Drama Laboratory
Code: 43153 ECTS Credits: 9| Degree | Type | Year | Semester |
|---|---|---|---|
| 4313879 Theatre Studies | OT | 0 | 1 |
Contact
- Name:
- Carles Batlle Jordá
- Email:
- Carles.Batlle@uab.cat
Use of Languages
- Principal working language:
- catalan (cat)
External teachers
- Beth Escudé
- Victòria Szpunberg
Prerequisites
Not necessary.
Objectives and Contextualisation
The objective of this module is to focus on the theoretical frames, the techniques and the methodologies necessary to develop researches and produce creations in the field of dramaturgy. We will reflect on the concept of dramaturgy and its various meanings. We will study the attributions and competences to the work of the dramaturge. We will develop a seminar on drama writing.
Competences
- Apply research methods in the different study disciplines of the performing arts according to the relevant conceptual frameworks.
- Assess the social dimension inherent in the performing arts.
- Assess the specific characteristics of research in the performing arts and the great potential provided by their complexity.
- Follow the codes of practice that govern research activity.
- Plan and design an original, personal research project on an aspect of the performing arts.
- Solve problems in new or little-known situations within broader (or multidisciplinary) contexts related to the field of study.
- Transfer pragmatic knowledge of theatre processes on to the conceptual level so as to bring practice into research. (Specialisation B).
- Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.
Learning Outcomes
- Apply practical research methods work in the field of theatre art according to contemporary paradigms.
- Assess the possibilities for research in the field of theatre art on the basis of its multiple interpretations and the types of materials associated with them.
- Assess the social dimension inherent in the performing arts.
- Conceptually formulate the problems, achievements and the implicit internal logic in practical research with drama materials.
- Contrast the theory-practice paradigms of contemporary theatre art.
- Follow the codes of practice that govern research activity.
- Objectify the creative processes of theatre art and the different interventions that help to place them on the level of practical research.
- Plan and design a research project in the field of theatre art, accounting for the methodology used on the basis of the technical, ethical and aesthetic variables of the process.
- Solve problems in new or little-known situations within broader (or multidisciplinary) contexts related to the field of study.
- Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.
Content
Dramaturgy, theory and craft (Beth Escudé)
- The concept of the dramaturgist and of the dramaturge. Clarifying the polysemy.
- The work of the dramaturgist. Studying the classical text and its contemporaneity.
- The work of the ideal dramaturgical team.
2. Dramatic writing and dramaturgy (Victòria Szpunberg and Carles Batlle)
- Procedures for writing a dramatic text today.
- Examples of contemporary dramaturgy.
- Artistic transversality as a tool of new dramaturgy.
- The search of one’s own writing and/or co-writing.
Methodology
In all the blocks, theoretical lectures will be combined with the reading and the analysis of theoretic and creative texts. On the other hand, students should develop a practical work (exercises) in two of the blocks of content, the first one and the last one.
The sessions will consist of:
- Master classes/lectures
- Classes for solving exercises
- Practice in class
- Debates
- Tutorials
- Project development
Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.
Activities
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Master classes, lectures, classes for solving exercises, room practices, Seminars | 45 | 1.8 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
| Type: Supervised | |||
| Debates, tutorials, work development | 90 | 3.6 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
| Type: Autonomous | |||
| Reading of articles and personal study | 90 | 3.6 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
Assessment
- Continuous evaluation.
- At the end of the sessions, a collection of agreed exercises should be delivered.
Sessions are divided into 15 sessions of 3 hours each during the first four-month period.
- 5 sessions on the work of the dramaturgist (one teacher)
- 2 seminars on contemporary dramaturgy (another teacher)
- 8 sessions on writing practice (another teacher)
For the full evaluation, the third section counts as double than the first section and they will make an average upon this proportion. However, the teachers will ponder together on the evaluation for each student.
Attendance (depending on the possibilities of the boundary) and active participation in class 30%
Tutoring attendance 30%
Delivery of reports and works 40%
1. At the time of doing each evaluation activity, the teacher will inform the students of the procedure and the date of review of the grades.
2. In the event that the student commits any irregularity that may lead to a significant variation in the grade of an assessment act, this assessment act will be graded with 0, regardless of the disciplinary process that may be instructed. . In the event of several irregularities in the evaluation acts of the same module, the final grade for this module will be 0.
3. In the event that the tests cannot be carried out in person, their format will be adapted (maintaining their weighting) to the possibilities offered by the UAB’s virtual tools. Homework, activities and class participation will be done through forums, wikis and / or exercise discussions through Teams, ensuring that all students can access them.
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Attendance and participation activity in the class room | 30 % | 0 | 0 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
| Attendance and tutorials | 30 % | 0 | 0 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
| Handing-in of reports and works | 40 % | 0 | 0 | 1, 6, 5, 4, 7, 8, 9, 10, 3, 2 |
Bibliography
BIBLIOGRAFIA GENERAL DEL MÒDUL
-ARISTÒTIL: Retòrica/ Poètica, Barcelona, Edicions 62, 1998 (o altres edicions)
-CORVIN, Michel: Dictionnaire encyclopédique du théâtre, Paris, Larousse, 1998.
-DANAN, Joseph: Qu'est-ce que la dramaturgie?, Actes Sud, 2010.
-LAVANDIER, Yves: La dramaturgia. Los mecanismos del relato: cine, teatro, ópera, radio, televisión, comic. Pamplona, Ediciones Internacionales Universitarias (Letras de cine, 17), 2003.
-OLSON, Elder: Tragèdia i teoria del drama, Barcelona, Quaderns Crema, 1985.
-PAVIS, Patrice: Diccionario del teatro, Barcelona, Paidós,1984 (diverses edicions).
-RYNGAERT, Jean-Pierre: Introduction à l'analyse du théâtre, Paris, Bordas, 1991.
-SZONDI, Peter: Teoria del drama modern (1880-1950), Barcelona, Institut del Teatre, 1988.
-VINAVER, Michel: Écritures dramatiques, Actes Sud, 1993.
BIBLIOGRAFIA ESPECÍFICA DE CADA BLOC
BLOC 1 (Escudé)
-BALTES, BLANCA: Perfiles y modelos del dramaturgista, ADE Teatro, 2002 Madrid.
-HORMIGÓN, Juan Antonio: Trabajo dramatúrgico y puesta en escena. Asociación de Directores de Escena de España (Teoría y práctica del teatro, 2), 2002 [1ª ed: 1991]
-Id. (ed.), La profesión del dramaturgista, Madrid, Publicaciones de la Asociación de Directores de Escena de España (Teoría y práctica del teatro, 2), 2002 [1ª ed: 1991]
-LUCKHURST, Mary: La palabra que empieza por D. Dramaturgia, dramaturgismo y asesoría literaria en el teatro. Madrid, Ed. Fundamentos, 2008.desde el siglo XVIII
-TURNER-SYNNE, Cathy i Behrndt, Dramaturgy and Performance, Nova York. Palgrave Macmillan, 2008.
BLOC 2 (Batlle)
-AGAMBEN, Giorgio [1992].: Què vol dir ser contemporani?, Barcelona, Arcàdia, 2008.
-BATLLE i JORDÀ, Carles: El drama intempestiu (Per una escriptura dramàtica contemporània), Barcelona, Angle editorial / IT, 2020.
-Id.: “Model, partitura i material en l’escriptura dramàtica contemporània: una solució”, dins Drame contemporani: renaissance ou extinction?, Université Paris-Sorbonne, 12 de octubre de 2015. Publicat en català i francès a Barcelona, Punctum/Institut del Teatre/UPF/Université Paris Sorbonne, 2016 (disponible digitalment al RedIT de l'Institut del Teatre). Una versió abreujada en llengua castellana es pot trobar a Pausa, núm.37, 2015.
-CARNEVALI, Davide: Forma dramática y representación del mundo, México, Paso de Gato / Institut del Teatre, 2017.
-DANAN, Joseph: "Nuevas dramaturgias" (inclou "Escritura dramática y performance", "El teatro en la era de la interconexión generalizada" y "Lo que cambió", dins ¿Qué es la dramaturgia? y otros ensayos, México, Consejo Nacional para la cultura y las artes, 2012.
-Id.: Entre théâtre et performance: la question du texte, Actes Sud-Papiers, 2013.
-LEHMANN, Hans-Thies [1999]: El teatro posdramático, Múrcia, CENDEAC, 2013.
-Id.: "Algunas notas sobre el teatro posdramático, una década después", dins Repensar la dramaturgia. Errancia y transformación, Múrcia, Centro Párraga, Centro de documentación y estudios avanzados de arte contemporáneo (Cendeac), 2010.
-PAVIS, Patrice: Diccionariodela performance y del teatro contemporáneo, México, Paso de Gato, 2016.
-SARRAZAC, Jean- Pierre: "La reprise. Réponse au postdramatique", Études théâtrales, núm.38-39 (2007), ps.7-20.
-Id. (ed.) [2005]: Lexic del drama modern i contemporani, Barcelona, Institut del Teatre, 2008.
BLOC 3 (Szpunberg)
-BALLÓ, Jordi i PÉREZ, Xavier: El món, un escenari. Shakespeare: el guionista invisible, Barcelona, Anagrama, 2015
-BATLLE JORDÀ, Carles: La segmentació del text dramàtic (un procés per a l'anàlisi i la creació), dins , núm. 33-34, 2008, ps. 13-45-Estudis Escènics
-CABALLERO, Atlio. La escritura teatral. Elementos para la creación dramatúrgica. Barcelona: Grafein. Ediciones, 2001.
-LEPECKI, André y otros autores: Repensar la dramaturgia. Errancia y transformación. Murcia: Centro Párraga.
CENDEAC, 2011.
-MACKEE, Robert: El guión. Barcelona, Ed Alba, 2002.
-PEREZ, Xavier, El suspens cinematogràfic. Barcelona, Pòrtic, 1999.
-SANCHIS SINISTERRA, J: El espacio dramático. , núm 8, juliol 1991, ps.45-42, gener 1995.Pausa
-SARRAZAC, Jean-Pierre (ed.): Lèxic del drama modern i comtemporani, Barcelona, Institut del Teatre, 2008,
-UBERSFELD, Anne. El diálogo teatral. Colección teatrología de Editorial Galerna, Buenos Aires, 2004.
Software
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