Philosophical Propaedeutic 2

Display Schedule

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Kent SJÖSTRÖM

Department

Předmět zajišťuje Department of Authorial Creativity and Pedagogy

Contents

Different theatre praxes have been handling the representation of the self and the actor’s identity – mainly in relation to the role – differently through different epochs. The artistic self has been understood as e. g. a main source of knowledge, a mainly psychological entity to control, or as a social construction. Play is a concept and a practice that is closely related to acting and even seen as a base for theatre and role-taking in general. The course Self, Play and identity in Theatre is, firstly, aiming at widening the student’s insights into how different artistic traditions are based in a philosophical, ideological and societal worldview. Secondly, the course’s goal is that the student can present and communicate how the different traditions investigated, are connected to her/his/their own praxis.

Learning outcomes

After completed course the student should be able to

– show an ability to discuss and critically use the concepts discussed during the course, in relation to theatre aesthetics, such as authenticity, self-expression, play and identity.

– practically relate to and contextualize the personal artistic experiences to a wider ideological and philosophical discussion.

Prerequisites and other requirements

The course is built on self-studies of literature, plays and performances, as well as lectures and seminar discussions. The course includes practical work, if possible, like acting exercises based on the studies of the plays. The course consists of full-time participation in the discussions and exercises. The course objectives are acquired through text studies, seminars and by actively taking part in the exercises.

The teaching language is English.

Literature

(the study material will be distributed to the students via email)

Alcoff, Linda, “The Problem of Speaking for Others”, in Cultural Critique, No. 20 (Winter, 1991–1992), pp. 5–12

Bork Petersen, Franziska, Authenticity and its Contemporary Challenges (2013), pp. 20–28; 67–79

Diamond, Elin, “Identity Politics then and now”, Theatre Research International, Vol. 37, No. 1, pp. 64–67

Donnellan, Declan, The Actor and the Target (2002), pp. 75–83

Henricks, Thomas, S., Play and the Human Condition, (2015), pp. 19–41

Homan, Catherine, “Whoever cannot give, also receives nothing. Nietzsche’s playful spectator”, in: Ryall, Emily et.al. (eds.), The Philosophy of Play (2013), pp. 98–107

Johnston, Jessica R. (ed.), “Minds and bodies”, The American Body in Context (2001), pp. 1–10

Nørretranders, Tor, The User Illusion: Cutting Consciousness Down to Size (1999), pp. 251–269

Roach, Joseph, R., “Epilogue: The Vitalist twilight”, The Player’s Passion. Studies in the Science of Acting (1985), pp. 218–226

Roselt, Jens, “Making an appearance”, in: Miriam Dreysse & Florian Malzacher (eds.) Rimini Protokoll. Experts of the Everyday. The Theatre of Rimini Protokoll (2008), pp. 46–50 (until “Wallenstein”)

Sjöström, Kent ,“The Actor as a Bodily Document. The Amateur Becomes the Expert”, ARTE ACTA 6(10), pp. 84–99

In all: 129 PP.

3 plays:

Churchill, Caryl, Cloud 9 [1979]

Crimp, Martin, Attempts on her life [1997]

Pirandello, Luigi, Six characters in search of an author [1921]

(Artistic presentations and material from Youtube, to be discussed later.)

Evaluation methods and criteria

The course is concluded by an individual written portfolio assignment. The student should present a paper that describes and reflects upon what knowledge, insights, and artistic experience the student has gained during the course. The core of the presentation should be a critical discussion about the self, the different aspects of play, authenticity and identity, in relation to the students own artistic practice. Format: at least 5 pages, but not more than 7. (Times New Roman 12, space 1,5.)

Schedule for winter semester 2024/2025:

• Week view
• List

Schedule for summer semester 2024/2025:

The schedule has not yet been prepared

The subject is a part of the following study plans

• Authorial Acting in English (B.A.) (Required subjects)
• Authorial Acting in English (B.A.) (Required subjects)