FREN 263 Theater Workshop:
Molière

Cours-Atelier de Théâtre: la comédie de Molière

      

FALL 2017
TR 5:00-6:15
DAVIS PA CENTER 036

Office hours: ICC 427 or Reynolds 145
by appointment

spielmag@georgetown.edu

A significant amount of information pertaining to this course is sent via e-mail to your <@georgetown.edu> address: please check your mailbox regularly.

DO NOT PRINT OUT THIS SYLLABUS!
It may be modified over the course of the semester. Always refer to the latest on-line version.

> Last updated on Aug. 24, 2017<



COURSE PROCEDURES

 

I. COURSE DESCRIPTION

Rationale

   Throughout Europe, the late 17th and 18th centuries were a golden age for comic drama, and France stood out with one of the greatest playwrights in history, Molière, as well as a large number of lesser known (though excellent) authors and plays. In those days, theater was the main social and cultural activity of the higher strata of society, a favorite pastime indulged not only in playhouses, but in the fairgrounds and in private residences as well. Therefore, people then tended to envision theater in its performative dimension at least as much as a literary genre, and today we can really only understand plays from this period through performance, by studying the conditions in which they were staged, by seeing them staged or, better yet, by performing them ourselves.
   À travers toute l'Europe, le dernier tiers du XVIIe et le XVIIIe siècle furent un âge d'or du théâtre comique, lors duquel la France se distingua grâce à l'un des plus grands dramaturges de l'histoire, Molière, ainsi que de nombreux autres auteurs de premier rang (quoique moins connus) et de leurs pièces. En ce temps-là, le théâtre constituait la principale activité sociale et culturelle de la bonne société, un passe-temps auquel on s'adonnait non seulement dans les salles de specatcle, mais aussi dans les « loges » de la foire et dans les résidences particulières. De fait, on concevait alors le théâtre autant dans sa dimension performative que comme genre littéraire, et de nos jours on ne peut comprendre les pièces de cette époque qu'à travers leur réalisation scénique, en étudiant les conditions dans lesquelles elles étaient jouées et, en les jouant nous-mêmes.


Course goals

   In this course, students take on a part in the rehearsal of scenes from French comedic stage plays of the 17th century, with the possibility of performing a whole play on stage (depending on enrolment and other factors). In so doing they not only improve their public speaking skills in French, but they also learn more about Early Modern French drama, and about comedy as both a literary and performative genre. Studying the plays will provide an opportunity to learn about French history and society in the Grand Siècle.

Course objectives

In this course, students will
• take on and rehearse a part in a 17th-century French comedy by Molière, then perform in a live show;
• practice their close reading skills;
• learn and practice public speaking techniques and strategies (diction, tempo, breathing, posture);

• learn and practice basic acting techniques, and improve their acting skills if they have already undergone some stage training;
• expand their knowledge of Early Modern comic drama;
• read other plays of the period in order to become familiar with the features of "classical" comedy (character types, plot structure, etc.);
• reflect on their rehearsal work and on their learning about Early Modern comic drama.

Teaching methodology

   This course requires the active participation of students since most of class time is devoted to rehearsing a stage play. The teacher will provide constant suggestions and feedback on acting techniques as well as on French diction. At the end of the semester, the class will give two or three live performance in which everyone will have a part (length of stage time may vary).
  Although the nature of the work in this course is essentially performative and collaborative, students need to prepare for class by practicing their lines on their own and memorizing them.
  The initial phase of the class involves a close reading of the play in order to clarify unknown or obscure vocabulary, but also allusions and references in the text.
  Students will also reflect on the work being done through complementary readings of other notable Early Modern French comedies, and engage in a continuing conversation using BlackBoard's Discussion Board feature.

Attendance and Punctuality

  Every student is expected to be present for every class and arrive on time (repeated tardiness will be penalized). If an absence is anticipated, the instructor must be notified beforehand by e-mail.
   An absence may be "excused" if it was caused by an unforeseen event or accident that made it impossible or extremely difficult for a student to attend class, and which can be documented. If you feel sick enough to miss class, then you should also seek medical attention and obtain a certificate from the health care provider who treated you. If you suffer from a chronic mental or physical condition that occasionally flares up to the point of incapacitating you, you need to be registered with the University health services in order to be granted accommodations.
   A student who was absent (justifiably or not) remains responsible for finding out what was done or assigned during the missed class(es), and for turning in assignments on time. Unjustified absences will result in a reduction of the portion of the final grade allotted to "Presence, Preparedness and Participation."
   You must come to class prepared by having completed readings and other assignments as indicated by the instructor, in an appropriate manner (see the "Total Commitment Policy"). Manifest lack of adequate preparation will result in a reduction of the portion of the final grade allotted to "Presence, Preparedness and Participation."

Prerequisites

   Participants need to have completed (or be completing concurrently) the "Advanced French" sequence in the Georgetown curriculum (101-102 or 111-112 or their equivalent), or be able to demonstrate a level of French speaking and listening proficiency congruent with the course objectives. Contact Dr. Spielmann at spielmag@georgetown.edu if you are not sure that you qualify.

Honor system

     All aspects of this class fall under Georgetown University's honor system. If you are not thoroughly familiar with its provisions, please review them at http://honorcouncil.georgetown.edu/system/policies. A point of particular concern is using source material appropriately and avoding plagiarism : "Plagiarism, in any of its forms, and whether intentional or unintentional, violates standards of academic integrity. Plagiarism is the act of passing off as one’s own the ideas or writings of another (…). While different academic disciplines have different modes for attributing credit, all recognize and value the contributions of individuals to the general corpus of knowledge and expertise. Students are responsible for educating themselves as to the proper mode of attributing credit in any course or field. (…) Note that plagiarism can be said to have occurred without any affirmative showing that a student’s use of another’s work was intentional.

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II. LEARNING OUTCOMES

Outcomes

  By the end of the semester, all students will have

• rehearsed and performed a part in a French comedy by Jean-Baptiste Poquelin Molière, such as Le Médecin volant or Le Mariage forcé.
• done a close reading of the play text of Le Médecin volant and learned a set of strategies for clarifying the meaning of such a text;
• become acquainted with the history of Early Modern comic drama, especially in France and Italy;
• become acquainted with a variety of French comedic texts from the period;
• reflected on the nature of "classical" comedy;
• expressed their reflections in writing and in French.

Evaluation

• Presence, Preparedness and Participation: 55%.
• Discussion board messages (at least 500 words per week, in one or several messages): 25%
• Live performance : 20%


III. COURSE MATERIALS

Dramatic Text to be read and analyzed (a printable version is available on BlackBoard)
- Molière [Jean-Baptiste Poquelin], La Comtesse d'Escarbagnas (1672) texte original annoté sur le site Tout Molière au http://www.toutmoliere.net/notice,405369.html
Dramatic Text to be performed (a printable version is available on BlackBoard)
- La Comtesse d'Escarbagnas (1672), texte pour la scène adapté de Molière par Guy Spielmann

Other dramatic texts (comedies) to be read
- Corneille, Le Menteur (1643) (Texte sur le site Théâtre Classique) (5 actes en vers)
- Molière, L'Amour médecin (1665) (Texte sur le site Tout Molière)( (3 actes)
- Boursault, Les Deux Frères gémeaux (1665) (Texte sur le site Théâtre Classique) (5 actes en vers)
Complementary Critical Works (available at Lauinger Library)
- Bourqui, Claude. Molière à l'école italienne : le lazzo dans la création moliéresque. Torino, Harmattan Italia et Paris, L'Harmattan, 2003. PQ1866 .B69 2003
- Conesa, Gabriel. La Comédie de l'âge classique (1630-1715). Paris, Seuil, 1995. PQ566 .C66 1995
-
Dandrey, Patrick. La Médecine et la maladie dans le théâtre de Molière. Paris, Klincksieck, 1998 (2 vol.). PQ1860 .D35 1998.


V. COURSE PROCEDURES

THIS IS A FRENCH IMMERSION CLASS! NO ENGLISH WILL BE USED OR TOLERATED
   For greater authenticity, we will only use materials originally produced for a French speaking public: Only purely administrative matters (such as this syllabus) will be handled in English. In all other circumstances, including discussion and critique of your work in class or during office hours, French will be used exclusively orally and in writing, by you and by the instructor. You will never be asked (with rare, very precise exceptions) to translate anything, nor are you expected to use translation ever as a means to accomplish your work in this class. NO BILINGUAL DICTIONARIES ARE ALLOWED IN CLASS. Use of a monolingual dictionary is strongly encouraged, however.

Attitude and Behavior
  This is a class held in a university classroom. It is not a meeting of a book club at a local library branch; it is not a game in a stadium or a workout at the gym; it is not a get together at someone's home or a pajama party in your dorm room; it is not a luau at the beach. Please dress and behave accordingly!
Namely:
- No eating or snacking during class (drinking is OK)
- Cell phones, smartphones and other mobile communication devices unrelated to class work must me turned off and stored away in a pocket or a bag (except for emergency situations, with prior notification to the instructor)
- No wearing of gym shorts, flip flops, exercise/sport gear, pajamas, lounge wear, grass skirts, etc. However, since we will be doing exercises that involve moving around, it is advisable to wear comfortable clothes, esp. shoes (no high heels!).
- No chit-chat unrelated to class matters, please!
- Use of computers and tablets is class is strictly limited to working on relevant tasks matters. Anyone caught using a computer/tablet in class for anything else (checking e-mail, Facebook status, stock prices, playing games) will be issued a warning the first time, and, the second time, banned from using the device in class altogether for the rest of the term


Preparation and Participation
   You must prepare for class by going over assigned material, and by formulating questions, remarks and comments for class discussion. Each hour spent in class should be matched by about 45 minutes of preparation before class, and another 45 minutes of follow-up work afterwards. Every evening, review what was done in class that day to verify that you understand it; if necessary, use books and on-line resources for clarification. Bring up unresolved items in class, or discuss them with your instructor during office hours.
  Each and every student is expected to participate in every class, not only by responding to prompts and questions by the instructor (or to other students' comments), but also by volunteering comments and questions without being prompted (see also the "Total Commitment Policy").

Deadlines
  Deadlines indicate the absolute last day and time when assignments should be turned in. The cut-off time is the end of class on the day of the deadline, whether you bring in a hard copy of the work, e-mail it to me or post it on a discussion board. It is not advisable to start working on an assignment on the day it is due. Give yourself enough time to allow for unforeseen delays or problems (printer running out of ink, e-mail bugs, network access down, etc), which cannot be used as excuses for not meeting a deadline. Acceptable excuses are acts of God, system-wide server outages and documented medical emergencies.

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Schedule

Date /
Session

 Topic - Work in class - Assignment - Reflection topic

To be done in preparation of class
Readings available on BlackBoard

8/31 - 0 Introduction

 

9/5 - 1

Practice and rehearsal

9/7 - 2 Practice and rehearsal  
9/12 - 3

Practice and rehearsal

9/14 - 4

Practice and rehearsal

 
9/19 - 5 Practice and rehearsal
9/21 - 6

Practice and rehearsal

 
9/26 - 7 Practice and rehearsal
9/28 NO CLASS
10/3 - 8 Practice and rehearsal

 

10/5 - 9 Practice and rehearsal
 
10/10 - 10

Practice and rehearsal

10/12 - 11 Practice and rehearsal
10/17 - 12   Practice and rehearsal  
10/19 NO CLASS
10/24 - 13

Practice and rehearsal

 
10/26 - 14 Practice and rehearsal  
10/31 - 15 Practice and rehearsal  
11/2- 16 Practice and rehearsal
11/7 - 17
Practice and rehearsal
 
11/9 - 18 Practice and rehearsal
11/14 - 19 Practice and rehearsal
11/16 - 20

Practice and rehearsal

 
11/21 NO CLASS
11/23 - THANKSGIVING - NO CLASS
11/28 - 21

Rehearsal

 
11/30 - 22 Rehearsal  
12/5 - 23 Performance 1  
12/7 - 24 Performance 2