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Test Bank for Revel for Explore Theatre: A Backstage Pass, 2nd Edition

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    INSTRUCTOR’S MANUAL FOR E XPLORE T HEATRE S ECOND E DITION PREPARED BY Michael M. O’Hara Ball State University Elizabeth A. Osborne Florida State University

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    iii Table of Contents Introduction ................................ ................................ ................................ .................. 6 To Our Colleagues: ................................ ................................ ................................ ................ 6 Features of the Revel Text: ................................ ................................ ................................ ... 6 Organization of the Text: ................................ ................................ ................................ ...... 7 Use of the Text (and this Manual): ................................ ................................ ........................ 8 Online Instruction: ................................ ................................ ................................ .............. 1 0 Sample Syllabus ................................ ................................ ................................ ........ 11 1 THEAT 100 INTRODUCTION TO THEATRE ................................ ................................ ........... 11 1 Course and Instructor Information: ................................ ................................ ................... 11 1 Course Rationale: ................................ ................................ ................................ ............... 11 1 Course Description: ................................ ................................ ................................ ............ 12 2 General Education Course Objectives: Overall Goals ................................ ........................ 12 2 General Education Objectives: Humanities and Fine Arts ................................ ................. 13 3 Course Content and Format: ................................ ................................ ............................. 14 4 Course Policies and Procedures: ................................ ................................ ........................ 14 4 Content, Readings, and Methods of Teaching: ................................ ................................ .. 16 6 Class Calendar: ................................ ................................ ................................ ................... 16 6 Explanation of How Methods Especially Relate to UCC/Gen Ed Goals: ............................ 18 8 Special Methods for Evaluating Student Performance ................................ ...................... 18 8 Evaluation of the Course: ................................ ................................ ................................ ..... 20 Chapter One: What Is Performance? ................................ ................................ .......... 21 1 Contents and Learning Objectives ................................ ................................ ....................... 21 Key Concepts ................................ ................................ ................................ .................... 22 2 Key Objectives and Topics ................................ ................................ ................................ . 22 2 Essay/Discussion Questions ................................ ................................ .............................. 24 4 Activities ................................ ................................ ................................ .......................... 24 4 Ch. 01. Quiz Questions ................................ ................................ ................................ ..... 25 5 Cha pter Two: The Text ................................ ................................ .............................. 27 7 Contents and Learning Objectives ................................ ................................ ..................... 27 7 Key Concepts ................................ ................................ ................................ ...................... 28 Key Objectives and Topics ................................ ................................ ................................ ... 28 Essay/Discussion Questions ................................ ................................ ................................ 30 Activities ................................ ................................ ................................ ............................ 30 Ch. 02. Quiz Questions ................................ ................................ ................................ ....... 31 Chapter Three: Cultivating an Audience ................................ ................................ ....... 34 Contents and Learning Objectives ................................ ................................ ....................... 34 Key Concepts ................................ ................................ ................................ .................... 35 5 Key Objectives and Topics ................................ ................................ ................................ ... 35 Essay/Discussion Questions ................................ ................................ ................................ 38 Activities ................................ ................................ ................................ ............................ 38 Ch. 03. Quiz Questions ................................ ................................ ................................ ....... 39 Chapter Four: Where Can Performance Be Done? ................................ ...................... 41 1 Contents and Learning Objectives ................................ ................................ ....................... 41

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    iv Key Concepts ................................ ................................ ................................ ...................... 42 Key Objectives and Topics ................................ ................................ ................................ ... 42 Essay/Discussion Questions ................................ ................................ ................................ 45 Activities ................................ ................................ ................................ ............................ 45 Chapter Five: Playwrights ................................ ................................ ............................ 47 Content and Learning Objectives ................................ ................................ ......................... 47 Key Concepts ................................ ................................ ................................ ...................... 47 Key Objectives and Topics ................................ ................................ ................................ ... 48 Essay/Discussion Questions ................................ ................................ ................................ 48 Activities ................................ ................................ ................................ ............................ 49 Ch. 05. Quiz Questions ................................ ................................ ................................ ....... 49 Chapter Six: Directors ................................ ................................ ................................ 51 1 Contents and Learning Objectives ................................ ................................ ..................... 51 1 Key Concepts ................................ ................................ ................................ ...................... 53 Key Objectives and Topics ................................ ................................ ................................ ... 53 Essay/Discussion Questions ................................ ................................ ................................ 55 Activities ................................ ................................ ................................ ............................ 55 Ch. 06. Quiz Questions ................................ ................................ ................................ ....... 56 Chapter Seven: Scenic Designers and Costume Designers ................................ ............ 59 Contents and Learning Objectives ................................ ................................ ....................... 59 Key Co ncepts ................................ ................................ ................................ ...................... 59 Key Objectives and Topics ................................ ................................ ................................ ... 60 Essay/Discussion Questions ................................ ................................ ................................ 61 Activities ................................ ................................ ................................ ............................ 62 Ch. 07. Quiz Questions ................................ ................................ ................................ ....... 62 Chapter Eight: Lighting Designers, Sound Designers, and Technical Production ............ 66 Conte nts and Learning Objectives ................................ ................................ ....................... 66 Key Concepts ................................ ................................ ................................ ...................... 66 Key Objectives and Topics ................................ ................................ ................................ ... 67 Essay/Discussion Questions ................................ ................................ ................................ 68 Activities ................................ ................................ ................................ ............................ 69 Ch. 08. Quiz Questions ................................ ................................ ................................ ....... 69 Chapter Nine: Actors ................................ ................................ ................................ ... 71 Contents and Learning Objectives ................................ ................................ ....................... 71 Key Concepts ................................ ................................ ................................ ...................... 73 Key Objectives and Topics ................................ ................................ ................................ ... 73 Essay/Discussion Questions ................................ ................................ ................................ 75 Activities ................................ ................................ ................................ ............................ 75 Ch. 09. Quiz Questions ................................ ................................ ................................ ....... 76 Chapter Ten: The Play ................................ ................................ ................................ . 78 Contents and Learning Objectives ................................ ................................ ....................... 78 Key Concepts ................................ ................................ ................................ ...................... 79 Key Objectives and Topics ................................ ................................ ................................ ... 79 Essay/Discussion Questions ................................ ................................ ................................ 82 Activities ................................ ................................ ................................ ............................ 82

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    v Chapter Eleven - Backstage at Two Character Play ................................ ....................... 83 Contents and Learning Objectives ................................ ................................ ....................... 83 Key Concepts ................................ ................................ ................................ ...................... 83 Key Objectives and Topics ................................ ................................ ................................ ... 84 Essay/Discussion Questions ................................ ................................ ................................ 85 Activities ................................ ................................ ................................ ............................ 85 Ch. 11. Quiz Questions ................................ ................................ ................................ ....... 86 Chapter Twelve: Musical Theatre ................................ ................................ ................ 87 Contents and Learning Objectives ................................ ................................ ....................... 87 Key Concepts ................................ ................................ ................................ ...................... 88 Key Objectives and Topics ................................ ................................ ................................ ... 88 Essay/Discussion Questions ................................ ................................ ................................ 90 Activities ................................ ................................ ................................ ............................ 91 Ch. 12. Quiz Question s ................................ ................................ ................................ ....... 91 Chapter Thirteen: The Film, or Mediated Performance ................................ ................ 94 Contents and Learning Objectives ................................ ................................ ....................... 94 Key Concepts ................................ ................................ ................................ ...................... 96 Key Objectives and Topics ................................ ................................ ................................ ... 96 Essay/Discussion Questions ................................ ................................ ................................ 98 Activities ................................ ................................ ................................ ............................ 98 Chapter Fourteen: Chapter Entertainments ................................ ................................ . 99 Contents and Learning Objectives ................................ ................................ ....................... 99 Key Concepts ................................ ................................ ................................ .................... 100 Key Objectives and Topics ................................ ................................ ................................ . 100 Es say/Discussion Questions ................................ ................................ .............................. 102 Activities ................................ ................................ ................................ .......................... 102

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    6 Introduction To Our Colleagues: Thank you for choosing Explore Theatre , the first all - digital, electronic textbook for theatre offered by Pearson Education. We are particularly gratified to be moving into a second edition , and some of the changes are based on the feedback we received on the first edition . Instructors have used the content in both online and in - person classroom settings, and with a wide variety of teaching styles and approaches. This Instructor's Manual sha res some ways in which the text has been used and offers strategies for both online and in - person pedagogies. We continue to encourage users to share what works, and more importantly, what do es not. Michael M. O'Hara Elizabeth A. Osborne Judith A. Sebesta Ball S tate University Florida State University Independent Scholar Features of the Revel Text: As we state in the Preface, this content is unique in many ways. First and foremost, this text was not developed first as a printed book , and then port ed over into a digital layout. From the beginning, w e have tried to incorporate the strengths and opportunities provided by a digital format into all areas. Another innovation is that we attempt to show the nourishment of many forms of contemporary storyte lling by the deep roots of live theatre, and to demonstrate that the people who create such stories are but branches on a larger family tree. By this, we hope to help students become more thoughtful and informed viewers of any form of dramatic storytelling . We also hope that digitally native students, particularly the non - theatre major who is this work's intended audience, might come to know the special powers of live performance, and to use that new appreciation to understand the intellectual and creative process that should serve as foundational for all performances, including those that proliferate on the Internet. There are several important benefits to this content . Because the text is electronic, its lower reproduc tion and distribution costs benefit students. Because the text is hosted through a dedicated system with no special technical needs rather than a specialized piece of soft or hardware, it is accessible to anyone with an Internet connection. Because the text is in a media rich environ ment, rich media brings the many facets of theatre to life, including recorded examples of theatre that are embedded within the text itself, rather than incurring additional cost s, clicks, or the possibility that vital clips have been removed from YouTube the day before they are needed in class! Because the text is internally hyperlinked, neither readers nor instructors should feel the need to follow a rigid , linear path through the content . C ross references take readers instantly from one part of the text to another and additional urls suggest potential explorations beyond the text itself . We hope each of these benefits will empower students and professors to explore the wonders of live theatre in a way that can be shaped to individual and

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    7 institutional nee ds and interests. Organization of the Text: Although the text can be accessed from several directions, there is nevertheless an organization that may be useful. We will explain the current organization and then offer an alternative, as but one example of how this text might be adapted for use in your class. The first four chapters (1 – 4) explore the nature of performance itself: what constitutes different kinds of performance events, how does a text guide such performances, how are these performances to be processed , and under what circumstances might such performances occur? The next five chapters (5 – 9) explore the people who create theatre and offer examples of both their artistic work and the challenges and rewards that living an "artistic" life off er. The final five chapters (10 – 14) explore the specific artifacts of dramatic storytelling, starting with the script itself and then followed by a recorded (mediatized) version of that original script with documentary footage of each of the major proces ses (rehearsals, technical/dress rehearsals, and performances) the production underwent. Chapter 12 explores the culturally important form of Musical Theatre, offering both a brief historical overview and a detailed breakdown of the structure of this art f orm , which is often the most well - known and popular among non - theatre majors . Chapter 13 shows students how the live play was transformed into a film and explores how film must approach dramatic storytelling in ways that are sometimes the same, and sometim es not, as live theatre. The final chapter offers an overview of some of the popular entertainments that have influenced or been influenced by live theatre. We commissioned Two - Character Play , an original work by Chris White, for this text in the hope that the play would serve as a touchstone for exploration, discussion, dissention, and discovery. The script deliberately plays with the notion of a live play, and while there is a narrative within the play (which formed the spine of the film version of this script), the play is itself anti - narrative. We hope that instructors might use the play and the film adapted from it as opportunities to help the students explore their experiences and expectations of textual and cultural authority, narrative clos ure, the role of the contemporary audience, and even the role of education itself. We hope that classroom discussions springing from these works might be guided by the spirit of bell hooks' Teaching to Transgress: Education as the Practice of Freedom . We s eek not to fill students' minds, primarily, but rather to open them. Our work benefited from the comments and suggestions of many thoughtful reviewers. One of the se blind reviewers suggested another organizational sequence that instructors might use to go through the content (original chapter number s noted in parentheses): Unit I: Theatre is an Event 1: What is Performance? (1)

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    8 2: Popular Entertainments (14) 3: The T ext (2) 4: The Play (10) 5: Musical Theatre (12) 6: Where Can Performances Be Done? (4) Unit II: Theatre is Created and Consumed by People 7: Playwrights (5) 8: Actors (9) 9: Directors (6) 10: Scenic and Costume Designers (7) 11: Lighting Design, Sound De sign, and Technical Production (8) 12: Cultivating an Audience (3) Appendices: 1: Backstage at Two Character Play (11) 2: The Film (13) We were tempted to adopt this organization in the second edition, but ultimately decided to keep the original flow to the text . We continue to believe that this suggestion was such a good idea , that we include it here, with sincere thanks to our anonymous reviewer. Use of the Text (and this Manual): One of the benefits of the electronic textbook is that the materials are readily accessible via the Internet, which has its challenges, certainly, but many benefits as well. This m anual, along with the Test Bank Word files and MyTest electronic files, is available in Pearson’s Instructor’s Resource Center . We have also i ncorporated interactive activities within each chapter, encouraging students to test their comprehension with short quizzes after each learning module and challenging them with writing activities to engage them in critical thinking about the content. Many of these activities can be chosen — or not chosen — by instructors as they consider what fits their courses best. We hope this ability to harvest exercises, discussion questions, essay questions, and other activities will be a convenience to instructors. Alth ough the text includes media rich resources, including an original film, we believe that live theatre is the foundation for all these. Thus , any use of this text should feature live theatre that instructors use to expand, enliven, and contextualize the vocabulary, terms, history, and concepts that the students study. The content lays a foundation upon which instructors should build relevant cl assroom or online discussions, debates, lectures, and other activities that link the text to the theatrical work students see (or engage in) for themselves. We offer many specific suggestions within the chapters themselves. Each chapter includes the follo wing materials that can be of use to instructors: ● Learning Objectives

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    9 ● Individual Modules (with titles, activities, and learning objectives, so that it is easy to assign sections of chapters, if needed) ● Writing Prompts ● Interactive M edia L earning E xercises ● K ey Concepts ● Key Ideas and Summaries ● Suggested Films (where applicable) ● Glossary ● Essay/Discussion Questions ● Student Learning Activities ● Practice Tests at the end of each Module and Chapter (so that students can self - assess their comprehension and retention) Although the practice quizzes included in the textbook are not meant to be "secure," they are nevertheless one source for assessing student learning. For example, you can use that information to focus class time on ideas and concepts with which students are having difficulty (or ignoring), rather than summarizing the entire chapter. More securely delivered quizzes, from the Instructor's Test Bank, can be used with greater confidence in the same way to shape the next day's class activities. The text also includes videos, graphs, and appendices that can be used for classroom activities. Easily adaptable ones include : the appendices in Chapter 2 ( "The Text" ) for analyzing scripts (both plays and mediated performances, e.g., film, TV, Internet); Vid eo 5. 5 , a challenge by New York playwright Thomas Bradshaw on who should become a playwright; and two additional performance videos , The Pedlar , a full - length historic play from 19 th century America , and Lift , a full - length contemporary (2016) “devised the atrical work” that addresses issues and ideas Millennials often face .

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    10 On l ine Instruction: Online instruction can be beneficial to many learners, particularly non - traditional students with families or jobs that prevent them from easily attending regular classes. In general, we have found that the more personal the online course allows the learni ng to be, the more successful the learning actually is. One approach is to design a three - phase approach to each module or chapter . These phases follow this general pattern: ● Phase I: read text and take online quiz ● Phase II: apply that information to authentic activity in their lives ● Phase III: assess their experience and knowledge in a short, formal essay that demonstrates judgment or critical thinking This process follows the recursive model for learning developed by the Carnegie Found ation for the Advancement of Teaching: experience to information to knowledge to judgment. The last step, action, might be a Phase IV project, but one that is likely beyond the scope of most introduction to theatre classes. To give one example of how this process might work, students reading Chapter 6, Directors, would read the text and take an online assessment on that chapter, such as the one on the web site. (We often have allowed students to take these quizzes "open book" or without otherwise proctorin g these assessments, mostly because we rely on subsequent phases to demonstrate the learning outcomes we seek.) In Phase II , online students see a live theatrical production at their local high school, community theatre, college, or regional theatre. In P hase III , students write a short essay or participate in an online discussion about what they saw onstage and how they interpret its meaning. Questions might include: • What kind of approach do you think the director took for this production? Heretical, wor shipful, or somewhere in between? Why? • How would you state the director’s production concept for the production? How did that concept manifest (or fail to manifest) in the production’s design elements (costumes, set, lighting, or sound)? We have generally found it defensible to require off - campus students to see the same number of live shows that on - campus students are required to see. Each of the required shows are assessed through a formal essay that ranged from 900 to 1500 words, or through an interactive online discussion board that requires students to engage their classmates in discussion about what they saw and what that meant to them. These assignments could be in addition to or replace longer writing prompts that are provided here in the t extbook and may vary depending on the number of students in the course, the number of teaching assistants available to a large course, the writing requirements, or other factors. Additional help can be sought from the authors themselves. Feel free to em ail Michael O'Hara or Elizabeth Osborne with comments, questions, suggestions, or praise at mohara@bsu.edu or bosborne@fsu.edu .

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    11 Sample Syllabus THEAT 100 INTRODUCTION TO THEATRE Course and Instructor Information: Include Course Number and Title, Section Number, Meeting Days, Time, Room Number, Semester, and Year. Include Professor's Name, Office Number, Phone Number, Email, and Office Hours. Include students with disabilities accommodation statement. [If any student needs course adaptations or accommodations because of a disability, or if an emergency medical situation should be shared, or if special arrangements must be made in case of the bu ilding being evacuated, please make an appointment with me as soon as possible.] Course Rationale : Theatre 100 is a University Core Curriculum requirement (Fine Arts distribution) that focuses on cultural, aesthetic, and humanistic facets of theatre as e xemplified in its literature, history, and contemporary performance. By requiring the reading of plays, attendance at live theatre productions , and group project/exercises, the course aims at developing critical skills that will empower students to identif y and communicate their judgments regarding the literary, visual, and auditory nature of theatre. Students, for example, should be able to view performances (both live and mediatized) and apply appropriate vocabularies, critical methodologies, and intelle ctual skills to the performance they witness. Rather than writing that "the play had good acting," THEAT 100 students should be able to write, "The actors in the play were successful in X, Y, and Z ways." From this critical perspective, students are not pa ssive receptors but rather become an informed audience. This course, therefore, requires students to respond to performances in many ways, moving from experience to information to knowledge and finally to judgment. The cultural heritage contained within theatre's long and diverse history is perhaps one of the best ways in which students can encounter problems and issues that different peoples and cultures faced throughout time. Because theatre has historically existed at the center of its respectiv e culture, the study of theatre plunges students into a wide variety of cultures and historical periods. This course requires that students read and/or see plays that confront societal and aesthetic issues, and accordingly, students will thus learn about t he moral, religious, political, and social norms of such societies so that the context of the play s’ meanings can be understood. More importantly, these same issues and questions can be applied with equal vigor to

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    12 our contemporary society. Indeed, in Aesch ylus' Oresteia , we find the seeds of our own justice system, while in Sophocles' Oedipus Rex , students can discover how classical Greece wrestled with the questions of conflicting duties to self, to the state, and to the gods. Similarly, Moliere wrote abou t religious charlatanism in seventeenth century France, an issue that is still prominent today. Other cultures have asked these questions and others, and by drawing upon the considerable cultural knowledge within drama, students can gain insight into the p roblems and possible solutions that we all face. Class discussions of each play read or viewed explore the aesthetic qualities of the script and promote an awareness of and a respect for the varied opinions offered by both the students and the literature itself. Such exposure provides students with the tools by which they can assess their personal interests and values both during the course and in the years to come. Finally, because theatre is a live performance event, it is always "about" its contemporar y participants despite, or perhaps in addition to, its rich cultural past. Theatre is a combination of the talents and ideas of a wide variety of contemporary makers — writers, actors, scenic artists, costume artists, directors, lighting artists, special eff ects artists, technicians, etc. Theatre, therefore, is a powerful entry into the humanistic search for beauty, value, and understanding. By understanding the many arts that contribute to theatrical performance, students gain a foothold upon wide expanse of artistic expression. Course Description : THEAT 100: A University Core Curriculum course, that, through a variety of activities including reading and watching a range of plays from the ancient Greeks through contemporary times and discussion of the theat rical, historical, and social elements that helped to shape them, offers an extensive introduction to the understanding and appreciation of the many aspects of theatrical creativity. (3 hours credit) General Education Course Objectives: Overall Goals Upo n completion of THEAT 100, students should accomplish the following objectives: 1. Recognize the benefits and possibilities for continued cultural engagement throughout their lives through their exposure to the theatrical arts in this course's classroom activities and their participation as an audience member or practitioner in live theatre. 2. Improve their communication skills through their work in viewing, thinking, talking, and writing critically about theatrical events. 3. Clarify their personal values by studying the value systems presented in dramatic literature and contemporary theatre, and by drawing parallels between theatre's past and present practices and their contemporary culture.

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    13 4. Increase their sensitivity to the v alues of others through their exposure to diverse opinions in both the theatre they read and see and in the class discussions about those issues. 5. Develop skills in problem recognition through class lectures, discussions, and projects that highlight proble ms of living faced in both historical eras and contemporary society as such problems are expressed and explored in drama. 6. Develop skills in problem solving through their own analysis of, discussions about, and group projects (such as in - class performance) on theatrical texts and performances. 7. Develop skills to cooperatively work in groups through their efforts in group projects and discussions, and participation in the social and collaborative experience of live theatre. 8. Examine their personal interests, talents, and goals through their exposure to and possible participation in the wide range of experiences inherent in live theatrical presentation (such as crafting, acting, teamwork, painting, management, etc.). 9. Move towards specialized learning experiences through their writing of criticism, enactment of drama, participation in live theatre, or in - class group exercises such as role - playing. General Education Objectives: Humanities a nd Fine Arts Upon completion of THEAT 100, students should acc omplish the following additional objectives: 1. Achieve basic understanding of theatrical performance and its position as a synthesis of many arts — playwriting, acting, directing, design, music, and dance — that allows students to understand, interpret, and eva luate creative works. 2. Gain an historical and contemporary perspective upon the liberalizing role of theatre that allows them to discern and interpret both American and world culture as expressed in theatre. 3. Engage in critical and useful participation in theatre, as either a thinking member of the audience, or as a participant in the art itself both during the course and after its completion. 4. Develop aesthetic sensibilities that expand their understanding of truth, form, and beauty.

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    14 Course Content and Format: Required Materials: The individual instructor is at liberty to select the scripts that will be studied together in the course , to cover the practitioners, the practice, and the historical and cultural context of theatre. Required pro gram : Revel for Explore Theatre: A Backstage Pass , by Michael O’Hara , Elizabeth A. Osborne, and Judith Sebesta , Copyright © 2020 . Required scripts: each instructor chooses individual plays, but each class is generally required to read a play from classical antiquity, the Renaissance, a modern classic, and a play from contemporary theatre. Some classes also cover one or more of the plays that University Theatre produces to tie issues of plays as literature to their interpretation as performance. Examples in clude: Baraka, I. The Dutchman Churchill, C. Cloud Nine Fugard, A. Master Harold … and the boys Hwang, H. D. M. Butterfly Ibsen, H. A Doll ’ s House Kushner, T. Angels in America: Millennium Approaches Mee, C. Big Love Miller, A. Death of A Salesman Moliere Tartuffe Norman, M. Getting Out Nottage, L. Intimate Apparel Parks, S. Topdog/Underdog Shaw, G. B. Pygmalion or Saint Joan Shepard, S. True West Sophocles Oedipus the King Soyinka, W. Death and the King’s Horseman Vogel, P. How I Learned to Drive Wilson, A. Fences or The Piano Lesson Theatre Attendance: Students are REQUIRED to attend all University Theatre productions each semester. The shows are listed for students and box office procedures are explained. Questions appear on exams that concern production values such as costumes, sets, lights, actors, etc. Students are encouraged to see theatrical events at local venues as well, and these experiences are often available as extra credit opportuniti es or as possibilities for the graded critique (depending upon individual instructors). Course Policies and P rocedures: Each instructor makes individual changes and modifications to these policy guidelines specific to each class type (large lecture hall, night class, etc.).

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    15 Attendance: The Department of Theatre and Dance has an official attendance policy to which this course subscribes. Regular attendance is strongly encouraged , and all students are responsible for any information discussed during lecture. Students are allowed to miss up to one week's worth of classes with no penalty. After that quota has been reached (three classes, for example, for a MWF class), students receiv e a penalty for each additional absence. Exceptions are made for absences caused by official university business (such as athletic participation, field trips, etc.) . Individual instructors may make exceptions on an individual basis. Classroom decorum: In order to facilitate a positive learning environment for all students, an adult level of mutual respect and decorum is enforced. Hate speech and other forms of disrespect are not tolerated. Excessive talking or other distracting behavior , such as leaving du ring class time (except in the case of an emergency) , is not allowed. If students must leave class, they are asked to speak to the instructor prior to the beginning of class and then sit near a door. Writing: All people need to communicate effectively. Th eatre, in particular, is about the creation, transmission, and apprehension of meaning. The assignments, though short, require careful organization, clear expository writing, and acceptable scholarly citation. Students are expected to know and understand a method of scholarly citation (MLA, Chicago Manual of Style, APA, etc.). If students do not own such a guide for writing, we strongly suggest that they get one. Manuscript guides, of course, are at the reference desk in Bracken Library. All students must c omplete at least ONE critique on ONE of the productions that this class requires them to attend. Plagiarism: All students are expected to do their own work at all times. Plagiarism is the taking of someone else's ideas, sentences, and/or words and using t hem as one's own. Students will be dismissed from class and receive a failing grade for any act of plagiarism. Group Project: Each instructor develops and assigns group projects specifically geared toward the individual circumstances of each class. For ex ample, a night class typically has more non - traditional learners than day classes and therefore requires different group projects. Additionally, the large lecture class (200+) requires shorter and less complicated group projects than do sections of thirty students. Group projects allow individuals to work cooperatively and collaboratively with others to accomplish goals such as in - class performances, role - playing, design efforts, or others. The projects allow students to engage in active, hands - on learning and develop self - confidence, self - expression, and sensitivity to others. The grading criteria are different among instructors , but most focus upon the successful completion of the task rather than a qualitative evaluation of the result. Exams: Individual instructors determine the content, length, and frequency of exams. Typically, two or three objective exams are given during the semester. Each exam normally contains objective questions (True/False, multiple choice, matching, etc.), and often in the case of the smaller classes, subjective questions as well, that cover the

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    16 assigned reading (text and plays), the productions viewed, and the material presented in class. Grading policy: All work is due at the beginning of class on the day noted. All late work will be lowered a full letter grade. Incompletes are given only in the most extreme circumstances, which does not include the sudden discovery in the 14th week that a student is failing this class. Extra Credit: Extra credit is offered at the discretion of each instructor. Typically, students may earn up to 6% of their final grade by viewing and then writing about live performances that have been PRE - approved by the instructor. Proof, such as a ticket stub, must be attached to the critique to r eceive credit. All productions given by the Muncie Civic Theatre are eligible, for example. Students may also earn extra credit if they are cast in , or work in any capacity for , a University Theatre production. Content, R eadings, and M ethods of T eaching: The methods of instruction vary from instructor to instructor (and class size to class size). Each share the following in common, however: reading of assigned text and plays, self - directed learning through participation in live theatre (either as audience or participant or both), classroom activities (group work or projects), watching video tapes of past theatrical presentations, and lectures mixed with class discussion. Class Ca lendar: The calendar varies from semester to semester (one week lon ger in the fall), and instructors cover the material at their own pace. Rather than repeat or reinforce information in the textbook, classroom activities, discussions, and lectures should seek to provide authentic, contemporary case studies, experiential l earning, and discussions of relevant applications of the knowledge learned from the text. One suggested calendar follows: Week One Introduction; syllabus; course requirements; "What is Performance," (definitions, characteristics, contexts, theatre as lif e, theatre as art, current issues in art and life, theatre as social art, social audience, audience behaviors, current issues for audiences). Week Two "How to Read a Script," (preliminary analysis, Aristotle's Poetics , genres, organizing a response, curr ent issues for dramatists) . S tudents often read one of the scripts assigned to the class for this week. Week Three "How to See a Play," (what is an audience, the audience throughout history, preliminary preparation, performance analysis, mediation and me diators, organizing your own response, current issues for audiences, dramatic materials in mediatized formats).

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