| CODE | THS2062 | |||||||||
| TITLE | Realism and Naturalism | |||||||||
| UM LEVEL | 02 - Years 2, 3 in Modular Undergraduate Course | |||||||||
| MQF LEVEL | Not Applicable | |||||||||
| ECTS CREDITS | 4 | |||||||||
| DEPARTMENT | Theatre Studies | |||||||||
| DESCRIPTION | The studY-unit discusses realist and naturalist theatre as part of nineteenth century modernism. Importance will be given to the development of naturalist theatre in different European centres (namely France, Scandinavia and Russia) through the work of playwrights like Zola, Ibsen, Strindberg and Chekhov and how new ideas about theatre were elaborated by Richard Wagner, the Duke of Meiningen, André Antoine and others. Study-unit Aims: This study-unit serves as an in-depth study of Realism and Naturalism in theatre. It aims to enable students to appreciate the importance of this specific period in the history of theatre and understand the relationship it has with later and current theatre practice. Learning Outcomes: 1. Knowledge & Understanding: The students will have gained a knowledge of the development of realist and naturalist theatre in Europe, will be familiar with the writings of the main playwrights as well as the techniques introduced by the main directors of the period. 2. Skills: They will be able to distinguish realist writings from works written in other periods or with different intentions. They will also be able to trace realist influences in later theatrical works. At the end of the study-unit, the learner will have acquired the responsibility and autonomy to discuss any theatrical work in relation to what it owes to realism and naturalism or how it attempts to move beyond its limitations. Reading List: Obligatory reading: - E. Bentley, A Theory of the Modern Stage, London, Penguin, 1990. - C. Innes, A Sourcebook on Naturalist Theatre, London, Routledge 2000. - J.L Styan, Modern Drama in Theory and Practise Vol 1, Cambridge, 1981. A selection of plays by the playwrights dealt with during lectures is obligatory reading. At least one play by each author must be read (three if the students are giving a presentation on a particular author). The following is a list of recommended plays but it is by no means exhaustive: - Emile Zola - Therese Raquin - Nikolai Gogol - The Inspector General - Anton Chekhov - The Cherry Orchard, Uncle Vanya, The Three Sisters, The Seagull - Henrik Ibsen - Hedda Gabler, An Enemy of the People, A Doll’s House, Ghosts, The Lady from the Sea, Pillars of Society - August Strindberg - The Father, Miss Julie, To Damascus - George Bernard Shaw - Arms and the Man, Mrs. Warren’s Profession, Saint Joan, Heartbreak House - Giovanni Verga, Cavalleria Rusticana, La Lupa (out of copyright, all playtexts are available freely online) Suggested Reading: - A. Antoine, Memories of the Theatre Libre, trans. by M. Carlson, University of Miami Press, 1977. - S. Waxman, Antoine and the Theatre Libre, Benjamin Blom, 1968. - J. Chothis, André Antoine, Cambridge Univeristy Press, 1991. - T. Moi, Henrik Ibsen and the Birth of Modernism, Oxford University Press, 2006. - C. Schumacher (ed.), Naturalism and Symbolism in European Theatre 1850-1918, Cambridge University Press, 1996. - J. Osborne, The Meiningen Court Theatre 1866-1890, Cambridge University Press, 1988. |
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| STUDY-UNIT TYPE | Lecture and Presentation | |||||||||
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| LECTURER/S | Marco Galea |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2025/6. It may be subject to change in subsequent years. |
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