Notes:

Notes: Contemporary Women Playwrights. As campaigns for gender parity such as 50/50 in 2020 (US) and Equity in Theatre (Canada) make clear, women remain under-represented in twenty-first-century theatre. At the same time, recent global 'women's marches' in response to Donald Trump's inauguration and social media awareness-campaigns such as #BeenRapedNeverReported make clear that feminism is far from 'post' in the new millennium and is in fact highly visible and current. This seminar will look at playwriting by women from the 1990s to the present, identifying some of the key concerns and theatrical/dramaturgical strategies that distinguish their work. Course readings may include plays by Caryl Churchill, Marie Clements, Sarah Kane, Lucy Kirkwood, Young Jean Lee, Lara Foot Newton, Madeleine George, Hannah Moscovitch, Colleen Murphy, Lynn Nottage, Suzan-Lori Parks, Anusree Roy, Djanet Sears, Sarah Ruhl, and Judith Thompson among others, as well as related theoretical and critical texts.

Notes: This course will approach the field of contemporary drama through the work of women playwrights, with particular attention to plays from the 1990s to the present. Play readings will encompass a variety of forms (e.g., comedy, tragedy, the history play, the theatre history play) and topics (e.g., women¿s rights, war, sexual violence, climate change). Through this approach, students will gain an in-depth understanding of key concerns and dramaturgical strategies of a range of women playwrights, as well as insight into the wider field of contemporary drama. Course readings may include plays by April De Angelis, Margaret Atwood, Chantal Bilodeau, Marina Carr, Caryl Churchill, Marie Clements, Linda Griffiths, Sarah Kane, Lisa Loomer, Colleen Murphy, Lynn Nottage, Suzan-Lori Parks, Anusree Roy, Sarah Ruhl, Djanet Sears, Judith Thompson, and Paula Vogel, among others, as well as related theoretical and critical texts.

Notes: Gender, Sexuality, Modernity, and Performance. The emergence of modernism in theatre, drama, and performance both reflected and contributed to the transformation of gender roles and the emergence of modern sexual identities in the late nineteenth and early twentieth centuries. This seminar will look at the intersection of gender, sexuality, modernism, and performance. Plays and performances to be considered may include works by Henrik Ibsen, Arthur Wing Pinero, Oscar Wilde, Loie Fuller, George Bernard Shaw, Christopher St. John and Cicely Hamilton, Isadora Duncan, Vaslav Nijinsky, Djuna Barnes, Josephine Baker, Noel Coward, and Mordaunt Shairp, among others. Course readings will also include related primary materials (performance reviews, newspaper articles, autobiographical writings, etc.) and relevant critical and historical texts.

Notes: Contemporary Women Playwrights. As campaigns for gender parity such as 50/50 in 2020 (US) and Equity in Theatre (Canada) make clear, women remain under-represented in twenty-first-century theatre. At the same time, recent global 'women's marches' in response to Donald Trump's inauguration and social media awareness-campaigns such as #BeenRapedNeverReported make clear that feminism is far from 'post' in the new millennium and is in fact highly visible and current. This seminar will look at playwriting by women from the 1990s to the present, identifying some of the key concerns and theatrical/dramaturgical strategies that distinguish their work. Course readings may include plays by Caryl Churchill, Marie Clements, Sarah Kane, Lucy Kirkwood, Young Jean Lee, Lara Foot Newton, Madeleine George, Hannah Moscovitch, Colleen Murphy, Lynn Nottage, Suzan-Lori Parks, Anusree Roy, Djanet Sears, Sarah Ruhl, and Judith Thompson among others, as well as related theoretical and critical texts.

Notes: Gender and sexuality were central concerns in theatre, drama, and performance in the late nineteenth and early twentieth centuries. This course will centre on the intersection of gender, sexuality, modernism, and performance as a way to understand key plays and performances across a range of genres, styles, and forms during this period. Through this approach, students will gain an in-depth understanding of the field of modern drama and performance, along with insight into how modernism in theatre, drama, and performance reflected, challenged, and transformed prevailing understandings of gender and sexuality. Plays and performances to be considered may include works by Henrik Ibsen, Oscar Wilde, Loie Fuller, Arthur Wing Pinero, George Bernard Shaw, Anton Chekhov, Isadora Duncan, Christopher St. John and Cicely Hamilton, Vaslav Nijinsky, Angelina Weld Grimké, Djuna Barnes, Langston Hughes, Noël Coward, Mordaunt Shairp, Lillian Hellman, Bertolt Brecht, and Tennessee Williams, among others. Course readings may also include related primary materials (e.g., performance reviews, newspaper articles, manifestos) and relevant critical, theoretical, and historical texts.

Notes: Contemporary Women Playwrights. As campaigns for gender parity such as 50/50 in 2020 (US) and Equity in Theatre (Canada) make clear, women remain under-represented in twenty-first-century theatre. At the same time, recent global ¿women¿s marches¿ in response to Donald Trump¿s inauguration and social media awareness-campaigns such as #BeenRapedNeverReported make clear that feminism is far from ¿post¿ in the new millennium and is in fact highly visible and current. This seminar will look at playwriting by women from the 1990s to the present, identifying some of the key concerns and theatrical/dramaturgical strategies that distinguish their work. Course readings may include plays by Caryl Churchill, Marie Clements, Sarah Kane, Lucy Kirkwood, Young Jean Lee, Lara Foot Newton, Madeleine George, Hannah Moscovitch, Colleen Murphy, Lynn Nottage, Suzan-Lori Parks, Anusree Roy, Djanet Sears, Sarah Ruhl, and Judith Thompson among others, as well as related theoretical and critical texts.

Notes: RESTRICTED TO MFA DRAM STUDENTS ONLY