Drama Portal

Learn the fundamentals of dialogue, action, and dramatic structure in this introduction to writing for performance. Working within the limits of one set, three actors, and ten minutes, participants in this class will learn the basic building blocks of script-writing by crafting short, stand-alone narratives for the stage. Though we will be looking at a few contemporary short plays as examples, the bulk of this class will focus on writing and workshopping your own original scripts.

Storytelling might just be our oldest art, crossing time, cultures, and continents. Crafting a story suitable for telling demands a heightened awareness of audience, medium, and meaning. Telling a story requires fluidity in a register both intimate and stylized. We'll create, practice, and tell our short tales in a month of cooperative fun and work. We will use a collaborative and encouraging mode of feedback to focus both on the construction of your story and on its performance. You will end the month having written an original tale, fiction or memoir or drawn from myth and legend, which has been written specifically to be shared aloud. You will also carry forward a toolkit for exploring this art.
Note: For more information about the Collaborative Feedback Method in SPACE, please check out our video here.

This module examines the cultural and philosophical phenomena which emerged during the Renaissance (e.g. humanism, utopianism, skepticism) (15th to early 17th century) and the Enlightenment (e.g. reason, individuality, satire, etc.) (17th to late 18th century); the changing attitudes to religion (the Reformation) and science (the Scientific Revolution) will also be tackled. Lastly, receptions of the Renaissance and Enlightenment in modern, popular culture will be explored.

The Dark Crystal, a film directed and created by Jim Henson and Frank Oz, was released at Christmastime in 1982. An attempt at a more mature and decidedly darker direction for Henson, it performed modestly in the box office to mixed reviews. Despite its poor initial beginnings, over the next 42 years, The Dark Crystal became a cult classic. Why the appeal all these years later? In this class we will explore this multifaceted dark fantasy as a stand of world building from the better appreciated “Muppet” canon. Over the course of eight sessions we will discuss the world of Thra through the film itself, seen afresh with the new lenses of various forms of modern criticism. Please join us for a combination of short lectures and lively discussion of this visual and technical masterpiece whether you’re a long-time fan or neophyte.

In this module we will cover a general overview of major periods, events, and personages that often crop up in Japanese films, dramas, anime, and manga. For example, are you a fan of the manga and drama series Jin? When Dr. Jin finds himself in the Edo period, do you want to know more about that historical context? This module should help with that and much more! Join us for a light and fun overview of Japanese history useful for engaging with Japanese media more deeply.

Late medieval English drama brought episodes from The Bible to life in days-long festivals of pomp and pageantry—but what these plays really show us is the day-to-day lives of ordinary men and women of the fifteenth century. With a mixture of lavish spectacle, slapstick comedy, and intimate poignancy, these plays populate the biblical world with familiar figures of the medieval city-life: shrewd workmen and cunning criminals; disgruntled wives and worried husbands; the friends, family, and neighbors of plays’ writers and performers.

This course looks at a sampling of plays from the great civic drama cycles of York, Chester, Coventry, and elsewhere, including Noah’s Flood, The Second Shepherd’s Play, Herod’s Slaughter of the Innocents, The Crucifixion, The Harrowing of Hell, and The Last Judgement. The works presented here offer both a grand history of the world from Creation to Doomsday, and locally-rooted, vernacular versions of a text then otherwise available only in Latin. Knowledge of Middle English is not required since this course will use the modern-spelling edition by Prof. A. C. Cawley. Scholarly online Middle English versions, however, will also be made available for students wishing to practice their skills in that area.

This course introduces the basics of Middle English language and literature, including grammar, syntax, and pronunciation. Designed for students new to reading Middle English texts in their original form, the course focuses mainly on the English of London and the south of England in the thirteenth through fifteenth centuries—the language of Chaucer, Gower, Langland and others.

As a language-learning course as well as a literature course, the first half of each meeting will be devoted to reading Middle English aloud and answering questions about pronunciation and comprehension; the second half will focus on the reading’s content, from basics of plot and conventions of genre to the historical context of each text. Course readings include: a selection of lyric poetry, two short poems by Chaucer, the chivalric romance Sir Orfeo, the Chester play of “Noah’s Flood,” a chronicle of the reign of King Henry V, Chaucer’s “Treatise on the Astrolabe,” and selections from the Paston Letters (noble family during the Wars of the Roses).

This module looks at two late plays frequently overlooked in Shakespeare studies: Pericles, Prince of Tyre and Cymbeline. In Pericles, Shakespeare and collaborator George Wilkins present a medievalist fairy-tale of adventure on the high seas, set in the ancient Mediterranean and narrated by Middle English poet, John Gower. In Cymbeline, a princess’s attempt to rid herself of the suitor she loathes and reunite with the man she loves leads to a tangle of escapes, pursuits, and mistaken identities. Decried by some critics for their eccentric and eclectic plots, both plays feature grand voyages across land and sea, benevolent magic, and the loss and recovery of true love.

This module continues the examination of Shakespeare’s late work with two baffling and beautiful plays. "The Winter’s Tale" begs the question: where does art end and magic begin? Containing the bard’s most famous stage direction—“Exit, pursued by a bear”—this tale of jealousy and forgiveness transforms from domestic tragedy into pastoral comedy, before finally arriving Shakespeare’s strangest endings. "The Two Noble Kinsmen", Shakespeare’s final work, gives Chaucer’s Middle English "The Knight’s Tale" a Renaissance rewrite. Co-authored with rising start of the Jacobean stage, John Fletcher, this tragicomedy expands the scope of Chaucer’s female characters while hinting at range of suppressed, taboo romantic desires. Blending the poignant and the absurd, the playwrights claim they only hope their “modern” adaptation won’t raise Chaucer’s angry ghost!

This module examines two English history plays frequently overlooked in Shakespeare studies: King Henry VI, Part 1 and King John. The rollicking wartime melodrama, King Henry VI, Part 1, shows Joan of Arc from the English perspective as a foul-mouthed, lascivious witch. The virtuous milksop King Henry VI is all but overshadowed in his own play as Joan bedevils the English forces in France again and again—until her own downfall and death. Shakespeare’s most satirically comical history, King John, by contrast, shows a monarch neither competent nor virtuous! Between John’s corrupt and cowardly bungling of a war France, a war with the Pope, and rebellion at home, England’s only hope is the play’s unlikely (and ahistorical) hero—the wily and charming bastard son of the late King Richard the Lionheart. Unlike most of Shakespeare’s English histories, both of these plays are comfortably stand-alone; no prior knowledge of Shakespeare’s other history plays required.

This module looks at two of Shakespeare’s darkest comedies (often described as “Problem Plays” and frequently overlooked in Shakespeare studies): Troilus and Cressida and Measure for Measure. Half an adaptation of Chaucer’s tragic romance, and half a reworking of Homer’s Iliad, Shakespeare’s Troilus and Cressida presents both the lovers and the warriors with a mixture of biting satire, comic buffoonery, and genuine pathos. Likely never staged in Shakespeare’s lifetime, this comedy-history-tragedy has puzzled readers since its first appearance in print. In Measure for Measure, a duke’s attempt to clean up his city’s seedy night-life quickly leads to the attempted sexual blackmail of a nun by duke’s chief deputy. In the chaos of bed-swapping and (threatened) head-chopping that follows, the play narrowly avoids outright tragedy, but whether the final ending could be called “happy” has been debated for centuries. These may actually be the strangest two play Shakespeare ever wrote.

This module looks at two tragedies frequently overlooked in Shakespeare studies: Titus Andronicus and Timon of Athens. Shakespeare’s earliest tragedy, Titus Andronicus, is also his bloodiest—a rollicking schoolboy burlesque of Roman history, Ovidian poetry, and Elizabethan revenge tragedy that eventually devolves into gory slapstick. Shakespeare’s late tragedy, Timon of Athens, by contrast, offers a scathingly misanthropic view of humanity in the financial and psychological ruin of Timon—an eccentric socialite turned embittered philosopher-hermit. With the first a box-office hit in its own day and the second never staged in Shakespeare lifetime, both plays have stood as two of the bard’s most challenging and provocative works to editors, directors, and readers ever since.

This module looks at arguably the greatest of Shakespeare's Tragedies--King Lear. Resolving to divide his kingdom between his daughters, the aged king banishes his closest allies from court, leaving himself and his realm prey to the self-interest and cruelty of those who remain. The course examines this tragedy of betrayal, madness, and family grudges act by act but also supplements these close studies of Shakespeare's text with discussions of the two variant early editions (in Quarto and Folio formats), a brief overview of Shakespeare's sources (Geoffrey of Monmoth's History of the Kings of Britain and Holinshed's Chronicles), and an examination of Nahum Tate's infamous happy-ending adaptation (the only version of the play staged for next 150 years). Expected weekly reading/listening: approx. 50-70 pages (spread across two hours of class).

"What art thou that counterfeit’st the person of a king?” This is the question asked (in more ways than one) by Shakespeare’s coming-of-age trilogy about England’s most popular medieval monarch—King Henry V. Beginning with his youth in King Henry IV, Part 1, we see the riotous Prince Hal grow from wastrel, drunkard, and companion of highway robbers into the royal figure his war-torn country needs. After relapsing in Part 2, to the great consternation of his dying father King Henry IV, we finally see Hal lead his subjects on the battlefields of France as the mature king in Henry V. Charting his course between the demands of his kingly father, the peculiar philosophy of his friend and mentor, the exuberant Sir John Falstaff, and the dangers posed by a series of political and military rivals, Prince Hal becomes King Henry V by learning what it means to “act” the part of a king in the ways that matter most.

King Henry V is dead. His son, Henry VI, is young, weak, and will later prove insane. As war with France escalates, in-fighting between fractious and power-hungry English nobles sparks a new war at home: the War of the Roses. Shakespeare’s "King Henry V", Parts 1, 2, and 3 depict this decades-long civil war between the houses of York and Lancaster with a mixture of tragedy, thwarted romance, and dark comedy, ending in the rise of the house of his own reigning queen—the Tudors!

Tolkien's take on Shakespeare is often misunderstood, but Macbeth helped Tolkien refine his understanding of fantasy and fairy-story, and The Lord of the Rings's portrayal of how we fall into evil owes much to Macbeth. Nothing is evil in the beginning. Even Macbeth was not so.