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HU Credits:
2
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
Theatre Studies
Semester:
2nd Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Omry Smith
Coordinator Office Hours:
16:30-17:30
Teaching Staff:
Dr. Omry Smith
Course/Module description:
This course will examine the various theatrical forms that evolved in the western world, from the late middle ages to the beginning of the 18th century. The evolvement of each form will be linked to key historical events, and to the specific characteristics of the culture in which the form came into being. The course will also examine the relation between the unique dramatic genres that were formed in each state and era, and the theatrical space in which they were performed. Prominent theatre artists will be introduced in a twofold manner: as conformist craftsmen who followed the conventions and fashions of their age, and as innovative artists who have changed the face of Theatre – and whose influence is still apparent today.
Course/Module aims:
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1) To introduce students to the various transmutations of the western theatre between the 10th and 18th centuries AD.
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2) To highlight the linkage between key historical-cultural processes and the theatrical conventions that were dominant in each state and era.
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3) To acquaint students with major late-medieval and early-modern theatre artists, and demonstrate their adherence to the conventions of their time on the one hand, and their creative deviation from them on the other.
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Learning outcomes - On successful completion of this module, students should be able to:
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1) Survey the prominent dramatic and theatrical forms that evolved in western Europe between the 10th and 18th centuries AD.
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2) Point at the historical-cultural processes that generated these forms.
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3) Illustrate the relation between the dramatic genres introduced in the course, and the unique theatrical spaces in which they were staged.
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4) Survey the major theatre artists introduced in this course, and illustrate the creative ways by which they have changed the face of western theatre.
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Attendance requirements(%):
0
Teaching arrangement and method of instruction:
Lecture
Course/Module Content:
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1) Introduction to Medieval Theatre. The rebirth of Theatre from the womb of the church: myth versus reality.
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2) Medieval Theatre (II): the Mystery and Miracle plays.
Reading: Quem Quaeritis?, Le Jeu d’Adam (Anonymous).
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3) Medieval Theatre (III): Morality Plays and the Psychomachia (the battle of virtues and vices in the soul).
Reading: Mankind (Anonymous), Everyman (Anonymous)
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4) Introduction to Italian Renaissance Theatre: Humanism and the “Erudite Comedy”.
Reading: The Coffer (Ludovico Ariosto)
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5) Italian Renaissance (II): the innovations of Erudite Comedy; the Italian playhouses built in the late 16th century.
Reading: La Calandria (Bernardo Dovizi)
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6) Italian Renaissance (III). The Commedia Dell’Arte: stock characters and staging.
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7) Introduction to English Renaissance Theatre. Historical background; the public playhouse and its place in the evolving city.
Reading: Doctor Faustus (Marlowe)
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8) English Renaissance Theatre (II). The free forms of English renaissance drama and its relation to the unique structure of the public theatre; the Elizabethan private theatres.
Reading: Othello (Shakespeare)
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9) English Renaissance Theatre (III). The History Play and the formation of national consciousness in late medieval and early modern England.
Reading: Henry V (Shakespeare)
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10) English Renaissance Theatre (IV). Shakespeare’s diverse prosodic patterns and their theatrical effects; the complexity and illusiveness of Shakespeare’s drama.
Reading: Much Ado About Nothing (Shakespeare)
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11) Spanish Renaissance Theatre. The rise of the public theatre in Spain’s Golden Age, and its decay during the decline of the Spanish Empire.
Reading: Life Is a Dream (Calderon)
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12) Introduction to French Neoclassical Theatre. The theatre as microcosm of political, social and cultural changes in 17th century France.
Reading: Le Cid (Corneille)
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13) French Neoclassical Theatre (II). 17th century French theatre and the neoclassical aspiration to mould and restrain Nature.
Reading: Phèdre (Racine)
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14) French Neoclassical Theatre (III). Molière and his struggle against the “the denial of Nature” of French high society.
Reading: The Imaginary Invalid (Molière), The School for Wives (Molière)
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Required Reading:
אנונימי, כלאדם, תרגום, מבוא והערות מאת עמרי סמית, בני-ברק: הוצאת הקיבוץ המאוחד, 2003. [PR 1261 E81 2003]
אריוסטו, לודוביקו, קומדיית התיבה (La Cassaria), תרגום עמרי סמית. [פרטים נוספים בשיעור]
מולייר, בית ספר לנשים, תרגום אהוד מנור, רמת-גן: הוצאת בית צבי, תשמ"ז. [1832 E31 1987]
ניתן גם לקרוא את תרגומה של לאה גולדברג (ירושלים: מוסד ביאליק, תשכ"ז).[PQ 1832 E31 1967]
____, החולה המדומה, תרגום יהושע סובול, תל אביב: הוצאת אור עם, 1990.
[PQ 1835 A2 V31 1990]
ראסין, ז'אן, פדרה, תרגום נתן אלתרמן, תל אביב: הוצאת הקיבוץ המאוחד, 1977. [PQ 1898 A21 1980]
שיקספיר, ויליאם, אותלו, תרגום דורי פרנס:
http://www.shakespeare.co.il/play.php?play&eq;othello
_______, המון רעש על לא כלום [גם: מהומה רבה על לא דבר], תרגום דורי פרנס:
http://www.shakespeare.co.il/play.php?play&eq;much-ado-about-nothing
Anonymous, Le Jeu d’Adam, translated by Lynette R. Muir, Leeds: Philosophical and Literary Society, 1970. [המחזה נמצא בתוך קובץ שליקטה חנה שקולניקוב] [PN 6120 M44 S36]
Corneille, Pierre, Le Cid, translated by Rosalie Feltenstein, New York: Barron's Educational Series, 1953. [PQ 1749 A52]
או במהדורה הבאה:
__________, The Cid, translated by Roscoe Mongan, Book Jungle, 2007.
[PQ 1745 E5 C43 2007]
או בגירסת האינטרנט של המהדורה האחרונה:
http://en.wikisource.org/wiki/The_Cid
Ethelwold (Bishop of Winchester), Quem Quaeritis?, Nagler, A. M. (ed.), A Source Book in Theatrical History, New York: Dover, 1959, pp. 39-41.
Konigson, Elie, “Religious Drama and Urban Society in France at the End of the Middle Ages”, Themes in Drama, vol. 1, 1979, pp. 23-35.
Additional Reading Material:
Grading Scheme :
Written / Oral / Practical Exam 100 %
Additional information:
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