ARCHIVE OF SYLLABI
ARRANGED IN ALPHABETICAL ORDER
(Click on the Course Title for a Course Description)

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Advanced Acting DRA425 TTh 1:00- 2:50 p.m.
Prof Turney

Office--Theatre Arts Building TA 202. Please see me if you have any questions or problems concerning this course. It is best to make an appointment in class, but you are more than welcome to stop in during office hours. The Theatre Arts Building is located at Chester Avenue and East 23rd Street. Phone: 687-xxxx.

REQUIREMENTS:

The course grade is based on class participation in all exercises, attendance at four productions, scene work, and a final project, in the following proportions:

10% Attendance at 3 Factory Theatre Productions and one Cleveland Play House Production
50% Class Participation
05% Monologue from Macbeth
20% Scene work (Best of at least three)
15% Final scene.

EXTRA CREDIT IS AVAILABLE for work on productions and/or attendance at a fourth or fifth CSU play, etc.

ATTENDANCE IS MANDATORY -- wear appropriate workout clothes.

PLAY ATTENDANCE REQUIREMENT
C.S.U. THEATRE ARTS & THE CLEVELAND PLAY HOUSE

PRODUCTION I -- "LA RONDE" by Arthur Schnitzler
adapted by Eugene Hare; directed by Wayne S. Turney
C.S.U. Factory Theatre, East 24th and Chester Avenue
September 11, 12, and 13, 1998. All dates at 8:00 p.m.
Ticket Price: $5.00 Student & Senior Citizen; $6.00 Non-Student
PRODUCTION II -- "RAIN" by John Colton and Clemence Randolph
based on the novella by W. Somerset Maugham
directed by Eugene Hare
C.S.U. Factory Theatre, East 24th & Chester Avenue
September 18, 19, and 20 at 8:00 p.m.
Ticket Price: $5.00 Student and Senior Citizen
$6.00 Non-Student
PRODUCTION III -- "DRACULA"
adapted and directed by Eugene Hare
based on the novel by Bram Stoker
C.S.U. Studio Theatre, East 24th and Chester Avenue
October 16, 17, 23, 24, 30, 31 at 8:00 p.m.
October 18, 25 at 2:00 p.m.
Special Hallowe'en Performance 11:30 p.m.
|PRODUCTION IV -- "|EURYDICE|" by Jean Anouilh
directed by Wayne S. Turney
December 4, 5, 11, 12, 18, 19 at 8:00 p.m.
December 6, 13, 20 at 2:00 p.m.

THE CLEVELAND PLAY HOUSE
8500 Euclid Avenue, Box Office 795-7000
**(Use special C.S.U. student price, with valid student ID)

THE CLEVELAND PLAY HOUSE/CLEVELAND STATE UNIVERSITY
SPECIAL TICKET OFFER FOR C.S.U. STUDENTS
1) CSU Student Tickets will be sold at $6.00 per ticket, on
presentation of CSU Student Identification Card.
2) Students may purchase tickets by going in person to the
Play House Box Office, which is open seven days a week.
For information on availability of tickets call the
Box Office at 795-7000.
3) Students may purchase tickets in advance, beginning one
week prior to the performance requested.
4) Friday or Saturday evening tickets are not available at
student price.
"COMPANY" September 29-November 1 (Bolton Theatre)
music and lyrics by Stephen Sondheim, book by George Furth
"TWELVE ANGRY MEN" October 27-December 6 (Drury Theatre)
by Reginald Rose
"THE INVISIBLE MAN" December 1-January 19 (Bolton Theatre)
by Ken Hill, based on the novel by H. G. Wells

NAME_______________________________ SHOW_____________________________

CLASS_____DRA425___________________ DATE SEEN________________________

5 POINTS will be DEDUCTED from final score for NOT ATTENDING required
production.

$To help all concerned with the productions please answer $all$ the
questions as completely as possible. Be specific|



1. What did you think of the show in general?





2. What was your favorite part of the show? (An actor, the set,
music, costumes, etc.)





3. What did you like least about the show?





ATTACH TICKET STUB HERE$

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PHONE 687-2109 for CSU reservations.

Extra Credit Option

DRA 425 SPRING 1998

Option I. Assigned research agreed by Professor Turney.

Option II. Production Work
A. Final letter grade raised by one half letter.
B. 10 hours of work (minimum 2 hr. segments)
completed by May 31, 1998
C. Report to David Lantz, in the scene shop for
available dates and time. NOTE:
Production work is not always available.
D. Have attached sheet signed by Mr. Lantz
at the completion of the 10 hours. Return the
signed| sheet to Professor Turney.

Option III. Attendance at third CSU production a maximum of one-
third letter grade.

DRAMA 425

Production - Extra Credit

Name__________________________________________________________

Responsibility________________________________________________________

________________________________________________________

List Hours Initialed by David Lantz or SM

1. _______________________________

2. _______________________________

3. _______________________________

4. _______________________________

5. _______________________________

Completed Work___________________________________

signed by Prof Hare or Stage Manager

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AMERICAN THEATRE HISTORY Theatre 340

Turney Spring 2003

The grade will be based entirely on the following:

I. (20%) A Midterm Examination on Friday, March 7, 2003, covering all lectures and films, the assigned plays and all material in Chapters 1-4 in Walter Meserve's An Outline History of American Drama.
There will be a review session on Wednesday, March 5, 2003.

II. (35%) A Special Project on a topic approved not later than Friday, March 21, 2003. A draft
of your proposed project is due not later than April 4, 2003. (See PROJECT GUIDELINES)

III. (30%) A Comprehensive Final Examination during the regularly scheduled exam period covering all lectures, tapes, films, etc. during the entire term as well as Meserve's Outline History of American Drama, and the assigned plays. Review session will be held Wednesday, April 30, 2003.

IV. (5%) Attendance at two OWU productions (Contact the box office for times, etc.) . Attendance forms and ticket stubs are due not later than Friday, May 2, 2003.

V. (10%) Class Participation.

VI. Extra Credit is available by special arrangement with the instructor. Arrangements must be made not later than Friday, March 21, 2003 and can account for up to 10% of the total grade.

TEXTS: Walter J. Meserve: An Outline History Of American Drama, 2nd ed.
Don B. Wilmeth: Staging the Nation, Plays from the American Theater 1787-1909.

PLAYS: Other plays will be assigned in connection with the final projects.

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CREATIVE DRAMATICS DRAMA 352

TEXT: Improvisation for the Theatre by Viola Spolin

REQUIREMENTS: 1. Class Attendance
2. Participation in Games
3. Attendance at required productions during session
4. Lesson Plan Book
GRADING: Class Work -- 40%
Mid-Term -- 20%
Written Final -- 30%
Lesson Plan -- 10%

CLASS SESSION
T Introduction|
Th Warm Ups and Games
T Warm Ups and Games
Th Warm Ups and Games
T Warm Ups and Games
Th Warm Ups and Games
T Warm Ups and Games
T Mid-Term
Th Warm Ups and Games
T Warm Ups and Games SCENE LEARNED
Th HOLIDAY
T Warm Ups and Games
Th Warm Ups and Games
T Warm Ups and Games
Th Warm Ups and Games
FINAL EXAM PERIOD SCENES LESSON PLAN BOOK DUE

Three productions are being staged at CSU's Factory Theatre in the Blackwood Studio (upstairs). You are required to see all three and report on them using the forms provided.

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CONTEMPORARY THEATER: 1950 to the Present

The course grade will be based entirely on the following:
1) A Midterm Examination on **DATE** covering all lectures, discussions, handouts and assigned readings. There will be a review session on **DATE**.

2) An individually assigned oral report. (See ORAL REPORT GUIDELINES)

3) Class attendance and participation. THIS IS A DISCUSSION CLASS; ABSENCE WILL BE DOWNGRADED.

4) Written crituques of assigned contemporary works: including at least one live performance and one script.

5) A Final Examination during the regularly scheduled exam period **DATE** **TIME**, covering all lectures, discussions, assigned readings and performance materials covered during the term. There will be a review session on **DATE**.

6) Extra Credit is available. (See EXTRA CREDIT OPTION)

CONTEMPORARY THEATER TOPIC SCHEDULE

M Introduction
W Background lecture
F Arthur Miller

M Tennessee Williams
W William Inge
F Edward Albee

M Mamet/Rabe/Shepard
W Innaurato/Durang
F HOLIDAY

M MODERN MUSICALS TBA
W Neil Simon
F Alan Ayckbourn

M Peter Schaffer
W Tom Stoppard
F Athol Fugard

M Jerzy Grotowski
W Slawomir Mrocek
F Vaclav Havel

M MIDTERM REVIEW
W MIDTERM EXAM
F Ethnic Theatres TBA

M Ethnic Theatres TBA
W Regional Stocks TBA
F Regional Stocks TBA

M Women's Theatre TBA
W Women's Theatre TBA
F Women's Theatre TBA

M Protest Theatre TBA
W Agitprop Theatre TBA
F Mueller/Kroetz

M Gay and Lesbian Theatre TBA
W Gay and Lesbian Theatre TBA
F Gay and Lesbian Theatre TBA

M ORAL REPORTS
W ORAL REPORTS
F ORAL REPORTS

M ORAL REPORTS
W ORAL REPORTS
F ORAL REPORTS

M Summary Discussion
W Summary Discussion Continued
F Review for Final

*DATE* Final Examination
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DRAMATIC THEORY AND CRITICISM-- DRA451 COURSE REQUIREMENTS

The class grade will be based entirely on the following:
1. Class participation. Attendance is therefore mandatory;
only bona fide medical or other emergencies will be excuses
for absence. Come prepared. (See Schedule for reading
assignments.)
2. Term Papers. Two brief term papers will be completed during
the term:
1) "Personal Biases" (2000 word) due not later than
April 21 and
2) "Criticism and Reviewing" (5000 words) due not
later than June 4.
3. A midterm examination during the regularly scheduled class
period on [16th class session].
4. A final examination [final period] during the regularly
scheduled class period.
5. Reviews of [current production] at the Factory Theatre
and at least two plays at the Cleveland Play House, due not
later than [LDOC].

6. Extra Credit may be arranged.

Text: Dukore: DRAMATIC THEORY AND CRITICISM, Greeks to Grotowski

DRA451 ASSIGNMENT SCHEDULE
DATE TOPIC ASSIGNMENT
Mar 31 Orientation and Introduction
Apr 2 Aristotle and Plato Dukore: pp 1-66
Apr 7 Rome and Rhetoric Dukore: 67-84; Handout
Apr 9 Mimes and Morality Dukore: 85-100; Handout
Apr 14 Morality: Debate continues Dukore: 112-117; 159-177
Apr 16
Apr 21 Looking Backward Dukore: 121-158
"Personal Biases" PAPER DUE
Apr 23 The Cid Controversy Dukore: 211-277

Apr 28 More Frenchmen Dukore: 278-314
Apr 30 The English get into the act Dukore: 315-351
May 5 More Bluenoses Dukore: 351-385
May 7 Review for the midterm
May 12 MIDTERM EXAMINATION
May 14 18th Century English Dukore: 385-426
May 19 German Pioneers Dukore: 427-548
May 21 More Germans Dukore: 777-858
May 26 The English Dukore: 581-672
May 28 French, Italian & Spanish Dukore: 677-772
Jun 2 Russians, etc. Dukore: 913-948;
Jun 4 Americans bringing up the rear Dukore: 861-910
Review for final REVIEWS AND CRITICISM PAPER DUE

Jun 11 FINAL EXAMINATION REVIEWS AND EXTRA CREDIT DUE

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DIRECTING A HIGH SCHOOL PRODUCTION

TEXTS:
Organizing and Managing the High School Theatre Program,
James R. Opelt
On Directing, Harold Clurman

PLAYS: Copies of these plays are on closed reserve in the Reserve Section of the Library. They may be taken out for two hours. They are also in the bookstore.

OKLAHOMA.......................Rodgers and Hammerstein
1776............................... Stone and Edwards
TEN LITTLE INDIANS.....................Agatha Christie
THE MALE ANIMAL.....................Thurber and Nugent
THE CURIOUS SAVAGE........................John Patrick

*You do not have to purchase the plays.

Optional Text: TEN GREAT MUSICALS OF THE AMERICAN THEATRE,
Stanley Richards, ed. There are no assignments from this book.It is available in the bookstore if you wish additional readings.

GRADE:
TWO SCENES REQUIRED
1. Approximately 3 to 5 minutes--2 characters. Use only required plays. Turn in prompt book, director's notes and diary. = 15%
2. Approximately 5 to 7 minutes -- 2 or 3 characters, use required plays or approved scenes. Turn in prompt book, notes, etc. = 20%
CLASS WORK AND PARTICIPATION= 30%
EXAM = 20%
TAKE HOME EXAM= 15%

CLASS ATTENDANCE IS MANDATORY
All late papers and scenes will be down graded.

You are required to see two productions. Ten points are deducted from final score for each missed production.

CLASS READINGS/ASSIGNMENTS SCHEDULE

WEEK I
Tues: : Introduction: Script Research and Analysis; Images
Thurs: : READ: OKLAHOMA, 1776,
Spines, Metaphors, Concepts
TURN IN Assignment #1

WEEK II
Tues: Script Analysis OKLAHOMA, 1776
TURN IN Assignment #2
Thurs: READ: TEN LITTLE INDIANS; Script Analysis
TURN IN Assignment #3

WEEK III
Tues: Actions, Intentions, Beats, TEN LITTLE INDIANS
TURN IN Assignment #4
Thurs: Actions
TURN IN Assignment #5

WEEK IV
Tues: READ: THE MALE ANIMAL Sets, Ground Plans; Atmosphere
TURN IN Assignment #6
Thurs: Ground Plans, Mood
TURN IN Assignment #7

WEEK V
Tues: Casting THE MALE ANIMAL
TURN IN Assignment #8
Thurs: READ: THE CURIOUS SAVAGE Casting; Staging
TURN IN Assignment #9

WEEK VI
Tues: Staging, Movement, Business
Thurs: Rehearsal Business, Staging, Pace

WEEK VII
Tues: HOLIDAY
Thurs: Staging, Rehearsing, Comedy

WEEK VIII
Tues: SCENE #1
Thurs: SCENE #2

WEEK IX
Tues: EXAM (in class)
TURN IN PRODUCTION SHEET #1 (First Play)
Thurs: Scene Work T.B.A.

WEEK X
Tues: SCENE WORK -- T.B.A.
Thurs: SCENE #2 (maximum of 5 scenes)
TURN IN PRODUCTION SHEET #2 (OKLAHOMA)

FINAL EXAM DAY:
Majority of SCENES #2

ALL class members are REQUIRED to attend.
TURN IN TAKE HOME EXAM

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Intermediate Acting DRAMA 325-- MW 4:00 - 5:50 p.m.
Prof Turney

Office--Theatre Arts Building TA 202. Please see me if you have any
questions or problems concerning this course. It is best to make an
appointment in class, but you are more than welcome to stop in
during office hours. The Theatre Arts Building is located at Chester
Avenue and East 23rd Street. Phone: 687-2115.

TEXT: The Actor at Work - Benedetti

REQUIREMENTS:
The course grade is based on class participation in all exercises,
attendance at three productions, scene work, and a final exam covering
class lecture material and the text, in the following proportions:

05% Attendance at 3 Factory Theatre Productions and one Cleveland Play House Production
25% Class Participation
10% Scene #1 "Speak the Speech"
10% Scene #2 Two Shakespeare Sonnets
10% Midterm Exam
10% Two-person scene
15% Final scene
15% Final Exam Multiple Choice - True-False

EXTRA CREDIT IS AVAILABLE for work on attendance at a third CSU play, etc.

ATTENDANCE IS MANDATORY -- wear appropriate workout clothes.

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INTRODUCTION TO THE THEATRE-- Theatre 110,

Turney Classroom: Chappelear Green Room

Section 1 Monday-Wednesday-Friday 10:00 a.m. - 10:50 a.m.
Section 2 Monday-Wednesday-Friday 11:00 a.m. - 11:50 a.m.

Office Telephone: 368-3842

Office Hours: M-W-F 2:00-4:00 p.m.; other times as arranged

Please see Instructor if you have any questions or problems concerning this course. It is best to make an appointment but feel free to stop by the office during regular office hours.

TEXTBOOK: Theatre, Brief Version, Sixth Edition by Robert Cohen.

PLAYS: It is recommended, but not necessary, to purchase copies of the plays. THE PLAYS ARE REQUIRED READING. The plays have been put on closed reserve in the Beeghly Library. Copies of the plays also should be available in any public library. Choose a translation that suits your taste.

Oedipus the King, by Sophokles
Tartuffe, by Moliere
The Tempest, by William Shakespeare
The Wild Duck, by Henrik Ibsen
A Streetcar Named Desire, by Tennessee Williams
Equus, by Peter Shaffer
Wit, by Margaret Edson

THE COURSE GRADE WILL BE BASED ON THE FOLLOWING:
Midterm Exam 15% Friday, March 7, 2003
Final Exam 15% As scheduled by the University
Quizzes & Critiques 15%
Production Experience 15% Worksheets due Not Later Than Friday, April 18, 2003.
Classroom Participation 15%
Final Project 25%

EXTRA CREDIT OPTION: Extra Credit can be arranged with the instructor in one of two areas: Research or Production. See the instructor for details not later than March 7, 2003 for an extra credit assignment.

MAKE-UP EXAMS: To be fair to all students, attendance during exam times is mandatory. The only excuse for which a make-up exam will be given is a written medical excuse

REQUIRED PRODUCTIONS -- PRODUCTION WORKSHEETS

Students are REQUIRED to attend two live theatre productions. One must be The Tempest presented by the OWU Theatre Arts . A schedule of these performances, performance times, and student prices of the tickets is available at the box office.

After you see each play, please fill out an attached PRODUCTION WORKSHEET. You may add extra pages if you need additional space to answer the questions. Each production worksheet is worth 25% of your grade for Quizzes and Critiques. For each day the worksheet is handed in late, your grade on the assignment is lowered one grade. Failure to turn in a worksheet will result in an F grade for that assignment. If you choose the extra credit option, you may see any show of your own choosing (professional theatre, university theatre, community theatre, amateur theatre, church play, school play, etc.)
as long as the performance that you attend is a LIVE performance

(NO VIDEOS OR MOVIES).

Introduction to the Theatre -- Theatre 110

ATTACH TICKET STUB HERE SPRING 2003

PRODUCTION WORKSHEET

NAME___________________________ SHOW SEEN___________________________

WHERE SEEN______________________________ DATE SEEN___________________

Please answer ALL of the following questions in a short paragraph.

(Please feel free to use more space!)

1. What did you think of the show in general?

2. What was your favorite part of the show? (An actor, the set, the music, the costumes, the plot, etc.) Use specific examples.

3. What did you like least about the show? Use specific examples.

4. Briefly describe your impressions of being an audience member participating in a live performance.

5. Why did you choose this particular show? Were you happy or disappointed in your choice? Would you have gone to see this show if you had not been required to do so for a class assignment?

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PLAYS IN PERFORMANCE I

The course, consisting of lectures and guided class discussions, is designed to acquaint the student with the major trends in literature and the authors writing for the stage from the earliest pre-literary oral traditions in the Middle East through the Greek Golden Age, Medieval European Drama, the Spanish Renaissance to and including 17th Century France. A brief look at major classical Far
Eastern (Sanskrit, Noh, Kabuki, Kyogen) dramatic literature will be included. Emphasis will be placed on the conventions structures and themes unique to and common to each of the plays considered.

Grading will be based on a midterm and final exams, periodic written quizzes, class participation and a term paper. (See attached schedule and Term Paper Guidelines).
NOTE: Students must demonstrate satisfactory performance (C or better) in the writing required in order to pass the course.

The midterm examination will be on the (19th class session) during class time. A review session will be held on the (18th class session).

The first draft of the term paper will be due on the (15th class session.) The final draft is due on the last day of class. Late papers will be downgraded!

The final exam will be during the regularly scheduled exam period for the block scheduled.

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PLAYS IN PERFORMANCE II

The course, consisting of lectures and guided class discussions, is designed to acquaint the student with the major trends in literature and the authors writing for the stage from the earliest pre-Elizabethan England to modern day America. Topics will include Elizabethan, Jacobean, and Restoration England; 18th Century England, France and Germany, 19th Century England, France, Germany, Russia and America, and 20th Century Plays in all the above up to the 1950's, esp. Romanticism, Realism, Naturalism and the reactions thereto. Emphasis will be placed on the conventions structures and themes unique to and common to each of the plays considered.

Grading will be based on a midterm and final exams, periodic written quizzes, class participation and a term paper. (See attached schedule and Term Paper Guidelines).
NOTE: Students must demonstrate satisfactory performance (C or better) in the writing required in order to pass the course.

The midterm examination will be on the (19th class session) during class time. A review session will be held on the (18th class session).

The first draft of the term paper will be due on the (15th class session.) The final draft is due on the last day of class. Late papers will be downgraded!

The final exam will be during the regularly scheduled exam period for the block scheduled.

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PLAYS IN PERFORMANCE III

The course, consisting of lectures and guided class discussions, is designed to acquaint the student with the major trends in literature and the authors writing for the stage from the earliest pre-Elizabethan England to modern day America. Topics will include the rise of Realism and Naturalism, Symbolism, Expressionism, Futurism, Dadaism and The Anti-Literary Movement. Playwrights will include Shaw, Wilde, Pinero, Strindberg, Pirandello, etc. Emphasis will be placed on the conventions, structures, and themes unique to and common to each of the plays considered. The course is a companion course to Theatre History III.

Grading will be based on a midterm and final exams, periodic written quizzes, class participation and a term paper. (See attached schedule and Term Paper Guidelines). NOTE: Students must demonstrate satisfactory performance (C or better) in the writing required in order to pass the course.

The midterm examination will be on the (19th class session) during class time. A review session will be held on the (18th class session).

The first draft of the term paper will be due on the (15th class session.) The final draft is due on the last day of class. late papers will be downgraded!

The final exam will be during the regularly scheduled exam period for the block scheduled.

Plays in Performance III Reading List
Georg Buchner: Woycek
Tom Taylor: Our American Cousin
Augustin Daly: Under the Gaslight
Alexandre Dumas fils: The Lady of the Camelias (Camille)
Emile Augier: Olympe's Marriage
T. R. Robertson: Caste
Alexander Ostrovsky: Diary of a Scoundrel
Bjornstjerne Bjornson: Beyond Human Might
Henrik Ibsen: Peer Gynt
Henrik Ibsen: An Enemy of the People
George Bernard Shaw: The Devil's Disciple
Anton Chekhov: Uncle Vanya
Gerhardt Hauptmann: The Weavers
Gerhardt Hauptmann: The Beaver Coat
James Barrie: Peter Pan
Maurice Maeterlinck: Pelleas and Melisande
John Millington Synge: The Playboy of the Western World
William Butler Yeats: Cathleen ni Houlihan*
Eugene O'Neill: Long Day's Journey Into Night
Garcia Lorca: Blood Wedding
Alfred Jarry: Ubu Roi
Georg Kaiser: Gas I
Elmer Rice: The Adding Machine
Luigi Pirandello: Right You Are, If You Think You Are*
Bertolt Brecht: Baal
Bertolt Brecht: The Good Woman of Szechuan
Jean Anouilh: Antigone
Kaufman & Hart: George Washington Slept Here
Thurber & Nugent: The Male Animal

TERM PAPER GUIDELINES
Plays in Performance I, II,III

I. Subject

A. Choose three protagonists from three separate plays and examine their differences and similarities. Eg. Agamemon, Kreon and Jason, or Dame Custus, Elmire and Beatrice. Be thoughtful and creative in your choice of subjects.

B. Your paper should focus on interpreting plays and/or conventions related to your topic. you should use a minimum of three critical sources in addition to the plays themselves.

C. Average length should be about 5000 words.

II. Form

A. The paper must be typewritten.

B. Some recognizable rules for form should be followed, e.g.. MLA Style Sheet, Kate Turabian, etc. Any clear form is acceptable as long as its application is consistent throughout the paper.

III. Style

A. Have a title page.

B. Have an introductory paragraph (or two or three) and a conclusion.
1. The introduction should state the aim(s) of your paper and define the parameters of time, country, personality, etc.
2. The conclusion should summarize your research/conclusions even if that means only a brief restatement of what you've done.

C. Your own opinions are encouraged as long as you remain objective about them and support them with evidence. Avoid the first personal pronoun: "I," as in "I think…" or "My opinion is…"
Never complain of your inability to read a foreign language or to find a source.

D. Footnotes are required.
1. All primary evidence is to be footnoted whether it is paraphrased or quoted directly.
2. The only material not footnoted is the sort considered common knowledge.
3. Put footnotes at the bottom of each page or at the end of each paper and number them consecutively through the entire paper.
4. Do not leave the reader the task of interpreting quoted material or illustrations. Describe or explain their essential meaning and importance!

E. A bibliography is required. Sources should be as numerous as the topic demands. An absolute minimum of four sources seems advisable. Only those sources which appear in a footnote should
be in your bibliography.

IV. PROOF READ: THE GRADE IS BASED AS MUCH ON STYLE AS IT IS
ON QUALITY OF RESEARCH AND CONCLUSIONS; DRAWN!

V. PlLAGIARISM Plagiarism is not only unethical, it is criminal. An automatic F will result from any form of plagiarism.

VI. Copies
Make a carbon or xerox copy. It need not be as neat as the first copy, but you should have it for insurance. If you want your paper returned, hand in both copies.

VII. Individual Attention
A. You may meet with your instructor by appointment or during regular, posted office hours. Securing appointment times is the responsibility of the student.

A NOTE ON PLAGIARISM
In any kind of introductory course in which research and original composition play a key role, the possibility of plagiarism presents itself. Since plagiarism is one of the most serious forms of academic dishonesty, this handout is designed to inform you of its forms and consequences.

Plagiarism occurs any time you take another person's words or ideas without giving proper credit. In other words, you plagiarize any time you pass off someone else's work as your own, original effort. That source might be the author of a book/article, a lecturer, a friend/roommate, or (extreme case) a "paper mill" that sells academic papers.

Forms of Plagiarism:
a. Unintentional--often, a student takes a phrase, an idea, or even a full sentence without being aware of it. This suggests that need for greater caution in note taking. If a particular quotation or idea seems striking or attractive when you come across it, make a note of it so you will remember where it came from when you draft the paper or rehearse the speech

b. Appropriation of ideas without giving credit. A person's ideas are just as valuable as the words in which they are phrased. Restating someone's ideas in your own words does not relieve you of the obligation to credit your source.

c. Appropriation of another's words without giving credit.

d. Blatant plagiarism--this occurs when there is virtually no original effort involved in work that is offered as the student's original composition. This might include: Turning in a "paper mill" paper;
having someone else prepare your paper/speech for you; or taking your paper/speech directly from a source or sources (even if you give some credit in the form of footnotes/citing names; it is
presumed that the bulk of your composition will be your original effort.

Minimal steps to avoid plagiarism include:
--Identifying all direct quotations as such (papers: use quotations marks; speeches: identify where quotations begin and end).

--Documenting sources of quotations and paraphrases (papers: at least a footnote; speeches: work in at least author's name somewhere).

Consequences of plagiarism:

a. At the minimum, an assignment grade of F = 0.

b. Notification of the dean's office. Disciplinary action may be undertaken in the case of repeat offenders.

c. Criminal prosecution in extreme cases. It is essentially theft of "intellectual property."

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PLAYWRITING

Theater 312/English 305-- Playwriting (CWRU)
Fall 2002 Wednesday 3:30-6:00p.m. Clark 103

Objective:

o to acquire and effectively demonstrate mastery of basic skills in dramatic writing

Texts
Individually assigned texts for Class Presentation (see below) See the Reserve Librarian for assigned texts.

Required Work:

o Weekly writing assignments and critiques Instructions for each week's writing assignment can be found at http://www.wayneturney.20m.com/playwrightsecret.htm This is a blind link and must be accessed directly from the above address. Participation in critiquing each assignment is expected.

o Class Presentation of assigned texts in lecture format, You are to present an assigned oral report on the content of various relevant materials such as Tulane Drama Review, Walter Kerr's How Not To Write a Play, etc. Your written notes for your presentation are to be distributed to the class for discussion.

o Final project: completed working draft of a one-act play (length appx. 25 pages). First draft due Nov 6. The work will be presented in staged-reading format as part of the New Play Marathon, Saturday, December 8. Save the date; details to follow.

Extra Credit:
o news clipping file -- a repository of potential writing material. Articles -- and occasionally editorial writing -- gleaned from the newspaper, some aspect of which intrigues you. These articles will be fastened scrapbook style on sheets of paper for handy reference.

Other Relevant Notes

Since class meets only once a week, class attendance is strongly suggested. To help encourage attendance, each absence will result in a deduction of 10 points off the final grade.

Every class member is expected to actively contribute to the class discussion at every meeting.

Grading
Your final grade will be based upon the following:
Class participation 30%
Weekly writing assignments 30%
Final project 40%

Criteria for your final grade -- and individual assignment grades -- are as follows:

"A" = outstanding work. Thorough understanding and demonstration of mastery of concepts. Hard work resulting in an occasionally astonishing blending of technique, imagination, and personal aesthetic.

"B" = very good work. Same criteria as "A", but not quite attaining the flashes of inspiration and brilliance.

"C" = competent, basic understanding of class materials & concepts. Work well-prepared, with fair amount of imagination in evidence.

"D" to "F' = ill-defined, casual preparation of the material. Inconsistent demonstration of understanding of class materials & concepts. Late or incomplete assignments.
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Principles of Acting DRAMA 225-- MTWTr 2:00-3:30 p.m.
Prof Turney

Office--Theatre Arts Building TA 204. Please see me if you have any
questions or problems concerning this course. It is best to make an
appointment in class, but you are more than welcome to stop in
during office hours. The Theatre Arts Building is located at Chester
Avenue and East 23rd Street. Phone: 687-2115.

Spoon River Anthology - Edgar Lee Masters

REQUIREMENTS:
The course grade is based on class participation in all exercises,
attendance at one production, scene work, and a final exam covering
class lecture material and the text, in the following proportions:

05% Attendance at 2 Factory Theatre Productions
20% Class Participation
10% Scene #1 Spoon River Character
15% Scene #2 Two Spoon River Characters
15% Scene #3 Realistic Mono 2 minute scenes
20% Scene #4 Realistic 2-character Scene - 4 minutes
15% Final Exam Multiple Choice - True-False
EXTRA CREDIT IS AVAILABLE for work on productions
attendance at a third CSU play, etc.

ATTENDANCE IS MANDATORY -- wear appropriate workout clothes.

PLAY ATTENDANCE REQUIREMENT
One production is being staged at CSU's Factory Theatre in the Mainstage Studio (downstairs). You are required to see it and report on it using the form provided.

Tickets may be reserved by phoning the box office at 687-2109. Tickets with a valid CSU ID are $5.00; General Admission is $6.00 Parking is free during performance times.

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THEATRE APPRECIATION--DRAMA 111
Professor Turney
T-Th 6:00 - 7:50 p.m.

Please see me if you have any questions or problems concerning this
course. It is best to make an appointment in class, but you are
more than welcome to stop in during office hours. The Theatre Arts
Building is located at Chester Avenue and East 23rd Street.
Phone: 687-2115 or (Ginger, secretary, 687-2113, Room TA 209C--
(Make-up Exams and Review of Exams to be scheduled with Ginger.)
TEXT:
The Theatre Experience| - Edwin Wilson

PLAYS: These plays are all on closed reserve in the Library
Reserve Section located on the first floor of Rhodes Tower. They
can be taken out for two hours, and are also available in paperback
at the C.S.U. Bookstore. It is not necessary to purchase copies of
the plays.

GHOSTS......................Ibsen
OUR TOWN....................Wilder
STREETCAR NAMED DESIRE......Williams
EQUUS.......................Peter Shaffer
DEATH OF A SALESMAN.........Miller
BALD SOPRANO................Ionesco
TAMING OF THE SHREW.........Shakespeare
GRADE: Three exams. Multiple Choice & True/False, each worth a
percentage of the grade. See Below:

FIRST Exam:25% [11th class meeting] ---- covers Introduction and Appendices One and Two
100 T/F & Multiple Choice
SECOND Exam:25%[23rd class meeting] ---- covers Introduction, Playwright, Director, Actor, Technicians, and Designers. 100 T/F & Multiple Choice
THIRD Exam:50% [final exam period] ----- Comprehensive, covers all lectures, Films, plays, field trips, etc.
200 T/F & Multiple Choice

MAKE-UP Exams: To be fair to all students in class, attendance during exam times is mandatory. The only excuse for which a make-up exam will be given is a written medical excuse. When you come in to make up the exam, bring your written doctor's statement with you.

DATE ASSIGNMENT|_____________________________
Jan. 6--Tu INTRODUCTION
Jan. 8--Th Read: Introduction and Appendix I & II
Jan. 13--Tu First hour: FIRST EXAM
Second hour Read Chapter 1
Jan. 15--Th Read: Chapters 2 & 3
Jan. 20--Tu Read OUR TOWN
Jan. 22--Th Read: Chapters 4 & 5
Jan. 27--Tu Read: Chapter 6 and EQUUS
Jan. 29, Th Read: Chapters 15 and 16
Feb. 3--Tu Read: Chapter 17 & 18
Feb. 5--Th Read: DEATH OF A SALESMAN
FIELD TRIP TO FACTORY THEATRE/REVIEW
Feb. 10-Tu EXAM 2
Feb. 12--Tu HOLIDAY--No Class
Feb. 17--Th Read: Chapter 7 & STREETCAR
Feb. 19--Tu Read: Chapter 8 & GHOSTS
Feb. 24--Th Read: Chapter 9 & 11
Feb. 24--Th Read: TAMING OF THE SHREW and Chapter 10
Mar. 1--Tu Read: Chapters 12 & 13
Mar. 3--Th Read: BALD SOPRANO and Chapter 14
Mar. 8--Tu FINAL REVIEW
Mar. 10--Th EXAM #3

Final Exam Period: pick up exam (Mar. 19, Thursday, 6:00-7:00 p.m.

==================================================================

THEATRE HISTORY I

Prof. Turney

The grade will be based entirely on the following:

I. A Midterm Examination on [EIGHTH FRIDAY] covering all lectures
and films, the first six plays and all material in Chapters 1-5 in
Oscar Brockett's HISTORY OF THE THEATRE. There will be a review session
on Wednesday, [PRIOR TO MIDTERM].

II. A Term Paper, due not later than Friday, [NEXT TO LAST FRIDAY OF TERM], on
a topic approved not later than Friday, [FIRST FRIDAY AFTER MIDTERM]. A draft
of your paper is due not later than [THIRD WEEK AFTER MIDTERM]. Late papers
WILL be downgraded. (See TERM PAPER GUIDELINES)
NOTE: You must achieve a grade of "C" or better to pass the course.

III. A Final Examination during the regularly scheduled exam period:
8:30 - 10:30 a.m., [SCHEDULED EXAM TIME] covering all lectures,
tapes, films, etc. during the entire term as well as Brockett's
chapters 1-8, chapter 9 through p. 240 and chapter 18. A
Review session will be held [LAST DAY OF CLASS].

IV. Attendance at two CSU productions and one performance at
the Cleveland Play House. See Schedules Attached. Attendance forms
and ticket stubs are due not later than [FINAL EXAM PERIOD].

V. Extra Credit is available. (See EXTRA CREDIT OPTION).

TEXT: Oscar C. Brockett: HISTORY OF THE THEATRE, [CURRENT] ed.

PLAYS: Aeschylus: AGAMEMNON
Sophokles: OEDIPUS REX
Euripides: THE BACCHAE
Plautus: THE TWIN MENAECHMI
Anonymous: EVERYMAN
The Wakefield Master: SECOND SHEPHERD'S PLAY
Kalidasa: SHAKUNTALA
Shakespeare: HAMLET
Machiavelli: THE MANDRAKE
Moliere: THE MISANTHROPE

THEATRE HISTORY TERM PAPER GUIDELINES

I. Subject

A. The topic is to be one from the list on the door of [CLASSROOM]. You must sign up for an available topic to ensure the availability of research materials,one student per topic.

B. The nature of your paper should be an historical research one. It should be chock full of facts. I am not interested in English/Humanities papers interpreting plays or conventions and their resonance in the modern world. Rather, I want reported factual material, well organized and thorough.

C. Average length should be 10-12 pp.

II. Form
A. The paper must be typewritten.

B. Some recognizable rules for form should be followed, e.g. MLA Style Sheet, Kate Turabian, etc. Any clear form is acceptable as long as its Application is consistent throughout the paper.

III. Style

A. Have a title page.

B. Have an introductory paragraph (or two or three) and a conclusion.
1. The introduction should state the aim(s)of your paper and define the parameters of time,country, personality, etc.
2. The conclusion should summarize your research/conclusions even if that means only a brief estatement of what you've done.
3. Your own opinions are encouraged as long as you remain objective about them and support them with evidence. Avoid the first personal pronoun: "I," as in "I think..." or "My opinion is..." Never complain of your inability to read a foreign language or to find a source.

D. Footnotes are required.
1. All primary evidence is to be footnoted whether it is paraphrased or quoted directly.
2. The only material not footnoted is the sort considered common knowledge.
3. Put footnotes at the bottom of each page or at the end of each paper and number them consecutively through the entire paper.
4. Do not leave the reader the task of interpreting quoted material or illustrations. Describe or explain their essential meaning and importance!

E. A bibliography is required. Sources should be as numerous as the topic demands. An absolute minimum of four sources seems advisable. Only those sources which appear in a footnote should be in your bibliography.

IV. PROOF READ: THE GRADE IS BASED AS MUCH ON STYLE AS IT IS ON QUALITY OF RESEARCH AND CONCLUSIONS DRAWN!

V. Plagiarism

A. Plagiarism is not only unethical, it is criminal. An automatic F will result from any form of plagiarism.

VI. Make a copy. It need not be as neat as the first copy, but you should have it for insurance. If you want your paper returned, hand in two copies.

VII. Individual Attention: You may meet with your instructor by appointment or
during regular, posted office hours. Securing appointment times is the responsibility of the student.

=================================================================

THEATRE HISTORY II

Prof. Turney

The grade will be based entirely on the following:

I. A Midterm Examination on Friday [EIGHTH WEEK] covering all lectures
and films and all material in Chapters 5, 6 and 7 in
Oscar Brockett's HISTORY OF THE THEATRE. There will be a review session
on Wednesday, [EIGHTH WEEK].

II. A Term Paper, due not later than Friday, [FIFTEENTH FRIDAY], on
a topic approved not later than Friday, [NINTH FRIDAY]. Late papers
WILL be downgraded. (See TERM PAPER GUIDELINES)

III. A Final Examination during the regularly scheduled exam period:
[SCHEDULED FINAL EXAM TIME]covering all lectures,tapes, films, etc. during the entire term as well as Brockett's chapters 9 - 12. There will be a review session [LAST DAY OF CLASS].

IV. Attendance at the CSU production of [PLAY NAME] and at least one play at the Cleveland Play House. Play attendance forms and ticket stubs are due not later than [SCHEDULED FINAL EXAM TIME].

V. Extra Credit is available. (See EXTRA CREDIT OPTION).


TEXT: Oscar C. Brockett: HISTORY OF THE THEATRE, [CURRENT EDITION].
PLAYS: Moliere: TARTUFFE
Shakespeare: HAMLET
Sheridan: THE SCHOOL FOR SCANDAL
Goethe: FAUST, PART I

THEATRE HISTORY II
Term Paper Topics

1. Teatro Olympico
2. Angelo Beolco, "il Ruzzante"
3. Isabella Andreini
4. Torquato Tasso
5. Harlequin
6. Pulcinello
7. Brighella
8. Pedrolino
9. Teatro Farnese
10. Sebastiano Serlio
11. Nicola Sabbattini
12. Giacomo Torelli
13. Palladio
14. Lope de Rueda
15. Lope de Vega
16. Tirso de Molina
17. Pedro Calderon de la Barca
18. Nicholas Udall
19. Thomas Kyd
20. Christopher Marlowe
21. Thomas Lodge
22. John Lyly
23. Robert Armin
24. Will Kempe
25. Thomas Heywood
26. Thomas Middleton
27. Cyril Tourneur
28. Beaumont and Fletcher
29. Phillip Massinger
30. The Earl of Leicester's Men
31. The Lord Chamberlain's Men
32. The Lord Admiral's Men
33. Edward Alleyn
34. Richard Tarleton
35. Richard Burbage
36. Inigo Jones
37. Confrerie de la Passion
38. Môlière's Company
39. The Le Cid Controversy
40. The Tartuffe Controversy
41. Inns of Court
42. George Farquhar
43. Charles Macklin
44. Gotthold Ephraim Lessing
45. Sturm und Drang Movement
46. Weimar Classicism
47. Mme. De Stael
48. Victor Hugo, Dramatist
49. Eugene Scribe
50. Rene Charles Guilbert de Pixérécourt
51. August Friedrich Ferdinand von Kotzebue
52. Colley Cibber
53. Sarah Siddons
54. John Philip Kemble
55. William Charles Macready
56. Edmund Kean
57. John Howard Payne
58. The Hallams
59. Junius Brutus Booth
60. Fanny Kemble

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THEATRE HISTORY III

Prof. Turney

The grade will be based entirely on the following:

I. A Midterm Examination on Friday, [EIGHTH FRIDAY] covering all lectures
and films and all material in Chapters 13 & 14 through page 441 in
Oscar Brockett's HISTORY OF THE THEATRE. There will be a review session
on Wednesday, [EIGHTH WEDNESDAY].

II. A Term Paper, due not later than Friday, [FIFTEENTH FRIDAY], on
a topic approved not later than Friday, [NINTH FRIDAY]. Late papers
WILL be downgraded. (See TERM PAPER GUIDELINES)

III. A Final Examination during the regularly scheduled exam period:
[FINAL EXAM DATE AND TIME] covering all lectures, tapes, films, etc. during the entire term as well as Brockett's chapters 13-15. There will be a review session [LAST DAY OF CLASS].

IV. Attendance at the CSU productions of [CURRENT PRODUCTION]and a play at the Cleveland Play House for extra credit. Play attendance forms and ticket stubs are due not later than [FINAL EXAM DATE AND TIME].

V. Extra Credit is available. (See EXTRA CREDIT OPTION).


TEXT: Oscar C. Brockett: HISTORY OF THE THEATRE, [CURRENT EDITION].

TERM PAPER TOPICS:
Write a 10-12 page biography [seeTERM PAPER GUIDELINES] on some part of the career of:

1. John Dryden
2. William Wycherly
3. Aphra Behn
4. Thomas Otway
5. Thomas Killigrew
6. Colley Cibber
7. Mrs. Patrick Campbell
8. Eleanora Duse
9. Ellen Terry
10. Clara Morris
11. Sarah Bernhardt
12. Marie Dorval
13. Minnie Maddern Fiske
14. Charlotte Cushman
15. Ellen Tree (Mrs. Charles Kean)
16. Tom Taylor
17, Erwin Piscator
18. Charles Reade
19. Herbert Beerbohm Tree
20, Cyril Maude
21. Maud Adams
22. Sir Johnston Forbes-Robertson
23. Sir Frank Benson
24. Sir Henry Irving
25. Oscar Asche
26. Harley Granville-Barker
27. Alexander Dumas pere
28. Alexander Dumas fils
29. Alexander Ostrovsky
30. Richard Mansfield
31. Helena Modjeska
32. Joseph Jefferson III
33. William Gillette
34. Charles Frohman
35. Daniel Frohman
36. David Belasco
37. Georg II, Duke of Saxe-Meiningen
38. Andre Antoine
39. Laube and Digelstadt
40. Steele Mackaye
41. Charles Fechter
42. Dion Boucicault
43. Samuel Phelps
44. Thomas William Robertson
45. Gabrielle Rejane
46. Mme. Vestris
47. Douglas Jerrold
48. Francois Delsartre
49. Constant Coquelin
50. Vsevelod Meyerhold
51. Adolph Appia
52. Reinhard Johannes Sorge
53. Raymond Sovey
54. Otto Braham
55. Jacques Copeau
56. Georges Pitoeff

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THEATRE ORGANIZATION AND MANAGEMENT

Text: Langley: THEATRE MANAGEMENT AND PRODUCTION IN AMERICA

Office--[OFFICE ADDRESS]. Please see me if you have any questions or problems concerning this course. It is best to make an appointment in class, but you are more than welcome to stop in during office hours. Phone: 249-4604.


REQUIREMENTS:

GRADE:
40% Business Plan due not later than [FIFTEENTH FRIDAY].
5% Unannounced Pop Quizzes
20% Midterm Examination covering lectures to date and Langley Chapters 1-10 and handouts to date. [EIGHTH FRIDAY].
30% Comprehensive Final Exam [FINAL EXAM TIME]
5% Attendance at three CSU and one CPH Production.

EXTRA CREDIT: Extra credit is available and may be arranged by working in the Box Office.
See Prof. Turney to schedule times. 10 hours will be worth 1/2 letter grade.

CLASS SCHEDULE/READING ASSIGNMENTS:

Wed Jan 20 Introduction and Syllabus
Fri Jan 22 Chapter 1
============================================================

Mon Jan 25 Handouts
Wed Jan 27 Chapter 2
Fri Jan 29 Chapter 3
============================================================

Mon Feb 1 Handouts
Wed Feb 3 Chapter 4
Fri Feb 5 Chapter 5
============================================================

Mon Feb 8 Chapter 5; Handouts
Wed Feb 10 Chapter 6
Fri Feb 12 Chapter 6/Handouts
===========================================================

Mon Feb 15 HOLIDAY PRESIDENT'S DAY
Wed Feb 17 Chapter 7
Fri Feb 19 Chapter 8
===========================================================

Mon Feb 22 Chapter 9
Wed Feb 24 Chapter 10
Fri Feb 26
===========================================================

Mon Mar 1
Wed Mar 3 REVIEW FOR MIDTERM
Fri Mar 5 MIDTERM EXAMINATION
===========================================================

SPRING BREAK

==========================================================

Mon Mar 15 Chapter 11
Wed Mar 17 Spreadsheet Workshop
Fri Mar 19
===========================================================

Mon Mar 22 Chapter 12
Wed Mar 24
Fri Mar 26 Chapter 13
===========================================================

Mon Mar 29
Wed Mar 31 Chapter 14
Fri Apr 2
===========================================================

Mon Apr 5 Chapter 15
Wed Apr 7
Fri Apr 9 Chapter 16
==========================================================

Mon Apr 12
Wed Apr 14 Chapter 17
Fri Apr 16
===========================================================

Mon Apr 19 Chapter 18
Wed Apr 21
Fri Apr 23
===========================================================

Mon Apr 26
Wed Apr 28
Thr Apr 29 REVIEW FOR FINAL EXAM
===========================================================

Wed May 5 Final Exam 8:30-10:30 am
===========================================================

THEATRE ORGANIZATION AND MANAGEMENT
BUSINESS PLAN GUIDELINES

The BUSINESS PLAN due [LAST DAY OF CLASS] is to be the primary project for the course. It is intended to be as "realistic" as possible. Its effectiveness will depend on its
1. Thoroughness: Each essential element of a realistic Business Plan must be present. These include:
a. Statement of Purpose (Clear Goals)
b. Budgets and projections
c. Accounting Procedures
d. Marketing and Advertising Plans

2. Creativity: The surest way to fail in the real world is to slavishly ape another success. By all means emulate successful business plans, but make sure yours stands out from the crowd. The Plan itself must be sound and the presenttation striking.

3. Accuracy: The numbers in your business plan should reflect the real world. Costs and expenses should be as close to market values as possible. Income predictions should be based on realistic expectations (market studies when available). All computations must be correct.

4. Conservative Projections: Whenever appropriate, worst-case scenarios should dominate your thinking. The biggest single cause of failure in the theatre is under-capitalization. Plan for high expenses and low income.

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VOICE AND MOVEMENT DRA326 COURSE REQUIREMENTS
Turney

VOICE AND MOVEMENT is a proactive course leading to personal development of skills and strategies for constantly improving skills in both voice and movement for the performer. Class attendance and participation are mandatory. There will be NO unexcused absences.

The course grade will be based on the following:

1. CLASS PARTICIPATION: 45% Each student is expected to participate fully in the exercises and discussions in class.
2. QUIZZES: 10% There will be a number of unannounced quizzes based on the reading assignments from the texts and material from the lectures and exercises.
3. MIDTERM EXAMINATION: 15% There will be a written, in-class midterm examination during the first hour of class Thursday, [16TH CLASS MEETING] There will be a performance component during the second hour of class.
4. FINAL PROJECT: 20% Your grade will be based on your part in the development and performance of the final project, which is to be developed by the entire class.
5. JOURNAL: 5% Each student is to keep a class journal due at the close of the second hour of class on the last day of class, Thursday, March 13, 1997.
6. PLAY ATTENDANCE: 5% Each student is required to attend two performances. (See schedule below)

TEXTS: Linklater: FREEING THE NATURAL VOICE
Kenyon and Knott: A PRONOUNCING DICTIONARY OF AMERICAN
ENGLISH

WEAR LOOSE, COMFORTABLE CLOTHES WHICH YOU WON'T MIND GETTING
DIRTY AND BRING A HEAVY TOWEL OR EXERCISE MAT FOR FLOOR WORK!