Upon completion of this course, students will achieve not only 
a high degree of cultural literacy on the subject of modern 
theatre history, but also will become familiar with the 
methodology of historians.  Historians in the postmodern age 
are being compelled to re-address the basic assumptions of 
their discipline:  how (and why) do we study, research, read, 
and write history?  In this course, students will learn to 
think critically about the problems of linear, narrative 
historiography.  Students will make fresh connections between 
various movements and legacies outside of the chronological 
framework and will subject their textbook to the same 
methodical scrutiny that historians give to primary sources.

1.  18th Century Theatre According to Brockett
a.  Restoration Comedy
b.  Scenic practices and innovations

2.  19th Century Theatre:  Romanticism; Popular Theatre
a.  German Romanticism, Sturm und Drang
b.  Goethe, Gottschedd, Neuber
c.  Melodrama

3.  Late 19th and Early 20th century:  Naturalism and Realism
a.  The Well-Made Play:  Scribe and Sardou
b.  Wagner
c.  Duke of Saxe-Meinegen troupe
d.  Ibsen and Chekhov
e.  Antoine and the Theatre Libre
f.  Stanislavsky and the Moscow Art Thetare
g.  Independent theatre movement

4.  Antirealism, Symbolist and Popular Theatre
a.  Jarry
b.  Symbolism, Strindberg
c.  Yeats and other poetic drama
d.  Cabaret, Music Hall and Vaudeville

5.  Expressionism and the New Stagecraft
a.  German Expressionism
b.  New Stagecraft:  Appia, Craig, and their legacy
c.  Eugene O'Neill's early plays

6.  Futurism, Dada, and Surrealism
a.  Italian Futurists
b.  Zurich and Paris Dada
c.  Breton, Cocteau, Bunuel
d.  Antonin Artaud (early)

8.  The Interwar Years:  Italy, France
a.  Theatre of the grotesque, Pirandello
b.  Antonin Artaud's Theatre of Cruelty
c.  Coupeaaaau, Jouvet

9.  German and Austrian Thetare and Drama Between the Wars
a.  Max Reinhardt
b.  Piscator and Brecht
c.  Epic theatre

10.  Interwar British, Irish and American Theatre, and Drama Between the Wars
a.  Little Theatre Movement
b.  Federal Theatre Project:  Leftist theatre
c.  Broadway, Lilian Hellman, Folk drama
d.  Old Vic, Tyrone Guthrie, National theatre, Abbey Theatre, Dublin

11.  War, Recovery, Absurdity, Anger
a.  American Musicals, Broadway
b.  English actors, Olivier, Gielgud, Evans, Redgrave, Ashcroft, Richardson etc
c.  Existentialism, Sartre, Camus
d.  Absurdism?  Genet, Ionesco
e.  Samuel Beckett

The University of Georgia has a strongly worded policy concerning academic
dishonesty.  Please refer to the University Student Handbook regarding this policy.  Violation of this policy will be reported to the appropriate university officials
for investigation and disciplinary action.