Drama involves the sensibilities of the dramatist and the viewers. Though the dramatist writes a play with a particular end in view, ultimately it is the viewer who shares unique perspectives on the dimensions of the play. Europe has witnessed several experimental manoeuvers in drama and each production is a reflection of the age in which it has been produced. The course traces the origin if drama, moves on to discuss drama from various parts of the world and then specifically analyses select plays of Henrik Ibsen, Bertolt Brecht, Samuel Beckett and Eugene Ionesco, who have significantly contributed to the growth of European drama and served as the impetus for several dramatic improvisations thereof. Thereby, the development of theatre and the emergence of drama as one of the most effective modes of communication is evinced.
Overview
Syllabus
COURSE LAYOUT
Week 1 1. Introduction to Drama2. A Comprehensive View of the Features and Categories of Drama and Theatre- Part I3. A Comprehensive View of the Features and Categories of Drama and Theatre- Part IIWeek 2 4. World Drama: An Overview- PART 15. World Drama: An Overview- PART 26. Drama of the 19th century and Henrik Ibsen
Week 3 7. Modern Drama and Henrik Ibsen8. Explanation and Analysis of Act I- Ghosts by Henrik Ibsen9. Explanation and Analysis of Act II-Ghosts by Henrik Ibsen
Week 410. Explanation and Analysis of Act III. Ghosts by Henrik Ibsen11. A Critical Study of the Play Ghosts and Henrik Ibsen as a Dramatist 12. Modern Drama and Bertolt Brecht
Week 513. The Contribution of Bertolt Brecht to Drama14. Summary and Analyses of Prologue and Scene One: The Good Woman of Setzuan15. Summary and Analyses of Scenes Two and Three: The Good Woman of Setzuan.
Week 616. Summary and Analyses of Scenes Four and Five : The Good Woman of Setzuan.17. Summary and Analyses of Scenes Six and Seven: The Good Woman of Setzuan.18. Summary and Analyses of Scenes Eight and Nine: The Good Woman of Setzuan
Week 719. Summary and Analyses of Scene Ten and Epilogue: The Good Woman of Setzuan20. A Critical Study of The Good Woman of Setzuan and Bertolt Brecht as a Dramatist21. The Theatre of the Absurd
Week 822. The Dramatists of the Theatre of the Absurd: An Outline23 Samuel Beckett, the Dramatist24. “Waiting for Godot”: Explanation and Analysis of Act 1- Part 1
Week 925. “Waiting for Godot”: Explanation and Analysis of Act 1- Part 226. “Waiting for Godot” : Explanation and Analysis of Act 2- Part 127. “Waiting for Godot” : Explanation and Analysis of Act 2- Part 2
Week 1028. A Critical Study of the Drama and Samuel Beckett as a Dramatist - PART 129. A Critical Study of the Drama and Samuel Beckett as a Dramatist –PART 230. Eugene Ionesco and the Theatre of the Absurd
Week 1131. Summary and Analysis of Act 1: Rhinoceros32. Summary and Analysis of Act 2- Scene 1 – Rhinoceros33. Summary and Analysis of Act 2- Scene 2- Rhinoceros
Week 1234. Summary and Analysis of Act 3- Rhinoceros35. A Critical Study of the drama Rhinoceros and Eugene Ionesco as a dramatist.36. Significance of the Theatre of the Absurd
Taught by
Dr. C.G.SHYAMALA
