Course Code and Title: ELL311 Modern Drama
Classes: BS English Semester VI, M.A English II
Resource Person: Ms. Shama Iqbal Hussain
Email: shama.eng@mul.edu.pk (contact hours: Monday-Thursday, 8 a.m-5 p.m.)
*You are advised to only contact the resource person via email (in English,
following proper format). Do not send WhatsApp or text messages.
COURSE DESCRIPTION:
Modern day dramatic performances, live as well as those treated in different mediums of film
and television, owe a lot to the genre of drama of antiquity.
Building upon the prior knowledge of the key elements of the literary terms and techniques of
drama learnt by students in the course of Classical Drama, this course will present some
modern plays of the late nineteenth and twentieth century which have influenced the
development of English drama. (Though the knowledge of literary terms acquired in
Classical Drama will be of great help, yet this course can be studied as an entirely
independent module).
The dramas suggested for this course lend a considerable amount of variety to different forms
of tragedy and comedy.
The course is designed to impart, discuss, evaluate, and above all enjoy the spirit of modern
drama. The socio-cultural aspects of society reflected in the drama of the selected age will
also be highlighted along with its significance in our modern world.
COURSE OBJECTIVES:
1- An overview of some of the most influential dramatists of modern age and their works
with reference to their themes and dramatic techniques.
2- An emphasis on how certain dramatists are related to new ideas about the role of the
theatre and its method.
3- A number of literary texts are read together with critical and theoretical discussions.
ATTENDENCE:
You are expected to attend two classes every week, and also participate in the weekly online
component. Contact Resource person via email prior to the class time, or inform your CR. It
is your responsibility to find out what you have missed. More than two (2) absentees may
result in lower grade/inability to sit in exam.
HEC RECOMMENDED TEXTS:
1- Billington, Michael. Harold Pinter. Faber and Faber. 1996
2- Esslin, Martin. The Theater of the Absurd. New York, Doubleday Anchor Books
1961.
3- Evans, T. F. George Bernard Shaw. Routledge. 2013
4- Fraser, G.S. The Modern Writer and His World. Rupa and Co. Calcutta, 1961.
5- Kenner, Hugh Samuel Beckett: A Critical Study. New York, Grove Press, 1961.
6- Mayor, Laura Reis. Four Major Plays of Ibsen. Penguin Group USA. 2008
7- Rayfield Donald. Anton Chekov: A Life. Northwest University Press. 1997
8- Tornquist, Egil. Ibsen’s The Doll’s House. Cambridge University Press. 1995
9- White, John J. Bertolt Brecht’s Dramatic Theory. Camden House. 2004
10- Williams, Raymond Drama from Ibsen to Brecht. Penguin in association with Chatto
and Windus
LATE SUBMISSIONS:
Late submissions will not be accepted without serious cause.
ACADEMIC HONESTY:
MUL is an academic institution dedicated to the intellectual, social and ethical development
of its members. In keeping with these goals, all students are expected to strive for integrity in
both academic and non-academic pursuits. Acts that involve any attempt to deceive, to
present another’s ideas as one’s own, or to enhance one’s grade through dishonest means
violate integrity of both the student and the University. The Resource Person has the right to
take disciplinary action.
SCHEME OF STUDIES
WEEK COURSE HANDOUTS ACTIVITIES LEARNING
CONTENTS OUTCOMES
Week 1 Modern Drama A very short Introduction to Students will have a
introduction Modern general idea of the
to Modern Drama, its, significance of this
Drama by history, course
Kirsten E. prominent
Shepherd- features and
Barr (pg. 20- prolific
23) playwrights
A History of
Modern
Drama vol II
by David
Krasner
(Pg. 3-45)
Week 2 Dramatic Trends in Reading Students will be
techniques and contemporar Modern able to identify the
Modern Drama y drama by Drama, and Dramatic techniques
Bernice textual used by various
Hudson analysis dramatists
Zingg (pg. 1- through
25) dramatic
Further techniques
Reading
Thematic
Guide to
Modern
Drama by
Sussan C.W.
Abbotson
Week Drama of G. B. Text: Shaw’s Reading and The students will be
3 Shaw “Arms and the textual able to build
Man” analysis of capacity for
excerpts from grasping the
Further G. B. Shaw’s meaning of a
Reading: plays, with Shaw’s literary
Trends in 20th focusing on drama, its theatrical
century drama his performances and
by Lumley (pg. perspective of literary significance
1-18) Anti- in terms of a given
Romantic historical
Comedy, period/dominant
social idea.
criticism and
satire.
Week Samuel Beckett as a Text: Reading and Students will be
4 Modern Dramatist Beckett’s analysis of able to relate
Waiting for Beckett’s Beckett’s dramatic
Godot plays, his techniques and
“Samuel dramatic thematic concerns
Beckett: The techniques, with other modern
search for the focussing on dramatists
self” (pg. 1-65) his Existential
Further theory.
Reading:
Reading
Modern Drama
by Alan
Ackerman
(chapter 6)
A History of
Modern
Drama vol II
by David
Krasner
(chapter 7)
Week 5 Beckett’s Text: Discussion on The students will be
Absurdism Beckett’s Beckett’s able to analyze
Endgame Absurdism Beckett’s drama in
and dramatic the light of theatre
A very short techniques of absurd
introduction
to Modern
Drama by
Kirsten E.
Shepherd-
Barr (pg.89-
94)
Week 6 Federico Garcia Texts: F. G. Lorca’s Students will be
Lorca’s plays Lorca’s dramatic able to textually
Blood techniques analyze Lorca’s
Wedding, plays as Spanish
The House of Tragedies
Bernarda
Alba
Further
Readings:
Trends in 20th
century
drama by
Lumley
(pg. 103-
115)
Week 7 Lorca’s plays Reading Reading Students will be
Modern excerpts from able to compare
Drama by Lorca’s plays Lorca’s dramatic
Alan techniques and
Ackerman thematic concerns
(Chapter 3) with the prior read
modern dramatists
Week 8 Pinteresque Drama A History of Introduction to Students will be
Modern Pinteresque able to understand
Drama vol II drama the quintessential
by David features of
Krasner Pinteresque drama
(chapter 2)
Week 9 Harold Pinter’s Texts: Reading and Students will be
Drama Harold analysing able to textually
Pinter’s The excerpts from analyze the Pinter’s
Caretaker, Pinter’s plays plays with reference
The to the
Homecoming historical/social
context of the time
Week Anton Chekhov’s Texts: Introduction to The students will be
10 Drama Chekhov’s Anton able to build
The Seagull, Chekhov’s capacity for
drama grasping the
meaning of a
Chekhov’s drama
keeping in view the
historical
period/dominant
ideology of
Chekhov in his
dramas
Week Chekhov’s plays Texts: Reading and Students will be
11 The Bear analysing able to compare
Chekhov’s Chekhov’s comedy
plays and his paly with the prior
farcical read tragedy
comedies
Week Bertolt Brecht’s “The Mirror Introduction to Students will be
12 theatre and the Brechtian able to understand
Dynamo: On drama the aesthetics of
Brecht’s Brechtian drama
Aesthetic
point of
view” by
Darco Suvin
Text:
Brecht’s
Mother
Courage
Week Drama of Brecht Texts: Reading and Students will be
13 Brecht’s The analysing able to develop
Caucasian Brecht’s plays understanding of
Chalk Circle, salient
The good characteristics of
person of Brechtian Theatre
Szechwan
Week Presentations
14
Week Grand Quiz
15
ASSIGNMENT FORMAT:
(Font: Times New Roman
Size: 12, for heading 14
Line spacing 2.0)
Name: _______
Class: ______
Subject: _______
Submitted to: Ms. Shama Iqbal Hussain
Date: ________
(Heading of topic)
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NOTE:
All zoom meeting IDs and passwords will be shared in the announcement section on
CMS
Lecture slides/notes will ONLY be shared on CMS (Drive links, slides, downloads
section)
It is must for every student to turn on their cameras in order to ensure their presence
in class. If the student’s camera has not been turned on, the resource person will not
be responsible for student’s attendance.
It is must for every student to come prepared in every class, as the sessional marks
depend on student’s class participation.
Do not plagiarize assignments/home works from internet. Any student with
plagiarized submission will not be awarded any marks.
Follow the assignment format given at the end, and attach it on CMS. No submissions
in hard copies or emails shall be accepted.
Keep all the assignments as record in soft form, and submit hard copies at the end of
the term (before final term exams)
Students are required to work both individually and in groups. Individuals are
responsible for their own written work. Group members are expected to contribute
equitably to the work of their group and if they fail to do so may be dropped from
their group upon agreement by the other group members or at the discretion of the
instructor. Any student who is dropped from a group will be obligated to find another
group that is willing to accept him or her or to complete assignments independently.
The student is required to submit atleast 4 assignments, 2 quizzes, 2 presentations and
weekly discussion boards in both the terms, for the completion of course.
ANY KIND OF INSOLENT, RUDE AND DISRESPECTFUL BEHAVIOUR IS
HIGHLY DISCOURAGED.
