This is a Zero Textbook Cost (ZTC) course. You will never be asked to purchase reading material for this course. Instead, all readings are linked in the Course Schedule below. If you look through the Course Schedule, you’ll quickly notice that not all of our readings are, in fact, literary or dramatic texts. We listen to music and podcasts, watch performance videos, and look at visual art, architecture, and theatrical production ephemera.

These “readings” are, with one exception, classified as Open Access.

This course is titled ‘Script and Play Analysis’ very intentionally; not all theatre, dance, or performance projects are scripted, or rely on written material, though a vast majority of the work you encounter at Hunter will.

As we move through the semester, we’ll spend time talking about the why of each week: why we study a specific artist, context, or topic; why we have a podcast instead of a blog; why the museums listed below are located in Anglophonic countries. Some of these questions may seem obvious, but are often at the heart of many of those academic -isms.

My hope is to spend time throughout the semester thinking about the way Open Access syllabi can invite us to think more imaginatively about research, artistic practice, the discipline, and the canon. How many of these artists, writers, and thinkers have you encountered before? What do we gain or lose in this version of Play and Script Analysis?

What else should we study? Two weeks of readings on the below schedule are left blank. This is because I want you to give me suggestions: what do you want to read, watch, or think about? Fill out this form, titled “recommend a play:” anonymous, and completely open for your ideas and thoughts.

My commitment: Please fill out this survey if you need help accessing print copies of our readings, or have other questions/comments about the materials.

Class Dates TBA	Assignments Due	Reading, Listening, Viewing
	If you haven’t yet, fill out the “recommend a play” Google Form.	WYNC’s “Amiri Baraka Reads ‘The Revolutionary Theatre.'” Amiri Baraka/LeRoi Jones reading the essay ‘The Revolutionary Theatre’. Marx and Engels, The Communist Manifesto (1888 edition).
	If you haven’t yet, fill out the “recommend a play” Google Form. Introductory Essay due	Amiri Baraka, Dutchman. Penumbra Theatre Company 1992 playbill for Dutchman. Chelsea Theatre Center, press release on Baraka’s Slave Ship.
	Group Glossary Post 1 due	Rabindranath Tagore, Chitra. Victoria & Albert Museum, “Rabindranath Tagore: Poet and Painter.“
		TBA/You tell me!: fill out the “recommend a play” Google Form. Ashmolean Museum, essay on Victorian era fashion.
	Provenance Short Essay 1 due	Henrik Ibsen, Hedda Gabler, translated by Edmund Gosse and William Archer (pages 7-38). Building history of the Munich Residence Theatre, where Hedda Gabler premiered. Edvard Munch, The Scream.
	Make an office hours appointment to discuss your final project.	Henrik Ibsen, Hedda Gabler, translated by Gosse and Archer (pages 38-67). Event Announcement, University of Cape Town, “Hedda Gabler showing at the Baxter – with a twist.“
	Provenance Short Essay 2 due	Henrik Ibsen, Hedda Gabler, Gosse and Archer (pages 69-80). The Korean Herald, “Two Hedda Gabler productions in May“.
	Group Glossary Post 2 due	Sara Ahmed, “Define Women! And Other Patriarchal Instructions.” Nicholas Shannon Savard with Joshua Bastian Cole, podcast: “Gender Euphoria: Season 1 Episode 1”
	Project Proposal due	Anonymous (credited as Aeschylus), Prometheus Bound.
	Provenance Short Essay 3 due	The Combahee River Collective, “The Combahee River Collective Statement.”
	Group Glossary Post 3 due	TBA/You tell me!: fill out the “recommend a play” Google Form.
	Make an office hours appointment to discuss your final project.	Adrienne Kennedy, Funnyhouse of a Negro and “On the Writing of Funnyhouse of a Negro” (pages 11-29). 1964 costume design sketches for a production of Funnyhouse.
	Presentations in class.	n/a
	Presentations in class.	n/a
	Final Project due December 15.	n/a

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