Class: Thursday, July 17

10:00
read Victor Lodato's The Great Father
dramaturg's vs. actor's response to this text
intrinsic vs. extrinsic criticism
author's intention and "intentional fallacy"
11:00
continue working on Week 2 assignments

Non-Traditional Casting

Actors' Equity and Inclusion: Document of Principle

We, Actors’ Equity Association, the Casting Society of America, the Dramatists Guild, the League of American Theatres and Producers, and the Society of Stage Directors and Choreographers, endorse the goals of diversity, inclusion, and the principles of equal opportunity for all who work in the theatre industry; and condemn racism, prejudice, discrimination and exclusion in the theatre.

To these ends, we encourage employment and production opportunities in all theatrical disciplines and areas of theatrical production to include persons of every race, color, culture, age, gender, physical disability and sexual orientation, thereby achieving a theatre industry, both on and off stage, that reflects the full diversity of American society.

While we recognize that there can be no interference with the artistic integrity or contractual rights of the author, director, or choreographer, we urge all members of the theatre community to challenge traditional stereotypes. We acknowledge that the growth and vitality of our industry is dependent upon the inclusion of diverse voices and impulses in writing, hiring, casting, directing and producing. This statement signifies our coming together around the principles of equality, diversity and inclusion. In so doing, we acknowledge our commitment to see that these principles are furthered for the betterment of the professional theatre.
Formally adopted Fall, 1995, by the respective boards and councils of the five participating unions, guilds, and trade associations.
http://www.actorsequity.org/benefits/DocOfPrinciple.asp

Class: Wednesday, July 16

10:00
legal considerations: copyrights, licenses, royalties, recent legal cases
11:00
continue working on Week 2 assignments

Class: Tuesday, July 15

10:00
various translations of Lysistrata
which would we select and produce here at SHSU?
11:00
continue working on Week 2 assignments

Class: Monday, July 14

10:00
tour of library using handout on LOC classification
stacks, microforms, reference materials, music collection
11:00
work on Week 2 assignments
select and have Dave approve individual play title

Graduate Programs?

Here are the schools you presented along with my findings:

Brooklyn College (Brooklyn, New York)
MFA in Dramaturgy
California State-Long Beach (Long Beach, California)
no related, graduate degree
Concordia University (Montreal, Canada)
no related, graduate degree
DePaul University (Chicago, Illinois)
no related, graduate degree
Florida State University (Tallahassee, Florida)
no related, graduate degree
Hunter College (New York City, New York)
MA in Theatre (with study in dramaturgy)
Indiana University (Bloomington, Indiana)
no related, graduate degree
Kent State University (Kent, Ohio)
no related, graduate degree
Mary Baldwin College (Staunton, Virginia)
Master of Letters with Emphasis in Dramaturgy
Ohio State University (Columbus, Ohio)
PhD in Theatre (with a “supporting program” in dramaturgy)
Roosevelt University (Chicago, Illinois)
no related, graduate degree
Texas State University (San Marcos, Texas)
MA in Theatre History and Criticism (may “specialize” in dramaturgy)
Towson State University (Towson, Maryland)
MFA in Theatre (flexible, non-specific)
University of Alabama (Tuscaloosa, Alabama)
no related, graduate degree
University of Birmingham (Birmingham, England)
MPhil in Dramaturgy
University of British Columbia (Vancouver, Canada)
MA and PhD in Theatre (accommodating students with research interests in dramaturgy)
University of Glasgow (Glasgow, Scotland)
MLitt in Dramaturgy and Playwriting
University of Hull (Hull, England)
no related, graduate degree
University of Iowa (Iowa City, Iowa)
MFA in Dramaturgy
University of Kent (Kent, England)
MA in Performance Practice with Specialization in Theatre Dramaturgy
University of Michigan (Ann Arbor, Michigan)
no related, graduate degree
University of Ottawa (Ottawa, Canada)
MA in Theatre (Theatre Theory and Dramaturgy)
University of Pennsylvania (Philadelphia, Pennsylvania)
no related, graduate degree
University of Washington (Seattle, Washington)
PhD in Theatre (dramaturgy is studied)
University of York (Toronto, Canada)
MFA in Dance with Specialization in Dance Dramaturgy
Virginia Commonwealth University (Richmond, Virginia)
MFA in Dramatic Literature and Dramaturgy
Wayne State University (Detroit, Michigan)
PhD in Theatre for Scholar-Directors (dramaturgy is studied)

WEEK 2 ASSIGNMENTS

due by noon on Friday, July 18

The Facts: Basics (5%)
Title
Author(s)
Language/Translator(s)
Year of Original Publication
Genre/Length/Structure
Agency Controlling License
Royalty Fee(s)
Cast Breakdown (M/F)
Time and Setting
Brief Bio of Author(s) (with citation if copied)
Brief Plot Summary (with citation if copied)

The Facts: Exegesis (5%)
Identify and define 20 total “unknowns” in your script including at least one item from each of the following categories:
-- geographic settings, locations, buildings, streets
--cultural references: furniture, clothing, styles of architecture and music
--real people, names, and pronunciation
--archaic or foreign words and phrases
--idiomatic language (slang)

The Facts: Characters and Casting (5%)
Provide a complete character list including essential information provided or inferred by the script: character’s name, sex, age, race/ethnicity, important relationship info.
Example: Hamlet, male, university student (age), Danish, son of now dead King Hamlet

In your own words, write a paragraph or two about non-traditional casting and these characters. (May certain characters be played by actors whose sex or race/ethnicity differs from the author’s apparent original intention? Yes, this is somewhat subjective.)