Curriculum
- 4 Sections
- 41 Lessons
- 10 Weeks
Expand all sectionsCollapse all sections
- Understanding Creativity13
- 1.0L1-Overview
- 1.1L2-In Conversation with Richard Schechner
- 1.2L3-Multilingual Plurality: Our Environment
- 1.3L4-Multilingual Plurality: Our Environment -Part II
- 1.4L5-Interplay of Languages and Forms of Writing
- 1.5L6-Interplay of Languages and Forms of Writing -Part II
- 1.6L7-Creativity and Cultures
- 1.7L8-Notion of Play and The Three Domain Activities
- 1.8L9-Theory of Enjoyment: Critical Assessment
- 1.9L10-Divergences and Convergences
- 1.10L11-Divergences and Convergences -Part II
- 1.11L12-Creative and Cultural Spaces for Students
- 1.12L13-Being and Doing: Writing as Performance
- To Be A Writer11
- 2.0L14-Writers and Writing: The Dialogic Process
- 2.1L15-Creativity, Writing, Creative Writing: Recent Viewpoints
- 2.2L16-Issues Related to the Teaching of Creative Writing
- 2.3L17-Writers on Writing: Albert Camus
- 2.4L18-Critical Reading of Great Writers: Albert Camus
- 2.5L19-Critical Reading of Important Writers: Margaret Atwood
- 2.6L20-Reading and Writing
- 2.7L21-Indian Writing: Writers/Narrators
- 2.8L22-Contemporary Indian Writers: The Search for Creativity (I)
- 2.9L23-Contemporary Indian Writers: The Search for Creativity (II)
- 2.10L24-Mosaic Patterns: Module 2
- Drama: The Performative Mode13
- 3.0L25-Introduction to Drama
- 3.1L26-Performance and Script Writing: Mime
- 3.2L27-Western Classical Theory
- 3.3L28-Student Response (I)
- 3.4L29-Indian Drama: Classical Theory and Practice
- 3.5L30-Interacting Continuum: Classical, Folk and Modern Drama
- 3.6L31-From The Perspective of Playwriting: Monologue
- 3.7L32-From The Playwright’s Perspective
- 3.8L33-From The Playwright’s Perspective -Part II
- 3.9L34-From The Perspective of Playwriting: Anton Chekhov
- 3.10L35-Drama in the Classroom: Experience and Writing
- 3.11L36-Student Response (II)
- 3.12L37-Performative Reading of the Cherry Orchard
- The Short Story4