History & Theory

This hybrid seminar focuses on American contemporary playwrights who have made a significant and commercial impact with regard to dramatic form in the past 20 years. Playwrights will include, Tracy Letts, Annie Baker, Lynn Nottage, Quiara Alegria Hudes, Ayad Akhtar, and Amy Herzog. Textual analysis is consistently oriented towards staging, design, and cultural relevancies. Work for the course will include research papers, presentations, and scene work.

This course will examine what happens to the American Family Drama on stage when the 'family' is queer. Working in dialogue with a current production at Court Theatre, we will move beyond describing surface representations into an exploration of how queering the family implicates narrative, plot, character, formal conventions, aesthetics and production conditions (e.g. casting, venues, audiences, marketing and critical reception). Texts will include theatrical plays and musicals, recorded and live productions, and queer performance theory. This course will be a combined seminar and studio, inviting students to investigate through readings, discussion, staging experiments, and a choice of either a final paper or artistic project.

“Love and Song: Underexamined Affairs” will take some less traveled paths on the otherwise well-traveled ground whereon song has long been married to love. We will begin with the courtly Provencal love song cultivated by Petrarchans in late medieval and early modern Europe as foundational to amorous tropes for suffering lyrically. From there we will quickly move to lyric in the age of capitalism, technology, and contemporary geopolitics, considering (among others): Nancy J. Vickers’s writings on Petrarch in the video decade, James Baldwin’s theory of love, music, and “the beat”; Martin Stokes’s work on intimate Turkish publics; Dafni Tragaki’s writings on atmospheres and the postpolitical in Greek popular song and rebetiko; Kara Keeling’s theories about love, errantry, and the refrain; and my own work on the unsentimental, together with other writings that tie love song to citizenship, abjection, madness, and histrionics. In addition to the writers named above, we will read from Eve Kosofsky Sedgwick, Lauren Berlant, John Freccero, Josh Kun, Roland Barthes, Alain Badiou, Fred Moten, Elizabeth Povinelli, David Hesmondhalgh, and Eric Lott. We will also build our own collective shared archive of love songs complementing our readings and listenings.

This seminar is open to graduate students from all disciplines. Students will write final seminar papers of circa 15-20 pp., drawing on their own skills and interests relevant to the seminar.

This course aims to introduce students to various musical and performance traditions in South Asia and their evolution within regimes of institutional, legal and media censorship. The course aims to understand how media environments and cultures of censorship are in some ways fundamental to shaping performance cultures in South Asia in the twentieth century. How do traditions of musical performance entrenched in the politics of caste, communalism, religion, sexuality and gender interact with regimes of censorship and new media? How do the latter remake and unmake said traditions? Be it the mid-century ban on film music by All India Radio to reflect the aspirations of a newly-emerging nation or the appropriation and urbanization of 'folk' musical practices within the recording studios in Nepal by upper-caste, upper-class male performers- censorship and media infrastructures have been integral to the current ontologies of diverse musical genres in South Asia. Through the analysis of a variety of primary and secondary texts on performance and musical aesthetics, media and music ethnographies, reception and production histories as well as critical listening/viewing exercises, this course seeks to complicate mainstream Euro-American narratives that tend to posit media-modernities as global and uniform. We will seek to understand how South Asian musical cultures and sound practices enter into a creative interplay with musical discourses and media-materialities emerging in the West.

In this course, we will delve into the world of contemporary Francophone theater, focusing on the genre of solo performances, or "seules en scène''. We will examine the lineage, history, and practice of this genre, with a special emphasis on feminist playwrights and performers, such as Typhaine D, Jalila Baccar, Fanny Cabon, and Florence Foresti.

We will study the underlying components of solo performances and learn how to integrate them into different modes, including storytelling, one-woman or one-man shows, and standup. The selected plays will illustrate how the art of the solo voice can empower under-represented communities and minorities to share powerful narratives and create a new space for visibility and listening.

The class will combine history, practice, and creative writing, and will afford students the opportunity to apply this knowledge in a series of live performances that will allow them to creatively connect to the issues raised in the readings and draw from their own experiences, inspirations, and questions.

Students will develop creative and critical tools to fully explore the solo voice as a form of artistic expression, honing their talents in writing, devising, composing, producing, and creating work. Performance recordings will be obtained and shared with the class to further enhance the learning experience. One of the unique opportunities of this course is the opportunity to work with texts obtained directly from the playwrights.

Class will be conducted in English with a separate discussion section available for students seeking credit for the major/minor. Readings will be in French and in English.

What is performance? How has it been used in Latin America and the Caribbean? This course is an introduction to theatre and performance in Latin America and the Caribbean that will examine the intersection of performance and social life. While we will place particular emphasis on performance art, we will examine some theatrical works. We ask: how have embodied practice, theatre and visual art been used to negotiate ideologies of race, gender and sexuality? What is the role of performance in relation to systems of power? How has it negotiated dictatorship, military rule, and social memory? Ultimately, the aim of this course is to give students an overview of Latin American performance including blackface performance, indigenous performance, as well as performance and activism.

Molière crafted a new form of satirical comedy that revolutionized European theater, though it encountered strong opposition from powerful institutions. We will read the plays in the context of the literary and dramatic traditions that Molière reworked (farce, commedia dell'arte, Latin comedy, Spanish Golden Age theater, satiric poetry, the novel), while considering the relationship of laughter to social norms, as well as the performance practices and life of theater in Molière's day. Taught in French.

This course is an exploration of concepts of the wonderous and marvelous in Japanese literature and performance up to 1900. Primary texts and materials will include setsuwa collections, such as the Nihon ryoiki and Konjaku monogatari, poetry and poetics, late Heian monogatari, early modern travel fiction, theater, and encyclopedias.We will also consider theater's engagement with the spacial and embodied aspects of wonder through noh performance and theory, spectacle shows and circuses, exhibitions and worlds fairs, the operating theater and the human body. Alongside these primary texts and performances, we will survey recent scholarship on the history of wonder and marvel, considering along the way theories of fictionality, theatricality, affect and the senses, "objective agency" and the stage prop, and intersections between science, medicine, and the ludic.
Readings will be available in English and no prior coursework in Japanese literature or history is required.

This class on Sophocles’ Antigone will be held in lockstep with the upcoming production of the play at the Court Theatre, which will allow us to think about the construction of the play and its performance, both in its original setting and each time it is adapted and staged. We will attend rehearsals and talk to the director, crew and performers of the play as the play takes shape. We will also attend the production. Readings will include Antigone by Sophocles, as well as adaptions and theory on the play. Greek is not required for the class, but those who have it will be asked to read some passages in the original language.