Degree | Type | Year | Semester |
---|---|---|---|
4313879 Theatre Studies | OT | 0 | 2 |
ET
This module approaches, from a historical perspective, the evolution of modern contemporary and actual conceptions on drama and dramatic qualities. The module offers an approximation to theories, critical focuses and analysis methods related to the reception of contemporary drama. It develops through the contextualization of specific paradigms and through the study of some dramaturges and aesthetically relevant texts, taking into account the critical reception of their time and its ulterior influence in performing arts.
I. Drama (contemporary) and reception studies
II. Critique
In the two blocks of the module, theoretical lectures are combined with the analysis of materials and different documents on the subject such as the development of practical commentary exercises on theoretical or creative texts, texts that comment on performances, critics and critiques. Special importance is given to individual and group presentations of exercises and projects focused on different areas of reflection, theorization, drama studies and theatre critique with the aim of generating a debate on contemporary theatre critique.
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.
Title | Hours | ECTS | Learning Outcomes |
---|---|---|---|
Type: Directed | |||
Lectures and seminars | 30 | 1.2 | 1, 2, 3, 4, 5, 6, 8, 7 |
Type: Supervised | |||
Debates and development of exercises | 45 | 1.8 | 1, 2, 3, 4, 5, 6, 8, 7 |
Type: Autonomous | |||
Reading of articles / Reports of interest development de works | 75 | 3 | 1, 2, 3, 4, 5, 6, 8, 7 |
In the Drama and Reception block the evaluation will be based on an individual commentary exercise and a group exercise, which will be presented orally, and that can be based on one of the following work lines: a) The analysis of intertextual games of one or more works in relation to a modern or contemporary drama; b) The analysis or transfer of a modern or contemporary drama to another expressive support; c) The analysis of the mechanisms of construction of a particular type of reception; d) actualization manoeuvres: critical analysis of a staging that is presented as a actualizing re-reading of a modern or contemporary classic. Attendance and engaged participation in class weigh into the qualification for this block.
In the block of critique, the evaluation is fundamentally based on an individual and on a group exercise. The individual exercise will consists in an analysis of a typological sample of published critiques of a play premiered recently. The group work will be an oral exposition around one of the following options: a) The choosing of a critic who is currently active, the assessment of the type of critique he/she realises and the commenting of a representative example of their production; b) To write a critique of a play that is showing in Barcelona and to compare that critique with one of the other critics; c) To follow throughout a month the critique of shows and drama literature of a newspaper or magazine edited in Barcelona and to analyse the treatment they receive. Engagement in the debates and the realised exercises are also highly accountable of the final qualification.
ADDITIONAL REMARKS
1. At the time of each evaluation activity, the teacher will inform the students of the procedure and the date for reviewing the grades.
2. 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 ofany 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.
3. 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 |
---|---|---|---|---|
Attendance and active participation in class | 20 % | 0 | 0 | 1, 2, 3, 4, 5, 6, 8, 7 |
Handing-in of reports and works | 40 % | 0 | 0 | 1, 2, 3, 4, 5, 6, 8, 7 |
Individual and group exhibitions | 40 % | 0 | 0 | 1, 2, 3, 4, 5, 6, 8, 7 |
Adorno, Theodor W. (1969): «La crítica de la cultura y la sociedad», a Crítica cultural y sociedad, trad. de Manuel Sacristán, Barcelona, Ariel, p. 203-230.
Auden, W. H. (1974): La mano del teñidor, Barcelona, Barral. Primera edició: 1948.
Barthes, Roland (1969): Crítica i veritat, versió de Jaume Vidal Alcover, Barcelona, Llibres de Sinera.
____ (1993) Le plaisir du texte, Paris, Seuil.
Batlle, C.; Gallén, E.; Güell, M. (ed.) (2016) Drama contemporani: renaixença o extinció?, Lleida-Barcelona-París, Punctum / Institut del Teatre/ UPF / Université Paris-Sorbonne.
Bennet, Susan (1997): Theatre Audiences: A Theory of Production and Reception, London - N. York, Routledge.
Benjamin, Walter (1987): Dirección única, trad. de Juan J. del Solar i Mercedes Allendesalazar, Madrid, Alfaguara.
Berardinelli, Alfonso (2016): Leer es un riesgo, trad. de Salvador Cobo, Madrid, Círculo de Tiza.
Berenguer, Ángel (1991): Teoría y crítica del teatro. Estudios sobre teoría teatral, Alcalá de Henares, Universidad de Alcalá de Henares, Servicio de Publicaciones.
Bértolo, Constantino (ed.) (1990): El ojo crítico, Barcelona, Ediciones B.
Brenner, Jacques (1970): Les critiques dramatiques, París, Flammarion.
De Matteis, Tiberia (2008): La critica teatrale: come si analizza e si recensisce uno spettacolo, Roma, Gremese.
Eagleton, Terry (1999): La función de la crítica, trad. de Fernando Inglés Bonilla, Barcelona, Paidós.
Eco, U. (1987) Lector in fabula: la cooperación interpretativa en el texto narrativo, Barcelona, Lumen.
Eco, Umberto (1991): Els límits de lainterpretació, Barcelona, Destino.
Eliot, T. S. (1967): Criticar al crítico y otros críticos, Madrid, Alianza.
Eliot, T. S. (1999): «Els límits de la crítica» [1956], a Sobre poetes i poesia, Barcelona, Columna, p. 121-138.
Fàbregas, Xavier (1973): Introducció al llenguatge teatral, Barcelona, Edicions 62.
Fàbregas, Xavier (1976): El teatre o la vida, Barcelona, Galba.
Fish, S. E. (1980) Is there a text in this class?: The Authority of Interpretative Communities, Cambridge, Mass, Harvard UP.
Fogel, Jean-François (1986): «Un crítico con antenas», a Críticas ejemplares, Palma, Bitzoc, p. 105-109.
García Barrientos, José-Luis (2017): Cómo se analiza una obra de teatro. Ensayo de método, Madrid, Síntesis.
Genette, G. (1982) Palimpsestes: la littérature au second dregré, Paris, Seuil.
Hamm, P. (1971): Crítica de la crítica, Barcelona, Barral.
Iser, Wolfgang (1985) L'acte de lecture. Théorie de l'effet esthétique, Bruxelles, Mardaga.
James, Henry (2008): La figura de la alfombra, trad. de Enrique Murillo, Madrid, Impedimenta.
Jauss, H. R. (1991) Teoria de la recepció literària: dos articles, Barcelona, Barcanova.
Kristeva, J. (1969) Semeiotikè. Recherches pour une sémanalyse, Paris, Seuil.
Le Calvez, E.; Canova-Green, M.C. (1997) Texte(s) et intertexte(s), Amsterdam, Rodopi.
Lehmann, H. T. (2006) Postdramatic Theatre, London - N. York, Routledge.
Limat-Lettelier, N.; Miguet-Ollagnier, M. (dir.) L'Intertextualité, Paris, Les Belles Lettres.
Lessing, Gotthold Ephraim (1987): Dramatúrgia d’Hamburg, trad. de Feliu Formosa, Barcelona, Publicacions de l’Institut del Teatre.
Lessing, Gotthold Ephraim (2007): Crítica y dramaturgia, trad. de Vicent M. Sanz Esbrí, Castelló, Ellago.
Mamet, David (2011), Manifiesto, Barcelona, Seix Barral.
Mayoral, J. A. (comp.) (1987) Estética de la recepción, Madrid, Arco-Libros.
Pavis, Patrice (1985): «Le discours de la critique dramatique», a Vers une théorie de la pratique théâtrale, Villeneuve-d’Ascq (Nord), Presses Universitaires du Septentrion p. 157-166.
Rancière, J. (2008), Le spectateur émancipé, Paris, La Fabrique.
Reich-Ranicki, Marcel (2004): Los abogados de la literatura, Barcelona, Galaxia Gutenberg, Círculo de Lectores.
Reich-Ranicki, Marcel (2014): Sobre la crítica literaria, Barcelona, Elba.
Romera Castillo, José (ed.) (2004): Teatro, prensa y nuevas tecnologías (1990-2003), Madrid, Visor Libros.
Sanchis Sinisterra, J. (2002) La escena sin límites, Ciudad Real, Ñaque.
Sarrazac, J. P. (2000) Critique du théâtre: de l'utopie au désenchantement, Paris, Circé.
_____ (2012) Poétique du drame moderne, Paris: Seuil.
Sarrazac, J. P. (dir.) (2005) Lexique du drame moderne et contemporain, Paris, Circé.
Steiner, George (2017): Presencias reales. ¿Hay algo en lo que decimos?, trad. de Juan Gabriel López Guix, Madrid, Siruela.
Strauss, Botho (1989): Crítica teatral: las nuevas fronteras, Barcelona, Gedisa.
Szondi, Peter (1988) Teoria del Drama Modern (1880 - 1950), Barcelona, Institut del Teatre.
Valentini, Valentina (1991) Després del teatre modern. Barcelona, Institut del Teatre.
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