S/LI/299. "All under one hot roof": How can the themes of 'Cat on a Hot Tin Roof' be seen to develop in relation to the plays staging?

The paper analyses the themes of sexuality, isolation and mendacity in the play by Tennessee Williams 'Cat on a Hot Tin Roof' discussing the ways of portraying the characters' sexuality, untruthfulness and the feeling of claustrophobia through symbols, dialogues and the attributes of the fictional space.

S/P/355. In Huis Clos, how do objects contribute to the construction of hell?

The paper analyses Jean-Paul Sartre's existentialist drama 'Huis Clos' describing the general features of the existentialist movement and Sartre's philosophy of 'being-for-itself' and 'nothingness' reflected in his play.

S/LI/188. What makes plays endure?

The paper examines the social context around the theatre seeking to understand why a play remains relevant to an audience long after it was written. Long-lived plays of Shakespeare and the plays of John Osborn, Arthur Miller, etc. are analysed.

S/LI/162. ‘Initially through explorations with sound/ movement and audience participation, and later with visual experimentation and fragmented non-discursive vocal deliveries, the contemporary theatre has been demonstrating a rejection of the spoken word for modern day communication.’ (Jacqueline Martin) Discuss the diversification of ‘voice’ in contemporary performance practice.

Contemporary performance relies primarily on the body and visual images and has expressed a rejection of voice. Through the examination of different performance styles, one can identify the extent of the diversification of voice in performance; from monologues and dialogues, through non-narrative vocal deliveries and performance companies that completely reject voice, to the use of ‘words as objects’ and word-like sounds. All are present in contemporary performance practice and this essay will examine the diversification of voice in such work, concluding with a prediction for the future of voice in performance.

S/LI/161. Give an account of the ways in which Robert Wilson and Pina Bausch have created a ‘concrete language’ for the theatre. In what ways can they be said to have produced a ‘poetry for the senses’? You should refer to at least one particular production by each.

‘Poetry for the senses’ is a term which implies that the senses are being awakened by a piece of theatre, and this also infers that language is not a principal device used. Robert Wilson and Pina Bausch both create ‘poetry for the senses’ through their own concepts of a ‘concrete language’ on stage. Wilson’s ‘operas’ and Bausch’s dance-theatre are pioneering genres of stage practice. This essay examines their different approaches and techniques, through looking at one pivotal theatre work of each, Wilson’s Einstein on the Beach and Bausch’s Carnations.

S/LI/160. Discuss in depth the different concepts of ‘community’ held by John McGrath and Peter Brook, showing how these have determined their theatre work. Which concept do you find the more persuasive? Why?

John McGrath saw theatre as “the place where the life of a society is shown in public to that society.”[1] In contrast, Peter Brook’s manifesto The Empty Space suggests that a man walking across an empty space can become ‘theatre’ if another man is watching. [2] But is this true? Theatre should preferably create ‘community’ in the audience if they relate to the themes on stage, or it should entertain and educate. This essay explores the two directors’ different ideas on the concept of ‘community’ created by theatre and how this is evident throughout their work.

S/LI/128. Choosing one character from a play by Anton Chekhov, demonstrate how an actor would prepare to portray this role with specific reference to the Stanislavski system and relevant practical exercises.

This paper examines Russian playwright Anton Chekhov's theatre and the various possibilities of staging Chekhov's plays with reference to the 'Method of Physical Action' of Russian actor and theatre director Konstantin Stanislavski, as well as Vslesovod Meyerhold's expressionist theatre. The essay highlights the ‘score’ of physical actions to express the ‘complex inner psychology of the character', and discusses the Stanislavski system on a concrete example, Chekhov's play Three Sisters, focussing on the character of Natalya.

S/LI/118. Discuss Judith ButlerÒs notion of Ñgender performativityÒ in relation to one or more performances you have seen

The essay explores issues of Ñgender performativityÒ in relation to contemporary performance. The essay delves into the theories of Judith Butler with great clarity as example performances of Sinners and Tejas Verdes explore the notion of gender performativity. This essay unravels elements of identity crisis and explores social elements that influence gender perfomativity. The essay questions whether or not people ÑperformÒ stereotypical notions of gender.

S/LI/117. Discuss the statement ÑActing is the demonstration of self with or without a disguiseÒ (Chaikin) in relation to contemporary performance

This essay delves into the complex statement of Chaiken that Ñacting is a demonstration of the self with or without a disguise.Ò The essay not only refers to such theories of theatre practitioners Stanislavski and Boal, but also questions technology in relation to acting as a demonstration of the self with or without a disguise. The essay questions what constitutes as acting by exploring theories and developing technologies. Maybe Shakespeare was right in stating Óthe world is a stageÔ

S/LI/116. Analyse and compare the key elements of theatricality of any two practitioners discussed on this course: Brecht & Artaud

This essay compares the works of Theatre practitioners Brecht and Artuad. A close theoretical analysis of their work presents both important similarities and contrasts. Elements of Brecht's Epic Theatre is contrasted to the works of Artaud's Theatre of Cruelty. The essay explores elements of aesthetics and theatrical devices employed by both practioners and their legacy within the world of theatre.

S/LI/101. Theme of black women in ParksÒ play ÑVenusÒ

The paper reviews Suzan-Lori ParksÒ play Venus describing its geography (which is understood as physical, cultural and historical aspects of the depicted locations) and its role in the portrayal of black women. The reflections of Jazz influences, the image of the Khoikhoi people, etc. are discussed.

P/LI/36. Character sketch of Nick in Whos Afraid of Virginia Woolf? by E. Albee

The paper is a literary review of the play Whos Afraid of Virginia Woolf? by E. Albee focusing on the character of Nick and analysing its development throughout the play, highlighting metaphorical analogies and symbolic allusions made by the author.

P/LI/32. Jean Racine: portrayal of monarchic power

The paper analyses the play ÑBritannicus by the French playwright Jean Racine revealing the artistic means of portraying monarchic power through the structure, settings, characters and rhetorical figures. Linguistic means of conveying the idea of morality through the characters speech are discussed.

P/LI/75. Bulgakov and Molière: two plays in one

The paper analyses Bulgakovs comedy Kabala Sviatosh that incorporates the play Tartuffe by Molière. The interplay of both texts is discussed along the lines of realism and Ñun-realism revealing the means of creating a comical effect.

S/LI/47. Discuss the ways in which Samuel Beckett attempted to alter the concept of theatre with his 1952 play Waiting For Godot. To what extent do you think he achieved his objectives and how relevant do you think his work is to us today?

This essay looks at the ways in which Samuel Beckett attempted to alter the concept of theatre as it was then known, with his 1952 play Waiting For Godot. It examines how his style of Absurdist theatre was different from popular theatrical styles up to that point, and how it was reacted to by critics and the public. The paper then goes on to look at the effects this style of play had on theatre and how relevant Beckett's work is to us today.

S/LI/20. The Individual and the Mass: An Examination of Ernst Toller's Masses and Man and Fritz Lang's Metropolis

This essay examines the interrelationship between the individual and the mass in Masses & Man and Metropolis as two examples of late German Expressionism. It compares and contrasts both works in in-depth analyses and contains detailed references to cultural and political theory of the era.

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