Graduate Course Proposal Form Submission Detail - ORI6450
Edit function not enabled for this course.
Approved, Permanent Archive
Course Change Information (for course changes only):
- Department and Contact Information
Tracking Number Date & Time Submitted 2013 2003-10-27 Department College Budget Account Number Communication AS 1217000 Contact Person Phone Gil Rodman 9743025 firstname.lastname@example.org
- Course Information
Prefix Number Full Title ORI 6450 Performance Theory Is the course title variable? N Is a permit required for registration? N Are the credit hours variable? N Is this course repeatable? If repeatable, how many times? 0 Credit Hours Section Type Grading Option 3 D - Discussion (Primarily) R - Regular Abbreviated Title (30 characters maximum) Performance Theory Course Online? Percentage Online -
A survey of modern and contemporary approaches to performance as constitutive of identity, verbal art, communication, and culture.
A. Please briefly explain why it is necessary and/or desirable to add this course.
Performance Studies is an emergent interdisciplinary field; it is one of seventeen new research areas the National Research Council will add to its Ph.D. taxonomy in 2004. Performance Studies is enjoying an explosion of interest across the academy in Ant
B. What is the need or demand for this course? (Indicate if this course is part of a required sequence in the major.) What other programs would this course service?
In the Department of Communication, this course will complement and extend existing theory courses (Communication Theory, Rhetorical Theory, Social Construction, and Narrative Theory).
This course will anchor a sequence of graduate offerings in performance: Performance and Technology, Historical Perspectives, and Performing Social Resistance. Approximately one fourth of graduate students in the Communication program claim Performance as their area of interest and research.
Students from a variety of disciplines have taken this class the three times it has been offered. These areas include Women’s Studies, Visual Arts, Interdisciplinary Studies, Theatre, and Mass Communications. All disciplines that do performance or study performance—on stage, in media, and as roles in every day life—could benefit from this course.
C. Has this course been offered as Selected Topics/Experimental Topics course? If yes, how many times?
Theory has been offered three times as a Selected topics course in the past nine years with enrollments of 24, 15, and 18 respectively.
D. What qualifications for training and/or experience are necessary to teach this course? (List minimum qualifications for the instructor.)
Ph.D. in Communication or closely related field.
- Other Course Information
to survey theories of performance that account for identity, verbal art, communication, and culture.
to explore the structural, feminist, and postmodern assumptions undergirding these theories.
to articulate the tensions among theory and practice, agency and intentionality, creativity and constraint, spectatorship as participation, and frames of reality and illusion across the theories.
to compare practice, criticism, and theory of performance as realized in a number of disciplinary homes, including theatre, communication, anthropology, English, philosophy, and cultural studies.
B. Learning Outcomes
students will be able to define performance as articulated in theories of everyday life, the social drama, verbal art, entertainment, ritual, play, subject position, and representation.
students will be able to illustrate their understanding of the principles, program, and impact (for audience, for performer, for text, for culture, etc.) of a selected theory in heuristic exercises presented to the class
students will demonstrate their ability to catalogue and classify a theory’s constitutive elements in one-page written assessments.
students will demonstrate their abilities to synthesize, analyze, compare, and contrast theories in oral and written reports to the class.
C. Major Topics
Performance of Social Roles in Everyday Life
The Social Drama as Performance of Cultural Change
Verbal Art and Performance
From Ritual to Theatre: Performance as Efficacy and Entertainment
Performance as Marked Subject Positioning
Performance as Visibility and Representation
Bauman, Richard. Verbal Art as Performance. Prospect Heights, IL: Waveland, 1984.
Dolan, Jill. Presence and Desire: Essays on Gender, Sexuality, and Performance. Ann Arbor: U of Michigan P, 1993.
Goffman, Erving. The Presentation of Self in Everyday Life. New York: Doubleday Anchor, 1958.
Phelan, Peggy. Unmarked: The Politics of Performance. Rev. ed. New York: Routledge, 1993.
Turner, Victor. The Anthropology of Performance. New York: PAJ, 1988.
E. Course Readings, Online Resources, and Other Purchases
F. Student Expectations/Requirements and Grading Policy
G. Assignments, Exams and Tests
H. Attendance Policy
I. Policy on Make-up Work
J. Program This Course Supports
- Course Concurrence Information