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Objectives and competences

To familiarize students with a range of dramatic texts from Medieval and Elizabethan drama to the present in their historical and cultural (as well as global) contexts; to consolidate knowledge of drama and theatre terminology; to practice skills of review and critique while viewing film and video adaptations (and live performance, whenever available); to see drama as a medium that is personally and politically expressive; to explore the pedagogical potential of drama.

Content (Syllabus outline)

• Evolving dramatic genres in the historical or modern context • Close study of selected plays and dramatists • Elizabethan drama: tragedy, comedy and history plays • Modern dramatic movements: Angry Young Man, Absurdist, Open Theatre etc. • Comparison to other non-British plays in English • Language, style and rhetoric • English Drama in Slovene translation • Theatrical terminology and devices • Theories of acting and performance; drama in the classroom • Traditional and contemporary staging, filmed adaptations

Learning and teaching methods

• lectures, • seminars.

Intended learning outcomes - knowledge and understanding

On completion of this course student will be able to: • Do close textual analysis of a dramatic text • Identify the main dramatic and theatrical conventions • Critique and review drama performances • Relate dramatic texts and performances to cultural, historical and political context • Use drama in the English language classroom

Intended learning outcomes - transferable/key skills and other attributes

• Development of listening skills in English • Ability to adapt drama for use in pedagogical activities • Ability to organize data and present in written and oral forms • Critical thinking and participation in critical debate

Readings

Lisa Picard, Elizabethan London. Weidenfeld & Nicolson, 2003. Early Modern English Drama: A Critical Companion. Ed. G. A. Sullivan, P. Cheney et. al. Oxford, 2005. E. M. W. Tillyard, The Elizabethan World Picture. Vintage, 1959. Stephen Greenblatt, Will in the World: How Shakespeare Became Shakespeare. Oxford, 2004. Theatre in Theory 1900-2000: An Anthology. Ed. David Krasner.Blackwell, 2007. Patrice Pavis. Dictionary of the Theatre: Terms, Concepts, and Analysis. Trans. Christine Shantz. Toronto: Univ. of Toronto Press, 1998. Nellie McCaslin: Creative Drama in the Classroom and Beyond, 2006.

Prerequisits

Attendance of 80 %, active participation and the completion of course work are prerequisites for taking the written exam.

  • izr. prof. dr. TOMAŽ ONIČ

  • Written examination: 50
  • Coursework: 30
  • Oral presentation: 20

  • : 15
  • : 15
  • : 60

  • English
  • English