Boston University College and Graduate School of Arts & Sciences 725 Commonwealth Avenue, Room 106, Boston, MA 02215
T: 617-353-2401; E: [email protected]
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CAS/GRS New Course Proposal Form
This form is to be used when proposing a new CAS or GRS course.
This form should be submitted to Senior Academic Administrator Peter Law (617-‐353-‐7243) as a PDF file to [email protected]. For further information or assistance, contact Associate Dean Susan Jackson (617-‐353-‐2410; [email protected]) about CAS courses or Associate Dean Jeffrey Hughes (617-‐353-‐2690; [email protected]) about GRS courses.
DEPARTMENT OR PROGRAM: Romance Studies DATE SUBMITTED: 2/21/2015 COURSE NUMBER: CAS LS 311
COURSE TITLE: Spanish through Performance: The Theater of Everyday Life INSTRUCTOR(S): Verónica Rodríguez Ballesteros
TO BE FIRST OFFERED: Sem./Year: Fall 2015
SHORT TITLE: The “short title” appears in the course inventory, on the Link University Class Schedule, and on student transcripts and must be 15 characters maximum including spaces. It should be as clear as possible.
P E R F O R M S P A N I S H
COURSE DESCRIPTION: This is the description that appears in the CAS and/or GRS Bulletin and is the first guide that students have as to what the course is about. The description can contain no more than 40 words.
Performing in Spanish to develop communicative skills while consolidating grammar, building vocabulary, and working on pronunciation and intonation.
PREREQUISITES: Indicate “None” or list all elements of the prerequisites, clearly indicating “AND” or “OR” where appropriate. Here are three examples: “Junior standing or CAS ZN300 or consent of instructor”; “CAS ZN108 and CAS ZN203 and CAS PQ206; or consent of instructor”; “For SED students only.”
1. State the prerequisites: CAS LS212; or Spanish SAT subject test score of 650 or higher; or placement test results [[Note to committee: SAT subject test score is in the process of being changed]] 2. Explain the need for these prerequisites: CAS LS311, like all 300-‐level LS language courses, is at the
level of fifth semester language study. It thus requires that students have acquired the requisite knowledge from a fourth-‐semester course, LS212.
CREDITS: (check one)
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xx Full course: 4 credits Other: Please describe.
DIVISIONAL STUDIES CREDIT: Is this course intended to fulfill Divisional Studies requirements?
xx No
Yes. If yes, please indicate which division ______________________ and explain why the course should qualify for Divisional Studies credit. Refer to criteria listed here and specify whether this course is intended for “short” or “expanded” divisional list.
HOW FREQUENTLY WILL THE COURSE BE OFFERED?
xx Every semester Once a year, fall Once a year, spring Every other year
Other: Explain:
NEED FOR THE COURSE: Explain the need for the course and its intended impact. How will it strengthen your overall curriculum? Will it be required or fulfill a requirement for degrees/majors/minors offered by your department/program or for degrees in other departments/school/colleges? Which students are most likely to be served by this course? How will it contribute to program learning outcomes for those students? If you see the course as being of “possible” or “likely” interest to students in another departments/program, please consult directly with colleagues in that unit. (You must attach appropriate cognate comments using cognate comment form if this course is intended to serve students in specific other programs. See FURTHER
INFORMATION below about cognate comment.)
This course is based on the premise that performance skills of the sort developed in theater—for example, intonation, accent, a sense of situational dynamics-- are highly relevant to advanced (fifth- and sixth-semester) language learning, and that students can learn Spanish effectively and enjoyably by ‘performing’ in Spanish. Through drama exercises, improvisations and other performances students practice pronunciation and intonation, self-presentation, debating, negotiating, counseling, persuading and expressing emotion. With an emphasis on culture, the course devotes special attention to the element of theatrical performance in everyday life in the Hispanic world.
This course counts toward the Spanish major and minor. All Spanish majors are required to take two LS language courses at the 300 level. There are several such courses available (LS 306, LS307, LS308, LS309, LS 310), and this course adds another.
The course, which has been successfully offered until now as one of the topics covered by CAS LS307, Spanish through “Literature and the Arts”-- is primarily intended for those who have
completed their language requirement at BU (whether at BU or through other previous study) and who wish to continue to develop all four skills—speaking, reading, writing, listening—through an
exploration of Spanish culture. They can do so through a variety of Spanish language courses at the 300 level, each of which emphasizes a different topic: translation, literature, film and other forms of media, Spanish for professional purposes, and (in this case) performance.
LS311 serves a number of learning goals and expectations: (1) increased proficiency in speaking, reading, writing, and understanding Spanish as used in different areas of the Spanish-speaking world, including the U.S., Spanish America, and Spain; (2) use of Spanish in a range of specific academic and everyday situations; (3) increased familiarity with cultural norms and expectations of the Spanish-speaking world.
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ENROLLMENT: How many undergraduate and/or graduate students do you expect to enroll in the initial offering of this course?
15
CROSS-‐LISTING: Is this course to be cross-‐listed or taught with another course? If so, specify. Chairs/directors of all cross-‐listing units must co-‐sign this proposal on the signature line below.
OVERLAP:
1. Are there courses in the Course Inventory (CC00) with the same number and/or title as this course
x No.
Yes. If yes, any active course(s) with the same number or title as the proposed course will be
phased out upon approval of this proposal.
NOTE: A course number cannot be reused if a different course by that number has been offered in the past five years.
2. Relationship to other courses in your program or others: Is there any significant overlap between this course and others offered by your department/program or by others? (You must attach appropriate cognate comments using cognate comment form if this course might be perceived as overlapping with courses in another department/program. See FURTHER INFORMATION below.)
No overlap with any other courses. This course forms part of our sequence of 300-‐level LS language courses (see above), with an emphasis on performance not shared by other courses at that level.
FACILITIES AND EQUIPMENT: What, if any, are the new or special facilities or equipment needs of the course (e.g., laboratory, library, instructional technology, consumables)? Are currently available facilities,
equipment, and other resources adequate for the proposed course? (NOTE: Approval of proposed course does not imply commitment to new resources to support the course on the part of CAS.)
No special facilities needed
STAFFING: How will the staffing of this course, in terms of faculty and, where relevant, teaching fellows, affect staffing support for other courses? For example, are there other courses that will not be taught as often as now? Is the staffing of this course the result of recent or expected expansion of faculty? (NOTE: Approval of proposed course does not imply commitment to new resources to support the course on the part of CAS.)
Course will be taught by the same Lecturer who offers the course now as a section of LS307. It may also be taught by professorial faculty, other lecturers, and by teaching fellows working under their supervision..
BUDGET AND COST: What, if any, are the other new budgetary needs or implications related to the start-‐up or continued offering of this course? If start-‐up or continuation of the course will entail costs not already discussed, identify them and how you expect to cover them. (NOTE: Approval of proposed course does not imply commitment to new resources to support the course on the part of CAS.)
None
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EXTERNAL PROGRAMS: If this course is being offered at an external program/campus, please provide a brief description of that program and attach a CV for the proposed instructor.
FURTHER INFORMATION THAT MUST BE ATTACHED IN ORDER FOR THIS PROPOSAL TO BE CONSIDERED:
A complete week-‐by-‐week SYLLABUS with student learning objectives, readings, and assignments that reflects the specifications of the course described in this proposal; that is, appropriate level, credits, etc. (See guidelines on “Writing a Syllabus” on the Center for Excellence & Innovation in Teaching website.) Be sure that syllabus includes your expectations for academic honesty, with URL for pertinent undergraduate or GRS academic conduct code(s).
Cognate comment from chairs or directors of relevant departments and/or programs. Use the form here under “Curriculum Review & Modification.” You can consult with Susan Jackson (CAS) or Jeffrey Hughes (GRS) to determine which departments or programs inside and outside of CAS would be appropriate.
DEPARTMENT CONTACT NAME AND POSITION: Mildred Basker-‐Seigel, Head of Spanish Language Program DEPARTMENT CONTACT EMAIL AND PHONE: [email protected]; 617 353 6239
DEPARTMENT APPROVAL: Department Chair Date
Other Department Chair(s) (for cross-‐listed courses) Date
DEAN’S OFFICE CURRICULUM ADMINISTRATOR USE ONLY
CAS/GRS CURRICULUM COMMITTEE APPROVAL: Approved Date:
Tabled Date: Not Approved Date:
Divisional Studies Credit: Endorsed HU MCS NS SS Not endorsed
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______________________________________________________________ Curriculum Committee Chair Signature and Date
Comments:
PROVISIONAL APPROVAL REQUESTED for Semester/Year
_______________________________________________________________ Dean of Arts & Sciences Signature and Date
Comments:
CAS FACULTY: Faculty Meeting Date: Approved Not Approved
Curriculum Administrator Signature and Date Comments:
Boston University
Department of Romance Studies CAS LS 311 A1 Spanish through Performance: The Theatre of Everyday
Life Fall 2015 Meeting times: Tuesday and Thursday 9:30-11:00 am. Instructor: Verónica Rodríguez Ballesteros
E-mail: [email protected]
Office Hours: Tuesday and Thursday 11:00-12;30 pm. Office: 306A, 718 Commonwealth Avenue
Course description:
This is one in a series of courses at the 300 level designed to help you progress toward advanced proficiency level in Spanish while you explore different aspects of the culture and professional life of the Spanish speaking world. These courses (1) make use of varied writing projects that are based on authentic models and are subject to extensive revision; (2) also emphasize oral production throughout the semester; (3) explore aspects of Hispanic culture not covered by more traditional composition and conversation courses. This is a writing intensive course. There will be a written assignment due in most classes.
Grammar is addressed in context and as it arises, and each student is expected to pursue additional grammar practice autonomously and according to his/her needs. To this end, students will be provided with the necessary tools and will have access to resources including guidance from the professor.
Spanish through Performance is a dynamic language class designed to strengthen
communicative skills. Through a variety of drama exercises, improvisations and performances we will have intensive practice in pronunciation and intonation, self-presentation, debating, negotiating, counseling, persuading and expressing emotions. We will discuss issues of performance and identity in family, work and love relationships within the cultural context of the Hispanic world. We will pay special attention to the element of theatrical performance in everyday life situations and the creation of new identities.
Course goals:
The aim of this class is to develop greater fluency and confidence in both oral and written expression. Performing in Spanish will help us hone our oral skills, allowing us to work closely on pronunciation and intonation. Exploring creative writing in Spanish will help us refine our written expression, allowing us to find our own style. Frequent practice will
make our command of grammar more solid while providing plenty of opportunities to try our hand at new and more challenging structures and more sophisticated vocabulary. We will focus on improving our communication skills through the analysis, criticism, debate and performance of our course materials. Spanish films and plays, among other cultural materials, will help us consolidate grammatical structures and build vocabulary while we develop a better understanding of Hispanic cultures.
Students should come to class prepared to analyze and discuss the films and plays assigned, and to engage in the performance dimension of the course. They should be prepared to express their ideas orally and in written form.
Class Materials:
Films: Available in Geddes and online
Todo lo que tú quieras, Achero Mañas (2010) El Método, Marcelo Piñeyro (2005)
Ocho citas, Peris Romano y Rodrigo Sorogoyen (2008) La vida inesperada, Jorge Torregrossa (2014)
Noviembre, Achero Mañas (2003)
Plays: Available in BU Bookstore
La casa de Bernarda Alba, Federico García Lorca (1936)
Amor de Don Perlimplín con Belisa en su jardín, Federico García Lorca (1933) Ñaque (o de piojos y actores), José Sanchis Sinisterra (1980)
Other texts and materials on Blackboard Grammar:
http://www.studyspanish.com/tutorial.htm http://www.bowdoin.edu/~eyepes/newgr/
Course policies Evaluation:
Attendance and active participation 15% Class journal (Diario) 15%
Creative Writing Assignments (Escenas) 30% Theatrical Performance (Teatro) 30%
Dramatic monologue (Monólogo Dramático) 10% Attendance and participation:
Attendance is mandatory at all classes. More than 3 unexcused absences will significantly lower your grade. Students are expected to participate actively and to engage in the performance dimension of the course.
Class journal (Diario):
Students will keep a class journal to express their first impressions, thoughts, and ideas concerning the material assigned to each class. The journal will be both written and oral: the written form will help us reflect on the topics of the course, whereas the oral journal will provide us with practice to express our ideas in a more spontaneous way. Through this first exploration of the material, students will come to class prepared to discuss their ideas on the topics of the course.
Creative Writing Assignments (Escenas): Students will explore the topics of the course through creative writing assignments. There will be 3 creative assignments during the semester in the form of theater scenes, 3-4 pages each (600-700 words), and they will be revised thoroughly. Students will have the opportunity of rewriting their first draft, exploring writing as a process.
Theatrical Performance (Teatro):
Students will work in groups to present 3 drama exercises with special attention to pronunciation and intonation. The performances will take different formats: a skit/ a dramatized reading, a talk show, and an improvisation based on a dramatic situation provided by the instructor.
Dramatic Monologue (Monólogo Dramático):
Students will write and perform a dramatic monologue as part of their final reflection on performance and identity. More information will be provided in class.
Eligibility:
Prerequisite: CAS LS212. You are also eligible to take these courses with 1) an AP 4 on the Spanish language exam; 2) a Spanish SAT II test score of (TBA) or higher; or 3) a Placement Test Score of 511 or above. A student with a placement score of 670 or above, however, should consult the Head of the Spanish Language Program, Mildred
Basker-Seigel, at 718 Commonwealth Ave, Room 202C, 617-353-6239, ([email protected]) to ensure correct placement.
Note:
• Only two LS 300-level Spanish language courses can be taken for credit.
• If you have already taken LS303 + LS304 or LS303 + LS305, you cannot take any of these courses (LS306-310) for credit.
• These courses do not have to be taken in order, sequentially. They are all equivalent.
• NOT open to students for whom Spanish is a first language. LS309-Spanish for Heritage Speakers is offered in the spring and is only open to students for whom Spanish is a first language or who do not claim a Hispanic background, but who have grown up more or less bilingually, affording them near-native knowledge of the language.
• With an AP 5 on the Spanish Language exam you have received credit for one 300-level Spanish Language course. You are allowed to take one more of these Spanish Language courses.
• An AP 5 or one 300-level Spanish Language course is also the prerequisite for the next level up, LS350, which is an introductory course in Spanish literature.
Consult the Romance Studies website www.bu.edu/rs for further explanation regarding AP, SAT II and Spanish Placement Test scores.
Academic Conduct Code:
As a member of a CAS course, it is essential that you read and adhere to the Boston University Academic Conduct Code: ( http://www.bu.edu/academics/policies/academic-conduct-code/). In particular, several types of plagiarism, i.e. any attempt to represent the work of another as your own, are defined by this academic conduct code. Cases of suspected academic misconduct will be referred to the Dean’s office.
ENERO Semana 1
Introducción a la “performance” de la identidad: el teatro de la vida cotidiana Miércoles 21- Introducción y presentación del curso. Identidad y “performance” de la identidad: ¿Quién soy? ¿Qué parámetros me definen: familia, trabajo, relaciones, género, etc.? Ejercicio de escritura creativa en clase.
Tarea: Diario oral: ¿Quién soy?
Viernes 23- Prácticas de pronunciación y entonación. Aspectos del drama y vocabulario para hablar de teatro. Introducción a la película Todo lo que tú quieras de Achero Mañas: el teatro de la familia.
Tarea: Ver la película Todo lo que tú quieras de Achero Mañas. Diario escrito: los roles familiares.
Semana 2
Aspectos de “performance” en las relaciones familiares: el teatro de la familia. Lunes 26- Achero Mañas, Todo lo que tú quieras: el teatro de la familia. Discusión de la película. Identificación de los roles familiares y análisis de las relaciones. Prácticas escénicas: los conflictos familiares.
Tarea: Entrevista a Achero Mañas.
Miércoles 28- Achero Mañas, Todo lo que tú quieras: el teatro de la familia. “Performance” de la identidad familiar: los roles asumidos. Crisis de identidad: prácticas escénicas.
Tarea: Diario escrito: crisis de identidad.
Viernes 30- Prácticas de pronunciación y entonación. Todo lo que tú quieras: discusión final. Cómo leer una escena de teatro: introducción a La casa de Bernarda Alba de Federico García Lorca.
Tarea: Leer Acto I de La casa de Bernarda Alba de Federico García Lorca. Diario oral: Un personaje de la La casa.
FEBRERO Semana 3
Aspectos de “performance” en las relaciones familiares: conflictos de familia. Lunes 2- Una familia conflictiva: La casa de Bernarda Alba. Discusión del Acto I. Análisis de una escena dramática. Personajes y objetivos. Prácticas de lectura dramatizada.
Tarea: Leer el comienzo del Acto II de La casa de Bernarda Alba de Federico García Lorca.
Miércoles 4- Una familia conflictiva: La casa de Bernarda Alba. Identificación de los roles familiares y análisis de las relaciones. “Performance” de la identidad familiar: los roles asumidos.
Tarea: Leer el final del Acto II de La casa de Bernarda Alba de Federico García Lorca. Viernes 6- Prácticas de pronunciación y entonación. Una familia conflictiva: La casa de
Bernarda Alba. Discusión del Acto II. Análisis del conflicto dramático: cómo escribir
una escena de teatro.
Tarea: ESCENA de teatro 1: CONFLICTOS DE FAMILIA EN EL SIGLO XXI. Leer Acto III de La casa de Bernarda Alba de Federico García Lorca.
Semana 4
Performance de la identidad social: el teatro de las relaciones laborales.
Lunes 9- Análisis del Acto III y discusión final de La casa de Bernarda Alba. Los conflictos de una familia del siglo XXI. Prácticas escénicas. Introducción a la película El
método de Marcelo Piñeyro.
Tarea: Ver El método de Marcelo Piñeyro. Diario escrito: el candidato ideal
Miércoles 11- Marcelo Piñeyro, El método. Análisis de personajes: tipos de personalidad. El teatro de las relaciones laborales: “performance” de la identidad social. Tarea: Diario oral: Soy el candidato ideal
Viernes 13- Prácticas de pronunciación y entonación. La entrevista de trabajo como “performance” en el teatro de las relaciones laborales. Prácticas escénicas: improvisaciones.
Tarea: Preparar TEATRO 1: LA ENTREVISTA Semana 5
Análisis de una situación dramática: la entrevista de trabajo. La entrevista de trabajo como “performance”: el teatro de las relaciones laborales.
Martes 17- TEATRO 1: LA ENTREVISTA Tarea: Revisión ESCENA de teatro 1
Miércoles 18- TEATRO 1: LA ENTREVISTA. Debate y análisis de las representaciones. Tarea: Diario escrito: las relaciones de poder
Viernes 20- Reflexión sobre las relaciones de poder en el trabajo. Introducción al teatro de las relaciones de pareja: Ocho citas. Prácticas de pronunciación y entonación.
Tarea: Ver Ocho citas de Peris Romano y Rodrigo Sorogoyen. Diario escrito: los roles de género.
Semana 6
Performance de la identidad de género: el teatro de las relaciones de pareja en el cine y en la música.
Lunes 23- Ocho citas: discusión y análisis de los roles de género en el teatro de las relaciones de pareja. Prácticas escénicas: improvisaciones.
Tarea: Diario oral: Online dating.
Miércoles 25- Ocho citas: la cita como fenómeno cultural. Análisis de diferencias culturales. Introducción al karaoke sentimental: los roles de género en las canciones románticas.
Tarea: Diario escrito: Análisis de una canción romántica.
Viernes 27- Karaoke sentimental: análisis de los roles de género en la música romántica. Prácticas de pronunciación y entonación. La cita romántica como “performance” en el teatro de las relaciones de pareja: práctica de Teatro 2.
Tarea: Preparar TEATRO 2: La cita MARZO
Semana 7
Análisis de una situación dramática: la cita romántica. La cita como “performance”: el teatro de las relaciones de pareja.
Lunes 2- TEATRO 2: LA CITA
Miércoles 4- TEATRO 2: LA CITA. Debate sobre las representaciones. La cita como espacio para jugar a ser otro: la invención de la identidad. Introducción al Amor de Don
Perlimplín con Belisa en su jardín.
Tarea: Leer el Cuadro I del Amor de Don Perlimplín con Belisa en su jardín. Diario de un personaje.
Viernes 6- Jugar a ser otro: Amor de Don Perlimplín con Belisa en su jardín. Discusión del Cuadro I. Análisis de personajes y conflicto dramático. Prácticas de pronunciación y entonación.
Tarea: ESCENA de teatro 2: LA CITA. Leer Amor de Don Perlimplín con Belisa en su
jardín.
Semana 8
Lunes 9- VACACIONES DE PRIMAVERA Miércoles 11- VACACIONES DE PRIMAVERA Viernes 13- VACACIONES DE PRIMAVERA
Semana 9
Jugar a ser otro: la invención de la identidad.
Lunes 16- Jugar a ser otro: Amor de Don Perlimplín con Belisa en su jardín. Análisis del Cuadro II. Prácticas de lectura dramatizada.
Tarea: Cuadros III y IV de Amor de Don Perlimplín con Belisa en su jardín.
Miércoles 18- Jugar a ser otro: Amor de Don Perlimplín con Belisa en su jardín. Análisis del Cuadro III. Prácticas escénicas.
Tarea: Diario oral: Una carta de amor.
Viernes 20- Jugar a ser otro: Amor de Don Perlimplín con Belisa en su jardín. Análisis del Cuadro IV. Discusión final. Prácticas de pronunciación y entonación. Introducción a
La vida inesperada de Jorge Torregrossa.
Tarea: Ver La vida inesperada de Jorge Torregrossa. Diario escrito: la identidad del extranjero.
Semana 10
Jugar a ser otro: la identidad del extranjero.
Lunes 23- La vida inesperada: la identidad del extranjero. Discusión de la película. Análisis de diferencias culturales. Prácticas escénicas.
Tarea: Diario oral: Cuando hablo español. Revisión ESCENA de teatro 2
Miércoles 25- La vida inesperada: discusión final. Análisis de estereotipos culturales: españoles vs americanos. Preparar la entrevista a un hispanohablante nativo.
Tarea: Diario escrito: Falsos cognados
Viernes 27- Día Mundial del Teatro. ¿Para qué sirve el teatro? Introducción a la película
Noviembre de Achero Mañas. Prácticas de pronunciación y entonación.
Tarea: Proyecto cultural: entrevista a un hispanohablante nativo. Ver Noviembre de Achero Mañas.
ABRIL Semana 11
La verdad de la representación y la ficción de la vida cotidiana: la frontera del escenario y la vida.
Lunes 30- Discusión de las entrevistas. Achero Mañas, Noviembre. Análisis de la película. El teatro invisible y la vida como representación: situaciones en la “frontera” teatro/vida.
Miércoles 1- Achero Mañas, Noviembre. La verdad de la representación. Actuación en la frontera: prácticas escénicas.
Tarea: Diario oral: conciencia social
Viernes 3- Augusto Boal y el Teatro del Oprimido. El teatro invisible y la vida como representación. El dilema: ¿qué harías tú? Prácticas de pronunciación y entonación. Tarea: ESCENA de teatro 3: la frontera teatro/vida.
Semana 12
La frontera teatro/vida. La invención de la identidad en las redes sociales. Actuación en la frontera: el fenómeno de las celebridades y la telerrealidad.
Lunes 6- La invención de la identidad en las redes sociales. La identidad digital. Prácticas escénicas.
Tarea: Diario oral: alter ego
Miércoles 8- Análisis del fenómeno de las celebridades: la invención de identidades absurdas y extravagantes.
Tarea: Diario de una celebridad.
Viernes 10- La telerrealidad: actuación en la frontera. La ficción de la vida cotidiana. Prácticas de pronunciación y entonación.
Tarea: Preparar teatro 3: TALK SHOW Semana 13
La ficción de la identidad: una vida de telerrealidad Lunes 13- TEATRO 3: TALK SHOW
Miércoles 15-TEATRO 3: TALK SHOW. Análisis y debate de las representaciones. Tarea: Revisión ESCENA de teatro 3
Viernes 17- La ficción de la identidad. Introducción a Ñaque de José Sanchis Sinisterra. Prácticas de pronunciación y entonación.
Tarea: Leer Ñaque de José Sanchis Sinisterra.
Semana 14
Jugar a ser otro y la identidad cuestionada. ¿Quién es el yo que juega a ser otro? La identidad del actor.
Miércoles 22- Ñaque de José Sanchis Sinisterra. Análisis de personajes y conflicto dramático. Prácticas de lectura dramatizada.
Tarea: Diario: Cuando no hay público
Viernes 24- El monólogo como reflexión sobre la identidad: espejos y caleidoscopios. Práctica de monólogos dramáticos.
Tarea: Proyecto final: monólogo dramático Semana 15
La identidad
Lunes 27- Representación de monólogos dramáticos. Miércoles 29- Reflexión final sobre la identidad.
