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Catalog Description Formerly known as DRMA 21 Hours: 54 lecture Description: This course introduces students to the fundamental applications of script analysis. Students will interpret and describe concepts and ideas related to historical and contemporary dramatic literature. Emphasis is placed on methods of interpreting play structure specific to use in acting, directing, design, and critical and social analysis. (C-ID THTR 114) (CSU, UC) Course Student Learning Outcomes CSLO #1: Analyze texts from a theatrical point of view. CSLO #2: Describe and evaluate the structure of a play. CSLO #3: Identify and examine the various genres of drama. Effective Term Fall 2026 Course Type Credit - Degree-applicable Contact Hours 54 Outside of Class Hours 108 Total Student Learning Hours 162 Course Objectives Upon successful completion of the course the student will be able to: Interpret and analyze the major theme of a play; describe and evaluate the structure of a play; interpret and analyze the characters of a play; establish and define the character relationships within a play; identify and evaluate the use of rhythm and tempo to create mood in the context of a play; identify and examine the various types of genres such as tragedy, comedy, farce, and satire; identify and compare plays from the major dramatic movements such as Realism, Absurdism, and Expressionism;  identify and compare the social impact of a classical play performed during ancient times and today. General Education Information Approved College Associate Degree GE Applicability AA/AS - Arts and Humanities AA/AS - Fine Arts AA/AS - Literature & Language CSU GE Applicability (Recommended-requires CSU approval) Cal-GETC Applicability (Recommended - Requires External Approval) IGETC Applicability (Recommended-requires CSU/UC approval) Articulation Information CSU Transferable UC Transferable Methods of Evaluation Classroom Discussions Example: Students will identify the elements of action in WAITING FOR GODOT and be prompted to discuss their opinion of whether or not the play falls into the genre of Theatre of the Absurd and support their opinions with what has been learned about Absurdism and how Samuel Beckett's works fall within or out of line with those defined elements. Essay Examinations Example: Example within the exam includes: Describe your understanding of the unities of time, place, and action in OEDIPUS REX by Sophocles and compare with its appearance in CAT ON A HOT TIN ROOF by Tennessee Williams. Reports Example: Students will write a comparative report of two live plays they will see and describe detailed examples of how the production brought to life elements of the written work to the stage. Elements to be identified include theme, plot, characters, rhythm, genre, dramatic movements and social impact of story. Repeatable No Methods of Instruction Lecture/Discussion Distance Learning Lecture: Instructor will lecture on five major genres and show examples of stage versions of each genre. Students will discuss differences between a overarching comedy and a farce to understand definable differences both in the script and in production. Distance Learning In a optional virtual meeting, the instructor will lecture on the primary characteristics of Expressionistic Theatre and compare it to Realism. After sharing video examples, instructor will have students break out into virtual chat rooms to present specific examples of scenes from one expressionistic play versus one Realistic to the entire class and then open up comments for the entire class after each presentation. For students unable to attend the virtual meeting, the instructor will record and post the lecture and post a discussion board assigning the groups to complete their presentation and post the findings for continued discussion. Typical Out of Class Assignments Reading Assignments 1. Read Chapter 4 "Tragedy: Definition and Analysis" in "Poetics" by Aristotle and be prepared to discuss elements of tragedy in a story you or program you have seen. For example, what characters in the Star Wars Trilogies might be considered a "Tragic Hero" and why? Break into groups to discuss and identify what their "Hamartia" (flaw or mistake) may be that leads to their eventual downfall. 2. Read "Oedipus Rex" by Sophocles and "The Seagull" by Anton Chekhov. Be prepared to discuss the themes of fate and destiny in both plays. Class will discuss the differences of how these themes are presented through the eyes of the Chorus in Oedipus Rex and individual characters in the early modern play, The Seagull. Writing, Problem Solving or Performance 1. Write a critical analysis of the dramatic action of "The Death of A Salesman" by discussing Arthur Miller's use of the Aristotelian elements of character, plot, theme, and spectacle. 2. Choose one of the characters in "Hamlet" and write a report discussing the throughline of action and the subtext. How would an actor analyze this script and play subtext and a super objective? Other (Term projects, research papers, portfolios, etc.) Required Materials Script Analysis for Actors, Directors, and Designers Author: James Thomas Publisher: Focal Press by Routledge Publication Date: 2024 Text Edition: 7th Classic Textbook?: No OER Link: OER: Backwards and Forwards: A Technical Manual for Reading Plays Author: David Ball Publisher: Southern Illinois University Press Publication Date: 1983 Text Edition: 1st Classic Textbook?: No OER Link: OER: Poetics Author: Aristotle, Malcom Heath translator Publisher: Penguin Group (USA) Incorporated Publication Date: 1997 Text Edition: Classic Textbook?: Yes OER Link: OER: The Compact Bedford Introduction to Drama Author: Lee A. Jacobus Publisher: Bedford/St. Martin's Press Publication Date: 2012 Text Edition: 7th Classic Textbook?: No OER Link: OER: Reading Between the Lines: A Guide to Script Analysis for Actors Author: Benjamin Lindsay Publisher: Backstage Publication Date: 2024 Text Edition: Classic Textbook?: OER Link: OER: Other materials and-or supplies required of students that contribute to the cost of the course.

The Theatre Arts Department offers training, both theoretical and practical, in theatrical production, including performance, technical and business management aspects, as well as the serious study of the development of those aspects from the early Greeks up to the bright lights of Broadway. We believe that the creativity, the personal interaction and the excitement of participating in a performance are highly valuable experiences for any individual. The heightened awareness of beauty and truth are carried on into the later life of the student to perhaps enable him or her to appreciate more fully what is available.