Theatre In London: Text and the Dramatic Imagination

Week 1: William Shakespeare is a historical figure, a cultural icon, and a political iconoclast. The interpretation of his plays on the page and stage reflect the assumptions and expectations of a particular period, none more so than our own. The lecture considers these issues in relation to a play by Shakespeare that is read and seen in production. Theatre production

Week 2: Seminar discussion of the play read and seen in production the previous week. The comic style of Restoration theatre can arguably be said to cast an influence well into the nineteenth century. The lecture will look at the elements of this drama in the context of the period during which the play was written. Theatre production

Week 3: Seminar discussion of the play read and seen in production the previous week. The great revolution of dramatic realism in the late nineteenth century is considered in relation to our own reception of one of these classic plays that is read and seen in production. Theatre production

Week 4:  Seminar discussion of the play read and seen in production the previous week. We can consider the development of twentieth century drama as a series of reactions against dramatic realism. This reaches its apotheosis in the theatre of Bertolt Brecht whose influence on post-war European, British and American theatre is profound. A play by Brecht or Brechtian in technique is read and seen in production. Theatre production

Week 5: Seminar discussion of the play read and seen in production the previous week. We will take a more detailed look at several developments of British post-war theatre, which can include, for example, political theatre or absurdist theatre. Theatre production

Week 6: Seminar discussion of the play read and seen in production the previous week. Any understanding of British theatre must include its structures: West End, the major subsidised companies which are the National Theatre and the Royal Shakespeare Company, and fringe. In turn, theatre structures can only be understood in relation to income or financial support. Financial source and artistic policy are inseparable. We will consider whether the State has a  esponsibility to provide financially for the theatre. In this context, there will be a front and back stage tour of the National Theatre. Theatre production

Week 7: Seminar discussion of the play read and seen in production the previous week. We will consider the history of theatre censorship. Before 1968 when the Theatre Act was passed, censorship was clearly and narrowly defined in legal terms. Post-1968, censorship is more diffuse; but still exists. The fact that theatre is live makes this a particularly important issue. We will debate our own views. Theatre production

Week 8: Seminar production of the play read and seen in production the previous week. In the light of censorship considered in the previous class, there will be a seminar discussion of the text of a play that has been banned or has generated controversy. Students will look at previous productions of the play and contribute their own suggestions. Theatre production

Week 9: Seminar production of the play read and seen in production the previous week. The reception of theatre contributes significantly to its development. We will look at the history of audience expectation, behaviour and understanding, and how this leads to the contemporary review. We will also consider the function of the theatre review in light of the students’ own choice of production to be reviewed. No theatre production; students choose their own production to review

Week 10:  Seminar discussion of productions chosen by the students. The history of theatre design will be examined in the light of productions seen throughout the course. There will also be an evaluation of the contributions of the various directors. Theatre production

Week 11: Seminar production of the play read and seen in production the previous week. At this stage of the course, we will begin to pull together the several issues considered thus far; namely, the nature and function of politicised theatre, the balance between new plays and classic revivals, and the current debate regarding theatre funding. Incorporated will be an informal revision, anticipating the final examination.