Learning Outcomes:

Read and analyse play/performance texts for their literary, artistic, and performative values, as well as assessing how these values potentially redefine what students already understand about theatre and performance.

Contextualise performances within historical, geographic, political, and cultural milieus.

Encounter various techniques applied in performance, such as music, dance, singing, masks, makeup, costume, and puppetry.

Critique shortcomings in the global exchange of art and performance, including issues of translation, adaptation, gaps of scholarship, cultural appropriation, and more.

Articulating through discussion and writing an understanding of how drama and artistic expression correlate to performance practices beyond certain theatre norms.

Investigate and write about a topic of the student’s choosing that demonstrates a grasp of understanding theatre globally and that addresses the benefits and hurdles of undertaking such a research project.

Indicative Module Content:

Class 1: Introduction: Theatre in a Global Perspective
Class 2: South American Theatre and Adaptation: Kiss of the Spider Woman by Manuel Puig –Argentina
Class 3: Dance and Music in Latin and South America
Class 4: Indigenous Theatre of North America, New Zealand, and Australia
Class 5: Middle Eastern Theatre and Translating Language and Sentiment: Goats by Liwaa Yazji – Syria
Class 6: Watch Performance in Class. TBD. Midterm Assignment due.
Class 7: Puppets Across the Globe
Class 8: Asian Theatre and Limits of Universality: The Elephant by Betsuyaku Minoru – Japan
Class 9: Costume, Masks, and Makeup: Asian Theatre
Class 10: African Theatre and Critiques of Power: Femi Osofisan’s The Chattering and the Song – Nigeria
Class 11: African Theatre: The Stories Told on Stage and Cultural Exchange

Student Effort Type	Hours
Lectures	11
Tutorial	11
Autonomous Student Learning	78
Total	100

Not applicable to this module.

Not applicable to this module.
 

Assessment Strategy  

Description	Timing		Component Scale		% of Final Grade
Continuous Assessment: Cumulative responses to readings/lectures (3 total, 200 words each) and attendance/participation in lecture and tutorials.	Throughout the Trimester	n/a	Graded	No	30
Essay: Final Paper that utilises proposed outline from midterm and puts forth a critical argument about global performance.	Week 12	n/a	Graded	No	50
Assignment: Mid-term assignment that reflects understanding of module lessons covered and also proposes through an MLA outline a final paper topic.	Week 6	n/a	Graded	No	20

 

Resit In	Terminal Exam
Spring	No

• Feedback individually to students, on an activity or draft prior to summative assessment
• Feedback individually to students, post-assessment
• Online automated feedback
• Self-assessment activities

Feedback on shorter assessments will be provided within two weeks of submission. Feedback on Midterm Assignment will be given within two-three weeks of submission. Feedback on final essay be offered in the post-assessment period.

Performance Across the Globe -

Primary Texts:
E. J. Westlake, World Theatre: The Basics, Routledge, 2017.
Geraldine Brodie, The Translator on Stage, Bloomsbury Academic, 2017.
Julie Sanders, Adaptation and Appropriation, Routledge, 2016.
Mark Pizzato, Mapping Global Theatre Histories, Palgrave MacMillan, 2019.
Manuel Puig, Kiss of the Spiderwoman, translated by Allan Baker, W.W. Norton, 2014.
Liwaa Yazji, Goats, translated by Katherine Halls, NHB Modern Plays, 2017.
Betsuyaku Minoru, The Elephant, translated by David Goodman, Columbia University Press, 1986.
Femi Osofisan, The Chattering and the Song, Ibadan University Press, 1977.

Secondary Texts
Jaye T Darby, Courtney Elkin Mohler, and Patrick Lonergan, A Critical Companion to Native American and First
Nations Theatre and Performance: Indigenous Spaces, Metheun Drama, 2020.

Babak Rahimi, Theater in the Middle East: Between Performance and Politics, Anthem Press, 2020.

Beth Osnes, The Shadow Puppet Theatre of Malaysia: A Study of Wayang Kulit with Performance Scripts and
Puppet Designs, McFarland & Company, 2010.

Pablo Vila, ed., Music, Dance, Affect, and Emotions in Latin America, Lexington Books, 2017.

Alexandra B. Bonds, Beijing Opera Costumes: The Visual Communication of Character and Culture, Routledge, 2019.

Martin Banham, James Gibbs, and Femi Osofisan (eds.), African Theatre: Playwrights and Politics, Boydell & Bower,
2001.

Min Tian, The Poetics of Difference and Displacement: Twentieth-Century Chinese -Western Intercultural Theatre,
Hong Kong University Press, 2008.

Marvin Carlson, Theatre and Islam, Red Globe Press, 2019.

Dassia N. Posner, Claudia Orenstein, and John Bell (eds.), The Routledge Companion to Puppetry and Material
Performance, Routledge, 2014.

Name	Role
Ms Michelle Andressa Alvarenga de Souza	Tutor
Ms Catherine Casey	Tutor
Graham Price	Tutor

Autumn
Seminar	Offering 1	Week(s) - Autumn: All Weeks	Tues 16:00 - 16:50
Tutorial	Offering 1	Week(s) - Autumn: All Weeks	Wed 10:00 - 10:50
Tutorial	Offering 2	Week(s) - Autumn: All Weeks	Wed 12:00 - 12:50
Tutorial	Offering 3	Week(s) - Autumn: All Weeks	Wed 13:00 - 13:50
Autumn