The aim is an ability to review a theatre performance and piece, incorporated in to the context of contemporary theatre and without any direct audence experience. Students, upon completion of the course extensively expand their awareness and bearing in the stages of the development of modern theatre,. They should, as well, be able to work with various resources, critically evaluate them and based on working with them take up a subjective viewpoint to the given issues, and contribute to their own individual theory perspective.

Attended course, instructional block of classes

Completion of the course "History of Theatre in the Context of Western Culture I & II in bachelor's study or comparable courses at other higher-learning institutions.

None.

toics maz varzThe aim of the course is an acquaintance with artists and theatre ensembles which have significantly affected the development of modern theatre since the second half of the 20th century. The essence is, based on analyses of audio-visual recordings of selected performances, to characterize and incorporate pieces into a context of contemporary theatre but also into the context and development individual arts figures. The course is supplemented by individual study of additional secondary written sources.

This course is in the form of block instruction and takes place at two levels. The first is the screening of selected performances with an instructor's presentation and introduction to the issues and subsequent discussions. Also theory reviews, written at home, of the viewed pieces supported by independent study of recommended primary and secondary sources.

Selected performances should map out the most significant European theatre cultures and language areas but also maintain a particular time continuity (the 20th century with the turn of the new millenium). The course is and open debate and proposal of students.

Classes may be linked to language areas, theatre development stages, or common indicators of poetics of individual artists. The course, in topic blocks, is devoted to the pieces of figures: Peter Brook, Ariane Mnouchkine, Giorgio Strehler, Claus Peymann, Thomas Ostermeier, Andreas Kriegenburg, Luc Bondy, Eimuntas Nekrošius, Alvis Hermans, Jan Klata, Kryzsytof Warlikowski, Krzstian Lupa, Robert Wilson, Stephen Daldrz, Peter Hall, topics may vary.

Class structure:

- Introduction to the class - acquaintance of students with the form and nature of the class, completion condtions, list of required reading and schedule.

- Individual topic blocks.

Examples of topic block focuses:

- Peter Brook - from drama to theatre research

- Ariane Mnouchkine - on the edge of classics and multi-culturalism

- Patrice Chereau - contemporary forms of classics

- Georgio Strehler - modern Viennese classics

- German contemporary directing - Thomas Ostermeier

- German contemporary directing - Andreas Kriegenburg

- Luc Bondy and Claus Peymann in the Viennese Burgtheatar

- Robert Wilson - from the American avant gard to European theatre

- Innovators of Polish theatre - Krystian Lupa

- Innovators of Polish theatre - Jan Klata

- Innovators of Polish theatre - Krzysztof Warlikowski

- Pinnacle directing of Balitc countries - Alvis Hermanis

- Pinnable directing of Baltic countries - Eimuntas Nekrošius

- British post-war directing - Peter Hall

- British post-war directing - Stephen Daldry

Aronson, Arnold. Americké avantgardní divadlo. Praha: AMU, 2011

Barba, Eugenio, Savarese, Nicola. Slovník divadelní antropologie. Praha:Divadelní ústav, 2000

Braun, Kazimierz. Druhá divadelní reforma? Praha:Divadelní ústav, 1993

Braun, Kazimierz. Divadelní prostor. Praha: AMU, 2001

Brook, Peter. Prázdný prostor. Praha: Panorama, 1988

Brook, Peter. Pohyblivý bod. Praha: Nakladatelství Studia Ypsilon, 1996

Brook, Peter. Nitky času. Praha: Divadelní ústav, 2004

Carlson, Marvin. Dejiny divadelných teórií. Bratislava:Divadelný ústav, 2006

Craig, Edward Gordon. O divadelním umění. Praha: Divadelní ústav, 2006

Fischer-Lichte, Erika. Estetika performativity. Mníšek pod Brdy: Na Konári, 2011

Fischer ? Lichte, Erika. Dejiny drámy. Bratislava: Divadelný ústav, 2003

Jovićević, Aleksandra, Vujanovič, Ana. Úvod do performatívnych štúdií. Bratislava: Divadelný ústav, 2012

Jurkowski, Henrik. Proměny ikonosféry. Vizuální kontext divadelního umění. Praha: AMU , 2010

Lacey, Stephen. British realist theatre. London: Routledge, 1995

Lehman, Hans-Thies. Postdramatické divadlo. Bratislava:Divadelný ústav, 2007

Mistrík, Erich a kol. Kultúrna a multikultúrna výchova. Bratislava: IRIS, 1999

Pavis, Patrice. Divadelní slovník. Praha: Divadelní ústav, 2003

Pavis, Patrice. Analyzing Performance. University of Michingan: Michigan, 2003.

Pilátová, Jana. Hnízdo Grotowského. Praha: Divadelní ústav, 2009

Semil, Malgorzata, Wysinska, Elzbieta. Slovník světového divadla 1945-1990. Praha:Divadelní ústav, 1998

Schechner, Richard. Performancia: teórie, praktiky, rituály. Bratislava:Divadelný ústav, 2009

Šimková, Soňa. Strehler divadlo v znamení réžie. Bratislava:Stimul , 1997

Partial studies from periodicals:

SAD, Divadelní revue, Theater Heute, Slovenské divadlo, Theatre Journal

This course will take place through block instruction based on viewings and subsequent analyses of audio-visual recordings of selected theatre performances. Lectures, moderated discussions, independent presentations.

Permitted absence from 1 of all planned blocks. Class participation. Written review of the viewed piece supported by independent study of recommended primary and secondary material.

• Theory and criticism (B.A.) (optional subject)
• Theory and criticism (M.A.) (optional subject)