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The Cambridge Guide to Asian Theatre

Article in Asian Theatre Journal August 1994
DOI: 10.2307/2059736

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SEMESTER AT SEA COURSE SYLLABUS

Voyage: Spring 2013
Discipline: DRAMA
DRAM 3050: WORLD THEATRE AND PERFORMANCE
Division: UPPER
Faculty Name: Susan Kattwinkel
Pre-requisites: None
COURSE DESCRIPTION
What is performance and how do performances represent the cultures in which they develop?
Exploring texts, theories and practices, this course will investigate the broad range of theatrical
performance in the countries on our itinerary. We will analyze the cultural, historical, political
and aesthetic conditions of drama and performance and reflect on cross-cultural currents and
influences on Western drama. Class discussions and readings will be supplemented with films in
class, attendance at live performances and meetings with theatre practitioners in port.
COURSE OBJECTIVES
Develop a working knowledge of the major performance practices of countries visited in
spring 2013.
Investigate the socio-political and cultural background of theatre and consider the ways in
which theatre reflects a societys history, aesthetics and values.
Compare traditional and contemporary theatre forms and analyze theatres historical
development and function in society.
Learn to critique productions, research and write clear analyses.
Experience performance styles from around the world.
REQUIRED TEXTBOOKS
AUTHOR: James R Brandon
TITLE: The Cambridge Guide to Asian Theatre
PUBLISHER:Cambridge University Press
ISBN #: 978-0521588225
DATE/EDITION: 1997
COST: 46.00
AUTHOR: John Kani and Zakes Mda
TITLE: Nothing but the Truth
PUBLISHER: Witwatersrand University Press
ISBN #: 978-1868143894
1

DATE/EDITION: 2003
COST: 19.95
AUTHOR: Wole Soyinka, Percy Mtwa, Ama Aidoo
TITLE: Contemporary African Plays
PUBLISHER: A&C Black
ISBN #: 978-0413723307
DATE/EDITION: 2003
COST: 27.50
AUTHOR: Athol Fugard
TITLE: Master Haroldand the boys
PUBLISHER: Samuel French
ISBN #: 978-0573640391
DATE/EDITION: 2010
COST: 8.95

TOPICAL OUTLINE OF COURSE

Readings and Assignments should be completed by the date assigned in the syllabus. Cambridge
refers to the class textbook
Class 1

Introductions and Business

What is Performance?
Assign group projects

Class 2

Interculturalism and Cultural Tourism

Introduction to Hawaiian performance
Reading: Interculturalism, hybridity and tourism: The performing world on
new terms (Gary Jay Williams) pp 551-564.
Cambridge, pp 203-204, 208-210.

Class 3

The Evidence of Performance

Post-port performance discussion: Hawaii.
Reading: Interculturalism, hybridity and tourism: The performing world on
new terms (Gary Jay Williams) pp 565-572.
Cambridge, pp 1-11.

Class 4

Introduction to Japanese Performance

Noh and Kyogen
Reading: Cambridge, pp 142-147, 176-178.
Longman, 358-367, 377-381 (on reserve).
2

Class 5

Japanese Performance: Kabuki and Bunraku

Reading: Cambridge, pp 147-152, 170-176.
Longman, pp367-372, 384-395 (on reserve).

Class 6

Japanese Theatre: Contemporary Theatre

Reading: Cambridge, pp 153-160, 170, 178.
Longman pp 372-3 (on reserve).

Class 7

Post-port performance discussion (Noh and Kabuki)

Introduction to Chinese Performance
Reading: Cambridge, pp 26-45, 50-63.
Longman, pp 322-332 (on reserve).

Class 8

Post-port performance discussion: China and Hong Kong

Introduction to Vietnamese Performance
Field Lab Preparation
Reading: pp 245-250.
Vietnamese Water Puppetry as a Representation of Modern Vietnam
(Kathy Foley) pp 129-141.

Class 9

Theatre in Singapore
Post-port and field lab performance discussion: Vietnam and water puppetry
Reading: Cambridge, pp 222-225.

Class 10

Malaysian Performance
Post-port performance discussion: Singapore
Reading: Cambridge, pp 193-200

Class 11

Indian Performance (Kutiyattam and Kathakali)

Post-port performance discussion: Malaysia and shadow puppetry
Reading: Zarilli, pp 133-156 (on reserve).
Cambridge, 64-116 (selections TBD).

Class 12

Indian Performance (post colonial theatre)

Reading: Enacting an Alternative Modernity (Erin Mee) pp 1-40. - in
Theatre of Roots:Redirecting the Modern Indian Stage

Class 13

Post- performance discussion, India

Performance in Mauritius
Reading: African Theatre in Development (Banham, et. al) Theatre in
Development in Mauritius (Mooneeram), pp 24-37
3

Class 14

Introduction to Performance in Africa

Field Report Due
Reading: Dimensions of Theatricality in Africa (Fiebach) pp 24-38.

Class 15

Theatre in South Africa

Reading: The Drama of South Africa (Loren Kruger) Introduction, pp 1-22.
Longman, pp 1249-1258 and 1276-1277, (on reserve).
Percy Mtwa, Mbongeni Ngema and Barney Simon, Woza Albert, in
Contemporary African Plays

Class 16

Theatre of Protest
Reading: Zarilli, pp 505-510 (on reserve)
Longman, pp 1278-1281 and 1300, (on reserve).
Athol Fugard, Master Haroldand the boys

Class 17

Theatre of Reconciliation
Reading: Kani, Nothing but the Truth
Beyond the Miracle: Trends in South African Theatre and Performance after
1994 (Johan Van Heerden), 85-112
Zarilli, pp 474-479, (on reserve)

Class 18

Post-performance discussion: South Africa

Introduction to West African Theatre
Reading: Three West African Popular Theatre Forms: A Social History
(Karen Barber et. al) pp 1-55.

Class 19

West African Theatre

Reading: Longman, pp 1301-1303 and 1329-1337. (on reserve)
Wole Soyinka Death and the Kings Horseman, in Contemporary African Plays

Class 20

Theatre in Ghana
Reading: Ama Aidoo, Anowa, in Contemporary African Plays

Class 21

Post-performance discussion: Ghana

Class 22

Performance in Morocco
Last Chance to hand in Site Reports
Reading: The Theatres of Morocco, Algeria and Tunisia: Performance
Traditions of the Maghreb (Khalid Amine and Marvin Carlson),
Introduction, pp 1-8.

Class 23

Cultural heritage/cultural tourism?

4

Reading: Performance and intangible cultural heritage (Diana Taylor), pp 91104. in Cambridge Guide to Performance Studies
Class 24

Final Essay Due

FIELD WORK
FIELD LAB
Shanghai, China, Feb 3, 2013
Attend a performance of traditional Chinese acrobatics that employs modern and western forms
and then a performance of traditional Peking opera.
OR
Singapore, February 21, 2013
Visit a museum to view artifacts of traditional Chinese Opera, and then view of performance of
modern Chinese intercultural theatre.
Students will submit a 5 page analysis paper of the Field Lab performance experience. The
paper should include a review of the performance(s) seen as well as how the performance reflects
its genre as discussed in class. Discussion elements will include the performance as an intercultural
artifact, the performance as cultural tourism, and as an audience member, articulating your own
experience.

FIELD ASSIGNMENTS
Students are required to see at least two other performances during the voyage. Students
may select a performance from a suggested list, or may attend an individual performance
pre-approved by the instructor.
As part of the participation grade, after each port call, students will discuss the
performances seen. Please contribute your observations of productions viewed and listen
actively to those observations if you did not see the performance.
Students will submit Site reports for the two performances seen independently.

METHODS OF EVALUATION / GRADING RUBRIC

1. Attendance and Participation, 15%
Students are expected to participate in all discussions, both faculty led and student
led. Active contribution to in-class discussions will contribute to your grade.
2. Quizzes on Readings 10%
This course requires significant reading of plays and essays on performance. In
order to participate fully and get value from the class students must keep up with
the reading material. There will be several very short unannounced quizzes based
on the days reading.
3. Field Report 20%
Students will submit a 5 page analysis paper of the Field Lab performance
experience. The paper should include a review of the performance(s) seen as well
as a researched analysis of this type of theatre practice. A full assignment and
rubric will be provided to you. The paper will be due on the 14th day of class.
4. Group Project 15%
6

The Group project will include a short presentation to the class on the days
performance topic and a discussion led by the group using pre-written questions.
Students should meet with the professor prior to the assigned class to discuss their
questions for the day and the plans for the presentation. Be creative with your
presentation, but use it to expand on the reading and discussion topic of the day.
For example: imagine you are a group of dramaturges presenting ideas to a director
and designers who are planning a production in a specific style; create a
researched PowerPoint presentation with video clips; perform a small scene from a
play; or imagine you are archeologists reporting on site and artifact evidence and
what it means. Typed questions should be submitted at the end of the class.
5. Site Reports (10% each)
Site reports should be 1-2 pages and include your critical observations of and
response to the performances you experience. A full assignment and rubric will be
provided to you. Site reports are due on the 2nd class after the port of
performance.
6. Final Paper (20%)
The final paper is a 5 page grant proposal based on your field report, site reports, or
other performance experiences you had on the voyage. You will complete a grant
proposal to bring one theatrical form you have witnessed abroad to your home
campus. You will have to articulate how the performance will culturally enhance
your campus and what it has to say to students at their school. A full assignment
and rubric will be provided to you. The final paper is due on the 24th day of class.
RESERVE LIBRARY LIST
AUTHOR: Phillip Zarrilli, Bruce McConachie, Gary Jay Williams and Carol Fisher Sorgenfrei
TITLE: Theatre Histories: an Introduction
PUBLISHER: Routledge
ISBN #: 978-0-415-46224-2
DATE/EDITION: 2010/2nd
COST: $125
AUTHOR: Michael Greenwald, Roger Schultz, Roberto D. Pomo
TITLE: The Longman Anthology of Drama and Theatre: a Global Perspective
PUBLISHER: Longman
ISBN #: 978-0321291387
DATE/EDITION: 2009, 7th
COST: $138
AUTHOR: Mira Felner and Claudia Orenstein
TITLE: The World of Theatre: Tradition and Innovation
PUBLISHER: Allyn and Bacon
ISBN #: 978-0205360635
7

DATE/EDITION: 2005
COST: $125
ELECTRONIC COURSE MATERIALS
AUTHOR: Phillip Zarrilli, Bruce McConachie, Gary Jay Williams and Carol Fisher Sorgenfrei
ARTICLE/CHAPTER TITLE: Chapter 13, Interculturalism, hybridity, tourism
JOURNAL/BOOK TITLE: Theatre Histories: an Introduction
VOLUME:
DATE: 2010
PAGES: 551-579
AUTHOR: Kathy Foley
ARTICLE/CHAPTER TITLE: Vietnemese Water Puppetry as a Representation of Modern
Vietnam
JOURNAL/BOOK TITLE: TDR: The Drama Review
VOLUME: 45.4
DATE: 2001
PAGES: 129-141
AUTHOR: Erin Mee
ARTICLE/CHAPTER TITLE: Introduction: Enacting an Alternative Modernity
JOURNAL/BOOK TITLE: Theatre of Roots
VOLUME:
DATE: 2008
PAGES: 1-40
AUTHOR: Martin Banham, James Gibbs, Femi Osofisan, editors
ARTICLE/CHAPTER TITLE: Theatre in Development in Mauritius: From a Theatre of Protest
to a Theatre of Cultural Miscegenation by Roshni Mooneeram
JOURNAL/BOOK TITLE: African Theatre in Development
VOLUME:
DATE: 1999
PAGES: 24-37
AUTHOR: John Conteh-Morgan and Tejumola Olaniyan
ARTICLE/CHAPTER TITLE: Dimensions of Theatricality in Africa by Joachim Fiebach
JOURNAL/BOOK TITLE: African Drama and Performance
VOLUME:
DATE: 2004
PAGES: 24-38
AUTHOR: Kene Igweonu
8

ARTICLE/CHAPTER TITLE: Beyond the Miracle: Trends in South African Theatre and
Performance after 1994 by Johann Van Heerden
JOURNAL/BOOK TITLE: Trends in 21st Century African Theatre and Performance
VOLUME:
DATE: 2011
PAGES: 85-112
AUTHOR: Karen Barber, John Collins and Alain Richard
ARTICLE/CHAPTER TITLE: Three West African Popular Theatre Forms: A Social History
JOURNAL/BOOK TITLE: West African Popular Theatre
VOLUME:
DATE: 1997
PAGES: 1-55
AUTHOR: Khalid Amine and Marvin Carlson
ARTICLE/CHAPTER TITLE: Introduction
JOURNAL/BOOK TITLE: The Theatres of Morocco, Algeria and Tunisia: Performance
Traditions of the Maghreb
VOLUME:
DATE: 2011
PAGES: 1-8
AUTHOR: Tracy Davis, ed.
ARTICLE/CHAPTER TITLE: Performance and intangible cultural heritage by Diana Taylor
JOURNAL/BOOK TITLE: The Cambridge Companion to Performance Studies.
VOLUME:
DATE: 2008
PAGES: 91-104
HONOR CODE
Semester at Sea students enroll in an academic program administered by the University of
Virginia, and thus bind themselves to the Universitys honor code. The code prohibits all acts of
lying, cheating, and stealing. Please consult the Voyagers Handbook for further explanation of
what constitutes an honor offense.
Each written assignment for this course must be pledged by the student as follows: On my honor
as a student, I pledge that I have neither given nor received aid on this assignment. The pledge
must be signed, or, in the case of an electronic file, signed [signed].

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