| Week One: Dramatic Beginnings |
Introduction and Course Overview
Noah
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| Week Two: Medieval Religious and Secular Drama |
The Second Shepherd’s Play
A Mery Play Betweene Johan Johan the Husbande, Tib His Wife, and Sir John the Preest (c 1520)
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| Week Three: The Medieval Morality Play |
Everyman (c. 1490)
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| Week Four: Renaissance Satire |
Ben Jonson, The Alchemist (1610)
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| Week Five: Restoration Comedy of Manners |
William Wycherly, The Country Wife (1675)
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| Week Six: Eighteenth-Century Burlesque |
John Gay, The Beggar’s Opera (1728)
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| Week Seven: Eighteenth-Century Sentimental Comedy |
Richard Brinsley Sheridan, The Rivals (1775)
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| Week Eight: Midterm Exam |
| Week Nine: Spring Break |
| Week Ten: Mid-Victorian Comedy of Manners |
Dion Boucicault, London Assurance (1841)
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| Week Eleven: Late-Victorian Farce |
Oscar Wilde, The Importance of Being Earnest (1894)
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| Week Twelve: Edwardian Comedy |
George Bernard Shaw, Pygmalion (1914)
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| Week Thirteen: Theatre of the Absurd / Tragicomedy |
Samuel Beckett, Waiting for Godot (1953)
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| Week Fourteen: Twentieth-Century Farce |
Tom Stoppard, The Real Inspector Hound (1968)
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| Week Fifteen: Late-Twentieth-Century Comedy I |
Caryl Churchill, Cloud 9 (1979)
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| Week Fifteen: Late-Twentieth-Century Comedy II |
Timberlake Wertenbaker, Our Country’s Good (1988)
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| Week Fifteen: Final Exam |