Subject is not scheduled Not scheduled
|201EDR1||ZK||4||4 hours (45 min) of instruction per week, 64 to 84 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
Knowledge and skills acquired in the study of dramaturgy are completed by independent student work. Together, directing students select a piece and assemble a dramaturgy plan for the school DISK theatre. In this they must not only try to express their attitudes to theatre and the world but also be aware of limits of the given potential of the cast and necessity to ensure quality work for the entire acting ensemble. They go through exercises in conditions which simulate regular drama theatre operation. In this they continue to expand their education and skills in reviewing a theatre performance that their potential professional application may be the broadest possible.
- Creation of the dramaturgic plan and dramaturgy of a single piece in the school DISK theatre which a model of professional drama theatre operations.
- Writing preparations for the presented drama and all related press materials.
- A written review of the rehearsal process of the production and its results including the audience reaction at the premier and in repeat performances.
Mode of study
Seminars, preparation of DISK productions, reflection on the rehearsal process, seminar paper and discussion.
Prerequisites and co-requisites
Knowledge of dramaturgy at the level of successful completion of the Bachelor's exam.
A course intended to develop the ability of director ot the independent dramaturgical prepare of the production. An important part is the written review of one's experience in the course work, culminating in the thesis. The course proceeds in the following phases:
- Investigating appropriate writings for a creative team and cast.
- Dramaturgy preparations for a particular piece, its analysis and interpretation.
- Creation of the dramaturgical-directing concept.
- Literary work with a particular writing: abbreviating, editing a translation, adjustments, adaptations, dramatizations.
- Review of the rehearsal process, completion of the written record.
Recommended or required reading
Pavis, Patrice – Dictionary of the theatre
Artaud, Antonin – The theatre and its double
Bakhtin, M.M. – The dialogic imagination: four essays
Barba, Eugenio – The paper canoe: a guide to theatre anthropology
Bentley, Eric – The Life of the Drama
Bentley, Eric – The Theory of the Modern Stage: an introduction to modern theatre and drama
Bentley, Eric – What is Theatre?
Fortier, Mark – Theory/Theatre: an introduction
Gajdoš, Július – From Drama Technique to Scenology
Bogart, Anne - A director prepares: seven essays on art and theatreBrandesky, Joe (ed.) - Czech theatre design in the twentieth century: metaphor and irony revisited
Brockett, Oscar G.; Hildy, Franklin J. - History of the theatre 
Brook, Peter - The Empty Space
Burian, Jarka - Leading creators of twentieth-century Czech theatre
Burian, Jarka - Modern czech theatre: reflector and conscience of a nation
Clark, B.H. - European theories of the drama with a supplement on the American drama
Craig, Edward Gordon - On the art of the theatre
Čechov, Michail Alexandrovič - The path of the actor
Čechov, Michail Alexandrovič - To the actor: on the technique of acting
Donnellan, Declan - The actor and the target
Evans, G. Blakemore - Elizabethan-Jacobean drama: the theatre in its time
Evans, Mark - Jacques Copeau
Eyre, Richard - National service: diary of a decade at the national theatre
Fischer-Lichte, Erika - Theatre, sacrifice, ritual: exploring forms of political theatre
Goldberg, Rose Lee - Performance art: from futurism to the present
Gordon, Robert - The purpose of playing: modern acting theories in perspective
Grazia, Margreta de; Wells, Stanley (ed.) - Shakespeare
Grotowski, Jerzy - Towards a poor theatre
Hodge, Alison - Twentieth century actor training 
Innes, Christopher - Edward Gordon Craig - a Vision of Theatre
Innes, Christopher - Modern British drama: the twentieth century
Johnstone, Keith - IMPRO: improvisation and the Theatre
Kaye, Nick - Postmodernism and performance
Kaye, Nick - Site-specific art: performance, place and documentation
Kazda, Jaromír - A Guide to the history of Czech theatre
Krasner, David (ed.) - Method acting reconsidered: theory, practice, future
Kustow, Michael - Peter Brook: a biography
Lahr, John (ed.) - The diaries of Kenneth Tynan
Lecoq, Jacques - The moving body: teaching creative theatre
Lecoq, Jacques; Bradby, David - Theatre of movement and gesture
Mattingly, Cheryl - Healing dramas and clinical plots: the narrative structure of experience
Miller, Judith G. - Ariane Mnouchkine
Pavis, Patrice - Theatre at the crossroads of culture
Roberts, Philip - The Royal Court Theatre and the Modern Stage
Roose-Evans, James - Experimental theatre from Stanislavsky to Peter Brook
Rudlin, John - Commedia dell’arte: an actor’s handbook
Savarese, Nicola; Barba, Eugenio (ed.) - A Dictionary of theatre anthropology: the secret art of the performer. Second edition
Schechner, Richard - Performance studies: an introduction
Schechner, Richard - The future of ritual: writings on culture and performance
Sierz, Aleks - The theatre of Martin Crimp
Stanislavski, Constantin - An actor’s handbook: an alphabetical arrangement of concise statements on aspects of acting
Stanislavski, Constantin - An actor’s work: a student’s diary
Steiner, George - The Death of tragedy
Šormová, Eva; Eynat-Confino, Irene (ed.) - Space and the postmodern stage
Thomas, James Michael - Script analysis for actors, director and designers
Unwin, Stephen - So you want to be a theatre director?
Wilmeth, Don B. - The Cambridge Guide to American Theatre
Wilson, Stephen - Information arts: intersections of art, science and technology
Wolford, Lisa; Schechner, Richard (ed.) - The Grotowski sourcebook 
Zarrilli, Phillip B. - Psychophysical acting: an intercultural approach after Stanislavski
Assessment methods and criteria
Conditions for successful completion of the course: class participation, completion and on-going presentation of parts of creative tasks, systematic and complete preparations for the graduation performance. During the course independent reading and participation in class discussions, minimum 70% attendance are required. The overall grading is comprised of 30% for class participation and 70% for the creation of the dramaturgical-directorial concept.
No schedule has been prepared for this course
The subject is a part of the following study plans
- Directing for Dramatic Theatre in English (M.A.) (required main subject)