6 courses with the subject ENTH BC, each shown exactly as we captured it from the college's catalog, with every element we hold. Where the wording looks broken, that is our reading of the catalog, not the college's text.
ENTH BC3136SHAKESPEARE IN PERFORMANCE4.00
Prerequisites: Enrollment limited to 16 students. Preference given to juniors and seniors. Sign-up with the English Department is required. Registering for the course only through myBarnard or SSOL will NOT ensure your enrollment. The date, time, and location that sign-up sheets go up is listed here: http://english.barnard.edu/sign-ups Shakespeare's plays as theatrical events. Differing performance spaces, acting traditions, directorial frames, theatre practices, performance theories, critical studies, cultural codes, and historical conventions promote differing modes of engagement with drama in performance. We will explore Shakespeare's plays in the context of actual and possible performance from the Renaissance to the twenty-first century
ENTH BC3137RESTORATION ＆ 18TH-CENTURY DRAMA, PERFORMANCE AND ADAPTATION4.00
Performance practices, historical commentaries, and creative theories that focus, but not exclusively, on 1660 to 1790. These include re-imagined revivals, cross-cultural adaptations, transnational perspectives, and inventive investigations from the seventeenth century to the twenty-first century. In our seminar, we will investigate how people often think of themselves and others in terms of group identifications, which typically rely upon unexamined stereotypes. We will explore how dramatists create characters who not only play predictable roles but also play with these roles, often adapting them as well as adopting them. This enables dramatists to use inherited conventions to explore the realms of individual agency and social change. Playwrights may include William Wycherley, George Etheredge, Aphra Behn, Thomas Southerne, William Congreve, George Farquhar, Susannah Centlivre, John Gay, Oliver Goldsmith, Richard Sheridan, Bertolt Brecht, Timberlake Wertenbaker, April De Angelis, Biyi Bandele, and Tanika Gupta
ENTH BC3139MODERN AMERICAN DRAMA ＆ PERFORMANCE4.00
Prerequisites: Enrollment limited to 16 students. Sign-up with the English Department is required. Registering for the course only through myBarnard or SSOL will NOT ensure your enrollment. The date, time, and location that sign-up sheets go up is listed here: http://english.barnard.edu/sign-ups Modern American Drama and Performance in an era of cultural contestation. What is united about the United States? How are the important claims of cultural difference related to the intercultural claims of shared community? Is there a place for historical continuity in the modernist pursuit of change? How have these issues been addressed in the emergence and development of modern drama and performance in America? Questions such as these will be addressed in the context of theatrical exploration, performance history, and social change. Canonical and experimental playwrights include Rachel Crothers, Susan Glaspell, Georgia Douglas Johnson, Eugene O’Neill, Clifford Odets, Thornton Wilder, Tennessee Williams, Arthur Miller, Lorraine Hansberry, Edward Albee, Suzan-Lori Parks, Sarah Ruhl, and Dominique Morisseau
ENTH BC3141EARLY 20TH-CENTURY UNITED STATES DRAMA AND PERFORMANCE4.00
The beginning of the 20th century in the United States was a time of turbulence: the excitement of a new century mixed with the flurry of voices trying to define “What makes an American, American.” Theatre reflected and inflected discussions, arguments, debates and celebrations of identity and belonging. And, everything was up for debate: morals, religion, sexuality, gender roles, race–all factions clawing towards ideals of citizenship. In this seminar, we will explore early 20th-century American theater as a forum for these debates–plays and performances of all types assert visibility of both issues and bodies, politicizing both in the process. We will begin by looking at the end of the 19th century as the nation engaged with the end of legally enslaving African Americans, the Women’s Suffrage movement gearing up, and the national debates on immigration, morality and religion–and all made their way to the stages of theater and Performance in the United States. Topics in this seminar will include The Harlem Renaissance, The Little Theatre Movement, Comstock/Censorship Laws, Broadway Fare, Popular Entertainment, Female Playwrights, Queer Theatre, Popular Music (to name a few more than “a few”)
Prerequisites: Enrollment limited to 16 students. Sign-up with the English Department is required. Registering for the course only through myBarnard or SSOL will NOT ensure your enrollment. The date, time, and location that sign-up sheets go up is listed here: http://english.barnard.edu/sign-ups
Hell bursts onto the European stage at the end of the Middle Ages. Satan and his attendant devils, although present in earlier forms of Christian drama, become a defining feature of the dramatizations of Christian history and morality in Late Medieval England. The devils of these plays are disruptive, anarchic, seductive and repulsive. They are rhetorically bewitching and morally dangerous. This course will pay close attention to these devils and their devilry. What do they do? How do they speak? What do they know and what choice do they have in being so diabolical? Rather than viewing devils simply as spiritual antagonists, instead we will investigate them as complex creatures doing serious theological work in the difficult and spiritually tumultuous towns of late medieval England. Through close critical inquiry, contextual reading and some of our own imaginative stagings, we will explore the central role of the "diabolic" in late medieval drama and its sometimes troubling vision of Christian life. LiteratureMedieval/Renaissance Substitution
