SHAKSPER 1992: RE: Shakespeare and Modern Drama Course

From: Hardy M. Cook (hmcook@boe00.minc.umd.edu)
Date: 07/09/92 

Shakespeare Electronic Conference, Vol. 3, No. 168. Thursday, 9 July 1992.
 
From: 		Pamela A Vasile <pvasile@brahms.udel.edu>
Date: 		Thursday, July 9, 1992, 12:27:00 -0400
Subject: 	Suggestions for Shakespeare and Modern Drama Course
 
Although what I'm about to suggest isn't quite as specific as "Shakespeare
and Modern Drama," you may find some of these works useful or interesting
for your course.  This coming fall, I will be taking a seminar on "Traditions
in Medieval and Renaissance Drama" with Lois Potter.  Here is how she
described the seminar for the list of graduate course descriptions:
 
	This course will explore different phases of a theatrical tradition
	based on ritual, moral allegory, storytelling, and direct rapport
	with the audience, from the Biblical cycle drama of the medieval
	craft guilds to the provocative experiment with cross-gender
	casting in Caryl Churchill.  The emphasis will be on the
	relationship between plays of different periods:  thus, we will
	read Elizabethan plays that draw on morality and romance traditions
	as well as a few modern plays that experiment with the subjects
	and theatrical techniques of medieval and Renaissance theatre.
	Texts will include the following, subject to availability:
	Peter Happe,ed., ENGLISH MYSTERY PLAYS; Peter Happe, ed.,TUDOR
	INTERLUDES; C. Whitworth, ed., THREE SIXTEENTH-CENTURY COMEDIES;
	David Lindsay, ANE SATYRE OF THE THRIE ESTAITS; Christopher
	Marlowe, DR FAUSTUS; William Shakespeare, RICHARD III, THE
	WINTER'S TALE; Ben Jonson, EVERY MAN IN HIS HUMOUR, THE DEVIL IS
	AN ASS; Richard Brome, THE ANTIPODES; Bertolt Brecht, THE
	RESISTIBLE RISE OF ARTURO UI; John Arden, ARMSTRONG'S LAST
	GOODNIGHT; Tom Stoppard, ROSENCRANTZ AND GUILDENSTERN ARE DEAD,
	DOGG'S HAMLET, CAHOOT'S MACBETH; Caryl Churchill, CLOUD NINE.


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