Theory of Drama 1

Subject guarantor:

Name of lecturer(s):

Learning outcomes of the course unit:

1. Students of direction and dramaturgy in alternative and puppet theatre are introduced to the theory of drama; familiarisation with elementary theatrological concepts used in Czech theatre science. Defining these concepts in relation to general art theory, aesthetics and theories of other artistic genres.

2. Familiarising students with the structural-semiotic approach to theatre in Czech theatre science and the limits and drawbacks of this theatrological school. Comparison with other methodological approaches.

3. Specific features of the theory of drama and its concretisation (and application) regarding the specific features of individual theatre genres.

4. Introducing students to the unique subject of puppet theatre, e.g. the completely different structural definition of the acting component for this type of theatre work compared with other (non-puppet) theatre genres.

5. The student?s ability to gain a strong overall understanding of the theory of drama, both at a general level and as regards individual theatrical genres.

Mode of study:

Concept explanation, discussion, readings and theory text analyses, recording analyses.

Prerequisites and co-requisites:

1. Creativity

2. Ability to think independently about a subject

3. Ability to analyse and reflect

4. Capacity for synthetic thought

5. Sufficient cultural outlook and detailed knowledge of theatre history

Recommended optional programme components:

Course contents:

Curriculum:

1. The tradition of a structural - semiotic approach to drama in Czech theatrology

(Zich, Mukařovský, Honzl, Veltruský) and historico-theoretical analysis of its sources: (Durdík,Hostinský,Šklovskij, Ejchenbaum, Tyňanov, Jakobson,

Bogatyrev).

2. Established Czech drama terminology and the areas it addresses (dramatic character, dramatic person, situation, subject, plot, story, motive, theme)

3. Basic concepts of Pierce semotics applied to theatrical creation (icon, index, symbol)

4. Expanding the material to include another theatrologist. Approaches. The limits and drawbacks to the structural-semiotic school. Comparison with other methodological approaches in theatre science: phenomenology (Ingarden, Merleau, Ponty), hermeneutics (Gadamer),

theatre anthropology (Schechner, Savarese, Barba), contemporary hermeneutics

(Ricoer, Mathauser), French structuralism (Levi-Strauss, Barthes),

post-structuralism and a tematologie (Genette, Todorov, Poulet), post-modernism and

deconstruction (Derrida, Lyotard, de Man etc.).

5. Puppet theatre specifics, defining the acting component of puppet theatre in relation to other forms of theatrical expression, and in connection with its specific function in puppet creations.

6. Application of the structural semiotic (Zichov) model to puppet theatre (stage character, dramatic person). Definition of the puppet as a theatrical function.

7. Broadening the approach to other areas of puppet theatre theory

(Kavrak, Lorenzová, Bensky, Knoedgen, Jurkowski et al.).

Syllabus:

As theoretical knowledge is an essential condition for every director and dramaturg in developing the talent to operate in the complex world of theatrical language, the teaching of the theory of drama has quite a broad conceptual basis and attempts to chart the theoretical problems of theatrical creation (where possible), even in the most subtle contexts. This is the only way that directors and dramaturgs can become university-educated figures with a wide cultural outlook and deep knowledge of the subject, so making it possible for them in future to perform their own creative work consciously and purposefully; i.e. professionally, in the best sense of the word.

Teaching is conducted in the form of lectures.

Recommended or required reading:

Patrice Pavis : Divadelní slovník

Základní pojmy divadla ( teatrologický slovník, ed. P. Pavlovský)

Jan Císař : Proměny divadelního jazyka

Jaroslav Etlík : Divadlo jako zakoušení

Jaroslav Vostrý : Režie je umění

Jaroslav Vostrý : Ejzenštejnovy lekce divadelní režie

Jan Císař : Teorie herectví loutkového divadla

Jaroslav Etlík : Činohra

Jaroslav Etlík : Definice loutky

P. Brook : Prázdný prostor

J. Honzl : K novému významu umění

J. Honzl : Základy a praxe divadla

J. Mukařovský : Studie z estetiky

Viktor Šklovskij : Teorie prózy

Viktor Šklovskij : Próza (teorie, úvahy)

Sergej Ejzenštejn : Kamerou, tužkou, perem

Vsevolod Mejerchold : Rekonstrukce divadla

Antonin Artaud : Divadlo a jeho dvojenec

Divadlo (časopis, ročníky 1956 - 1970)

Divadelní revue (časopis, ročníky 1990 - 2006)

Planned learning activities and teaching methods:

Lecture, classes.

Assessment methods and criteria:

Grades and credit are awarded based on a minimum 80% lecture participation, wich is a condition for participation in the exam. Grading is performed upon completion of the lecture cycle and with a oral or posible written exam.

Course web page:

Note:

Instruction schedule see: www DAMU / katedra ALD / Rozvrhy hodin

Further information:

No schedule has been prepared for this course

The subject is a part of the following study plans:

• Režie a dramaturgie alternativního a loutkového divadla (Bc.) (compulsory subject)