Degree | Type | Year | Semester |
---|---|---|---|
4318300 Theatre Studies | OB | 0 | 1 |
You can check it through this link. To consult the language you will need to enter the CODE of the subject. Please note that this information is provisional until 30 November 2023.
None
This subject raises specific methodological questions to address and enhance the analysis of stage productions from stage design: theatrical spaces, character/vantage design and the stage device. The primary objective is for students to understand the research methodology of stage design (space, character, and light) according to the object of study and its conceptual framework of the stage proposal. The methodology allows research processes to be channeled effectively, and according to the subject of the study, it is necessary to adapt research methodologies.
The first block presents a series of historical-theoretical considerations about stage design and plans to address different methodological approaches to their research.
The second block studied the meaning of the term "theatrical site", considering that it comprises the scenic space in the city and the territory, going through architecture. The panorama describing the lessons describes a kind of "scenic topology".
Finally, the third block aims to address the design of stage costumes and character creation from an analytical approach that looks at their conceptual, dramatical and plastic-scenic dimension.
Block1: Scenography study and research methods (Prof.: Anna Solanilla)
The aim of this block is to start introducing the learner with the appropriate methodological tools to study and analyze the stage design. Scenography is currently all analogue (corporal) or digital, audiovisual device that participates in the scene in the creation of meaning (dramatic qualities).
However, the design of space, light, sound, and character has had different purposes that have historically been modulated. In these sessions we will focus on scenery from the late 19th to the present. In the current scenery, proposals that have conceptual origins have different historical and theoretical perspectives that are re-visited in the present, in contemporarily, with a broad spectrum of purposes.
General Contents
To develop an analysis and research into the scenery environment, it is necessary to take care of two relevant aspects:
1. The proper documentation of the object of study. In the study sessions and in practical terms, research methods will be put in place to correct the difficulties inherent in the field of short-lived qualities.
2. The application of the relevant approach to analysis according to the purpose or meaning of the scenery.
Scenography research needs to take into account the different approaches and concepts with which it should be covered. These blog sessions aim to introduce the basic concepts necessary to start research in this field:
1. The "frame scenery" or the concept of illustration from traditional scenery to contemporary productions.
2. Modern, corporal and expressive scenography (constructivism scenery or surreal scenery, ...), typical of modernity. Analysis of the elements in play (of metaphorical qualities) while analyzing their expressive effectiveness in reception.
3. Contemporary performance and dramatic qualities scenery. Cases of Catalan and international scenes.
Specific Contents
1."The picture scenery" or the concept of illustration in scenery. From historical proposals to current productions. Analysis of the elements in play while analyzing their effectiveness as sign syntax (semotic perspective) in reception. Visit MAE 1: The illustrative scenery of neoclassicism, post-Romanticism and realism. Introduction to modern scenery.
2.The modern set of metaphorical qualities. The scenography of Constructivism or Surrealist scenography, typical of modernity. Analysis of the elements in play while analyzing their expressive effectiveness (bases and hybridization between the semiotic and performative perspective) in reception. Visit MAE 2 Symbolist Scenography: Adrià Gual and the avant-garde scenery in Catalonia: Joan Morales and Ramon Batlle.
3.Contemporary scenery. Part1: Second avant-garde, Fabià Puigserver and Iago Pericot. Visit MAE 3.The set by Fabià Puigserver and Iago Pericot.
4.Contemporary scenery. Part2: a paradigmatic case, Anna Viebrock.
Block2: The Theatre Site (Prof.: Antoni Ramon)
The aim of this block is to address the definition and study of the theatrical site with a more spatial than temporal approach. It will not therefore be a question of deploying a scenic space story, even if you look at it from the rear, but of establishing spatial categories that will allow you to construct a kind of topology of the theatre site that, despite being a synchronic, could be recognized over time.
General Contents
1. Space and theatre, meeting points: schools and congresses. Theatres, shelters or buildings.
2. Scenic topology: the circle, the podium, the box, the empty space, the city.
Specific Contents
Block3: The character and stage costume. Analysis. (Prof.: Marta Rafa)
The goal of this block is to introduce students to the analysis of stage costume design and the creation of the character by giving them the basic tools to confront them.
General Contents
Even though the analysis, research or study of stage costumes is still needed, we need to bear in mind the concepts that underpin and involve themselves in this area of stage creation, but also the different approaches that it has taken throughout history. These blog sessions aim to understand this field from its broadest conception:
1.Plastic Dimension: Intrinsic elements of costume design and character in their visual and temporal deployment.
2.Conceptual dimension: approaches that support plastic deployment.
3.Dramatric Dimension: Narrative and scenic capacity of the proposal.
However, the design of space, light, sound and character has had different purposes that have historically been modulated. In these sessions we will focus on scenery from the late 19th to the present.
Specific Contents
1.Elements and concepts that are put at stake in costume design and character and that will help a semiotic, plastic and dramatic analysis:
2.From body to body: chronological tour of character concept and stage costumes (I). From ritual to "historic" costumes. The creation of the character. The semiotic body.
3.From body to body: chronological tour of character concept and stage costumes (II). The phenomenical body. The body matter. The performative body. Character crisis.
4. Processes and creation methodologies.
Block 1: Reading articles and writing files. These files collect the materials and references for the analysis and subsequent research on the scenography.
Block 2: Readings and commentary on texts.
Block 3: Analytical comments of projects.
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; resolution of exercises; practical exercices in class | 37.5 | 1.5 | CA05, CA06, CA07, KA10, KA11, KA12, KA36, KA37, SA10, SA11, CA05 |
Tutorials and preparation of papers | 24 | 0.96 | CA05, CA06, CA07, KA10, KA11, KA12, KA36, KA37, SA10, SA11, CA05 |
lectures, files and essays | 49.5 | 1.98 | CA05, CA06, CA07, KA10, KA11, KA12, KA36, KA37, SA10, SA11, CA05 |
A. Continuous evaluation:
1. Submission of work proposal, between session 3 and 4 of the module. Send the professors of the module the topic of the work (provisional title, summary of 150 words, bibliography with at least 5 academic items).
2. Submission of the Final Module Work: one week after completion of the same. The length of the work must be 10 to 15 pages, or 2,500-5,000 words (abstract, bibliography and separate notes) as a conference communication. It must explicitly include the sources used. Any detected plagiarism implies an irrevocable suspension.
B. Single assessment
The single assessment will consist of:
1- Written or oral test of the contents of the subject, 33.3%
2- Analysis from the perspective of the scenic design of a show, 33.3%
3- Critical comment of a reading in the field of stage design provided by teachers, 33.3%
Title | Weighting | Hours | ECTS | Learning Outcomes |
---|---|---|---|---|
Attendance and participation in the class | 20% | 37.5 | 1.5 | CA05, CA06, CA07 |
Submitting reports, exercises and assignments | 60% | 0 | 0 | CA05, CA06, CA07, KA10, KA11, KA12, KA36, KA37, SA10, SA11 |
Tutorials and activities in the classroom | 20% | 1.5 | 0.06 | CA05, CA06, CA07, KA10, KA11, KA12, KA36, KA37, SA10, SA11 |
Block1
Bablet, Denis (1975) Les revolutions escéniques du XXe siècle. París: Société Internationale d’Art, cop.
Peter McKinnon & Eric Fielding (Editor) (2012) World Scenography 1975-1990. Taipei, Taiwan : OISTAT, International Organisation of Scenographers, Theatre Architects and Technicians, cop.
Peter McKinnon & Eric Fielding (Editor) (2014) World Scenography 1990-2005. Taipei, Taiwan : OISTAT, International Organisation of Scenographers, Theatre Architects and Technicians, cop.
Cohen, J.-l.; Cooke, C.; Strigalev, A.A.; Tafuri, M. (1994) Constructivismo ruso. Sobre la arquitectura de las vanguardias ruso-soviéticas hacia 1917. Barcelona: Ediciones Serbal.
Van Norman Baer, Nancy (1991) Theater in revolution, Russian Avant Garde Stage Design, 1913-1935. San Francisco: The Fines Museums of San Francisco & Thames and Hudson.
VVAA (1999) Amazonas de la vanguardia: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova i Nadezhda Udaltsova. Bilbao: Museo Guggenheim Bilbao.
VVAA (2008) Ródtxenco. La construcció del Futur. Barcelona: Obra Social Caixa Catalunya.
Fischer-Lichte, Erika (2004) Estética de lo performativo. Madrid: Abada Editores.
GOLDBERG, Roselee (1996) Performance Art: desde el Futurismo hasta el presente. Barcelona: Ediciones Destino.
Block2
ABADO, Daniele; CALBI, Antonio; MILESI, Silvia (2007). Architettura & Teatro. Milano: Il Saggiatore.
BANU, Georges; UBERSFELD, Anne (1992). L’espace théatral. Paris: Centre National de Documentation Pédagogique.
BARBA, Eugenio; SAVARESE, Nicola (2017/ 2021). Los cinco continentes del teatro. Madrid: Artezblai.
BARRANGER, Milly. (1995). Theatre: a way of seeing. Chapel Hill. The University of North Carolina: Wadsworth Publishing Company.
BROOK, Peter (1968 / 1969). El espacio vacío. Barcelona: Península.
BROOK, Peter (1987 / 2001). Más allá del espacio vacío. Escritos sobre teatro, cine y ópera. 1947-1987, Barcelona: Alba Editorial.
CARLSON, Marvin (1989). Places of performance. Thea Semiotcis of Theatre Architecture. New York: Cornel University Press.
DAVIS, Tony (2002). Escenógrafos/Artes escénicas. Barcelona: Ed. Oceano.
GROTOWSKI, Jerzy (1968 / 1970). Hacia un teatro pobre, Méjico: Siglo XXI editores, 1970.
FREYDEFONT, M. (ed.) (1997). “Le lieu, la scène, la salle, la ville”. Études Théâtrales. n. 11-12.
HALPRIN, Lawrence (1970). The RSVP Cycles: Creative Processes in the Human Environment. G. Braziller.
HANNAH, Dorita (2019). Event-Space. Theatre architecture and the historical avant-garde. London and New York: Routledge.
LISTA, Giovanni (1996). La scène moderne. Paris: Actes Sud.
RAMON, Antoni (ed.) (1997). El lloc del teatre. Ciutat, arquitectura, espai escènic. Barcelona: Edicions UPC.
ROSENBERG, Susan (2017). Trisha Brown: Choreography as Visual Art. Middletown, CT: Wesleyan University Press.
RUFFORD, Juliet (2015). Theatre & architecture. London: Palgrave.
RUZZA, Luca, Maurizio TANCREDI (1987). Storie degli spazi teatrali. Roma: Euroma, 2 vols.
SÁNCHEZ, José Antonio (1999). La escena moderna. Madrid: Akal.
SÁNCHEZ, José Antonio (1999). Dramaturgias de la imagen. Cuenca: Universidad de Castilla-La Mancha.
SVOBODA, Josef (1993). The Secret of Theatrical Space. New York: Applause Theatre Books.
www.espaciosescenicos.org
Block3
Barberini, Donatella (2017) Costume in performance : materiality, culture, and the body. Bloomsbury Academic: London.
Deslandres, Yvonne (1985) [1975]. El traje imagen del hombre. Tusquets Ediciones: Barcelona.
Fischer-Lichte, Erika (2004) Estética de lo performativo. Madrid: Abada Editores.
Lurie, Alison (2002) [1981] El lenguaje de la moda. Una interpretación de las formas. Paidós: Barcelona.
Squicciarino, Nicola (1990) [1986]. El vestido habla. Càtedra: Madrid.
Microsoft Exel, Power Point y la plataforma para esquemas Miro.