ࡱ> GIF >bjbj?? $2]]>[[[[[ooooo {os2jjjG\[jjjjn[[-r^[[j[[ خ(oC0s[jjj !:   Sample Literature Teaching Proposal What follows is a sample (by no means the only model) proposal to teach a literature course for the first time. Basically, were just looking for some indication of the proposers experience with the course content (courses completed, texts taught, sabbatical work, etc.) as well as some idea of how youd teach the course (thematic, theoretical and other approaches, authors and texts you might cover, etc.). A page or two is plentyno need for a complete syllabus. I would be honored and happy to teach ELIT 12: Introduction to Dramatic Literature if given the opportunity. I am currently working on two essays, one for a volume published by Routledge (on Zoot Suit) and one for the American Shakespeare Association (on comic elements inside Shakespeares tragedies), so drama is definitely where my mind is these days. My plan for the course would be to use the theme People Your Age in Major Trouble and to work fairly chronologically through theater history after beginning with Raisin in the Sun, which is exactly on point for the theme and is excellent for introducting basic theater vocabulary and, more significantly, engaging the hearts and minds of the students. My Plan B would be to start with I Dont Have to Show You No Stinking Badges and then do Raisin in the Sun in its place in chronological order. I also have Plans C, D, and E, like any teacher. One of the intellectually stimulating things about teaching drama is that one can use fairly easy-to-comprehend theoretical models in order to think about each play the result is an empowering of the students who can themselves apply these theories to whatever plays they like the most, to use the theory for writing, directing, and acting. We will work on performance of short scenes from the plays, focusing on acting as the culmination of interpretation, realizing that actors themselves are often the finest close readers of drama. Even those of us without particular talent for the stage can find ways to make the language come alive and if we fail, that failure just gives us more appreciation for well-performed drama. Why I believe that I can teach this course: Relevant Education: Undergrad: one course in Shakespeare, a class on Restoration drama, one class that focused on Hamlet, reading of four or five plays in German, and a three-quarter Humanities series that included a few plays. Grad: one course in comedy that was entirely drama, one on Eighteenth-Century Literature, about one-third drama, a course that was half on ONeill, and the opportunity to co-teach American theatre with another grad student through the C. L. Barber Fellowship. My research work included two papers on the place of the Uncle Toms Cabin dance in the middle of The King and I, so I did extensive research on American musical theater and Balinese-Thai-Burmese court theater for that project. At Stanford, we taught The Tempest and King Lear. When I was at UC Santa Cruz, I taught American Theater three times and I have taught Shakespeare about five times here at ý. Other classes where I include drama are EWRT 1B and 1C, Contemporary Literature, ELIT 46A, and sometimes at the end of EWRT 1A. I am most interested in workers theater/ peoples theater, around the world and in the Bay Area. In the seventies, I co-wrote and performed -- on a flatbed truck at several times and locations a play about the proposed neutron bomb. I have attended the Christmas season plays at Mission San Juan Bautista, along with other plays put on by Teatro Campesino, and have several times invited members of Teatro to come to talk to my classes; I have used a large number of Teatro pieces in my teaching. I have also used scripts from the San Francisco Mime Troupe Joan Holden kindly came to one of my classes to talk about collaborative drama. When I went to Bali, I was able to see four different types of Balinese drama where every performer must be blessed before performing. As for famous-writer drama, I co-led a few Ashland trips in the 1990s and have been a subscriber to ACT for over 25 years. I have seen dozens of plays in theaters, pubs, and outdoor locations in London, New York, St. Petersburg and Moscow. Thank you for reading this. 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