Seminář metodologie a teorie tanečního/divadelního výzkumu

Předmět není vypsán Nerozvrhuje se

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Katedra

Předmět zajišťuje Katedra tance

Obsah

Learning Objectives:

The PhD student deepens his/her theoretical and methodological thinking according to the chosen profile and in the context of the topic of his/her of his/her intended dissertation, broadens his/her awareness of current professional discourse. In the profile Choreology the seminar deals with the theoretical, methodological and analytical disciplines of art research, with an emphasis on specific needs of dance research and their corresponding practices.

In the other profiles, it is guided to search for its own unique methodology (with the knowledge of the common methodology) according to its focus, taking into account the fact that the essence of so-called artistic research is the search for a new methodology each time. It is not possible, for example, to transfer the methodology of artistic research in the visual arts to the field of performance art, because their experiential backgrounds are completely different. The PhD student is also aware of the differences between quantitative and qualitative nature, navigates the field of artistic research, demonstrates comparative and creative approach.

Thematic areas

The course is conducted as a series of introductory lectures and seminars , its specific form according to the respective profile(s). In the profiles of Choreology, Dance Pedagogy and Choreography there are up to five thematic areas. The student prepares a seminar paper related to one of them (as agreed with the supervisor) and presents it at the final joint seminar. During the academic year, the thematic areas will be arranged in blocks, i.e. 5-6 (or more depending on the number of areas included) lectures/seminars on each area and a final joint seminar.

Dance and theatre aesthetics:

The PhD student, depending on his/her specialization, focuses on dance or theatre aesthetics, while finding a middle ground between the two intersections. He is aware of the broad spectrum in the field under study, orienting himself in the work of O. Zich, E. Fischer - Lichte, H.-T. Lehmann, J. Butler is able to look critically at the aesthetics of the structuralists in relation to the development of thinking about aesthetics of living art. The PhD student further deepens the argumentation of the aesthetic judgment with regard to the diversity of aesthetic preferences and the variability of taste in contemporary choreographic or theatre work. Based on a systematic recognition of the role of aesthetic experience (perception) and the problematics of the aesthetic situation, he/she is able to „interpret“ the diverse theoretical and opinion systems to explain and understand phenomena, relationships and factors. A completely fundamental aspect is that the doctoral student should delineate the territory of aesthetics according to his/her dissertation project.

Anthropology of Dance/Performing Arts

The Dance Anthropology and Field Research Methods seminar focuses on the initial theoretical concepts and methods of dance anthropological research, including issues of field research and conducting interviews (particularly in the application of oral history and perceptive interviewing techniques) and qualitative interviewing methodology research methodologies. It provides students with the impetus and knowledge to address their own research questions, to properly formulating and conducting research using given methods within the framework of their dissertation.

In particular, its significance in the system of an interest, social, ethnic or other group is explored and attention is its cognitive and symbolic dimensions. The purpose of the seminar is to understand dance expression in its socio-cultural context and in other ideological or political contexts. It is a holistic approach to the study of dance, where it is viewed not only as a physical product, but especially as a cultural process and a particular mode of social activity.

The PhD student is encouraged to be sensitive, sensory open and critical in the field of theatre. He is encouraged to seek out concrete examples for anthropological analysis from the domestic and international scene. He is oriented in the history of community theatre, experimental workshops, acting labs, can describe the work of key figures and is aware of the historical and social context. Independently seeks out practical opportunities to gain their own experience and then is able to reflect on it professionally.

Sociology of Dance and Art

The seminar applies concepts, research methods and interpretive frameworks based on sociology. The course provides tools for the study of dance as a social act, its institutions and organizations, the relationship between the individual and society, manifested in dance itself, in its movement elements and principles. It contributes to the ability to understand the relationship between dance and society/culture and to apply this point of view to own field research.

Analysis of dance - methods and theoretical background. In this course the student works with various analytical methods developed for the study of dance (J. Adshead et al., dance analysis according to A. Kaeppler, C. Jeschke, structural analysis by E. Kröschlová and A. Giurchescu) and their underlying theoretical concepts and tools (e.g. Laban's kinetography). Applies theoretical knowledge to own material, verifies its functionality and interpretive potential. Deepens understanding of the inner structure of dance and the relationship of its movement features to external contexts and other phenomena (comparison of different dance styles, relationship between dance and music, etc.).

Didactics of dance

The doctoral student demonstrates an understanding of balancing standards and creativity in developing classroom content methods. Demonstrates an original implementation of critical thinking in the development of teaching processes and methods, attending to rules of group and individual feedback. Connects her research and methods in didactics with the latest technological and communication tools, trends in artistic creation, production and management, and interdisciplinary, e.g. in the fields of anatomy, kinesiology, biology, etc.

Výsledky učení

Students will deepen their ability to critically reflect on current professional discourse in the context of their project, Apply methodological knowledge to the theoretical framework of their dissertation. Acquire an overview of existing theoretical approaches and methodical tools for conducting their own research and interpreting the gathered knowledge in an adequate and professional manner. He/she will be able to present his/her research, which he/she should be able to place in a historical and social context, anchor it in terminology and methodology, while working with overlaps to other disciplines such as the humanities and natural sciences, and to find creative intersections across disciplines.

Předpoklady a další požadavky

V PŘÍPRAVĚ

Literatura

The required literature is specified by the teacher on the basis of this list according to the student's profile and the topic of the dissertation.

ADSHEAD, Janet ed. Dance Analysis. Theory and Practice. London: Dance Books, 1988.

BAKKA, E.; BUCKLAND, T. J.; SAARIKOSKI, H. and BIBRA WHARTON, A, VON (eds.). Waltzing Through Europe: Attitudes towards Couple Dances in the Long Nineteenth Century. Open Book Publishers 2020.

BARBA, Eugenio, SAVARESE N.: The secret Art of a Performer : a dictionary of theatre anthropology. London New York: Published for the Centre for Performance Research by Routledge, 1991.

BLACKING, John. Dance as Cultural System and Human Capability: An Anthropological Perspective. In: ADSHEAD-LANSDALE, Janet, ed. Dance, a multicultural perspective. Report of the Third Study of Dance Conference, University of Surrey April 5-9 1984. Guildford: National Resource Centre for Dance, 1984. s. 4-21. ISBN 978-0946483402.

BROCKETT, Oscar G. History of the theatre. Boston: Allyn and Bacon, 1982.

BRINSON, Peter. Scholastic Tasks of a Sociology of Dance I a II. Dance Research: The Journal of the Society for Dance Research 1, 1983, č. 1, s. 100-107; č. 2, s. 59-68. ISSN 0264-2875.

BUCKLAND, Theresa J., ed. Dance in the Field. Theory, Methods, and Issues in Dance Ethnography. New York: Palgrave Macmillan, 1999. ISBN 978-0312223786.

BUTLER, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 2006.

DUNIN, Elsie Ivancich; STAVĚLOVÁ, Daniela a GREMLICOVÁ, Dorota, eds. Dance, Gender and Meanings. Contemporizing Traditional Dance. Praha: Etnologický ústav Akademie věd ČR, Nakladatelství Akademie múzických umění v Praze, 2012. ISBN 978-80-7331-236-7.

ECO, Umberto. The limits of interpretation. Bloomington: Indiana University Press, 1990.

FALETTI, Clelia and Gabriele SOFIA and Victor JACONO (eds.). Theatre and Cognitive Neuroscience. London: Methuen Drama, 2016.

FENSHAM, Rachel. Theory for Theatre Studies: Movement. London: Methuen, 2021. ISBN 9781350026360.

FISCHER-LICHTE, Erika. Ästhetik des Performativen, Suhrkamp, 2004

FRANKLIN, Eric N. Dynamic alignment through imagery. 2nd ed. Champaign, IL: Human Kinetics, c2012. ISBN 978-0736067898.

GRAU, Andrée a WIERRE-GORE, Georgiana. Anthropologie de la danse. Genèse et construction d´une discipline. Paříž: Centre national de la danse, 2006. ISBN 978-2914124287.

HAAS, Jacqui Greene. Dance anatomy. Champaign, IL: Human Kinetics, c2010. Anatomy series (Human Kinetics (Organization). ISBN 0736081933.

CHEYNE, Peter (ed.). Imperfectionist Aesthetics in Art and Everyday Life. Routledge, 2023. 9781032170091.

INGLIS, David; HUGHSON, John (eds.). The Sociology of Art. Ways of Seeing. Palgrave Macmillan, 2005. ISBN 978-0-333-96267-1.

JOBERTOVÁ, Daniela a Alice KOUBOVÁ. Artistic Research. Is There Some Method? Praha: AMU, Akademie múzických umění, 2017. ISBN 978-80-7331-472-9.

KEMP, Rick. Embodied Acting: What neuroscience Tells Us About Performance. New York: Routledge, 2012.

LAKOFF, George and Mark JOHNSON. Metaphors We Live By. Chicago: U of Chicago Press, 2008.

LEAVY, Patricia (ed.). Handbook of Arts-Based Research. New York: Guilford Press, 2019. ISBN 9781462540389.

LECOQ, Jacques, 2002. By Lecoq, Jacques The Moving Body Paperback - January 2002. B.m.: Routledge.

LECOQ, Jacques. Theatre of Movement and Gesture. Ed. David Bradby. New York: Routledge, 2006.

LEDER, Drew. The Absent Body. Chicago: University of Chicago Press, 1990.

LEHMANN, Hans-Thies. Postdramatic Theatre. London: Routledge, 2006.

McCONACHIE, Bruce. Evolution, Cognition and Performance. Cambridge: Cambridge UP, 2015.

MATHESON, Katy. Breaking boundaries.Sestion Eight. s. 220. In: Dance as a theatre art: source readings in dance history from 1581 to the present. 2nd ed. Editor Selma Jeanne Cohen. Princeton, N.J.: Princeton Book Company, c1992, ix, 271 s. Dance Horizons book. ISBN 9780871271730.

NAHACHEWSKY, Andriy. Ukrainian Dance. A Cross-Cultural Approach. Jefferson, North Carolina, and onLdon: McFarland & Company, Inc., Publishers, 2012. ISBN 978-0-7864-6168-4.

ODOM, A. Glenn. World Theories of Theatre. London: Routledge, 2017.

PAVIS, Patrice. Dictionary of the theatre : terms, concepts, and analysis. Toronto : University of Toronto Press, 1998.

ROTHFIELD, Philipa. Dance and the Corporeal Uncanny: Philosophy in Motion. London: Routledge, 2020.

ROYCE PETERSON, Anya. The Antropology of Dance. Vyd. 1. Indiana University Press 1977. ISBN 978- 1852730888.

SCOTT, Sue a MORGAN, David, eds. Body Matters. Essays On The Sociology Of The Body. Londýn; Washington, D.C.: Falmer Press, 1993. ISBN 978-1850009429.

SCRUTON, Roger. Beauty. A very first introduction. Oxford University Press, 2011.

STAVĚLOVÁ, Daniela; BUCKLAND, Theresa Jill (eds.). Folklore Revival Movements in Europe post 1950. Shifting Contexts and Perspectives. Prague: Institute of Ethnology of the Czech Academy of Sciences, 2018. ISBN 978-80-88081-22-7.

THOMAS, Helen. Dance, Modernity and Culture. Explorations in the Sociology of Dance. Londýn; New York: Routledge, 1993. ISBN 978-0415087933.

TURINO, Thomas. Music as Social Life. The Politics of Participation. Chacago and London: The Universe of Chicago Press, 2008. ISBN 978-0-226-81698-2.

VARELA, Francisco J. and Evan THOMPSON, Eleanor ROSCH. The Embodied Mind: Cognitive Science and the Human Experience. Revised ed. Cambridge: MIT Press, 2017.

YOUNGERMAN, Suzanne. Method and Theory in Dance Research: An Anthropological Approach. Yearbook of the International Folk Music Council 7, 1975, s. 116-133. ISSN 03166082.

Academic Journals: Živá hudba, Národopisná revue, Český lid, Divadelní revue, Hudební věda, Arte Acta aj.; Dance Research, Dance Chronicle, Dance Perspectives.

Compedia of Study Group on Ethnochoreology ICTM, Yearbook for Traditional Music (ICTM), of European Association for Dancec History.

Selected studies in Czech and foreign languages, video and DVD recordings. Dictionaries of theatre terms.

Hodnoticí metody a kritéria

The PhD student presents and discusses the acquired knowledge in the form of a lecture or conference paper before other students in the presence of the teacher. The presentation is based on the dissertation research. The emphasis is on a clearly developed methodology based on a specific research design, a precise depiction of the research process. The doctoral student demonstrates proficiency in working with sources and citation standards, a broad overview of the literature and a deep orientation in the field of study. Completion of a seminar assignment on an assigned topic related to the focus of the dissertation. Defense of a written seminar paper focused on the methodological approach to doctoral research.

Poznámka

Informace ke kombinované nebo distanční formě

All individual consultations can also take place online in the case of Dissertation and Doctoral Seminars, as well as in the case of Scientific and Artistic Activities. Especially in the case of combined form of studies.

Další informace

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• Art of Dance and Nonverbal Theatre (D) since 2025/2026 (Povinné předměty s možností opakovaného zapsání)