[{"id":130,"date":"2019-08-22T16:26:23","date_gmt":"2019-08-22T16:26:23","guid":{"rendered":"http:\/\/edspace.american.edu\/nblustein\/?page_id=130"},"modified":"2019-11-11T17:31:07","modified_gmt":"2019-11-11T17:31:07","slug":"perf-220-archive","status":"publish","type":"page","link":"https:\/\/edspace.american.edu\/nblustein\/course-pages\/perf-220-archive\/","title":{"rendered":"Reflections of American Society on Stage (Fall 2018)"},"content":{"rendered":"

<\/a>Class meeting times: Katzen 151, Tuesdays and Fridays, 9:45\u201311am \u2022 Instructor: Nathan Beary Blustein | nblustein@american.edu \u2022 Syllabus:\u00a0pdf<\/a> | html<\/a> \u2022 Office Hours: Sign up<\/a> \u2022 Teaching module topics and schedule: view<\/a> \u2022 Group presentations: requirements<\/a> | groups<\/a><\/p>\n

On this page:<\/p>\n

    \n
  1. Welcome to Broadway<\/strong><\/a><\/li>\n
  2. Making Art<\/strong><\/a><\/li>\n
  3. New York, I\u00a0 \u00a0 \u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/span> You<\/strong><\/a><\/li>\n
  4. Making a Home<\/strong><\/a><\/li>\n
  5. Do You Hear the People Sing?<\/strong><\/a><\/li>\n
  6. Finale<\/strong><\/a><\/li>\n<\/ol>\n

    <\/a>Overture<\/strong><\/p>\n

    Week 1<\/span>
    \nJanuary 16: Intro\/Pulitzer discussion\/survey and contract<\/p>\n

    Unit 1: Welcome to Broadway<\/strong> (Back to top<\/a>)<\/p>\n

    January 19: Early musical theatre
    \n Assignment due: \u201cAmerican Dream\u201d paper<\/strong> (    pdf<\/a> | submit on Blackboard<\/a>)
    \n<\/strong><\/p>\n

    Minimum: 550 words; maximum: 750 words. Be ready to informally discuss something from your paper\u2014or the experience of writing it\u2014in class.<\/p>\n

    What does it mean to be an American, and how would you define the American Dream? Make your answer personal. You may be pragmatic or idealistic, patriotic or cynical, witty or impassioned. Be specific and detailed both in your definitions and in your use of personal examples\/connection. Please provide at least one example from the arts\u2014visual arts, theatre, dance, music, film\u2014that exemplifies, encapsulates, or inspires your definition. Specifically describe (or quote from) the art work and explain why you chose it.<\/p>\n

    You will be graded on (1) your personal investment and (2) the persuasiveness and clarity of your writing. Write what you feel and believe, rather than attempting to give me the answer you think I want. Invest of yourself. Write well.<\/p>\n

    Remember: Twelve-point Times New Roman. One-inch margins. Include a header with your name and ID, a title (more creative than \u201cWriting Assignment\u201d or \u201cMy American Dream\u201d), and the course number. Please upload your assignment to Blackboard.<\/p>\n

    Week 2<\/span>
    \nJanuary 23: How to read a scene
    \nPreparation: Read\/listen to\/view scenes\u2014In the Heights<\/em> (Cast Recording:     YouTube<\/a> | Libretto: pdf<\/a> \/ Course Reserves<\/a>) and\u00a0Dreamgirls<\/em> (Clip: YouTube<\/a>).<\/em> Read Guidelines for Writing Papers about Musical Theatre <\/em>(pdf<\/a>).
    \n<\/em>Discussion:<\/p>\n

    We are analyzing two scenes for today\u2019s class, from two different shows. For the first, we have the libretto and cast recording. For the second, we have a video of a live performance.<\/p>\n

    1. Provide a succinct summary of each scene. Who are the characters? How do they relate to each other? What are their objectives?<\/p>\n

    2. Compare the experiences of familiarizing yourself with each scene. We might presume that watching is easiest; reading is hardest. Is this the case? Why? What are the advantages and disadvantages of each medium\u2014dramatically, aesthetically, and commercially?<\/p>\n

    January 26: Broadway\u2019s artistic\/commercial\/geographic history
    \n Assignment due: Film or live show one-page response <\/strong>(    pdf<\/a> | hard copy submissions only)
    \n<\/strong><\/p>\n

    Minimum: 400 words; maximum: 450 words. Single-spaced. Be ready to discuss your response informally in class.<\/p>\n

    The first response paper is for a production of your choice<\/strong>. It may be a musical film (in which case, you obviously do not need a ticket stub). DVDs are available in the Katzen and Bender libraries, as well as through interlibrary loan; you are also free to acquire a musical yourself. The musical On Your Feet<\/em> at the Kennedy Center is also acceptable for this assignment. The event promotion website Goldstar<\/a> provides some slight discounts for tickets.<\/p>\n

    Requirements:<\/p>\n

    Address the ways the musical and production reflect(ed) American society and values. Any plot summary you include should be brief\u2014no more than three sentences. As you write your response, cite multiple, specific, detailed examples in the performance. These may include:<\/p>\n

    \u2022\u00a0 The script (storyline, character development,
    \n\u2022\u00a0 The score (musical styles, use of orchestra),
    \n\u2022\u00a0 Choreography,
    \n\u2022\u00a0 Design choices (sound, lighting, scenery), and\/or
    \n\u2022\u00a0 The actors\u2019 performances (singing styles, dialects\/accents\/languages).<\/p>\n

    Your paper will be graded on:<\/p>\n

    Cohesiveness\u2026<\/strong><\/p>\n

    This means that you should not try to address every point above. Rather, center your response on a single argument, and trace one or two of the threads above. For instance, you may follow the dramatic development of a particular character through three songs and\/or scenes; or, you may outline the relationship between location and scene in the story, and lighting\/scenic design in the show.<\/p>\n

    Clarity\u2026<\/strong><\/p>\n

    Proofread your response. You are free to let your subjective experience of seeing a production inform your writing. At the same time, a reader should understand what elements in the show you are evaluating with little trouble.<\/p>\n

    and style<\/strong>.<\/p>\n

    Each response paper should be publishing-ready. Aim to write for a readership with interest in the production to which you are responding. Proofread your work. Avoid overfamiliar language.<\/p>\n

    Before you write:<\/p>\n

    Do the preliminary research before you watch: the creative team (composer, lyricist, bookwriter\/playwright, director), the plot of the show, etc. This will help a great deal as you write your response.<\/p>\n

    Week 3<\/span>
    \nJanuary 30: How to Succeed in Business Without Really Trying<\/strong><\/em> (1961)
    \nPreparation: Watch musical film (    Bender Library DVD<\/a> | Katzen Library DVD<\/a>); read Mead excerpts (pdf<\/a>)
    \nDiscussion:<\/p>\n

    1. Read the above excerpts from the 1952 Shepherd Mead satire on which this musical is based. (How) Do these excerpts come to life in the film? How do Loesser\u2019s music and lyrics, and Burrows\/Weinstock\/Gilbert\/Weinstock\u2019s book, heighten Mead\u2019s text?<\/p>\n

    2. What is the main object of satire in this musical? Does the delivery of this satire land in 2018? How is it more forward-looking than some song titles may suggest?<\/p>\n

    Teaching Modules begin<\/strong><\/p>\n

    Minimum length: 5 minutes; maximum length: 7 minutes (excluding Q&A). Submit an outline or presentation file along with your module.<\/p>\n

    The teaching modules are individual presentations about figures, musicals, artistic movements, or social\/cultural\/political issues relevant to the shows we are studying in class. Your module should succinctly summarize your assigned topic, and include a critical reflection of the musical we are watching or reading at that point in the semester. Make your presentation compelling and engaging. These teaching modules will invite you to proactively explore diverse perspectives and experiences.<\/p>\n

    You do not need a PowerPoint<\/strong>, but if you use one, please email it to me 24 hours in advance to staff off any technical issues in setup.<\/p>\n

    Your module will be evaluated out of fifty points on: \u2022 preparation \u2022 time management \u2022 mastery of content \u2022 clarity of the relationship between your topic and issues\/concepts discussed in class.<\/p>\n

    February 2: How to Succeed\u2026<\/em> continued
    \nPreparation: Watch Mad Men<\/em>, Episodes 1 & 2 (    Bender Library DVD<\/a>).
    \n Quiz 1: Early Musical Theatre; How to Succeed<\/em><\/strong> (    Streaming audio<\/a>)<\/p>\n

    Listening quizzes are 30 points each. There is one at the end of each unit, covering two musicals (except for the first, which will cover one musical and several key songs from other shows). Quizzes are closed-note<\/em> and cannot<\/em> be made up.<\/p>\n

    Each quiz will have four excerpts. You will be asked to identify some basic factual information for every excerpt:<\/p>\n

    \u2022\u00a0 The title of the show;
    \n\u2022\u00a0 The year it premiered on Broadway;
    \n\u2022\u00a0 The song title, the character(s) singing, and the circumstances of the show\u2019s plot during the excerpt; and
    \n\u2022\u00a0 The composer, lyricist, book writer\/librettist, and (possibly) notable performers.<\/p>\n

    Make sure to consult the selected slides posted to the course page after every class for much of this information.<\/p>\n

    You will also be asked to address one or two issues per excerpt that zoom out to the course\u2019s General Learning Objectives, including:<\/p>\n

    \u2022\u00a0 How it relates to the source material it was based on, or similar works of art and entertainment; and
    \n\u2022\u00a0 How its aesthetic and expressive elements fit within the traditions of musical theatre.<\/p>\n

    <\/a><\/p>\n

    The songs will consist only of numbers we have discussed in-depth in class. Every excerpt will include the lyrics in print, though characters\u2019 names will be redacted. An example from How to Succeed<\/em>\u2026:<\/p>\n

    \n

    CHARACTER 1:
    \nAnd when my faith in fellow man
    \nAll but falls apart,
    \nI\u2019ve but to feel your hand grasping mine
    \nAnd I take heart,
    \nI take heart\u2026<\/p>\n

    To see the cool clear eyes
    \nOf a seeker of wisdom and truth,
    \nYet with the slam, bang, tang
    \nReminiscent of gin and vermouth\u2026<\/p>\n<\/blockquote>\n

    Follow-up questions may include, say, how the character singing (Finch) compares to the protagonist of Mad Men<\/em> (Don Draper), one of the unit\u2019s viewing assignments\u2014or, how this musical number subverts the idea of a typical dramatic love song. Some of these questions will have been addressed in class; some will require some critical thinking on the spot.<\/p>\n

    Unit 2: Making Art<\/strong> (Back to top<\/a>)<\/p>\n

    Week 4<\/span>
    \nFebruary 6: A Chorus Line<\/em><\/strong> (1975)
    \nPreparation: Read libretto (\u201cbook\u201d and lyrics [    pdf<\/a>]); listen to cast recording (Streaming audio<\/a>); watch the opening number at the Tony Awards (YouTube<\/a>). Do NOT watch the 1985 film, which departs in many ways from the original show.
    \nDiscussion:<\/p>\n

    1. A Chorus Line<\/em> is a quintessential \u201cconcept\u201d musical. In three words, what is this musical \u201cabout\u201d? Relatedly: Is this a musical that relates to you? What specific moments or characters do you identify with (or not identify with), and why?<\/p>\n

    2. What do we miss while reading through the script and listening to the cast recording? What can we gain from watching live clips from the show?<\/p>\n

    February 9: A Chorus Line<\/em> continued
    \nPreparation: Watch Every Little Step<\/em> (    Bender Library DVD<\/a>)<\/p>\n

    Week 5<\/span>
    \nFebruary 13: Sunday in the Park with George<\/em><\/strong> (1984)
    \nPreparation: Watch live musical film (    Bender & Katzen Library DVDs<\/a>)<\/p>\n

    <\/a><\/p>\n

    February 16: Sunday in the Park<\/em>\u2026 continued
    \nPreparation: Watch excerpts from Six by Sondheim<\/em> (    YouTube<\/a>): Beginning \u2013 20:10 (on \u201cSomething\u2019s Coming\u201d and \u201cOpening Doors\u201d) and<\/strong> 1:17:50\u2013end (on \u201cSunday\u201d from Sunday in the Park\u2026<\/em>). For the live musical film of\u00a0Sunday<\/em>, be ready to discuss a specific Act I – Act II parallel in class on Friday: \u201cNo Life\u201d (around 14:30, two minutes) \/ \u201cGossip Sequence\u201d (around 35:00, ten minutes) and \u201cPutting it Together\u201d (around 1:45:00, twelve minutes). Check the slides from today\u2019s class for specific elements to focus on.
    \nQuiz 2: A Chorus Line <\/em><\/strong>(    Streaming audio<\/a>); Sunday in the Park<\/em>\u2026<\/strong> (Streaming audio<\/a>)<\/p>\n

    Week 6<\/span>
    \nFebruary 20: Assassins<\/em> discussion
    \nAssignment due: Assassins<\/em> one-page response (hard copy submission, with ticket stub)<\/p>\n

    Unit 3: New York, I \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0<\/span> You<\/strong> (Back to top<\/a>)<\/p>\n

    February 23: Fiorello!<\/strong><\/em> (1959)
    \nPreparation: Read libretto\/listen to cast recording (    Blackboard Course Reserves<\/a>).
    \nDiscussion:<\/p>\n

    1. Choose one of the leading women to trace over the course of the show: Dora, Thea, or Marie. How does Bock, Harnick, and Abbott\u2019s writing give this character independence and agency? How does the character exert political power\u2014covert, or overt? How do they move in personal and political spaces\u2014and how believable is their storyline?<\/p>\n

    2. A lot of songs in Fiorello!<\/em> are indirect, in the sense that people onstage are singing about people offstage. These aren\u2019t ambiguous examples\u2014the people being sung about are conspicuously absent. What songs fit this category? Choose one song in particular, and describe what is effective (or ineffective) about it.<\/p>\n

    Week 7<\/span>
    \nFebruary 27: Fiorello!<\/em> continued
    \nPreparation: Read Life with Fiorello<\/em>\u2014choose chapters 4&5 OR chapters 11&12 (    archive.org<\/a>, downloadable as a PDF). Watch A&E Biography: Fiorello LaGuardia (streaming video<\/a> | 27 minutes).
    \nGroup 1     presentation<\/a>: Guys & Dolls<\/em> (1950)<\/p>\n

    March 2: Rent<\/strong><\/em> (1996)
    \nPreparation: Watch live musical film (    Bender Library DVD<\/a>)<\/p>\n

    Week 8<\/span>
    \nMarch 6:\u00a0<\/em>Rent<\/em> continued
    \nPreparation: Watch Paris is Burning<\/em> (    Bender Library DVDs<\/a> | 76 minutes).
    \nGroup 2     presentation<\/a>: Gospel at Colonus<\/em><\/p>\n

    <\/a><\/p>\n

    March 9: Rent<\/em> continued
    \nPreparation: Watch La boh\u00e8me<\/em> (    Streaming video<\/a> | 148 minutes). In particular, watch 17:30\u201337:15 (Mimi and Rodolfo\u2019s meeting), ca. 40:00\u201355:00 (the latter part of the scene at Momus), and 1:55:00\u2013end (finale)\u2014all told, about 75 minutes.
    \nQuiz 3: Fiorello!<\/em> and Rent<\/em><\/p>\n

    March 13 Spring Break!<\/em>
    \n March 16 Still Spring Break!<\/em><\/p>\n

    Unit 4: Making a Home<\/strong> (Back to top<\/a>)<\/p>\n

    Week 9<\/span>
    \nMarch 20: South Pacific<\/em> <\/strong>(1949)
    \nPreparation: Watch musical film (    Bender & Katzen Library DVDs<\/a>)<\/p>\n

    March 23: South Pacific<\/em> continued
    \nPreparation: Read Tales of the South Pacific<\/em> chapters: \u201cOur Heroine\u201d and \u201cFo\u2019 Dolla\u201d (Blackboard Content<\/strong><\/span><\/em> | 80 pages)<\/p>\n

    Week 10<\/span>
    \nMarch 27: South Pacific<\/em> continued
    \nPreparation: Watch The War: A Deadly Calling <\/em>(    AU Streaming Video<\/a>)
    \nGroup 3     presentation<\/a>: On the Town<\/em> (1944)<\/p>\n

    March 30: Next to Normal<\/em> (2009)
    \nPreparation: Read libretto (    ebook<\/a>)\/listen to cast recording (available in the Katzen Library, CD 5166; also on YouTube<\/a>)<\/p>\n

    Week 11<\/span>
    \n    <\/a>April 3: Next to Normal<\/em> continued
    \nPreparation: Continue discussion of show
    \nGroup 4     presentation<\/a>: In the Heights<\/em> (2008)<\/p>\n

    April 6: Next to Normal<\/em> continued
    \nPreparation: Read articles (and view embedded clips) on Dear Evan Hansen\u00a0<\/em>(    New York Times<\/a>) and Crazy Ex Girlfriend<\/em> (Vulture<\/a>). Read \u201cMedia\u2019s Damaging Depictions of Mental Illness\u201d (psychcentral<\/a>). Watch one of the most famous clips of ECT in film: One Flew Over the Cuckoo\u2019s Nest<\/em> (YouTube<\/a>). Based on your knowledge of musical theatre, what was groundbreaking about Next to Normal<\/em>? What has carried over into subsequent depictions of mental illness in popular culture\u2014including on Broadway and on TV?
    \nQuiz 4: South Pacific<\/em> and Next to Normal<\/em><\/p>\n

    Unit 5: Do You Hear the People Sing?<\/strong> (Back to top<\/a>)<\/p>\n

    Week 12<\/span>
    \nApril 10: Of Thee I Sing<\/em>
    \nPreparation: Read libretto (    Blackboard Course Reserves<\/a>)\/listen to cast recording (YouTube playlist<\/a>)<\/p>\n

    April 13: Of Thee I Sing<\/em> continued
    \nPreparation:<\/p>\n