Theory and Practice of Theatre Reception
Code: 44819 ECTS Credits: 6| Degree | Type | Year | Semester |
|---|---|---|---|
| 4318300 Theatre Studies | OB | 0 | 1 |
Contact
- Name:
- Nuria Santamaria Roig
- Email:
- nuria.santamaria@uab.cat
Teaching groups languages
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.
Teachers
- Francesc Foguet Boreu
Prerequisites
In addition to having excellent linguistic competence in Catalan and Spanish, knowledge of other languages is extremely useful.
Objectives and Contextualisation
From a historical perspective, the subject will approach the analysis of some of the most significant models of contemporary dramaturgy (from the historical avant-garde to the present). Theoretical approaches, critical approaches and reception analysis methods related to contemporary drama will be worked on. Specific dramaturgical paradigms will be contextualised, and some of the most aesthetically relevant texts/plays will be studied, considering contemporary critical reception and subsequent influence on the performing arts.
Learning Outcomes
- CA08 (Competence) Critically evaluate stereotypes and gender roles in theatre texts.
- CA19 (Competence) Formulate interesting questions and hypotheses which underline the value of a corpus of dramatic texts as both current and historical heritage.
- KA13 (Knowledge) Identify the elements and phenomena involved in the criticism and reception of contemporary dramatic literature.
- KA14 (Knowledge) Describe contemporary dramatic texts in a contextualised and critical way, applying current methods for theatrical analysis and research.
- KA15 (Knowledge) Reflect critically on the performing arts in relation to anthropology, philosophy, and sociology.
- SA12 (Skill) Evaluate spectacular phenomena in their synchronic and diachronic dimensions, based on specific theoretical paradigms.
- SA13 (Skill) Contrast approaches to and analysis methods for contemporary drama, explicitly recognising the source and acting based on scientific ethics.
- SA14 (Skill) Use the specific terminology and the correct language register for scientific work.
Content
1. Theoretical approaches to reception studies.
2. Theoretical approach to critical practice.
3. Case studies:
3.1. Luigi Pirandello. Text and performance. Criticism and receptions.
3.2. Bertolt Brecht. Text and performance. Criticism and receptions.
3.3. Samuel Beckett. Text and performance. Criticism and receptions.
3.4. Thomas Bernhard. Text and performance. Criticism and receptions.
Methodology
The course combines:
- Lectures.
- Reading and analysis of various materials and documents on the subject.
- Essays in commenting on theoretical texts or plays and evaluating performances, critics or criticism.
- Individual or group essays.
Additional activities can be incorporated eventually.
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 | |||
| Lectures and seminars | 36.5 | 1.46 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14, CA08 |
| Type: Supervised | |||
| Discussions and elaboration of essays | 15 | 0.6 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14, CA08 |
| Type: Autonomous | |||
| Studying, reading articles and plays, elaborating and presentation of essays | 67.5 | 2.7 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14, CA08 |
Assessment
In order to pass the course, a minimum score of 5 is required—the course assessment results from the sum of the percentages of the whole assessment activities.
The correct use of the language will be taken into account in the evaluation. Papers will not be admitted after the deadline.
Suppose an exercise cannot be taken onsite. In that case, it will be adapted to an online format made available through the UAB’s virtual tools (the original percentage of the score will be maintained).
Suppose a student commits any irregularity that may significantly vary the grade awarded to an assessment activity. In that case, 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.
Review procedures: Students can review their exercises with the teachers in a personal appointment, on the set dates, up to two weeks after the exercise/exam is marked.
Continuous assessment:
1. Attendance and active participation in the classroom (15%)
2. Written test (15%)
3. Individual exercise (35%)
4. Group exercise (15%)
Single assessment:
1. Individual exercise (30%)
2. Oral test (30%)
3. Final written exam (40%)
Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Attendance and active participation in the classroom | 15% | 0 | 0 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Group exercise | 35% | 20 | 0.8 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Individual exercise | 35% | 10 | 0.4 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Written test | 15% | 1 | 0.04 | CA19, KA13, KA15, SA13, SA14 |
Bibliography
Provisional sources
Acosta Gómez, Luis (1989) El lector y la obra: teoria de la recepción literaria. Madrid: Gredos
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 esi recensisce uno spettacolo,Roma, Gremese.
Eagleton, Terry (1999): La función de la crítica, trad. de Fernando Inglés Bonilla, Barcelona, Paidós.
Eco, Umberto(1987) Lector in fabula: la cooperación interpretativa en el texto narrativo, Barcelona, Lumen. Eco, Umberto (1991): Els límits de la interpretació, 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.
Wellek, René (1988) Historia de la crítica moderna (1750-1950). Versión española de Fernando Collar Suárez-Inclán. Madrid: Gredos
Software
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