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Graduate Course Proposal Form Submission Detail - ORI6020
Tracking Number - 2017

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Current Status: Approved, Permanent Archive - 2004-03-18
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Detail Information

  1. Date & Time Submitted: 2003-10-27
  2. Department: Communication
  3. College: AS
  4. Budget Account Number: 1217000
  5. Contact Person: Gil Rodman
  6. Phone: 9743025
  7. Email: grodman@chuma.cas.usf.edu
  8. Prefix: ORI
  9. Number: 6020
  10. Full Title: Performing Social Resistance
  11. Credit Hours: 3
  12. Section Type: D - Discussion (Primarily)
  13. Is the course title variable?: N
  14. Is a permit required for registration?: N
  15. Are the credit hours variable?: N
  16. Is this course repeatable?:
  17. If repeatable, how many times?: 0
  18. Abbreviated Title (30 characters maximum): Performing Social Resistance
  19. Course Online?: -
  20. Percentage Online:
  21. Grading Option: R - Regular
  22. Prerequisites: Graduate Standing
  23. Corequisites: None
  24. Course Description: Explores performance as a site of and means for creating social resistance and change.

  25. 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
  26. 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 courses in cultural criticism and action research (Performance Criticism, Feminism and Performance, Contemporary Cultural Studies, Cultural Production of Space and Time, Media, Race, and Identity, Action Research).

    This course will contribute to a sequence of graduate offerings in performance that feature the relationships among analysis, critique, and practice: Performance and Technology, Performance Art and Performance Criticism. 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 would be interested in this course, including Womenís Studies, Sociology, Anthropology and American Studies, Mass Communications, and Theatre. Disciplines that study the issues surrounding social resistance and change could benefit from this course.

  27. Has this course been offered as Selected Topics/Experimental Topics course? If yes, how many times? Performing Social Resistance has been offered once as a Selected Topics course in the past five years with an enrollment of 17 students.
  28. 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.
  29. Objectives: to explore the role of performance and performance practitioners in opening up a space for reflecting on, debating, creating, and sustaining social resistance and change

    to understand how theater practitioners, performance scholars, and a host of cultural critics theorize and create a resistive performance praxis

    to discover how the ideas and techniques described by these theorists/practitioners can be put to use in studentís own performance practices

    to explore how student work contributes to current thinking about performance and social resistance theory and praxis

  30. Learning Outcomes: students will read and discuss the use of performance as a means of engaging in democratic debate and dialogue

    students will read, discuss, and use specific performance theory and techniques in creating three performances that explore the socially resistive possibilities of live performance

    students will demonstrate their understanding of course texts by summarizing and presenting these texts

    students will apply their knowledge of socially resistant performance theory and practices in an analysis of a selected performer, performance, or company

  31. Major Topics: The intersections of performance and social resistance

    Socially resistant theater

    Street and community theater

    Solo performance and social resistance

    Learning and using Augusto Boalís Theatre of the Oppressed techniques

    Performing race, ethnicity, and culture

    Feminist performance

    Queer performance

    Performing everyday resistance

  32. Textbooks: Jill Dolan, Geographies of Learning: Theory and Practice, Activism and Performance, Middleton CT: Wesleyan University Press, 2001.

    Augusto Boal, Theatre of the Oppressed, Trans. Charles A. McBride and Maria-Odilia Leal McBride, New York: Theatre Communications Group, 1985.

    Augusto Boal, Games for Actors and Non-Actors, Trans. Adrian Jackson: New York: Routledge, 1992.

    Theater 31(3): 2001.

    Selected readings (see course syllabus).

  33. Course Readings, Online Resources, and Other Purchases:
  34. Student Expectations/Requirements and Grading Policy:
  35. Assignments, Exams and Tests:
  36. Attendance Policy:
  37. Policy on Make-up Work:
  38. Program This Course Supports:
  39. Course Concurrence Information:


- if you have questions about any of these fields, please contact chinescobb@grad.usf.edu or joe@grad.usf.edu.