History and Theory of Theatre Seminar 2
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Name of lecturer(s)
Learning outcomes of the course unit
- Introduce the history of world and Czech theatre from the beginning of the 20th century to the present.
- Introduce the basic theatrological concepts in relation to their historical development.
- Introduce the main events, important figures of world and Czech theatre and drama from the beginning of the 20th century to the present.
- The aim is the successful completion of the state bachelor's exam in the history of theatre.
Mode of study
Survey lectures, discussion classes.
Prerequisites and co-requisites
206SHT1 Theatre of History and Theory.
This course is devoted to theatre history and theory, which are an essential part of a general cultural overview and artistic education itself.
Topics covered in the semester:
- History of world theatre and drama from the beginning of the 20th century.
- History of Czech theatre and drama from the beginning of the 20th century.
- Basic theory terminology.
Recommended or required reading
Brockett, Oscar G. Dějiny divadla. Praha: Nakladatelství Lidové Noviny a Divadelní ústav,1999. ISBN 978-80-7106-576-0.
Fischer-Lichte, Erika. Dejiny drámy. Bratislava: Divadelný ústav, 2003. ISBN 80-88987-47-4.
Carlson, Marvin. Dejiny divadelných teórií. Bratislava: Divadelný ústav, 2006. ISBN 80-88987-23-7.
Císař, Jan. Přehled dějin českého divadla. Praha: Nakladatelství Akademie múzických umění, 2006. ISBN 80-7331-072-4.
Semil, M., Wysinska, E. Slovník světového divadla 1945-1990. Praha: Divadelní ústav, 1998. ISBN 80-7008-066-3.
Recommended drama writings:
- Aischylos: Oresteia, Euripides: Medeia, Sofokles: Král Oidipus, Aristofanes: Žáby
- Plautus: Pseudolus, Terentius: Eunuch/Kleštěnec
- Adam de la Halle: Hra v loubí, staročeský Mastičkář
- Nicolo Machiavelli: Mandragora, Carlo Gozzi: Princezna Turandot
- Shakespeare: Hamlet, Sen noci sväatojánskej, Búrka, Richard III.
- Lope de Vega: Fuente ovejuna, Calderón de la Barca: Veľké divadlo sveta, Tirso de Molina: Sevillský zvodca
- Pierre Corneille: Cid, Jean Racine: Faidra, Moliére: Don Juan
- Lessing: Emilia Galotti, Schiller: Úklady a láska, Goethe: Clavijo
- V. K. Klicpera: Veselohra na mostě, Rohovín Čtverrohý, J. K. Tyl: Fidlovačka, Strakonický dudák, L. Stroupežnický: Naši furianti, G. Preissová: Gazdina Roba, A. Jirásek: Vojnarka, Mrštíci: Maryša
- Büchner: Woyzek, Kleist: Rozbitý džbán, Gribojedov: Hoře z rozumu, Puškin: Boris Godunov, Lermontov: Maškaráda, Hugo: Hernani, Cromvell (předmluva !!!!!!)
- Labiche (Abeceda, Slamenný klobúk), Ostrovskij (Búrka), Suchovo-Kobylin (trilogie Proces, Smrt Tarelkina, Svatba Krečinského), Turgeněv (Měsíc na vsi), Hauptmann
- Čechov – jednoaktovky, veliká čtyřka, Platonov, Ivanov, Lesní duch
- Ibsen (Nora, Heda G., Divoká kachna,...), Strindberg (Slečna Júlie, Sonáta príšer, ...), Maeterlinck (Modrý pták, Ariadna a Modrofous, Smrt Tintagilova, Slepci,...), Jarry
- bratři Čapkové, Karel Čapek (Adam Stvořitel, Ze života hmyzu, Věc Makropulos, R.U.R., Bílá nemoc, Matka,...)
- Arthur Miller: Cesta dlhým dňom do noci, Smrť obchodného cestujúceho, ..
- G.-B. Shaw (Pygmalion, Androkles a lev, Svatá Jana), E. Bond (Spaseni), H. Pinter (Narozeniny), C.Churchill (Top girls), S.Kane (Očištěni), M. Ravenhill (Shopping and fucking), T. Stoppard (Guildenstern a Rosenkrantz jsou mrtvi)
- B. Brecht (Žebrácká opera, Kaukazský křídový kruh, Matka Kuráž,...), F. Wedekind (Probuzení jara,...), T. Bernhard (Ignorant a šílenec, Náměstí hrdinů,..), E. Jelinek (Nemoc aneb moderní ženy, Klára S.,..) M. von Mayenburga (Eldorádo, Tvář v ohni, ..),..
- S. Beckett (Čekání na Godota, Šťastné dni, Konec hry), E. Ionesco (Lekce, Plešatá zpěvačka)
- V. Havel (Vyrozumění, Audience), J. Topol (Kočka na kolejích, Konec masopustu), L. Smoček (Piknik, Podivné odpoledne Dr. Zvonka Burkeho,...)
Questions for the state exam:
Questions for the oral Bachelor's exam in the DAMU, Production Dept.
Subject: Theatre History and Theory
- Ancient Greek Theatre (origins of theatre, organization and function of theatre festivals, staging conventions, genre divisions, development of tragedy, development of comedy)
- Roman theatre (overlap and relation to Greek theatre, organization and function of theatre festivals, staging conventions, genre division, development of tragedy, development of comedy)
- Medieval theatre (characteristics of the epoch, development and function of theatre, liturgical and world drama and genres - writers and works, organization and stage conventions, Czech references in the middle-ages)
- Italian Renaissance and Cmmedie dell'arte (characteristics of the epoch, commedia erudita - writers and works, commedia dell'arte, stage space and conventions, commedia dell'arte reforms of Goldoni and Gozzi)
- Elisabethan theatre (source and characteristics, Shakespeare and his contemporaries, Marlowe, Jonson, Shakespear's successors, Jacobian theatre (Beaumont, Fletcher, Webster, Ford), theatre ensembles in England - private and public, organization of theatre life, staging conventions)
- Theatre in the Spanish Golden Age (sources and characteristics of the Baroque concept, religious drama and secular drama - writers and works, private and public theatre, organization of theatre life and staging conventions)
- French Classicism and Enlightenment (sources and characteristics, classic doctrine (three elements and poetics), development of tragedy and peak in Racine and Cornieille, genre development and reform of comedy by Moliere, organization of theatre life, staging conventions)/ Enlightenment (characteristics of the epoch, writers and works, organization of theatre life, staging conventions - primarily acting, influence of Enlightenment thought on Czech theatre - idea of Czech national theatre)
- German Enlightenment (development of German theatre culture, influence of Hanswurst and the reforms of Gottscheda and Neuber, Sturm und Drang and its writers and sources, Lessing and the idea of national theatre and civic tragedy, Goethe and Schiller and Weimar Classicism, Austrian People's theatre - writers and works)
- Romanticism (revolution and its influence on European culture, manifests of Romaniticism and theory origins (Hugo), hero of the romantic drama - England, France, Germany, Russia, Poland, Bohemia, stage conventions - primarily acting)
- Realism and Naturalism (characteristics of the artistic direction, influence and development of theatre and drama, Naturalism in drama and theatre at the turn of the century, rise of theatre directing (Meiningenists, Wagner, Antoine, Brahm), Czech Realism in drama and theatre (Preissová,Mrštíkové, Stroupežnický)
- A.P. Czechov and Stanislavsky's reform (A.P. Czechov and characteristics of his drama works and connection to MCHT and possibly, development of modern drama, rise of MCHT and Stanislavsky's psychological realism)
- Symbolism (concept of the modern and modern trends, symbolism in theatre as a reaction to Naturalism, French Modern Theatre - writers and works, development of the works by H. Ibsen and A. Strindberbg, reforms of E.G. Craig and A. Appii, Antonin Artaud and his theatre of the cruel)
- Czech drama and theatre 1900-1945 (start of the modern; constituting modern Czech directing by Kvapil and Hilar and their influence on staging and development of acting, Czech drama from Naturalism to modern tendencies - Brothers Čapkové, K. Čapek, V. Dyk, V. Nezval, Czech directing druing WWII)
- Inter-war avant garde (concept of the avant garde and its presentation, Russian theatre avant garde (Mejerchold, Tairov, Vachtangov), Czech theatre avant garde (Honzl, Frejka, Burian), French theatre avant garde (Kartel, Copeaux and Dalcroze, decentralization of French theatre))
- Modern American theatre (development in the 19th century and influences of English theatre, theatre conventions - ensembles, rise of Unions and theatre producers Frohman, Belasco, and the Brothers Schubert, influence of European theatre and drama on modern American theatre and drama, writers and works, development of American acting under the influence of the Stanislavsky method, off-Broadway, off-off-Broadway, American theatre avant garde (happening, performance)
- Modern English theatre (theatre conventions to the foundinf of the Independent theatre - genres, theatre regulation laws, new directions in theatre and drama - Shaw, Wilde, Independent theatre, Royal court), consolidation of theatre and new tendencies in drama after WWII - the Angry Young Men movement, The Movement, Center 42, Theatre Workshop theatre, English stage company, writers and works - Pinter, Wesker, Bond, churchill, the 1990s and the start of in-yer-face-writers and works)
- Modern German theatre (from Realism and Naturalism (Freibuehne and O. Brahm) to Expressionism as an artistic direction, its influence on theatre and drama - Berlin Cabaret, Viennese Modern, beginnings of political theatre by Piscator and Brecht, development of B. Brecht's works, model dramas and beginnings of documentary theatre - Duerenmatt, Frisch, Hochhuth, Weiss, Austrian drama from the second half of the 20th century - Handke, Jelinek, Bernhard, development of modern German directing and theatre (Peter Stein, Peter Zadek, Christoph Marthaler, Claus Peymann, Frank Castorf, Pina Bausch, big center and alternative stages, financing and political and social function of theatre), contemporary German drama - Mayenburg, Schimmelpfenig, Richter, Dea Loher, David Gieselman, Felicia Zeller,.....)
- Absurd drama and theatre (philosophy of existentialism - Sartre, Camus, absurd theatre and drama and its writers (France, England, America, Bohemia))
- Second theatre reform (second theatre reform as a concept - return to theatricality and influence of anthropology and ritual, acting reform - Artaud, Grotowski, Kantor, LIving Theatre, Brook, Mnouchkine, Schechner and Kaprow, Bread and Puppet theatre)
- Czech theatre and drama after 1945 (changes in cultural policy after 1948, influence of the political system on theatre practice - dramaturgical guidance, generational layering and significant directing poetics - Radok, Krejča, Grossman, the 1960s and small forms and drama (Divadlo Na zábradlí, Semafor, Činoherní klub, Divadlo za branou), rise of studio theatres (Husa na provázku, Hadivadlo, Studio Ypsilon, Činoherní studio Ústí nad Labem), theatre dissent (Divadlo na tahu, Bytové divadlo, samizdat), influence of puppet poetics (Drak, Vedené divadlo), Czech drama in a dialog with European theatre (Topol, Havel, Uhde, Goldflam, Pitínský), Czech directing from the 1990s (Lébl, Morávek, Pitínský, Nebeský, Dočekal, Krobot,...), contemporary Czech theatre culture and its layering (private, alternative theatre, financing, theatre festivals
Assessment methods and criteria
Requirements for successful completion of the course: lecture/class attendance, completion of the final written test/oral exam.
Schedule for winter semester 2019/2020:
The schedule has not yet been prepared
Schedule for summer semester 2019/2020:
The schedule has not yet been prepared