|
Lecturer(s)
|
-
Kubina Lukáš, Mgr. Ph.D.
-
Hanáčková Andrea, doc. Mgr. Ph.D.
-
Pavlišová Jitka, Mgr. Ph.D.
-
Bernátek Martin, Mgr. Ph.D.
|
|
Course content
|
Topics and schedule (summer semester 2021) Structuralism, semiotics, post-structuralism and theatre studies 17. 2. 24. 2. 3. 3. 10. 3. Reading: Petr Bogatyrev, Jacques Derrida, Mark Fortier, Jindřich Honzl, Jan Mukařovský, Ivo Osolsobě, Jiří Veltruský. Performatics and aesthetics of performativity 17. 3. 24. 3. 31. 3. 7. 4. Reading: John Langshaw Austin, Jacques Derrida, Erika Fischer-Lichte, Alice Koubová, Aleš Merenus. Media conceptions of theatre 14. 4. 21. 4. 28. 4. 5. 5. Reading: David Jay Bolter and Brian Grusin, Stuart Hall, Martin Heidegger, Shuhei Hosokawa, Chiel Kattenbelt, Marshall McLuhan, Rebecca Schneider, John B. Thomson. Conclusion: common reflection of the semester, up-to-date theoretical inspirations 12. 5. Reading: TBA in April 2021 Reading will be specified at the beginning of the semester.
|
|
Learning activities and teaching methods
|
Lecture, Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook), Activating (Simulations, Games, Dramatization)
- Homework for Teaching
- 1 hour per semester
- Attendace
- 2 hours per semester
|
|
Learning outcomes
|
The course builds on knowledge gained in course Basics of theatre theory 1 and introduces students into three important streams of theoretical thinking in theatre studies: structuralism and semiotics; performatics and media studies. Its aim is to introduce those theories in general and in regards to their plurality, to present their fundamental concepts and ways they frame the thinking of theatre, as well as to examine their heuristic and analytical potential to theatre and cultural performances. We pay attention to critical examination of limits and weaknesses of those theories, too. Also, we understood and discuss those theories not as isolated "ready-made" abstraction but in regards to their cultural context and historical setting.
Students will become familiar with key concepts of theatre structuralism and semiotics, performatics and media theories in regards to theatre and performance. They will be able to apply them in studying and namely analysing theatre phenomena, as well as to understand their limitations. Students will also practices independent group work and ways of presenting the topic to audiences out of narrow circle of (Czech) theatre studies academia.
|
|
Prerequisites
|
Basic requirements: - Completion of the course Basics of theatre theory 1, - respecting the Study and Examination regulations of the UP and its specification by Faculty of Arts, - respecting the instruction of academic staff and lecturers, namely in regards to given tasks and their schedule, - ability to actively read scholarly texts in Czech and English, - initiative and activity in class interactions and interest in discussed topics. Anti-discrimination regulations: The university is based on collegiality, mutual respect, openness, criticality and will to co-operate. In the course, as well as at the whole UP, there is no space for act o intolerance, hate, racism, sexism, xenophobia or any acts offending human dignity. Those act will be considered as serious infringement of study and examination regulations and course requirements. On-line teaching requirements: mobile device, laptop or PC with webcam and microphone.
|
|
Assessment methods and criteria
|
Mark, Oral exam, Student performance, Analysis of Creative works (Music, Pictorial,Literary)
The teaching combines lecturing with seminar discussions based on regular reading o scholarly texts in Czech and English, therefore continuous work that includes active reading, note-making and discussion topics preparation, is essential of successful understanding of the discussed topics. There will be no written papers to be submitted during the semester. Together class activities, students will continuously work independently in groups on small project focused on discussed topics. The course has combined assessment. Firstly, Students will get credit for finishing all o three small projects. Secondly, they will be admitted to the oral exam, which is conditioned by credit for projects. Project could have diverse form with approximate range of 20 minutes, or 9000 characters, it could be written text, audiovisual essay, curatorial concept o an exhibition, poster, or podcast, that will in contrast to classical assessment focus on "translation" o discussed topics. Conditions and schedule of project work will be specified at the beginning o the semester. Students may focus on following challenges: A) What will you do with theatre studies in real life? Explaining theatre theory to your family. B) Theoreticians in pubs and clubs: how to explain theatre theory to theatre practicians? C) How to get the A-grade at Harvard: How to discuss theatre theory with top-experts?
|
|
Recommended literature
|
-
Carroll, Noël. (2008). On Criticism.
-
Červenka, Miroslav; Jankovič, Milan . (2007). Jan Mukařovský. Studie II. Brno.
-
HONZL. JIndřich. Pohyb divadelního znaku. Slovo a slovesnost.
-
HOŘÍNEK, Zdeněk. (1991). Drama, divadlo, divák. Praha.
-
Jan Mukařovský. (2007). Studie I. Brno: Host.
-
LUKEŠ, Milan. (1987). Umění dramatu. Praha.
-
OSOLSOBĚ, Ivo. (2002). Ostenze, hra, jazyk. Brno.
-
Peter Bürger. (2015). Teorie avantgardy / Stárnutí moderny: Stati o výtvarném umění. Praha: VVP AVU.
-
VELTRUSKÝ, Jiří. (1994). Příspěvky k teorii divadla. Praha.
-
Walter Benjamin. (1998). Agesilaus Santander. Praha: Herrmann & Synové.
-
Walter Benjamin. (2009). Literárněvědné studie. Praha: Oikoymenh.
-
Walter Benjamin. (2011). Teoretické pasáže. Praha: Oikoymenh.
|