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INSTRUCTOR’S MANUALFOREXPLORETHEATRESECONDEDITIONPREPARED BYMichael M. O’HaraBall State UniversityElizabeth A. OsborneFlorida State University

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iiiTable of ContentsIntroduction..................................................................................................................6To Our Colleagues:................................................................................................................6Features of the Revel Text:...................................................................................................6Organization of the Text:......................................................................................................7Use of the Text (and this Manual):........................................................................................8Online Instruction:..............................................................................................................10Sample Syllabus........................................................................................................111THEAT 100 INTRODUCTION TO THEATRE...........................................................................111Course and Instructor Information:...................................................................................111Course Rationale:...............................................................................................................111Course Description:............................................................................................................122General Education Course Objectives: Overall Goals........................................................122General Education Objectives: Humanities and Fine Arts.................................................133Course Content andFormat:.............................................................................................144Course Policies and Procedures:........................................................................................144Content, Readings, and Methods of Teaching:..................................................................166Class Calendar:...................................................................................................................166Explanation of How Methods Especially Relate to UCC/Gen Ed Goals:............................188Special Methods for Evaluating Student Performance......................................................188Evaluation of the Course:.....................................................................................................20Chapter One: What Is Performance?..........................................................................211Contents andLearning Objectives.......................................................................................21Key Concepts....................................................................................................................222Key Objectivesand Topics.................................................................................................222Essay/Discussion Questions..............................................................................................244Activities..........................................................................................................................244Ch. 01. Quiz Questions.....................................................................................................255Chapter Two: The Text..............................................................................................277Contents and Learning Objectives.....................................................................................277Key Concepts......................................................................................................................28Key Objectives and Topics...................................................................................................28Essay/Discussion Questions................................................................................................30Activities............................................................................................................................30Ch. 02. Quiz Questions.......................................................................................................31Chapter Three: Cultivating an Audience.......................................................................34Contents and Learning Objectives.......................................................................................34Key Concepts....................................................................................................................355Key Objectives and Topics...................................................................................................35Essay/Discussion Questions................................................................................................38Activities............................................................................................................................38Ch. 03. Quiz Questions.......................................................................................................39Chapter Four: Where Can Performance Be Done?......................................................411Contents and Learning Objectives.......................................................................................41

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ivKey Concepts......................................................................................................................42Key Objectives and Topics...................................................................................................42Essay/Discussion Questions................................................................................................45Activities............................................................................................................................45Chapter Five: Playwrights............................................................................................47Content and Learning Objectives.........................................................................................47Key Concepts......................................................................................................................47Key Objectives and Topics...................................................................................................48Essay/Discussion Questions................................................................................................48Activities............................................................................................................................49Ch. 05. Quiz Questions.......................................................................................................49Chapter Six: Directors................................................................................................511Contents and Learning Objectives.....................................................................................511Key Concepts......................................................................................................................53Key Objectives and Topics...................................................................................................53Essay/Discussion Questions................................................................................................55Activities............................................................................................................................55Ch. 06. Quiz Questions.......................................................................................................56Chapter Seven: Scenic Designers and Costume Designers............................................59Contents and Learning Objectives.......................................................................................59Key Concepts......................................................................................................................59Key Objectives and Topics...................................................................................................60Essay/Discussion Questions................................................................................................61Activities............................................................................................................................62Ch. 07. Quiz Questions.......................................................................................................62Chapter Eight: Lighting Designers, Sound Designers, and Technical Production............66Contents and Learning Objectives.......................................................................................66Key Concepts......................................................................................................................66Key Objectives and Topics...................................................................................................67Essay/Discussion Questions................................................................................................68Activities............................................................................................................................69Ch. 08. Quiz Questions.......................................................................................................69Chapter Nine: Actors...................................................................................................71Contents andLearning Objectives.......................................................................................71Key Concepts......................................................................................................................73Key Objectives and Topics...................................................................................................73Essay/Discussion Questions................................................................................................75Activities............................................................................................................................75Ch. 09. Quiz Questions.......................................................................................................76Chapter Ten: The Play.................................................................................................78Contents and Learning Objectives.......................................................................................78Key Concepts......................................................................................................................79Key Objectives and Topics...................................................................................................79Essay/Discussion Questions................................................................................................82Activities............................................................................................................................82

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

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6IntroductionTo Our Colleagues:Thank you for choosingExplore Theatre, the first all-digital, electronic textbook fortheatre offered by Pearson Education.We are particularly gratified to be moving into asecond edition, and some of the changes are based onthe feedback we received on thefirst edition.Instructorshave used thecontentinbothonlineand in-person classroomsettings, and with a wide variety of teaching styles and approaches. This Instructor'sManualsharessome ways in which thetexthas beenused and offers strategies for bothonlineand in-person pedagogies. Wecontinue to encourage users to share what works,and more importantly, whatdoesnot.Michael M. O'HaraElizabeth A. OsborneJudith A.SebestaBall State UniversityFlorida State UniversityIndependentScholarFeatures of theRevelText:As we state in the Preface, thiscontentis unique in many ways. First and foremost, thistext was not developed first as a printedbook, and then ported over into a digital layout.From the beginning, we have tried to incorporate the strengths and opportunitiesprovided by a digital format into all areas. Another innovation is that we attempt toshow the nourishment of many forms of contemporary storytelling by the deep roots oflive theatre, and to demonstrate that the people who create such stories are but brancheson a larger family tree. By this, we hope to help students become more thoughtful andinformed viewers of any form of dramatic storytelling. We also hope that digitallynative students, particularly the non-theatremajor who is this work's intended audience,might come to know the special powers of live performance, and to use that newappreciationto understand the intellectual andcreative process that should serve asfoundational for all performances, including those that proliferateon the Internet.There are several important benefits to thiscontent. Because the text is electronic, itslower reproductionanddistribution costsbenefit students. Because the text ishostedthrough a dedicated system with no special technical needsrather than a specializedpiece of soft or hardware, it is accessible to anyone with an Internet connection.Becausethe text is in a media rich environment, rich media brings the many facets of theatre tolife, including recorded examples of theatrethat are embeddedwithin the text itself,rather thanincurringadditional costs, clicks, or the possibility that vital clips have beenremoved from YouTubethe day before they are needed in class!Because the text isinternallyhyperlinked, neither readers nor instructors should feelthe needtofollow arigid,linear path through thecontent.Cross references take readers instantly from onepart of thetextto anotherand additional urls suggest potential explorations beyond thetextitself. We hope each of these benefits willempower students and professors toexplore the wonders of live theatre in a way that can be shaped to individual and

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7institutional needs and interests.Organization of the Text:Although the text can be accessed from several directions, there is nevertheless anorganization that may be useful. We will explain the current organization and then offeran alternative, as but one example ofhow this text might be adapted for use in your class.The first four chapters (1–4) explore the nature of performance itself: what constitutesdifferent kinds of performance events, how does a text guide such performances, how arethese performances tobeprocessed, and under what circumstances might suchperformances occur? The next five chapters (5–9) explore the people who create theatreand offer examples of both their artistic work and the challenges and rewards that livingan "artistic" life offer. The finalfivechapters (10–14) explore the specific artifacts ofdramatic storytelling, starting with the script itself and then followed by a recorded(mediatized) version of that original script with documentary footage of each of themajor processes (rehearsals, technical/dress rehearsals, and performances) the productionunderwent. Chapter 12 explores the culturally important form of Musical Theatre,offering both a brief historical overview and a detailed breakdown of the structure of thisart form, 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 exploreshow film must approach dramatic storytelling in ways that are sometimes the same, andsometimes not, as live theatre. The final chapter offers an overview of some of thepopular entertainments that have influenced or been influenced by live theatre.We commissionedTwo-Character Play,anoriginal work by Chris White, for this textinthehope that the play wouldserve asa touchstone for exploration, discussion, dissention,and discovery. The script deliberately plays with the notion of a live play, and whilethere is a narrative within the play (which formed the spine of the film versionof thisscript), the play is itself anti-narrative. We hope that instructors might use the play andthe film adapted from it as opportunities to help the students explore their experiencesand expectations of textual and cultural authority, narrative closure, the role of thecontemporary audience, and even the role of education itself.We hope that classroomdiscussions springing from these works might be guided by the spirit of bell hooks'Teaching to Transgress: Education as the Practice of Freedom. We seek not to fillstudents' minds, primarily,but rather to open them.Our work benefited from the comments and suggestions of many thoughtful reviewers.One of theseblind reviewers suggested another organizational sequence that instructorsmight use to go through thecontent(original chapternumbers noted in parentheses):Unit I: Theatre is anEvent 1: What isPerformance? (1)

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82: Popular Entertainments (14)3: The Text (2)4: The Play (10)5: Musical Theatre (12)6: Where Can Performances Be Done? (4)Unit II:Theatre is Created and Consumed by People7: Playwrights (5)8: Actors (9)9: Directors (6)10: Scenic and Costume Designers (7)11: Lighting Design, Sound Design, and TechnicalProduction (8) 12:Cultivating an Audience(3)Appendices:1: Backstage atTwo CharacterPlay(11) 2: The Film (13)We were tempted to adopt this organization in the second edition, but ultimately decidedto keep the original flowto the text. Wecontinue to believe thatthis suggestionwas suchagood 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 materialsare readily accessiblevia the Internet, which has its challenges, certainly, but many benefits as well.Thismanual, along with the Test BankWord filesandMyTest electronic files,isavailable inPearson’s Instructor’s Resource Center.We have also incorporated interactive activitieswithin each chapter, encouraging students to test their comprehension with short quizzesafter each learning module and challenging them with writing activities to engage themin critical thinking about the content. Manyof these activities can be chosen—or notchosen—by instructors as they consider what fits their courses best. We hope thisabilityto harvest exercises, discussion questions, essay questions, and other activities will be aconvenience to instructors.Although thetextincludes media rich resources, including an original film, we believethat live theatre is the foundation for all these. Thus,any use of this text should featurelive theatre that instructors use to expand, enliven, and contextualize the vocabulary,terms, history, and concepts that the students study. Thecontentlays a foundation uponwhich instructors should build relevant classroom oronlinediscussions, debates,lectures, and other activities that link thetextto the theatrical work students see (orengage in) for themselves.We offer many specific suggestions within the chaptersthemselves.Each chapter includes the following 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 easyto assign sections of chapters, if needed)●Writing Prompts●InteractiveMediaLearningExercises●Key Concepts●Key Ideas and Summaries●Suggested Films (where applicable)●Glossary●Essay/Discussion Questions●Student Learning Activities●PracticeTests at the end of each Module and Chapter (so that students can self-assess their comprehension andretention)Although the practice quizzes included in the textbook are not meant to be "secure," theyare nevertheless one source for assessing student learning. For example, you can use thatinformation to focus class time on ideas and concepts with whichstudents are havingdifficulty (or ignoring), rather than summarizing the entire chapter.More securelydelivered quizzes, from the Instructor's Test Bank, can be used with greater confidencein the same way to shape the next day's class activities.Thetext also includesvideos, graphs, and appendices that can be used for classroomactivities. Easily adaptable ones include:the appendices in Chapter 2("The Text")foranalyzing scripts (both plays and mediated performances, e.g., film, TV, Internet);Video5.5, a challenge by New York playwright Thomas Bradshaw on who should become aplaywright;and two additional performance videos,The Pedlar, a full-length historicplay from 19thcentury America, andLift, a full-length contemporary (2016) “devisedtheatrical work” that addresses issues and ideas Millennials often face.

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10Online Instruction:Online instruction can be beneficial to many learners, particularly non-traditionalstudents with families or jobs that prevent them from easily attending regular classes. Ingeneral, we have found that the more personal theonlinecourse allows the learning tobe, the more successful the learning actually is. One approach is to design a three-phaseapproach to eachmoduleor chapter. These phases follow this general pattern:●Phase I: read text and takeonlinequiz●Phase II: apply thatinformation to authentic activity in their lives●Phase III: assess their experience and knowledge in a short, formalessay that demonstrates judgmentor critical thinkingThis process follows the recursive model for learning developed by the CarnegieFoundation for the Advancement of Teaching: experience to information to knowledgeto judgment. The last step, action, might be a Phase IV project, but one that is likelybeyond the scope of most introduction to theatre classes.To give one example of how thisprocess might work, students reading Chapter 6,Directors, would read the text and take anonlineassessment on that chapter, such as theone on the web site. (We often have allowed students to take these quizzes "open book"or without otherwise proctoring these assessments, mostly because we rely onsubsequent phases to demonstrate the learning outcomes we seek.)In PhaseII, onlinestudents see a live theatrical production at their local high school, community theatre,college, or regional theatre. In PhaseIII, students write a short essay or participate in anonline 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, worshipful, or somewhere in between? Why?•How would you state the director’s production concept for the production? Howdid that concept manifest (or fail to manifest) in the production’s design elements(costumes, set, lighting, or sound)?We havegenerally found it defensible to require off-campus students to see the samenumber of live shows that on-campus students are required to see. Each of the requiredshows are assessed through a formal essay that ranged from 900 to 1500 words,orthrough aninteractive online discussion board that requires students to engage theirclassmates in discussion about what they saw and what that meant to them. Theseassignments could be in addition to or replace longer writing prompts that are providedhere in the textbook 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, orother factors.Additional help can be sought from the authors themselves. Feel free to email MichaelO'Hara orElizabeth Osbornewith comments, questions, suggestions, or praise atmohara@bsu.eduorbosborne@fsu.edu.

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11Sample SyllabusTHEAT 100INTRODUCTION TO THEATRECourse and Instructor Information:Include Course Number and Title, Section Number, Meeting Days, Time, RoomNumber, 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 courseadaptations or accommodations because of a disability, or if an emergency medicalsituation should be shared, or if special arrangements must be made in case of thebuilding 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) thatfocuses on cultural, aesthetic, and humanistic facets of theatre as exemplified in itsliterature, history, and contemporary performance. By requiring the reading of plays,attendance at live theatre productions,and group project/exercises, the course aims atdeveloping critical skills that will empower students to identify and communicate theirjudgments 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 intellectual skills to theperformance they witness.Rather than writing that "the play had good acting," THEAT100 students should be able to write, "The actors in the play were successful in X, Y, andZ ways." From this critical perspective, students are not passive receptors but ratherbecome an informed audience. This course, therefore, requires students to respond toperformances in many ways, moving from experience to information to knowledge andfinally to judgment.The cultural heritage containedwithin theatre's long and diverse history is perhaps oneof the best ways in which students can encounter problems and issues that differentpeoples and cultures faced throughout time. Because theatre has historically existed atthe center of its respective culture, the study of theatre plunges students into a widevariety of cultures and historical periods. This course requires that students read and/orsee plays that confront societal and aesthetic issues, and accordingly, students will thuslearn about the moral, religious, political, and social norms of such societies so that thecontext of the plays’meanings can be understood.More importantly, these same issues and questions can be applied with equal vigor to

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12our contemporary society. Indeed, in Aeschylus'Oresteia, we find the seeds of our ownjustice system, while in Sophocles'Oedipus Rex, students can discover how classicalGreece wrestled with the questions of conflicting duties to self, to the state, and to thegods. Similarly, Moliere wrote about religious charlatanism in seventeenth centuryFrance, an issue that is still prominent today. Other cultures have asked these questionsand others, and by drawing upon the considerable cultural knowledge within drama,students can gain insight into the problems and possible solutions that we all face.Class discussions of each play read or viewed explore the aesthetic qualities of the scriptand promote an awareness of and a respect for the varied opinions offered by both thestudents and the literatureitself. Such exposure provides students with the tools bywhich they can assess their personal interests and values both during the course and inthe years to come.Finally, because theatre is a live performance event, it is always "about" itscontemporary 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 contemporarymakers—writers, actors, scenic artists, costume artists, directors, lighting artists, specialeffects artists, technicians, etc. Theatre, therefore, is a powerful entry into thehumanistic search for beauty, value, and understanding. By understanding the many artsthat contribute to theatrical performance, students gain a foothold upon wide expanse ofartistic expression.Course Description:THEAT 100: A University Core Curriculum course, that, through a variety of activitiesincluding reading and watching a range of plays from the ancient Greeks throughcontemporary times and discussion of the theatrical, historical, and social elements thathelped to shape them, offers an extensive introduction to the understanding andappreciation of the many aspects of theatrical creativity.(3 hours credit)General EducationCourse Objectives: Overall GoalsUpon completion of THEAT 100, students should accomplish the following objectives:1.Recognize the benefits and possibilities for continued cultural engagementthroughout their lives through their exposure to the theatrical arts in this course'sclassroom activities and their participation as an audience member or practitionerin 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 indramatic literature and contemporary theatre, and by drawing parallels betweentheatre's past and present practicesandtheir contemporary culture.

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134.Increase their sensitivity to the values of others through their exposure todiverse opinions in both the theatre they read and see and in the classdiscussions about those issues.5.Develop skills in problem recognition through class lectures, discussions, andprojects that highlight problems of living faced in both historical eras andcontemporary society as such problems are expressed and explored in drama.6.Develop skills in problem solving through their own analysis of, discussionsabout, and group projects (such as in-class performance)on theatrical texts andperformances.7.Develop skills to cooperatively work in groups through their efforts in groupprojects and discussions, and participation in the social and collaborativeexperience of live theatre.8.Examine their personal interests,talents, and goals through their exposure to andpossible participation in the wide range of experiences inherent in live theatricalpresentation (such as crafting, acting, teamwork, painting, management, etc.).9.Move towards specialized learningexperiences through their writing ofcriticism, enactment of drama, participation in live theatre, or in-class groupexercises such as role-playing.General EducationObjectives: Humanitiesand Fine ArtsUpon completion of THEAT 100, students should accomplish the following additionalobjectives:1.Achieve basic understanding of theatrical performance and its position as asynthesis of many arts—playwriting, acting, directing, design, music, anddance—that allows students to understand, interpret, and evaluate creative works.2.Gain an historical and contemporary perspective upon the liberalizing role oftheatre that allows them to discern and interpret both American and worldculture as expressed in theatre.3.Engage in critical and useful participation intheatre, as either a thinkingmember of the audience, or as a participant in the art itself both during thecourse and after its completion.4.Develop aesthetic sensibilities that expand their understanding of truth, form, andbeauty.

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14CourseContent and Format:Required Materials:The individual instructor is at liberty to select the scripts that will bestudied together in the course,to cover the practitioners, the practice, and the historicaland cultural context oftheatre. Requiredprogram:Revel forExplore Theatre: ABackstage Pass, by Michael O’Hara, Elizabeth A. Osborne,and Judith Sebesta,Copyright © 2020. Required scripts: each instructor chooses individual plays, but eachclass is generally required to read a play from classicalantiquity, the Renaissance, amodern classic, and a play from contemporary theatre. Some classes also cover one ormore of the plays that University Theatre produces to tie issues of plays as literature totheir interpretation as performance.Examples include:Baraka, I.The DutchmanChurchill, C.Cloud NineFugard, A.Master Harold … and the boysHwang, H. D.M. ButterflyIbsen, H.A Doll’s HouseKushner, T.Angels in America: MillenniumApproachesMee, C.Big LoveMiller, A.Death of ASalesmanMoliereTartuffeNorman, M.Getting OutNottage, L.Intimate ApparelParks, S.Topdog/UnderdogShaw, G. B.PygmalionorSaint JoanShepard, S.True WestSophoclesOedipus the KingSoyinka, W.Death and the King’s HorsemanVogel, P.How I Learned to DriveWilson, A.FencesorThe Piano LessonTheatre Attendance:Students areREQUIREDto attend all University Theatreproductions each semester.The shows are listed for students and box office proceduresareexplained.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 aswell, and these experiences are often available as extra credit opportunities or aspossibilities for the graded critique (depending upon individual instructors).Course Policies andProcedures:Each instructor makes individual changes and modifications to these policy guidelinesspecific to each class type (large lecture hall,night class, etc.).

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15Attendance:The Department of Theatre and Dance has an official attendance policy towhich this course subscribes.Regular attendance is strongly encouraged,and allstudents are responsible for any information discussed during lecture. Students areallowed to miss up to one week's worth of classes with no penalty. After that quota hasbeen reached (three classes, for example, for a MWF class), students receive a penaltyfor each additional absence. Exceptions are made for absences caused by officialuniversity business (such as athletic participation, field trips, etc.).Individual instructorsmay make exceptions on an individual basis.Classroom decorum:Inorder to facilitate a positive learning environment for allstudents, an adult level of mutual respect and decorum is enforced. Hate speech andother forms of disrespect are not tolerated. Excessive talking or other distractingbehavior,such as leaving during class time (except in the case of an emergency),is notallowed. If students must leave class, they are asked to speak to the instructor prior tothe beginning of class and then sit near a door.Writing:All people need to communicate effectively. Theatre, in particular, is aboutthe creation, transmission, and apprehension of meaning.The assignments, thoughshort, requirecareful organization, clear expository writing, and acceptable scholarlycitation. Students are expected to know and understand amethod of scholarly citation(MLA, Chicago Manual of Style, APA, etc.). If students do not own such a guide forwriting, we strongly suggest that they get one. Manuscript guides, of course, are at thereference desk in Bracken Library. All students must complete at least ONE critiqueon 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 thetaking of someone else's ideas, sentences, and/or words and using them as one's own.Students will be dismissed from class and receive a failing grade for any act ofplagiarism.Group Project:Each instructor develops and assigns group projects specifically gearedtoward the individual circumstances of each class. For example, a night class typicallyhas more non-traditional learners than day classes and therefore requires different groupprojects.Additionally, the large lecture class (200+) requires shorter and less complicated groupprojects than do sections of thirtystudents. Group projects allow individuals to workcooperatively and collaboratively with others to accomplish goals such as in-classperformances, role-playing, design efforts, or others. The projects allow students toengage in active, hands-on learningand develop self-confidence, self-expression, andsensitivity to others. The grading criteria are different among instructors,but most focusupon the successful completion of the task rather than a qualitative evaluation of theresult.Exams:Individualinstructors determine the content, length, and frequency of exams.Typically, two or three objective exams are given during the semester. Each examnormally contains objective questions (True/False, multiple choice, matching, etc.), andoften in the caseof the smaller classes, subjective questions as well, that cover the

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16assigned reading (text and plays), the productions viewed, and the material presented inclass.Grading policy:All work is due at the beginning of class on the day noted. All late workwill be lowered a full letter grade. Incompletes are given only in the most extremecircumstances, which does not include the sudden discovery in the 14th week that a studentis failing this class.Extra Credit:Extra credit is offered at thediscretion of each instructor.Typically,students may earn up to 6% of their final grade by viewing and then writing about liveperformances that have been PRE-approved by the instructor. Proof, such as a ticketstub, must be attached to the critique to receive credit. All productions given by theMuncie Civic Theatre are eligible, for example. Students may also earn extra credit ifthey are cast in,or work in any capacity for,a University Theatre production.Content,Readings, andMethods ofTeaching:The methods of instruction vary from instructor to instructor (and class size to classsize). Each share the following in common, however: reading of assigned text and plays,self-directed learning through participation in live theatre (either asaudience orparticipant or both), classroom activities (group work or projects), watching video tapesof past theatrical presentations, and lectures mixed with class discussion.ClassCalendar:The calendar varies from semester to semester (one week longer in the fall), andinstructors cover the material at their own pace. Rather than repeat or reinforceinformation in the textbook, classroom activities, discussions, and lectures should seekto provide authentic, contemporary case studies, experiential learning, and discussionsof relevant applications of the knowledge learned from the text.One suggested calendarfollows:Week OneIntroduction; syllabus; course requirements; "What isPerformance," (definitions, characteristics, contexts, theatre aslife, theatre as art, current issues in art and life, theatre as socialart, social audience, audience behaviors, current issues foraudiences).Week Two"How to Read a Script," (preliminary analysis, Aristotle'sPoetics, genres, organizing a response, current issues fordramatists). Students often read one of the scripts assigned to theclass for this week.Week Three"How to See a Play," (what is an audience, the audiencethroughout history, preliminary preparation, performance analysis,mediation and mediators, organizing your own response, currentissues for audiences, dramatic materials in mediatized formats).

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