviews of the recent version:

And these are links to the theories we went over:
Also, here is a link to a page with information about Erikson's theory of development:

You may also find Kohlberg's theory interesting as well:

Michael Morrison provides a Christian perspective on development:

Finally, here are a few questions for you.

Where does the 1985 version of DoaS differ from Miller's text?  Why is this difference important?  How does it help you understand the play more fully?

Where do the other versions that we looked at differ from Miller's text?

Where are they similar to his text?

Take a look at the 1951 version of DoaS.  How does it differ from the 1985 version?

What surprised you about reading the reviews?  How do opinions vary?

What role does Linda play in DoaS?  Why?  Is it positive or negative?

Discuss the more recent portrayals of her character.

Why do the Woman and Ben wear white in the 1985 version?

How do the various theories we discussed help you understand DoaS?

How might doing research on history, economics, gender, or the theater help you understand DoaS more?

How might a female director interpret DoaS?

How did the discussion help you understand DoaS?

What would you have liked to contribute if you had had more time?

Which question would you like to expand for the paper?

Moving on to Trifles, our next reading....

how do the men and women view each other?

why do the women handle the evidence the way that they do?

how is Glaspell's vision specifically feminine or feminist?

what role does setting play in Trifles?

how is Trifles' world different from our own?  how is it similar?

is this play worth continuing to stage?

I'm interested in seeing what you think of it!

Dr. Szlyk
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Questions for 7/12 -- EN 190 Summer II 2012


The picture above is from the 2012 revival of Death of a Salesman.  Don't know why it's in black and white, though.  
Good evening :)

I'm glad to see that we finished up today's class with a lively discussion of Biff's response to his father's betrayal.  Feel free to explore this topic further in your journal and perhaps even in your extended response.  Remember that as long as you can support your argument through the text and performance, you can make your point, no matter what it is.

For Thursday, let's finish up Death of a Salesman.

Also, here is a link to a page with information about Erikson's theory of development:

You may also find Kohlberg's theory interesting as well:

Michael Morrison provides a Christian perspective on development:

How would you apply any of these theories to the characters in Death of a Salesman?  (Note that Miller was not Christian.)

Now that more and more of you are on Multiply, I thought I'd include some questions that are connected to my past entries:

Here is my entry on Miller's life and career:
You may also find this interview to be interesting:

What light does this information shed on DoaS?  on Miller's characters? on his intentions for his play?  or on Miller himself?

For more information about DoaS' time and place, see this entry:
You may enjoy reading about modern-day Brooklyn:

How does this information help you understand DoaS, its characters, and its story in more depth?  

What does it mean for DoaS to be set in Brooklyn?

If you were to adapt DoaS so that it was set in 2012, what would you change?  why?

Take a look at other versions of DoaS:
The latest version is here:  http://www.broadway.com/shows/death-salesman/
How are they different from the 1985 version?  How are they similar?  Which version deserves to be made into a full-length movie for PBS or HBO?

What light do they shed on your understanding of DoaS?

How much should directors change plays?  Why?  Why not?

To be fair, you ought to look at the reviews, too:


When do critics believe that a production is successful?  When do they believe that it is a failure?  Are these critics fair?  Why?  Why not?

And here is the link to the entry on the Beijing production:


What surprised you about this production?  Why?  

What is the difference between generic and universal?

Finally, I am a little concerned about attendance.  Attendance is important!


I'm looking forward to seeing what you have to say!

Dr. Szlyk
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First Set of Questions (Summer II 2012)



Good evening :)

I enjoyed meeting everyone tonight and look forward to working with you this summer!  Hope you are enjoying the cooler weather, too.

I've just sent you invitations.  Check your spam folders if you do not see your invitation right away.  MC has a particularly good spam filter. 

Also, here is the link to information about Unexpected Stage Company's production of Trifles:

If we can get at least ten people, each ticket will be only $7.  And the director assures me that there is enough parking.

Which date works better for you:  Saturday July 28 at 7:30 or Saturday August 4 at 7:30?

Finally, here are questions for your journal:

-- Based on what you've seen so far in the 1985 version of Death of a Salesman, what seems to be the central idea of this production?  Why?

-- How has watching this DVD helped you read Miller's play?

-- How has watching this DVD helped you understand Willy's character, his relationship to the rest of his family, or his life & times?

-- How has reading Miller's play helped you think about the DVD? 

-- What seems to be the play's theme?

-- How have Miller's stage directions helped you understand his play and/or Willy and his family?

-- How would you "diagnose" Willy?  Why?  Can we diagnose a fictional character?  Why?  Why not?  Should we?  (Note that psychoanalytic criticism is only one type of criticism.)
 
-- But as promised, here is a link to Erikson's stages of development.  
http://honolulu.hawaii.edu/intranet/committees/FacDevCom/guidebk/teachtip/erikson.htm
Use these stages of development to talk about Willy, Linda, Biff, and Happy.  Feel free to talk about Charlie and Bernard as well.
Or is Carol Gilligan's theory more appropriate to Linda?
http://www.stolaf.edu/people/huff/classes/handbook/Gilligan.html

-- Discuss the body language in the film.  How does it help you understand Miller's play more?

-- Discuss the DVD as a film.  How does the director use elements of film to get his points across?

-- How does "the grayness of life" pertain to DoaS?

-- How is DoaS a timeless play?

-- How is it a timely play?

-- How is this play a historical curiosity?

Perhaps one of these questions will lead to your first expanded journal entry!

See you tomorrow,

Dr. Szlyk
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Friday, May 4, 2012

Study Guide for Final -- pt. 2 -- EN 230 -- Spring 2012

Above is a picture of American artist Bob Rauschenberg's Radioactive I (1964).  It is initiating us into the more avant-garde section of the semester.  As you may remember, Rauschenberg's work inspired contemporary playwright Charles Mee's bobrauschenbergamerica, and Anne Bogart whose books I've reviewed directed the play's premiere.



And here are some links to videos that we've seen in class:

Below are links to the performances that we saw, starting with Hedda.

Here is the review of the production:

Let's look at 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.

What do the playwrights and directors seem to be trying to do in these plays?

See this blog entry.  
http://www.guardian.co.uk/stage/theatreblog/2012/apr/19/noises-off-theatre-safe-risks
Are we trying to make drama and theater too safe?  Should we embrace productions like Hedda?

The picture below is from the NYC production of Marcus, or the Secret of Sweet.



Yikes!  I forgot Trifles.  The link to my entry on this play is below:


Here are links to the movie versions that we saw:


Below are theatrical versions of this play:

If only there had been a video of the 2005 production at Theatre Unbound!


Let's move on to Brecht and The Good Person of Szechuan:

Here is the definition of the alienation effect:
http://faculty.washington.edu/cbehler/glossary/alienationeffect.html

See this link for more about epic theater:
http://pages.cs.brandeis.edu/~jamesf/goodwoman/brecht_epic_theater.html

Let's start with our clips from The Threepenny Opera (words, Brecht; music, Weill)


Below is a poster for the 1931 film version of Brecht and Weill's play.


Mother Courage is another of Brecht's plays.  Recently Tony Kushner translated it.  Meryl Streep has starred in a production that used his translation.


Here is a song from Mother Courage (but from a different production and translation):

On to the Good Person of Szechuan!

Below is a picture from a 2010 production staged in Berlin, Germany.


Here is a trailer (much music, no words) from this production:

We'll finish up with Waiting for Godot.


See this link for my Multiply entry on this play:

Here is a link to Beckett's Film with Buster Keaton:
(and here is a film with Keaton:

These are the links to versions of Waiting for Godot:


How has watching these videos helped you with Waiting for Godot?

Here are some clips of other plays by Beckett:

And here is an entry on The Metamorphoses:

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