List of Illustrations Acknowledgements Introduction The Pedagogy of Performance by and for Students of Foreign Language The Creativity--Complex Matrix by Re--Creative Design Theories 1: Performance and Re--Creative Language Learning Theories 2: The Spect--actorial View of Performance Theories 3: Teaching Literary--Dramatic Texts as Culture--in--Process Theories 4: Regenerating the Creative Principle of the Text Prologue: Advance Preparation for the Project Selecting the Play Selecting the Rehearsal and Performance Space Recruiting the Students 1. Day One-Youare On! 1.1 Discussing the Syllabus and the Project: Organizing the Class Sessions and Semester, and Settling the Research schedule 1.2 Setting a Creative--Critical--Performative Tone for the Project 1.3 The Introductory Re--Creative Exercise 1.4 Homework 2. The First Six Weeks of Performance Awareness and Textual Analysis 2.1 Creating a Performance Space, Challenging Habit, Trusting the Teacher--Director 2.2 Questions 2.3 Class Roster 2.4 Recap 2.5 Warm--Up Exercises 2.6 Interactive Dramatic Games 2.7 La Petite Mise--en--Scene (The Short Sketch) 2.8 Textual Analysis 2.9 A performative Approach to the Text 2.10 Guidelines for Performative--Texutal Analysis 2.11 The Journal 2.12 Schedule of Re--Creative Sketches (Petites Mises--en--Scenes) for Each Class 2.13 Introducing a Semiotic Understanding of the Performance: Vive la Difference! 2.14 The Discovery of Semiotics through Recreation and Re--Creation 2.15 Introducing the Systems of Style, Costume, Prop, and Music, and the Styles of Jeanne daArc 3. The Collaborative Re--Creation of the Original Text 3.1 The How To Guidelines for the Comprehensive Re--Creational Assignment 3.2 D--Day: Pieces Come Togetehr and the Full Story Takes Shape 3.3 Collaborative Examination of the Re--Created Text 3.4 My Weekend from Hell! 3.5 Discussing the Text and Giving It and Ourselves a Name 3.6 Casting: The Anti--(Lone) Star System or, Every Star Has a Prominent Place in the Constellation 4. Co--operatively and Re--creatively Rehearsing, Revising, Refining, and Promoting the Performance 4.2 Early Rehearsals 4.2 Blocking the Text 4.3 Memorizing Text and Individual Work with Voice--Access--Intonation--Expression 4.4 The Journal 4.5 The Week before Spring Break 4.5 After the Break: Discovering and Claiming Our Space 4.7 The Material Genesis of the Play: Set, Costumes, Props, Sound, and Light 4.8 Collaborative, Co--operative Duties: Stage Management and Promotion 4.9 Poster and Program Design 4.10 Financing the Production and Ticket Sales 4.11 Activist Promotion: Storming the Foreign--Language Classrooms 4.12 The Final Rehearsal Phase 5. The Opening Show: Caest fini! . . . Ce naest pas fini! 5.1 Inevitable Doubts and Problems 5.2 Rehearsing the Audience 5.3 Audience Feedback: The Survey 5.4 Photographing and Videotaping the Process and the Performance 5.5 On the Road: Another Space, Another Audience 6. Post--Performance Student Evaluation of the Performance and the Project 7. The Analystical--Subjunctive Art of Combining Texts and Con--fusing Character Identities 7.1 Regeneration through Combination 7.2 Reinterpreting the Absurdity of Cruelty through the Con--fusion of Character Identities in Ionescoas Macbett 7.3 Taking Combination and Con--fusion to Another Level: Dom Juan, Ubu, Hamm: Something Is Taking Its Course) Conclusion Appendices Appendix A: Sample Course Description and Syllabus Appendix B: Sample Interactive Dramatic Games and Excuses Appendix C: Sample Study and Performance Guide for a Critical--Creative--Performative Approach to Ubu Roi Appendix D: Pavisas Questionnaire Appendix E: Textural Re--creation: Guidelines for Ubu 2000 Appendix F: Sample Excerpts and Materials from Rewritten Plays Appendix G: Sample Promotional Materials and Methods Appendix H: Audience Survey Appendix I: Instructions for Final Undergraduate and Graduate Written Assignments Works Cited Notes
