Each member of the class will be assigned a duty (or, if the work is small, duties) to undertake as the project moves forward. Here is a preliminary roster of duties and the responsibilities involved; others might suggest themselves as the project proceeds.

Writers (3 or 4 max.)

Graver, Magee, Rueda, Russell [email the writers]

Writers generate the script to be used in the performance. Over the course of the semester they update and maintain the script and ensure that everyone is (literally) on the same page.

Writers should have a superb grasp of grammar and syntax, an ear for the stage, and a sense of humor. They should also have a knack for translating 5th-century BCE Greek cultural references into 21st century Skidmore ones.

Note that writing cannot happen without research. The primary and secondary sources assigned in CC 223, as well as the discussions and other course activities, will provide background for the project; yet further reading is not only inevitable, but also encouraged. The broader and deeper the research, the broader and deeper the final play; a shallow and narrow play, in turn, is the result of shallow and narrow research. Professor Curley will be happy to recommend appropriate reference works and readings.

Actors (4 or 5 max.)

Caan, Grant, Levine, Olinger, White [email the actors]

Actors perform the primary speaking (i.e. non-choral) roles of the play. We often speak of the "three-actor rule" in ancient drama, which was really only a convention and meant that all of the principal roles (excluding the Chorus and extras) could be played by three actors. In your production, the three-actor rule may be "bent" -- just as Aristophanes sometimes bent it -- to accommodate one additional actor.

Actors might have some stage experience (or at least raw talent), should be articulate, and should be willing to memorize the script. Cross-gender casting is encouraged. Note that all members of the class must appear onstage in some capacity, but the principal speaking roles should be reserved for the actors. Actors may alter the script here and there, provided that any alterations are communicated to the writers.

The primary work of the actors will begin once the script rough draft is delivered by the writers. However, actors should familiarize themselves with the characters in question, which will be known in advance, and should meet well before the script is finished to cultivate a style of performance suitable to the production.

Chorus (4 or 5 max.)

Machiels, Phipps, Scaperdas, Walsh [email the Chorus]

The ancient Chorus is the heart-and-soul of the production, commenting on the drama as it occurs through speech and especially song and dance. Its moments of singing and dancing (choral odes or stasima) shapes the audience's perception of the play as much as the performances of the actors do.

Members of the Chorus should have a talent for singing, dancing, and/or playing an instrument (a concession to modern times). A very important member of the Chorus is the Chorus Leader, who answers for the Chorus during spoken episodes, and who in your production might well choreograph the choral odes

The primary work of the Chorus will begin once the script rough draft is delivered by the writers. However, Chorus members should familiarize themselves with the myth in question, which will be known in advance, and should meet to cultivate a style of performance suitable to both ancient material and modern audiences.

The Chorus will work with the writers in crafting the odes, the writers providing the themes in outline, the Chorus taking those themes and running with them.

Production designers (3 or 4 max.)

Furst, Geary, Monaco [email the designers]

Production designers are primarily responsible for the visual aspects of the play: costumes, masks (if applicable), sets, and props. They also secure and prepare a venue, publicize the event, and assist the actors in performance.

The ideal designers should have some experience or acumen in the visual or performing arts and the drive to put ideas into action and get things done. Being on a limited budget, they will also understand the virtue of simplicity.

Much of the design work will be done toward the end of the semester. Nevertheless, it is never too early to begin conceptual work on the production.

NOTES:

Writers, Actors, Chorus, and Desginers constitute four discrete teams; it is assumed that the teams will meet regularly outside of class throughout the semester to assess the tasks that need to be done. At the same time, teams are also responsible for communcating with other teams as approriate.

Should there be a director? That's a question open to discussion, but past experience suggests that the answer should be "no." Unlike a professional or semi-professional theatrical production, the CC 223 project usually works without a top-down approach, and a director (even one chosen from among the students) tends to be exposed to undue criticism and hostility. As noted, however, the question is open to discussion.

Professor Curley's role is to assist students in finding their tasks, to monitor their progress, offer advice and consultation, and (ultimately) to assign a grade to the completed project; he will, as a last resort, moderate disputes. Although he believes firmly in student autonomy, he must nonetheless offer feedback on the projects from time to time, usually in the form of questions, recommendations, and the odd bit of praise. He will push, usually gently, and he encourages the students to push back.

The following requirements must be observed:

• The final version, though it might depart from the original play in many ways, must still bear some resemblance to it.
  
  
• The performance itself must last at least 40 minutes.
  
  
• All students must somehow appear onstage during the performance.
  
  
• All students must complete required progress reports (see below).

Four progress reports are due during the months of March and April — specific due dates given below. The reports should be emailed to the entire class (cc223-list@skidmore.edu), not just to Professor Curley.

Each report should be formatted as follows:

• A list of the tasks that you and your team agreed to do that week, and which tasks you were responsible for.
  
  
• The work done toward completing your tasks. Tell us what you did, watched, read, wrote, composed, acted, sang, danced, drew or made. Provide supporting evidence, including images, as appropriate. If you didn't complete all your tasks, tell us why and what still needs to be done.
  
  
• Which tasks you are responsible for next week, and how you plan to complete them.
  
  
• Any questions or concerns you have about the project thus far.

The purpose of the reports is twofold. First, students keep track of their work by noting their progress on a regular basis. At the end of the semester, each student will be able to look back on their efforts, hopefully with satisfaction. Second, the reports allow Prof. Curley to evaluate students' progress, offer feedback, and assess their work.

Students must complete all reports in a satisfactory manner. Each missing or unsatisfactory report will result in your individual grade being lowered by a fraction (e.g., B+ to B with one missing report, B+ to B- with two missing reports, and so on).

Here are some suggestions for you to bear in mind as the project unfolds.  Most of them involve courtesy toward your peers and common sense.

Think classically.

...But not too classically. Greek comedy, especially Aristophanic comedy, is rather idiosyncratic. You should take your cue from the poet, but the successful project will do what Aristophanes does without necessarily saying what he says.

Think simply.

You and the rest of the class will be working under many constraints, especially that of time. It may not be possible to present a full-fledged, professional production, so rather than augment you may have to compress. Simple thinking may also be a good philosophy when it comes to production values as well.

Think ahead.

Every detail of the production that can be scheduled should be.  Every member of the group should always know what his or her responsibilities are, and when they must be completed. A modest up-front time investment will pay off in the long run.

Think kindly.

Finally, be decent to your peers. In a group environment the actions of an individual resonate far beyond the self.  Being responsible and open to compromise ensure the success of the project more than any other actions.

Milestones will help keep the project on track. Note that many are due Saturday nights by 11:00 p.m.

Setting the date (Tuesday, February 2, in class)

Our first task is to set a date for the final performance, preferably an evening late in the semester. Bring your planners to class!

Overview (Tuesday, February 9, in class)

We will devote time in class to reviewing the project as a whole, making sure that everyone is on the same page. This is your chance to ask questions and make comments.

Qualifications (Saturday, February 13, 11:00 p.m. via email)

Read the various descriptions of the duties involved with the project. Send an email to Prof. Curley, ranking the duties in order of preference and describing your qualifications for your top two choices. Every effort will be made to accommodate your request.

Duties assigned, play confirmed (Thursday, February 18, in class)

Prof. Curley will report who has been assigned to which duty. The class will decide which play by Aristophanes to perform.  Any of his plays is fair game, except for ones adopted by very recent CC 223 classes.

Treatment (Saturday, March 5, 11:00 p.m. via email)

The writers will email the class and Prof. Curley with a brief synopsis, or treatment, of the adaptation, describing in broad strokes the plot and the approach. Sell your ideas, in other words.

All-class meeting 1 (Tuesday, March 8, in class)

The first of six opportunities to gather and work on the project. Agenda for today's meeting include discussing the writers' treatment.

All-class meeting 2 (Thursday, March 24, in class)

The second of six opportunities to gather and work on the project.

Rough script (Saturday, March 26, 11:00 p.m. via email)

The writers should email the class and Prof. Curley with a working version of the play. All matters pertaining to plot should now be settled. A few gaps are acceptable, provided there are summaries of what is missing.

Progress report 1 (Saturday, April 2, 11:00 p.m. via email)

Each student should email the class his or her first progress report.

All-class meeting 3 (Thursday, April 7, in class)

The third of six opportunities to gather and work on the project.

Progress report 2 -and-
Final script (Saturday, April 9, 11:00 p.m. via email)

Each student should email the class his or her second progress report. The writers should also send out a polished-to-perfection version of the play.

Progress report 3 (Saturday, April 16, 11:00 p.m. via email)

Each student should email the class his or her third progress report.

All-class meeting 4 (Thursday, April 21, in class)

Following a brief discussion on Terence, the fourth of six opportunities to gather and work on the project.

Progress report 4 (Saturday, April 23, 11:00 p.m. via email)

Each student should email the class his or her fourth (and final) progress report.

All-class meeting 5 (Tuesday, April 26, in class)

The fifth of six opportunities to gather and work on the project.

All-class meeting 6 (Thursday, April 28, in class)

The sixth of six opportunities to gather and work on the project.

Performance (Monday, May 2, 7:00 p.m.)

A public performance of the CC 223 semester project in Filene Recital Hall.

Discussion (Tuesday, May 3, in class)

A post-mortem group discussion of the semester project. Prof. Curley will use this opportunity to ask questions and gather information for assigning the project a grade.

Final reflections (Wednesday, May 11, 4:30 p.m.)

Fill in the final reflections form before the end of our scheduled final exam period (link on the Reflections page). At this time you will recommend an individual grade based on Prof. Curley's blanket grade for the project.