Interpretation Seminar 6

Subject guarantor:

Jana PILÁTOVÁ

Name of lecturer(s):

Jana PILÁTOVÁ

Learning outcomes of the course unit:

To teach students carefull reading skills and make reading a need for life, that is, to demonstrate its sense. To teach students carefull reading skills and to search for relationships of „theory“ with theatre practice. In continuation with the previous interpretation seminar (Mainly Interpretation Seminar 5) and to reading texts about drama, theatre and theatricality, acting and actibility and changes in the function of theatre and acting in various cultures and periods. In relation changes in acting, theatre space, directors, drama and other participants in theatre. Changes in the concept of „theatre“ and other key concepts used to characterize that which appears in theatricality.

Mode of study:

Based on one's own study of an assigned text in class, there is an interactive development of the topic in a historical context. Occasionally, using video recordings and occasionally in attendance at selected performances, linked to the sphere of implementation ideas.

Prerequisites and co-requisites:

Completion of the previous two study-years of performance coruses and completion of the Interpreation Course 5.

Recommended optional programme components:

Student's own proposal - pointing out of the current theory and practice contributions to the topics covered in classes.

Course contents:

At the lower level the starting point is the drama text and all challenges placed on the reader. The first year is completely devoted to Shakespeare.

The second year the students read texts (and trace themes) of new era theatre, particularly in the elements of theatre thematization.

In the third year (elective) is an introduction to metatext to recognize how theatre perceives itself and what potential i has in those social-cultural situations.

The starting point is an assigned text and its detailed interpretation. From the oldest texts (Aristotle, Bharata) to Diderot, Lessing, and other classical authors, we move to modern thespian and reformer theatre of the beginning of the 20th century and to the „Second Theatre Reform“ (Artaud, Grotowski, Schechner). This is the basic idea of the span and changes in theatre thought and contexts and the results of those changes for theatre practice.

Recommended or required reading:

Selected chapter from the following publications, selection according to the study context and previous student education:

ARISTOTELES. Poetika.Překlad J.Novákové

ARTAUD, Antonin.Divadlo a jeho dvojenec. Týž Texty I. Herrmann a synové. 1994, 1995

BHARATA in KALVODOVÁ, Dana, ZBAVITEL, Dušan: Pod praporem krále nebes. Odeon, Praha 1987, s.11-36

BRAUN, Kazimierz. Druhá divadelní reforma - Div. ústav, MLK, DAMU, JAMU 1993, 171 s. Přel. J.Vondráček, Týž: Divadelní prostor. Přel. Jiří Vondráček, DAMU 2001

BRECHT, Bertolt. Myšlenky. ed. Jan Grossman, přel. Ludvík Kundera. Čs. spisovatel 1958

BROOK, Peter. Pohyblivý bod: Čtyřicet let divadelního výzkumu 1946-1987. Přel. Jan Hančil. Praha: Nakladatelství Studia Ypsilon, 1996. 248 s. Týž: Prázdný prostor. Přel. Alois Bejblík. Praha: Panorama, 1988. 232 s.

CRAIG, Edward Gordon: O divadelním umění. Přel. Milan Lukeš. Divadelní ústav,Praha 2006, 207 stran.

ČECHOV, Michail. Hercova cesta. překl. a ed. Zoja Oubramová. Panorama 1990 . 220 s.

DIDEROT, Denis. Herecký paradox.

ECO, Umberto: Meze interpretace

GROTOWSKI, Jerzy. Divadlo a rituál. SaD 9, 1991, s.52-60. Přel. Jana Pilátová.--- Performer. SaD 3, 1999, s. 101 - 104. přel. Jana Pilátová

HONZL, Jindřich. Pohyb divadelního znaku. In: Odkaz české divadelní avantgardy. Eds. Ljuba Klosová a Ludmila Kopáčová. Divadelní ústav Praha 1990, s. 53 - 67

LEHMANN, Hans Thies. Postdramatické divadlo. Prel. Anna Grusková a Elena Diamantová. Bratislava: Divadelný ústav, 2007. 368 s.

OSOLSOBĚ, Ivo. Mnoho povyku pro semiotiku. Nakladatelství „G“ Brno 1992, 223s.

PAVIS, Patrice. Divadelní slovník: slovník divadelních pojmů. Přel. Daniela Jobertová. Praha: Divadelní ústav, 2003. s. 496.

STEHLÍKOVÁ Eva. Antické divadlo. Praha: Univerzita Karlova, Karolinum, 2005. 384 s.

SCHERHAUFER, Petr. Čítanka z dejín divadelnej réžie: od Goetheho a Schillera po Reinhardta. Bratislava: NOC, 1998. 328 s. Týž: Čítanka z dejín divadelnej réžie: od futuristov po Ejzenštejna. Bratislava: Divadelný ústav, 1999. 368 s.

ZICH, Otakar: Estetika dramatického umění. Melantrich 1931

Other materials emerge directly from the classes.

Planned learning activities and teaching methods:

Group attendance at selected performances and discussions over their production and context. Attempts at writing critiques. Reflecting on passages of the graduation thesis, etc, working with citations, descriptions and argumentation.

Assessment methods and criteria:

In the Winter semester credit awarded based on class activity, attendance (75%) and verbal course work, discussed at a colloquium.

The student is to attempt to answer a question formed by that student. The answer is to be supported by a better view of some covered topics (figures, examples), one's study of trade literature and a complementary example from theatre (At best a live work which other students may know, also possibly a video.). After the Summer semester this type of written work is to be sent in advance for better discussion.

Course web page:

Note:

For 3rd year students.

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Herectví se zaměřením na autorskou tvorbu a pedagogiku (Mgr.) (optional subject)
• Herectví se zaměřením na autorskou tvorbu a pedagogiku (Bc.) (optional subject)