Artes da Cena Contemporânea (not translated)
Code
73217155
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências da Comunicação
Credits
10
Teacher in charge
Paulo Filipe Monteiro
Weekly hours
2
Teaching language
Portuguese
Objectives
We want our students to:
1. Obtain and be ready to use the main conceptual and theoretical tools for the study of scenic languages, their heterogeneity and their constant change;
2. Place in their context and get to know some of the main creators and works in the history of the stage, with a main and permanent concern on contemporary times;
3. Be able to discuss critically and with good arguments the works that he will produce or
will watch on DVD or live;
4. Be able to develop a personal and autonomous research on a subject, an author or a work, with a critical and sustained perspective, presented, orally and written, in a clear and well argued form.
Prerequisites
Subject matter
1. The concept of performance; the specificity of performance when produced in the aesthetical context.
2. The plurality which structures the dramatic scene vs. The laws of dramatic unity and of vraissemblance
3. The crisis of classic drama during the XIX century; attempts to renovate it (Ibsen, Tchékhov); the ruptures (Victor Hugo, Wagner, Appia)
4. The scene as the origin of the concept of global art work. Relationships between languages. Intermediality.
5. The anti-mimetic scene; rise (and decline) of fisicality; symbolists, futurists, dadas, Craig, Meyerhold, Artaud, Brecht, Grotovski, Kantor; the performance art; improvisation. Attempts to think over these alternatives: Lyotard and Deleuze.
6. The recurrent search for a desumanized scene. The reaction of those who combine a work over the language with a research on day to day life and emotions such as Pina Bausch, Alain Platel, Ricardo Bartís.
7. Tendencies of a postdramatic scene.
Bibliography
BADIOU, Alain (2008) Rhapsody for the theatre: a short philosophical treatise, Theatre Survey, 49:2
DELEUZE, Gilles (1979) « Un manifeste de moins », in Carmelo Bene e Gilles Deleuze, Superpositions, Paris, Minuit
DERRIDA, Jacques (1978) The theatre of cruelty and the closure of representation, in Writing and Difference, Univ. of Chicago Press
KRASNER; SALTZ (eds.) (2009) Staging Philosophy: Instersections of theater, Performance and Philosophy, Univ. of Michigan Press
LEHMANN, Hans-Thies (2002) Le théâtre postdramatique, Paris, LArche
MONTEIRO, Paulo Filipe (org.) (1998) Revista de Comunicação e Linguagens, nº 24, Dramas
PUCHNER, Martin (2010) The Drama of Ideas: Platonic Provocations in Theater and Philosophy, Oxford Univ. Press
SCHECHNER, Richard (2006) Performance Studies: an introduction, New York & London, Routledge
SZONDI, Peter (2001) Teoria do Drama Moderno: 1880-1950, São Paulo, Cosac&Naify
Teaching method
Each student will have to present in class a review of a theoretical study. Students also must present their research, including preparation of audiovisual materials, introducing diverse cases and different perspectives on topics, authors and films of one or more performing arts.
Meetings with artists as well as with pos-doctoral researchers developing work that might be relevant for the students of this course will be promoted, bearing in mind that the very methods to be used must be flexible, according to the projects they are carrying on.
Evaluation method
Evaluation includes taking part in the discussions on the supporting texts and making a research project, in three steps: presentation of a written project; oral presentation in the classroom, followed by discussion; final written paper.
Reading and general theoretical research: 20%;
Critical review: 20%;
Oral presentation of original research: 20%;
Written paper: 40%.