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Lecturer(s)
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Course content
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**Course content:** 1. Introduction / periodisation / contexts and connections 2. The First Theatre Reform / the interwar avant-garde / sources of inspiration 3. American avant-garde theatre: the Living Theatre and Off-Off-Broadway 4. American avant-garde theatre: The Performance Group and Performance Studies 5. Theatre history in the second half of the twentieth century in the context of the performative turn 6. European neo-avant-garde theatre: Teatr Laboratorium and Jerzy Grotowski 7. European neo-avant-garde theatre: Tadeusz Kantor and Cricot 2 8. European neo-avant-garde theatre and interculturalism 9. Action art 10. Postmodern theatre: the 1970s and 1980s and the performing arts 11. Reforms of theatrical space and approaches to acting **Literature** **Required reading** ARONSON, Arnold. 2011. *Americké avantgardní divadlo*. Prague: AMU. BARBA, Eugenio and Nicola SAVARESE. 2000. *Slovník divadelní antropologie: o skrytém umění herců*. Prague: Nakladatelství Lidové noviny. BRAUN, Kazimierz. 1993. *Druhá divadelní reforma?* Prague: Divadelní ústav. CARLSON, Marvin. 2016. *Divadlo je krajšia jako vojna: nemecká divadelná réžia v druhej polovici 20. storočia*. Bratislava: Divadelný ústav. **Recommended reading** BOTTOMS, Stephen J. 2006. *Playing Underground: A Critical History of the 1960s Off-Off Broadway Movement*. University of Michigan Press. BROOK, Peter. 1998. *Prázdný prostor*. Prague: Panorama. MILLER, J. G. 2007. *Ariane Mnouchkine*. Taylor & Francis Ltd. PILÁTOVÁ, Jana. 1990.
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training), Projection (static, dynamic), Group work
- Preparation for the Course Credit
- 20 hours per semester
- Homework for Teaching
- 49 hours per semester
- Attendace
- 26 hours per semester
- Preparation for the Exam
- 30 hours per semester
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Learning outcomes
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The aim of the course is to provide students with a coherent overview of the key periods and stages in the development of world theatre in the second half of the twentieth century. The lecture course, accompanied by a range of audiovisual materials, focuses on those areas of world theatre in the second half of the twentieth century that can broadly be described as alternative theatre. Students will gain a basic understanding of how individual components of theatre and approaches to working with them changed, as well as of the changing roles of the actor, director, and playwright. Part of the course is organised around cross-cutting themes, including time and space, the intersections between theatre, performance art, and the visual arts, theatre anthropology, Broadway and its Off-Off-Broadway scenes, and theatre laboratories. Another part focuses on the biographies and work of individual artists and companies, including the Living Theatre, Bread and Puppet Theater, The Performance Group, Open Theatre, San Francisco Mime Troupe, Teatr Laboratorium, Odin Teatret, Peter Brook, Richard Schechner, Peter Schumann, Robert Wilson, Jerzy Grotowski, Tadeusz Kantor, Ariane Mnouchkine, Eugenio Barba, Augusto Boal, Frank Castorf, and Thomas Ostermeier.
After passing the course student can: - describe the essential breaking points in progress of theatre in the second half of the 20th century, - know the principal personalities and their works, - explain where is the essential change of theatre of these days and characterize its specifics.
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Prerequisites
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The course requires a basic understanding of world theatre history and an interest in alternative, experimental, and performative forms. Students are expected to work with academic literature and audiovisual materials, including sources in English.
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Assessment methods and criteria
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Mark, Oral exam
Students are expected to attend lectures regularly, engage actively with the assigned literature and audiovisual materials, and acquire knowledge of the course topics throughout the semester. Successful completion of a written credit test is required for admission to the final oral examination. The oral examination assesses both knowledge of the course content and the ability to explain its broader historical, cultural, and theatre-studies contexts.
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Recommended literature
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ARONSON, Arnold. (2011). Americké avantgardní divadlo.. Praha.
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BRECHT, Bertolt. (1963). Divadelní hry, sv. 1. Praha.
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DIDI-HUBERMAN, Georges. (2011). Obrazy ? navzdory všemu. In PETŘÍČEK, Miroslav, ed. Obraz jako montáž.. Svět a divadlo.
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ESSLIN, Martin et al. (1966). Smysl nebo nesmysl?: groteskno v moderním dramatu.. Praha.
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ESSLIN, Martin. (1966). Podstata, tradice a smysl absurdního divadla. Praha.
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FISCHER-LICHTE, Erika. (2003). Dejiny drámy: epochy identity v divadle od antiky po súčasnosť. Bratislava.
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Hlavica, Marek. (2008). Performanční studia. Brno.
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KOVÁŘOVÁ, Klára. (2008). Posedlost divadlem/Evžen Sokolovský. Brno.
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Lehmann, Hans-Thies: . (2007). Postdramatické divadlo. . Bratislava.
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Pörtner, P. (1965). Experimentální divadlo. Praha.
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SCHNELLE, Barbora. (1998). Německé dokumentární drama a česká šedesátá léta. Divadelní revue, 1998, 9(1), s. 31-45.
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SPURNÁ, Helena. (2004). Nástin vývoje inscenační praxe v operním divadle, in: SPURNÁ, Helena (ed.): Hudební divadlo jako výzva. Interdisciplinární texty.. Praha.
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ŠTĚDROŇ, Petr. (2003). Německé vědomí a Židé. Svět a divadlo, 2003, 14(3), s. 64-73.
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TRTÍLEK, Pavel. (2011). Specifika francouzského absurdního divadla.. Brno.
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TVRDÍK, Milan. (1987). Dramatická tvorba Petera Weisse. Praha.
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