Degree | Type | Year | Semester |
---|---|---|---|
2500243 Classics | OT | 3 | 0 |
2500243 Classics | OT | 4 | 0 |
2500245 English Studies | OT | 3 | 0 |
2500245 English Studies | OT | 4 | 0 |
2500247 Catalan Language and Literature | OT | 4 | 0 |
2500248 Spanish Language and Literature | OT | 3 | 0 |
2500248 Spanish Language and Literature | OT | 4 | 0 |
2501801 Catalan and Spanish | OT | 3 | 0 |
2501801 Catalan and Spanish | OT | 4 | 0 |
2501902 English and Catalan | OT | 3 | 0 |
2501902 English and Catalan | OT | 4 | 0 |
2501907 English and Classics | OT | 3 | 0 |
2501907 English and Classics | OT | 4 | 0 |
2501910 English and Spanish | OT | 3 | 0 |
2501910 English and Spanish | OT | 4 | 0 |
2501913 English and French | OT | 3 | 0 |
2501913 English and French | OT | 4 | 0 |
2503998 Catalan Philology: Literary Studies and Linguistics | OT | 4 | 0 |
Since the students have duely given evidence of having acquired the basic competences of the subject, they will need to be able to express properly their ideas both in oral and in written form. Spelling mistakes will be marked down. Coursework will have to be original work and plagiarism either partial or total will be penalised 1 marked down. Coursework will have to be original work and plagiarism either partial or total will be penalised with a failure (0) in the final assessment. The students are expected to be acquainted with the basic rules of academic language and presentation, and also follow the instructions and conventions indicated by the teacher.
The fundamental objectives of the subject are to prepare students to be able to make a deeper understanding of the theatrical genre, either from a literary or spectacular perspective. For this reason, the students must know the specificity of the theatrical communication, they must acquire useful concepts and dramatic terms to carry out a theoretical or interpretative reflection of the theatre production.
The course is intended to be a complete and detailed description of the theatrical genre and its various forms and specific components, as well as of the various explanations and theoretical formulations that it has had over the centuries. The syllabus will carry out an in-depth study of the essential parts of a play from a semiotic perspective, but without neglecting the main theoretical explanations that have existed from Aristotle's Poetics to the most recent formulations. In this way, although the course is based on an eminently theoretical approach, the contents' practical application will be essential, as it can be seen in the commentaries on specific theatre plays during the last classes of the course.
Units
Unit 1. Theatrical genre conventions.
Unit 2. Theatrical semiotics.
2.1. The plot.
2.2. The language.
2.3. The character.
2.4. The time.
2.5. The space.
Unit 3. Classic and classicist dramatic theory.
Unit 4. Modern and contemporary dramatic theory: four examples.
El aprendizaje de esta asignatura por parte del alumno se distribuye de la manera seguiente:
· Actividades dirigidas (30%). Clases magistrales con apoyo de TIC y debate en gran grupo.
· Actividades supervisadas (15%). Presentaciones individuales. Recensiones o trabajos de curs (individuales o en grup) a partir de una guía para su realización.
· Actividades autónomas (50%). Lectura comprensiva y crítica de textos literarios y teóricos. Realización de esquemas, mapas conceptuales y resúmenes. Realización de trabajos y comentarios de texto.
· Evaluación (5%). Comentarios de textos en el aula.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Master classes with ICT support and debates in large groups. | 45 | 1.8 | 3, 14, 20, 17, 22 |
Type: Supervised | |||
Individual presentations. Reviews or course works (individual or in group) to be realized on the basis of a guide in order to complete these works. | 22.5 | 0.9 | 3, 14, 20, 6, 17, 22 |
Type: Autonomous | |||
Comprehensive and critical reading of literary and theoretical texts. Realization of schemes, conceptual maps and summaries. Realization of works and commentary of texts. | 75 | 3 | 3, 14, 20, 6, 17, 22 |
The evaluation of the course will be carried out primarily through two tests: there will be a theoretical exam (with a value of 50% of the final grade) and practical exam (with a value of 40% of the final grade) on the subject taught throughout the course. Also, there will be a third test, which will consist of a review, monograph or specific exercise, with a value of 10% of the final grade, on some aspect of the compulsory reading works or topics proposed by the teacher, such as the theatrical period style, the author's poetics, the specific study of the work, the comparison of the play with some other work, the analysis of characters, staging inscribed in the text, various staging, adaptations, etc.
Only those students who have submitted at least one of the two final exams will be eligible for the re-evaluation of the subject, and only those exams that have been previously evaluated may be re-evaluated, provided that a minimum grade of 1,5 points in each exercise has been obtained.
In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.
In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Monographic work, review or exercise | 10% | 4.5 | 0.18 | 3, 4, 2, 1, 14, 12, 18, 20, 19, 6, 5, 17, 16, 11, 7, 10, 8, 9, 23, 22, 21 |
Text Comment in the class | 40% | 1.5 | 0.06 | 3, 4, 2, 1, 14, 12, 18, 20, 19, 6, 5, 17, 16, 11, 7, 10, 8, 9, 23, 22, 21 |
Theory Test in the class | 50% | 1.5 | 0.06 | 3, 4, 2, 1, 14, 12, 13, 20, 19, 6, 5, 17, 16, 15, 11, 7, 10, 8, 22, 21 |
AA. DD. [2005], Études théâtrales, Paris, PUF.
J. L. García Barrientos [2001], Cómo se comenta una obra de teatro. Ensayo de método, Madrid, Síntesis.
M. C. Bobes Naves [1987/1997], Semiología de la obra dramática, Madrid, Arco Libros, 1997.
——— (ed.) [1997], Teoría del teatro, Madrid, Arco Libros.
——— [2001], Semiótica de la escena, Madrid, Arco Libros.
M. Carlson [1984/1993], Theories of the Theatre, Ithaca, Cornell University Press, 1996.
M. Corvin [1995], Dictionaire encyclopédique du Théâtre, París, Larousse, 1998.
M. De Marinis [1988], Entendre el teatre. Perfils d’una nova teatrologia. Barcelona, Institut del Teatre, 1998.
X. Fàbregas [1973], Introducció al llenguatge teatral, Barcelona, Edicions 62.
E. Fischer-Lichte [1993], Semiótica del teatro, Madrid, Arco Libros, 1999.
M. P. Grillo Torres [2004], Compendio de teoría teatral, Madrid, Biblioteca Nueva.
J. Guerrero Zamora [1961-1967], Historia del teatro contemporáneo, I-IV, Barcelona, Juan Flors Editor.
C. Oliva & F. Torres Monreal [1994], Historia básica del arte escénico, Madrid, Cátedra, 1994.
V. Pandolfi [1964-1969], Història del teatre, vols. I-III, Barcelona, Institut del Teatre, 1989-1993.
P. Pavis [1980/1998], Diccionario del teatro, Barcelona, Paidós, 1986.
——— [1996], El anàlisis de los espectáculos, Barcelona, Paidós, 2000.
R. X. Rosselló [1999], Anàlisi de l’obra teatral (Teoria i pràctica), València/Barcelona, IIFV/PAM, 1999.
R. Salvat [1966], El teatre contemporani, I-II, Barcelona, Edicions 62.
A. Sánchez Trigueros & M. Á. Grande Rosales [1996], Teatro, drama, espectáculo, Sevilla, Algaida, 1996.
J.-P. Sarrazac (ed.) [2005], Lèxic del drama modern i contemporani, Barcelona, Institut del Teatre, 2009.
P. Szondi [1978], Teoría del drama moderno (1880-1950). Tentativa sobre lo trágico, Barcelona, Destino, 1994.
A. Ubersfeld [1978], Semiótica teatral, Madrid, Cátedra, 1993.
J. Urrutia [2007], El teatro como sistema, Madrid, Biblioteca Nueva.