61. Course Description: Dramatic Literature* 600 South Michigan Avenue, Chicago, Illinois, 60605, 312663-1600. Columbia CollegeChicago offers students a comprehensive learning experience in the http://www.colum.edu/course_descriptions/52-2665.html

Content Navigation Site Info footer Dramatic Literature* Series of courses focuses on figures, periods, or movements in dramatic literature. Content includes modern American drama, which surveys twentieth-century American playwrights such as O'Neill, Odets, Heilman, Williams, Miller, Inge, and Hansberry, and experimental drama, which explores the development of experimental theater through figures such as Jarry, Beckett, Stein, Ionesco, Shepard, and Shange. Course is repeatable as topic changes. Course descriptions are stored in OASIS and are maintained by the Associate Dean for each School. * Prerequisite Required. Course Descriptions How to link to Course Descriptions Class Schedules Contact Webmaster Search Columbia What's New? Contact Us Calendar Mailing Lists

62. BA Honors in dramatic literature, History, and Theory Program The two upperdivisioncourses in dramatic literature must be satisfied with Drama 148A, http://drama.arts.uci.edu/ba.html

Bachelor of Arts (B.A.) 4 years The Bachelor of Arts program in Drama consists of selective and comprehensive study of acting, directing, design, music theatre, playwriting, stage management, theatre production, and dramatic theory/criticism/literature/history. There are numerous performance opportunities with graduate students, guest artists and the entire drama faculty, who work at both the graduate and undergraduate levels. The program encourages development of both general and specific knowledge of dramatic art and practice through integrated course sequences. Honors in Acting Honors in Design Honors in Directing Honors in Dramatic Literature, History, and Theory Program ... Honors in Stage Management Program Honors in Acting Program Admission to the Honors in Acting Program requires both eligibility and a special audition. The eligibility requirements for sophomore-level transfer students and native UCI students are: (1) at least one year in good standing as a UCI Drama major; (2) completion of Drama 130A-B and at least one section of either Drama 135 or Drama 165, all at UCI; (3) honors students must possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all acting courses; (4) performance in at least three official Drama at UCI productions (including mainstage, stage 2, stage 3, workshop, or cabaret); (5) completion of all Drama 101 (Theatre Production) assignments; and (6) completion of the eligibility form. The eligibility requirements for junior-level transfer students are: (1) one year in good standing as a UCI Drama major; (2) completion of Drama 130A-B at UCI; (3) honors students must possess and maintain an overall GPA of at least 3.2, with a GPA of 3.4 or higher in all acting courses; (4) completed performance in at least one official Drama at UCI production (including mainstage, stage 2, stage 3, workshop, or cabaret); (5) completion of four out of eight units of Drama 101; and (6) completion of eligibility form.

63. Knauer Playing alone dramatic literature in the English Renaissance. Chapter 2considers Ben Jonson s strong support for dramatic literature and John http://www.cedu.niu.edu/ltcy/dissertation/abstract1/knauer.htm

Knauer, David James. Playing alone: Dramatic literature in the English Renaissance. Dissertation Abstracts International, 60-09 Director: William P. Williams. Abstract The common distinction between orality and literacy is both historical and theoretical: historical in the sense that there were actual cultures in which the transmittal of information was wholly or mostly verbal, and theoretical in the sense that as cultures have become almost universally literacy. Orality in literate societies is not an epistemological alternative, but a literate construction and a repository of both fear and desire for language's signifying potential. This distinction between orality and literacy is often used to conceptualize the differences between performing and reading a dramatic text (and finds its modern institutional equivalent in the separation of departments of theater and English). But how was the oral-literate binary confronted at the time and place in which English drama was just beginning its canonization as literature in the early seventeenth century? This dissertation looks at the ways in which English Renaissance drama, dramatists, and readers responded to the different demands and opportunities created by literacy and to the very possibility of a category like "dramatic literature." Chapter 2 considers Ben Jonson's strong support for dramatic literature and John Marston's ready subversion of Jonson's efforts through textual reminders of orality's resistance. In Chapter 3, three Shakespearean plays are examined for clues to his apparent ambivalence about the transition of his spoken scripts to studied books. Chapter 4 presents the material evidence of contemporary commonplace books to show how readers of drama articulate practices that confirm the drama's textuality and that recollect its oral potentiality.

64. Report From The Select Committee On The Laws Affecting Dramatic Literature, And Short title, dramatic literature. Abstract, State of the law affecting thedrama.Decline of dramatic literature, and of the public taste for theatrical http://www.bopcris.ac.uk/bopall/ref2618.html

Search: Advanced search Help Change text size: A A A Home ... Full title: Report from the Select Committee on the Laws Affecting Dramatic Literature, and on Dramatic Entertainments Short title: Dramatic literature Abstract: State of the law affecting the drama.-Decline of dramatic literature, and of the public taste for theatrical performances -Power and practice of licensing theatres. -Power of licensing plays; and fees paid.-Protection of dramatic authorship.-Conditions of the patents of Covent garden and Drury-lane.Origin and history of the censorship.-Manner in which his power is exercised.-Causes of the change in public taste Nature of objections made by the licencer.-Attraction of actors.-Eligibility of the size of theatres, both as to the power of the actor and comfort of the audience.-Remuneration of authors.-Anecdotes of dramatic authorship, and their productions.-Restrictions on minor theatres narrows the means of advancement of rising actors.-Power of magistrates over minor theatres.-Copies of patents,-Licences of theatres, appointments of examiners of plays, and other documents.-Comparative plans of theatres, drawn to the same scale Series: Sessional papers Session: Volume number: Paper/Bill number: Bound Set Start Page: ... Publisher: HMSO Full-text URL: Not available BOPCRIS Keywords: Literary and scientific Library of Congress Subject Heading(s): ... Year Range: Hansard's catalogue and breviate of parliamentary papers, 1696-1834

65. Jazz And Blues Dramatic Literature And Performance Bibliography Published in Canadian Theatre Review Issue 101, Winter 2000 To see more articlesand book reviews from Topia and other journals visit UTPJOURNALS online http://www.utpjournals.com/product/ctr/112/112_Vautour.html

Published in Canadian Theatre Review - Issue 112, Fall 2002 To see more articles and book reviews from Canadian Theatre Review and other journals visit UTPJOURNALS online at UTPJOURNALS.com Jazz and Blues Dramatic Literature and Performance Bibliography Compiled by Bart Vautour, Tanner Mirrlees and Allan watts Baldwin, James. Blues for Mister Charlie; A Play. New York: Dial Press, 1964. Ballantyne, Bill. The Al Cornell Story: A Comedy in Two Acts. Toronto: Playwrights Canada, 1984. - . Dutchman and The Slave, Two Plays. New York: Morrow, 1964. - . Slave Ship. The Motion of History and Other Plays. New York: Morrow, 1978. Baricco, Alessandro. Novecento. Paris: 1001 Nuits, 1997. [Italian version.] Champeen. By Melvin Van Peebles. Dir. Melvin Van Peebles. [Produced by Woodie King Jr. and the New Federal Theatre at the Henry Street Settlement.] With Sandra Reaves-Phillips. 1983. Churchill, Caryl. Hotel: In a Room Anything Can Happen. Music by Orlando Gough. London: Nick Hern Books, 1997. Clarke, George Elliott. Whylah Falls. Winlaw, BC: Polestar, 1990. [Performed with a jazz musician.]

66. Tieteen Linkkitalo - Science Linkhouse - Tarkennettu Haku KeywordsEnglish equals dramatic literature , Hakutulokset 1 - 3 / 3 absurdist drama Waiting for Godot Winner of the 1969 Nobel Prize for Literature. http://www.linkkitalo.fi/SPT--AdvancedSearch.php?vn=Keywords-English&vv=dramatic

67. Creative Teaching: Introduction To Dramatic Literature In implementing these activities in the introductory dramatic literature class,I found the dramaturg groups disappointing. The main problems were the http://academics.css.edu/pitl/resources/best_practices/finalreports/cs_eng.htm

Reflection on Bush Grant Creative Teaching Experience ENG 2252: Introduction to Dramatic Literature My goals and considerations in developing new approaches in teaching dramatic literature were the following: . . . to help students to notice how a written piece affects them and to discern why it has the effect it does, but I seek also to take them beyond that self realization to an understanding of the artist’s work: to enable students to understand how and why writers write, what external forces influence those writing decisions, what devices writers use to achieve their effects, how other readersboth scholars and ordinary folkshave responded to the literature. . . .to examine and develop their own communication strategies, and, perhaps more importantly, to examine critically and refine their own thinking processes, and to articulate them more precisely and completely. This cannot happen merely as a natural result of reading, but must be consciously built into the approaches students take to the literature in the classroom. To this desired benefit of meta-cognitive development, I would add the richness of simply getting to know, intimately, people of different times and cultures and persuasions and talents.

68. PrinCam - Friday, April 29, 2005 - Visitor In Dramatic Literature Playwright and novelist Robert Ford visited the dramatic literature class today, The dramatic literature class is mostly English and theatre majors. http://www.prin.edu/servlet/today.TodayServlet?showDay=4/29/2005:els

69. Survey Of Dramatic Literature Survey of dramatic literature. 3 Hours Offered Spring Core Humanities A survey of representative works of dramatic literature from the classical Greek http://www.theatre.appstate.edu/catalog/2712.html

70. LIT 143 INT - Dramatic Literature - Syllabus And Agenda dramatic literature is an introductory course to the origins, history, anddevelopment of Drama and the Theater designed to give the student a solid http://ednet.rvc.cc.il.us/~fcoffman/Lit143SylSum05.html

LIT 143 INT/ Dramatic Literature (Internet-Delivered) Syllabus and Agenda / Summer 2005 Prof. Frank Coffman Contact: WITHIN EdNet email address simply to "Frank Coffman" OR fcoffman@ednet.rvc.cc.il.us (from outside EdNet) NOTE: ALL course communications and file transmissions should be within the EdNet messaging system. Required Text: The Bedford Introduction to Drama (5th ed.) ed. by Lee A Jacobus Brief Course Description: Dramatic Literature is an introductory course to the origins, history, and development of Drama and the Theater designed to give the student a solid grounding in Dramatic concept, theory, and terminology and a sense of the power, significance, imfluence, and impact of Dramatic Literature over the ages (with emphasis on Western Civilization). Various avenues of approach to literature and methods of interpretation and evaluation will be used. To accomplish this, we will be studying a few of the most significant plays in the history of the theater and something of the human need for dramatic expression, the history of the dramatic arts, the various ages and stages of development of the theater and its modes and methods of presentation of living story. Graded Course Content: Two Half Term Tests (one near "midterm" and the other at the end of the course) [125 points each] for a combined total of 250 points Final Examination at 250 points Online Quizzes done at quia.com

71. Dramatic Literature Elective Year 2002/03 AP dramatic literature year 2004/05 Scott Carneal. I. September through October.Close Reading (Realism Contemporary Tragedy) Who s Afraid of Virginia http://faculty.ssfs.org/~carnesc/Dramlitoverview.htm

AP Dramatic Literature September through October Who's Afraid of Virginia Woolf? The Children's Hour Equus Academic Reading 2. Dramatic Preparation 3. Personal Reaction Equus Essay Writing: With each play, students will write at least one academic thesis paper (2-8 pages); and other times they will write a creative/personal response , will keep journal entries to character and plot development, etc. and the 3 "thinking quotations" or ideas presented each week. Once or twice, students will write research papers relating to historical contexts, William Shakespeare, other playwrights, theater space and acting habits. Early November Consider Comedy of Manners: Read Oscar Wilde’s The Importance of Being Earnest **Will attend performance of Wilde’s play on December 8 (noon performance) **Arena Stage actors will attend class on December 9 III. Late November through December Shakespeare (Tragedy): King Lear December into January Classic Play with a Companion Novel King Lear to A Thousand Acres V. Other Creative Projects (with some student choice) Student written original one act play or adaptation from a short story.

72. Work In Culture DESCRIPTION The dramatic literature program is an interlocking series of courses,with the objective of helping the student to develop a critical awareness http://www.workinculture.on.ca/wiccore.cfm?InstID=31&PRGID=285&Page=ProgramView&

73. The Theatre School Student Resources -- Undergraduate Courses 204, 205, 206 History of dramatic literature. (4 quarter hours.) A study of thedevelopment of playscripts, the physical theatre, and means of production http://theatreschool.depaul.edu/resources/courses.htm

HOME TRAINING PROGRAMS ADMISSIONS PUBLIC PERFORMANCES ... SITE MAP Undergraduate Courses 100 World of the Theatre (4 quarter hours.) Through the aesthetic analysis of plays and dramatists that were foundational in the development of dramatic literature, the student is encouraged to develop basic critical standards for the understanding and appreciation of dramatic production. Introduction to Accounting I (4 quarter hours.) 107, 108, 109 Theatre Crew (2 quarter hours.) All students in the first year of the program are assigned on a rotating basis throughout the year to various crews which build and run the shows in the Showcase, Playworks, New Directors, and Workshop series. 107, 108, 109 Drawing I (2 quarter hours.) Foundational drawing for design and technical students. 111, 112, 113 Acting I (4 quarter hours.) Students work on basic acting skills such as developing the ability to produce free, imaginative, and purposeful behavior in relation to environments, objects, and other persons; individual silent exercises; group exercises. This work leads to in-class performances of selected scenes from a variety of American contemporary plays with special focus given to the sensory requirements in the text. Reading Literature (4 quarter hours.) Study of the elements and construction of literary texts, of the vocabulary of literary criticism, and of various literary modes and genres.

74. ELIT 12--Introduction To Dramatic Literature ELIT 12Introduction to dramatic literature. ENGLISH 12 INTRODUCTION TO DRAMA-BOB DICKERSON DE ANZA COLLEGE – FALL QUARTER 2004 http://faculty.deanza.edu/dickersonbob/elit12drama

document.write(css_String); Bob Dickerson De Anza College Faculty Directory Home ... Info CLASSES EWRT 100B EWRT 1A EWRT 1B ELIT 10 Fiction ... ELIT 48B Reading Schedule ELIT 12Introduction to Dramatic Literature ENGLISH 12- INTRODUCTION TO DRAMA- BOB DICKERSON DE ANZA COLLEGE – FALL QUARTER 2004 Office: F11-f Phone: 864—8540 e-mail: dickersonbob@fhda.edu Office Hours: M-Th 10:30-11:30 (or by appointment) PREREQUISITE Successful completion of English 1A or ESL 5. COURSE OBJECTIVES The student will: 1) Examine the nature and variety of dramatic texts. 2) Distinguish among intellectual, emotional, and moral aspects of assigned readings. 3) Identify and qualitatively analyze the generic aspects of drama. 4) Acknowledge and account for alternate textual interpretations. 5) Compare the cultural meaning and aesthetic value for assigned readings in a variety of human communities. 6) Appreciate the dramatic script as a blueprint for performance. TEXTS Jacobus (ed.)

75. About The Theatre Publicus Prize For Dramatic Literature OVERALL QUALITY AS A WORK OF dramatic literature Cash prizes totaling $500 areawarded in three categories. Jury Prize (Best of Competition) http://www.mediadarlings.org/publicus/about.html

ABOUT THE AWARDS NOMINATE YOUR PLAY OFFICIAL RULES CONTACT US MEDIA DARLINGS is an artist-run collective dedicated to promoting the work of innovative new artists. In addition to the Theatre Publicus Prize, we also sponsor the Norumbega Fiction Awards and the Media Darlings Guerilla Filmmaking Grant. ABOUT THE AWARDS 2005 marks the first year we are offering the Theatre Publicus Prize for Dramatic Literature Theatre Publicus Prize alongside our other competitions- the Norumbega Fiction Awards and the Media Darlings Guerilla Filmmaking Grant. We are dedicated to establishing a fair and equitable showcase for playwrights and we will gladly furnish the names and contact information of artists we have worked with in the past. Winners are based on submissions from the general public- playwrights, production companies, co-ops, managers, and agents are all invited to enter work into the competition. All entries are judged equally based on the following criteria: ORIGINALITY STRENGTH OF PROSE STRENGTH OF DIALOGUE THEMATIC APPROACH CHARACTER DEVELOPMENT Cash prizes totaling $500 are awarded in three categories: Jury Prize (Best of Competition) Best Full Length Play Best One Act Play Seven finalists will be awarded certificates for Honorable Mention.

76. Official Rules Of The 2005 Theatre Publicus Prize For Dramatic Literature The Theatre Publicus Prize for dramatic literature is open to American and Canadian OVERALL QUALITY AS A WORK OF dramatic literature v. Awards Given http://www.mediadarlings.org/publicus/rules.html

ABOUT THE AWARDS NOMINATE YOUR PLAY OFFICIAL RULES CONTACT US OFFICIAL RULES i. Introduction The Theatre Publicus Prize for Dramatic Literature ii. Mission Statement The idea was to establish a prestigious award that gave cash prizes and plaques to talented playwrights who are under-represented in mainstream literary or theater circles. We firmly believe that writers should be able to make a living off their work and promote alternatives to the "traditional publishing and production route. iii. Eligibility The Theatre Publicus Prize for Dramatic Literature is open to American and Canadian playwrights who have completed a one act or full length play. Produced/unproduced/published/unpublished plays are all eligible. iv. Judging All nominated plays are judged equally on the following criteria: ORIGINALITY STRENGTH OF PROSE STRENGTH OF DIALOGUE THEMATIC APPROACH CHARACTER DEVELOPMENT v. Awards Given Prizes totaling $500 are awarded in three categories: Jury Prize (Best of Competition) Best Full Length Play Best One Act Play In addition, 7 finalists are awarded certificates for Honorable Mention.

77. Tufts University: Department Of Drama And Dance: Faculty And Staff Director of Graduate Studies; dramatic literature and Theory, Theatre and FilmHistory Directing, Sociology of the Theatre, dramatic literature http://ase.tufts.edu/drama-dance/faculty/default.htm

Associate Professor Barbara Wallace Grossman , Chair; Theatre History, Dramatic Literature and Criticism, Directing Professor Laurence Senelick , Fletcher Professor of Oratory, Director of Graduate Studies; Dramatic Literature and Theory, Theatre and Film History Associate Professor Downing Cless , Directing, Sociology of the Theatre, Dramatic Literature Associate Professor Alice E. Trexler , Head of Dance, Dance Studies Assistant Professor Claire Conceison , Theatre history, Dramatic Literature and Theory, Asian Studies Assistant Professor Don Weingust , Shakespearean Drama and Performance, Dramatic Literature and Criticism, Acting and Directing Lecturer Virginia B. Johnson , Head of Design and Technical Theatre Lecturer Daniel McCusker , Dance Lecturer, Ted Simpson , Scene Design Lecturer Jesse Smith , Technical Director Lecturer Judy Staicer , Lighting and Costume Design Lecturer Sheriden Thomas , Guest Artist, Acting and Directing Senior Lecturer (Part-time) Neal Hirsig , Multimedia Lecturer (Half-time) Lynn Frederiksen , Dance Lecturer (Part-time) Gretchen Hayden , Dance Lecturer (Part-time) Susan Kouguell , Screenwriting Theater Manager Joanne Bertelsen Barnett Department Administrator Rita Dioguardi Costume Shop Supervisor Susanna Brown Assistant Technical Director Alexia Muhlsteff *Supplemental Faculty in Other Departments and Programs: Nancy Bauer (Philosophy), Daniel Brown (German), Gregory R.Crane (Classics), Lee Edelman (English), James Ennis (Sociology), Gerard Gasarian (French), Sol Gittleman (German), David M. Guss (Anthropology), Judith Haber (English), Elizabeth T. Howe (Spanish), Charles Inouye (Japanese), Vida Johnson (Russian), Claudia Kaiser-Lenoir (Spanish), Brigitte Lane (French), David Locke (Music), Peter L.D.Reid (Classics), Christiane Romero (German)

78. Drama & Dance - Graduate Programs : Graduate & Professional Studies : Tufts Univ Directing, sociology of the theater, dramatic literature dramatic literatureand theory, theater and film history, directing. Don Weingust http://ase.tufts.edu/gradstudy/programDrama.htm

D Programs of Study Degrees Offered: M.A., Ph.D. tufts.edu/as/drama The programs concentrate on performance history, theory, and dramatic literature, with an emphasis on original research. The curriculum is composed chiefly of seminars that focus on specific subjects, require formal research papers, and give students the chance to work closely with faculty. The Harvard Theatre Collection and other repositories of original materials are accessible to students. Each year students organize symposiums to share research with scholars from other institutions. Faculty specialization includes Shakespearean drama and performance, sociology of theater, the history of popular entertainment, Russian and Asian theater, and gender in performance. Applicants should have some background in theater. Most graduates find teaching and directing jobs in universities. FACULTY/SPECIALTY Downing Cless Ph.D., Brandeis University Directing, sociology of the theater, dramatic literature Claire Conceison Ph.D., Cornell University

79. Arts & Sciences And Trinity College - Duke University : Graduate Students dramatic literature. Clum, John, Theater Studies Foster, Daniel, Theater StudiesMetzger, Sean, Theater Studies. Search Directories Departments A SIST http://fds.duke.edu/db/aas/facultyspec.html?keywords=&I=1793

80. Calls For Papers: CFP: Renaissance Non-Dramatic Literature (7/1 The panel on nondramatic Renaissance literature invites you to submit a Papers may concern any aspect of non-dramatic literature, but panelists http://cfp.english.upenn.edu/archive/1999-04/0091.html

CFP: Renaissance Non-Dramatic Literature (7/1; CNYCLL, 10/3-10/5) From: Eric Leonidas ( eleonida@sprynet.com Date: Wed Apr 28 1999 - 08:35:29 EDT Next message: Martin Hewitt: "CFP: Platform/Pulpit/Rhetoric in Victorian Culture (UK) (7/20; 3/18)" Previous message: Messages sorted by: [ date ] [ thread ] [ subject ] [ author ] CALL FOR PAPERS The 9th Annual Central New York Conference on Language and Literature SUNY Cortland, October 3-5, 1999 The panel on non-dramatic Renaissance literature invites you to submit a 250-word abstract or a completed 15-20 minute paper to: Eric Leonidas NYU Medieval and Renaissance Studies 19 University Pl., 600 New York, NY 10003 Or email your proposal to : eql7336@is2.nyu.edu Papers may concern any aspect of non-dramatic literature, but panelists are encouraged to address issues of genre definition, prose fiction, rhetoric, poetic authority. Panelists are particularly encouraged to address recent changes in the critical climate and how those changes affect our understanding of the many Renaissance texts which are not dramatic.

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