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Subject guarantor:

Name of lecturer(s):

Zuzana AUGUSTOVÁ

Learning outcomes of the course unit:

Students acquire, in the course, practice in discussing political, cultural-theatre, current social and historical topics. They learn to write a short review of an assigned issue and their own analyses and are able to review discussion. At the close of the course they create a longer consideration or anlaysis of a theatre or social phenomenon. They acquire knowledge of the modern history of political theatre and drama. They have a bearing in contemporary forms of para-theatre documentary forms and projects and performances on the edge of theatre and society, respectively, crossing those boundaries.

Mode of study:

Contact

Prerequisites and co-requisites:

None

Recommended optional programme components:

No further recommended optional study components.

Course contents:

This course, in two semesters, will cover the historical and contemporary forms of political theatre:

Topics:

1) Historical excursion: German political theatre of the 1920s and 30s and post-war activity. Founders and political and epic theatre of B. Brecht, E. Piscatora (Volksbuehne and the Berliner Ensemble)

2) Activity of post-war street, student and worker theatre and political theatre, based on collective work principles (P. Stein, Schaubuehne of the 1960s and 70s)

3) Historical, realistic, model and documentary theatre and drama 1960s and 70s - review of the war past, holocaust, and topics of future threats of the atom bomb, war in Vietnam, etc.

4) Contemporary forms of political theatre and drama, contemporary social-criticism drama staged in theatres which specialized in this (see for example: dramatist, director and project collaborators: Falk Richter at the Berliner Schaubuehne), Frank Castorf as a post-modern political director and the Volksbuehne, Robert Wilson in the Berliner Ensemble; artistic teams of dramatists and directors (Dea Loher and Andreas Kriegenburg, Elfriede Jelinek and Einar Schleef, and Nicolas Stemann), directing and writing figures and affiliated acting ensembles (see theatre projects of Rene Pollesche in the Berlin Prater, the Vienna Burgtheatre, etc.)

5) Para-theatre projects and ensembles (Rimini Protokoll, She She Pop?), which is devoted to a new type of documentary theatre, which works with original stories and the acting of real people, non-actors (so called of the everyday) and other forms exceeding the boundaries between documentary and reality.

6) Marginal para-theatre and conceptual projects, which intentionally exceeded - also spatially - the boarders between theatre staging, performance, conceptual events and public space and social reality as such and attempted to contribute to social, political or sociological review and public discussion or in reality to affect and become a part of it (ex: the play premier Das Lebewohl by E. Jelinek at a protest demonstration against the ruling coalition VPOe and FPOe in 2000 in Vienna; off-program international festival Wiener Festwochen 2013: performance exhibit project Neklid forms. Concepts of political subjects in an outline).

Recommended or required reading:

Literature:

Brecht, B.: Brecht o realismu, Praha 1989

Brecht, B.: O divadelnom umení, Bratislava 1959

Dreysse, Miriam: Malzacher, Florian (ed.). Rimini Protokoll. Berlin: Alexander Verlag, 2007.

Eiermann, A.: Postspektakuläres Theater. Die Alterität der Aufführung und die Entgrenzung der Künste, transcript Verlag, Bielefeld 2009.

Fiebach, J.: Manifeste europäischen Theaters. Grotowski bis Schleef, Theater der Zeit. Recherchen 13, 2003.

Fischer-Lichte, E., Kreuder, F., Pflug, I. (ed.): Theater seit den 60er Jahren. Grenzgänge der Neo-Avantgarde, A. Francke verlag, Tübingen, Basel 1998.

Frei, N.: Die Rückkehr der Helden. Deutsches Drama der Jahrhundertwende. Tübingen, Günter Narr Verlag 2006.

Haas, B.: Das Theater von Dea Loher: Brecht und (k)ein Ende, Bielefeld, Aisthesis Verlag 2006.

Haas, B.: Modern German Political Drama 1980-2000. Camden House 2003.

Haas, Birgit: Macht: Performativität, Performanz und Polittheater seit 1990, Königshausen & Neumann; Auflage: 1., Aufl. (30. Juni 2005)

Haas, B.: Theater der Wende. Wendetheater, Verlag Königshausen + Neumenn, Würzburg 2004.

Elermann, Andre. Postspektakuläres Theater.

Bielefeld: transcript Verlag, 2009.

Grusková, A: Německá dráma

Lehmann, H.-T.: Postdramatické divadlo, Bratislava, Divadelný ústav 2007.

Pollesch, René: Liebe ist kälter als das Kapital: Stücke Texte Interviews von René Pollesch, Corinna Brocher, und Aenne Qui?ones von rororo (Taschenbuch - 2. März 2009).

Piscator, E.: Politické divadlo

Schnelle, B.: Elfride Jelinek a její divadlo proti divadlu, Brno, Větrné mlýny 2006.

Theater der neunziger Jahre. Theater der Zeit. Recherchen Zwei, Berlin 1999.

Müller, H., Schitthelm, J. (eds.): 40 Jahre Schaubühne Berlin (A962: 2002), Theater der Zeit.

Tvrdík, M.: Dramatická tvorba Petera Weisse, kandidátská disertační práce, Ústav pro českou a světovou literaturu ČSAV, Praha 1987

Weiss, P.: Poznámky k dokumentárnímu divadlu

Plays:

Brecht, B.: Hry I - VIII (překlad L. Kundera a R. Vápeník).

Dürrenmatt, F: Hry, Divadelní ústav, Praha 2006 (překlad J. Stach, doslov Z. Hořínek).

Frisch, M.: Andora

Frisch, M: A zase zpívají (1945)

Grass, G.: Plebejci zkoušejí povstání

Hochhuth, R.: Právníci

Hochhuth, R.: Náměstek

Hochwälder, F.: Holocaust

Jelinek, E.: Jelinek, E.: Klára S., Nemoc aneb Moderní ženy, On není jako on, Větrné mlýny, Brno 2001 (překlad B. Schnelle, Z. Augustová).

Jelinek, E.: Sbohem, Brkola, Praha 2008 (překlad B. Schnelle a Z. Augustová).

Jelinek, E.: Stecken, Stab a Stangl, Berla, hůl a tyčka, rukopis (překlad J. Jílková).

Kipphardt, H.: Bratr Eichmann.

Kipphardt, H.: Ve věci J. Roberta Oppenheimera

Loher, D.: Poslední oheň

Loher, D.: Tetování. Modrovous ? Naděje žen. Adam Geist. Klářiny vztahy. Třetí sektor (pět divadelních her), Brno, Větrné mlýny 2004.

Loher, D.: Zloději

Müller, H.: Pověření. Tři hry (Kvartet, Pověření, Hamlet-stroj), Prostor, Praha 1998 (překlad K. R. Jilská).

Richter, F.: Bůh je DJ, Electronic city, Pochucha (3 hry), Praha, Transteatral 2007.

Weiss, P.: Marat/Sade

Weiss, P.: Přelíčení

Weiss, P.: Vietnam

Weiss, P.: Zpěv o lusitánském strašidle

Planned learning activities and teaching methods:

Lecture, classes, independent research

Assessment methods and criteria:

On-going course writing for classes, Completion of a short report and participation in discussions on them and other topics in class, course paper.

Course web page:

Note:

Schedule for winter semester 2014/2015:

The schedule has not yet been prepared

Schedule for summer semester 2014/2015:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed
Thu	místnost S412 Učebna (Karlova 26, Praha 1) AUGUSTOVÁ Z. 10:30–12:00 (přednášková par. 1)
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Thu	10:30–12:00	AUGUSTOVÁ Z.	Učebna Karlova 26, Praha 1		přednášková par. 1

The subject is a part of the following study plans:

• Directing and Dramaturgy for Dramatic Theatre (B.A.) (optional subject)
• Dramaturgy for Dramatic Theatre (M.A.) (optional subject)
• Theory and criticism (M.A.) (compulsory optional subject)
• Directing for Dramatic Theatre (M.A.) (optional subject)
• Directing and Dramaturgy for Alternative and Puppet Theatre (B.A.) (optional subject)
• Dramaturgy for Alternative and Puppet Theatre (M.A.) (optional subject)
• Directing for Alternative and Puppet Theatre (M.A.) (optional subject)