Dramaturgy is the study of dramatic structure: how plays are built and how they work. Although every play worth its salt works according to its own idiosyncratic plan, certain principles allow us to take it apart in order to better understand how it was put together. There are many ways to do that, and we will be trying a wide assortment. For example, we will study two plays that utilize the same dramaturgical devices—but to very different ends. We will look at both Euripides’ The Bacchae and Tennessee Williams’ Suddenly Last Summer in order to examine classical structure; compare Thomas Kyd’s The Spanish Tragedy to Shakespeare’s Hamlet in order to see the guiding principles of Elizabethan revenge tragedy; read Emile Augier’s simple-minded Olympe’s Marriage side-by-side with Henrik Ibsen’s great A Doll House; or trace the development of expressionism over the course of the 20th century from Eugene O’Neill’s The Emperor Jones to Adrienne Kennedy’s Funnyhouse of a Negro. We will also look at how two plays may tell the same story but with different plots and using different dramaturgical principles. For this, we might examine Euripides’ Hippolytus, Racine’s Phaedre, and Sarah Kane’s Phaedre’s Love or Shakespeare’s King Lear and Nahum Tate’s neoclassical version of it (in the conclusion of which, Lear, alive and well, presides over the wedding of Cordelia and Edgar). The examination of multiple drafts of plays is often the surest way to see inside the playwright’s mind; fortunately, we have complete, early drafts of plays that, after substantial revision, became masterpieces. We will look at Chekhov’s early manuscript of The Wood Demon in order to compare it to the play it became in Uncle Vanya; and we’ll watch Ibsen struggle to find the way to release Nora’s persona in the first draft of A Doll House and then watch him succeed incomparably in the final version. There are many other possibilities, as well: faux folk drama in the form of S. A. Ansky’s great horror-thriller, The Dybbuk, or Federico Garcia Lorca’s Blood Wedding; ritualistic drama from Jean Genet’s The Maids to Edward Albee’s Who’s Afraid of Virginia Woolf?; farce from Georges Feydeau’s A Flea in Her Ear to John Guare’s House of Blue Leaves. Because an understanding of genre is essential to the work that we will do, a working knowledge of the principle genres (classicism, Elizabethan, neoclassicism, realism, naturalism, expressionism, etc.) and their historical context is required for the course. This course meets twice a week.