Further Studies in Drama 2013/2014

Fakultas Ilmu Budaya Universitas Padjadjaran
Program Studi Sastra Inggris
Semester Genap Tahun Akademik 2013/2014
Further Studies in Drama
Senin, 14.20-16.00, C2.03

Ari J. Adipurwawidjana (adipurwawidjana@mail.unpad.ac.id)

Phone: 022-779-0212 (Office), 022-753-3278 (Home), 087822118131 (Cell)



I. Course Description

This course covers discussions on the theory and practice of contemporary dramatic performance, particularly that which is delivered in English, to look into the exchanges (in economic, political, and cultural conditions and discourses) that take place both as the events presented in the play (as represented by the dramatic text) and in and around the performance as well as the exchanges that occur when the text on paper or the computer screen is transformed into a staged performance, from the written and virtual into the oral, physical, and real. Therefore, this course will also explore the potentials that the material reality of the human body holds and how it interacts with the physical space it occupies. It will also explore the ways in which conventional dramatic elements (i.e. by Aristotelian standards) are modified in contemporary drama particularly drawing on the principles of the Theatre of the Absurd, the Theatre of Cruelty, and the Theatre of the Oppressed. Thus, by the end of the semester students will be expected to have the ability to


  1. Generally explain the socio-cultural significance and function of cultural performance in general and dramatic texts in particular as well as indicate the kinds of exchanges, interactions, and transactions as well as illusions, partitions, representations, and the dismantling thereof presented by and in the works.
  2. Identify the general features of contemporary drama as a literary genre and cultural practice.
  3. Appreciate and critique drama both orally and in writing as well as respond to differing readings and interpretations.
  4. Write a thesis-driven, argumentative, research-based academic essay on a particular work or a set of works.
  5. Produce a theatrical performance to be performed at a particular context based on any text (or a set of texts) taking advantage of the various ways that text (or set of texts) may be transformed and translated onto a stage.


II. Required Texts

A. Works

  1. Albee, Edward. “Zoo Story”
  2. Aoki, Brenda Wong. “The Queen’s Garden.”
  3. Baraka, Amiri. “Dutchman”
  4. Hwang, David Henry. “M. Butterfly”
  5. Williams, Tennessee. “The Glass Menagerie”
  6. Shakespeare, William. “King Lear”
  7. Stoppard, Tom. The Real Inspector Hound
  8. Yeats, W.B. “Purgatory”

B. Additional Reading

  1. Freytag. Gustav. Technique of the Drama.  3rd Ed. Trans. Elias J. MacEwan. Chicago: Scott, Foresman & Co., 1900. (Available for download at http://ia300205.us.archive.org/1/items/freytagstechniqu00freyuoft/freytagstechniqu00freyuoft.pdf)
  2. Boal, Augusto. The Theatre of the Oppressed. To be reserved in the English Department Library.
  3. Brecht, Bertolt. “The Modern Theatre as Epic Theatre.” Brecht on Theatre: The Development of an Aesthetic, Ed. and trans., John Willet. London: Methuen Drama, 1995. pp. 33-42. To be reserved at the English Department Library
  4. Aston, Elaine and George Savona. Theatre as Sign-System: A Semiotics of Text and Performance. London: Routledge, 1991.

III. Activities

In this course students are required to

  1. Attend class meetings on time. Students will be allowed four (4) unexcused absences out of the sixteen (16) class meetings. Unexcused absences include those instances when students are hindered from coming to class due to alarm-clock malfunction, prolonged breakfasts, traffic problems, incidental mild health issues, and unexpected minor domestic emergencies. Note, however, though there is no penalty for such failure to attend class, an absent student will not receive points for participation or activities conducted in class that day. Tardiness of more than fifteen (15) minutes into class time will count as an unexcused absence. Only absences due to authorized and approved University-sponsored events such as necessary academic field trips or debate, judging, and intercollegiate athletic team travel, severe health problems, and serious domestic situations will be considered as excused absences. For excused absences, a student must provide a written justification from a relevant authority. A student must confer with the instructor to determine whether a medical condition is mild or severe, or whether a domestic emergency is minor or serious. Excused absences cannot be an excuse for failure to submit assignments on time.
  2. Read all of the required texts, and contribute the result of their readings in class as well as online. The quality of such contributions, whether they take the form of questions or comments, will be assessed as the “Participation” grade item.
  3. Bring all available required texts and all available handouts to class.
  4. Secure regular access to the internet, particularly to the Jatinangor discussion forum.
  5. Write two short responses focusing on a particular dramatic aspect of one play each to be submitted as a posting at http://groups.yahoo.com/group/Jatinangor and the student’s personal page;  perform a segment of two (2) different plays on two different occasions; take one (1) Midterm Examination (Ujian Tengah Semester/UTS), write one final paper to be submitted as a posting at http://groups.yahoo.com/group/Jatinangor and the student’s personal page; and participate in the production of one (1) play. Written activities will be done individually while performances may be carried out collectively so long as the role of individual students is clear and distinct.

IV. Grading

A. A student’s final grade will be determined based on the following criteria:



Response 1


Response 2


Mid-Term Examination


Final Research Paper


Final Project



In the Padjadjaran Academic Information System (PAcIS) Participation (including oral/corporeal interpretation) will be reported as PRESENSI (15%), Responses 1 as QUIZ (10%), Response 2 TUGAS (10%), the Mid-Term as UTS (15%), the Final Paper as UAS (25%), and the drama production as PRAKTIKUM (25%). No Ts or Ks will be reported as grades. Failure to submit assignments at the set due date will result in a “0” for the assignment.

B. The total of all grade items will be converted to letter grades according to the following criteria:


88-100 = A
69-87 = B
50-68 = C
25-49 = D
00-24 = E


VI. Academic Dishonesty

A. If the instructor believes that a student has plagiarized in an assignment, the student will receive an “E” for the course, and the instructor will report the alleged violation to University authorities to be dealt with in accordance to University policy and regulations as stipulated in http://www.unpad.ac.id/pengajaran/sanksi-akademik/sanksi-pelanggaran/. This policy also applies to academic misdemeanor on the Mid-Term Examination as well as to instances where a student submit the same paper/written work for two different courses.

B. If a student is unsure about what type of writing practice may be considered as plagiarism, she or he must ask the instructor.


VII. Course Schedule

The course will follow the following tentative schedule. When references to required texts are mentioned, students are to have read the materials before they come to class. Activities may be added or omitted during the course of the semester, depending on what the class seems to need collectively.


Feb            17     Syllabus; Introduction to the course: “Reviving Bodies, Transcending Media: Experimentations in Theatrical Performance”

Feb            24     How Shakespeare Changed Shakespeare: King Lear; oral/corporeal interpretations: Acts I-III

Mar           3       King Lear: critical interpretation: “Dividing Kingdoms, Discriminating Characters;” oral/corporeal interpretations: Acts III-V

Mar           10     Rearranging Time, Space, and Identity: M. Butterfly; oral/corporeal interpretations      

Mar           17     M. Butterfly: oral/corporeal interpretations & critical interpretations: Self/Other, Gender, and Postcolonial Conditions

Mar           24     To Hell with (Re-)Arrangement, We’re Having a CARNival: The Queen’s Garden: oral/corporeal interpretation

Mar           31     The Queen’s Garden: oral/corporeal interpretation

Apr            7       Only Bodies in Spaces because Meaning Ruins Life: Beckett’s Theatre of the Absurd, Artaud’s Theatre of       Cruelty; Response 1 due

Apr            14     Projecting on Stage: Purgatory ; Midterm Examination (UTS)            

Apr            21     The Discriminating Urban Setting: Zoo Story

Apr            28     Vulnerable Bodies in Physical and Psychological Space: The Glass Menagerie

May           5       Vulnerable Bodies in Physical and Psychological Space: The Glass Menagerie (continued)

May           12     Bodies in Question: The Real Inspector Hound                                     

May           19     Bodies in Question: The Real Inspector Hound (continued); Response 2 due

May           26     Racial and Gendered Bodies in Dramatic Space: Dutchman             

Jun            2       Racial and Gendered Bodies in Dramatic Space: Dutchman (continued); Final Paper due

Jun            9       Consultations for Final Paper revisions and Performance preparations

Jun        16-22   Scheduled Performances







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