Interpretation Seminar 2
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
Instructing students to read carefully, make reading a need in life, that is, to demonstrate its sense. Considering the study focus, training in reading drama. A drama is not the summation of all repartee and stage knowledge. To read them is to decipher their structure. The interpretation course teaches this specific type of reading. As well, it shows how the structure of a drama (today more often, post-drama) text in the history of theatre has changed.
Mode of study
The seminars are not a lecture but a guided discussion, students present their own reading and understanding of the plays, they are also asked to present essays and other related texts. Dramatic texts are compared with different adaptations, from theatre or film, students analyse both primary and secondary texts.
The seminars are in English.
Prerequisites and co-requisites
Theatre History Lectures.
In the first year of the two-year course, Shakespeare is the subject of study. His position and significance reflects back to the beginning of drama culture and forward to modern drama. In the second year the students encounter modern and contemporary anglophone drama (a selection of Irish, British and American playwrights, for example J.M. Synge, Samuel Beckett, Harold Pinter, Marina Carr, Martin McDonagh, Patrick Marber, Sarah Kane, Joe Penhall, Edward Albee, Sam Shepard, David Mamet etc.).
Recommended or required reading
Aristoteles: Poetics, Jan Kott: Shakespeare Our Contemporary, Bill Bryson: Shakespeare, The Cambridge Companion to Shakespeare, Tom Stoppard: Rosencrantz and Guildenstern are dead, W.Shakespeare: King Lear, The Merchant of Venice, Hamlet, Richard III., Coriolanus, Midsummer Nights Dream, Macbeth, Othello, Romeo a Julie, Measure for measure, The Tempest.
Selected plays by J.M.Synge, Samuel Beckett, Harold Pinter, Marina Carr, Martin McDonagh, Patrick Marber, Sarah Kane, Joe Penhall, Edward Albee, Sam Shepard, David Mamet and others.
Susan Sontag: Against interpretation.
Roland Barthes: The Death of the Author.
and other essays and texts on individual playwrights and their work that are distributed in the classes.
Assessment methods and criteria
In the middle of the year, credit, at the end, exam. Aside from participation (max 3 absences in 1 semester) and student discourse during the whole course, the ability to speak about a selected topic in the final colloquium is evaluated. Students also write an essay of approximately 5 pages on the topic of their choice.
No schedule has been prepared for this course
The subject is a part of the following study plans
- Authorial Acting in English (B.A.) (required subject)