Puppetness and Puppetlikeness 1
Kateřina LEŠKOVÁ DOLENSKÁ
Name of lecturer(s)
Kateřina LEŠKOVÁ DOLENSKÁ
Learning outcomes of the course unit
- Understanding the poetics of puppet theatre as the relationship between object and subject, between a person and a thing, the ability to reflect on this relationship and accept it in creative application.
- The creative use of historical, aesthetic and theatrological knowledge in personal artistic and theoretical work and in its self-reflecting synthesis.
- Realising the possibilities of the creative use of the mutual stage ostension between actor and puppet (object) in a mutual aesthetic tension.
- Ability to analyse acting possibilities in various types of contemporary theatrical practise.
Mode of study
Lectures, classes, exercises, text analyze, moderated discussion.
Prerequisites and co-requisites
- Creative ability.
- Ability to analyse and synthesise.
- Capacity for reflection.
- General knowledge of world theatre and puppetry drama.
- General knowledge of world aesthetics, philosophy and theatrology.
- General knowledge of the fundamental works of world literature.
- General knowledge of world art history.
- General knowledge of theatre history including puppet theatre history, the history of directing, dramaturgy and acting.
- Previous completion of the subject. Introduction to puppet theatre aesthetics; the specific characteristics of puppet theatre.
- The specific nature of puppet theatre, the „puppetness“ of the puppet.
- The puppet as a symbol, puppet as a function.
- Subject, thing, puppet.
- Actor or puppet actor?
- Figurative and objective theatre, theatre of the actor and puppet, contemporary trends.
- Puppetism as the application of puppetness to the acting subject.
- Various acting systems from historical and theatrological aspects.
- Thematisation of acting.
- The mask - natural or half-sister of the puppet?
Syllabus (expand on the summary - max. 3000 symbols):
An original analysis of the puppet in light of historical and theoretical documents will help students to formulate independent thoughts and observations on puppet theatre, its specific nature and contemporary trends, which are enriching puppet theatre as a form of art. The broadening and enrichment of modes of expression in puppet theatre (e.g. by theatre of the puppet and actor, by object theatre and by the theatre of objects) puts puppet theatre actors in a completely new theatrical situation and causes them to enter other stage relations. This form acting is internally transformed into new relations and contexts regarding the puppet, which is now no longer seen mainly as an artistic artefact but as an autonomous object in an entirely specific functional theatrical application by the actor in his actual performance. This relational character between actor and object, which ceases to be merely a prop, also leads organically to changes in acting. By monitoring these transformations in puppet theatre acting and comparing this phenomenon with acting in theatre drama we discover new possibilities for alternative theatre as a whole, and find that these intentionally affect the psychophysical identity both of man and actor. The puppet, object, mask and actor's body acquire a new focal point in the performances of contemporary acting, and seek an identity of man which differs to those of traditional psychological acting methods, whose resulting stage form derives from the thematic drive of the acting performance.
Recommended or required reading
František Sokol: The Magic of Puppet Theatre
Henryk Jurkowski: Magic of the Puppet
The Puppet at the Turn of the Millenium
Jiří Veltruský: Contributions to Drama Theory
Rio Preisner: J.N. Nestroy
Bořivoj Srba: The Poetic Theatre of E.F.Burian
Zdeněk Hořínek: The Spiritual Dimension of Theatre
Peter Brook: A Moving Point
Heinrich Braulich: Max Reinhardt
Jindřich Honzl: The Foundations and Practice of Modern Theatre
Kazimierz Braun: The Second Reform of Theatre
Antonin Artaud: Theatre and Plague
Karel Martínek: Mejerchold
Jerzy Grotowski: K Chudému divadlu
Jiří Frejka: Laughter and the Theatrical Mask
Jan Hyvnar: The Actor in Modern Theatre
Sense or Nonsense (miscellany)
A. I. Tairov: Odpoutané divadlo
Paul Pörtner: Experimental Theatre
Jan Císař: Theory of Puppet Theatre Acting
Erik Kolár: Ke kořenům české loutkářské estetiky
Is Puppet Theatre a Form of Fine Art or Dramatic Art?
Miroslav Česal: The Live Actor in Puppet Theatre
Petr Scherhaufer: An Anthology of Theatre Direction History
Zdeněk Hedbávný: Alfréd Radok
Vladimír Mikeš: Theatre of the Spanish Golden Age
Michal Čechov: On Acting Technique
Jaroslav Etlík: Divadlo jako zakoušení
Miloslav Klíma: Jan Grossman
Mircea Eliade: Mefisto a androgyn
E.G. Craig: The Actor and the Uber-Marionette
Miloslav Klíma - Karel Makonj et al.:
Josef Krofta: Production work
Magazines - Divadlo, Dramatická revue, Svět a divadlo, Disk, Čs. Loutkář, Loutkář
Assessment methods and criteria
During the course of the semester independent reading and review of assigned texts, preparations of the creativity assignments and participation in class discussions is required. The overall grading: 50% for class discussion participation, 25% for completion of the semester paper, 25% for the oral exam.
Registration only for students who have completed „Introduction to Puppet Theatre Aesthetics“ and „The Specific Nature of Puppet Theatre“. Only for Directing-Dramaturgy, Set-design and Theory and Criticism students.
Instruction schedule see: www DAMU / katedra ALD / Rozvrhy hodin
This course is an elective for all AMU students
Schedule for winter semester 2018/2019:
The schedule has not yet been prepared
Schedule for summer semester 2018/2019:
(Karlova 26, Praha 1)
LEŠKOVÁ DOLENSKÁ K.
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Wed||14:00–15:30||Kateřina LEŠKOVÁ DOLENSKÁ||Atelier
Karlova 26, Praha 1
The subject is a part of the following study plans
- Dramaturgy for Alternative and Puppet Theatre (M.A.) (optional subject)
- Directing and Dramaturgy for Alternative and Puppet Theatre (B.A.) (required subject)
- Directing for Alternative and Puppet Theatre (M.A.) (optional subject)
- Stage Design for Alternative and Puppet Theatre (B.A.) (optional subject)
- Stage Design for Alternative and Puppet Theatre (M.A.) (optional subject)