Theory and Practice of Theatre Reception
Code: 44819 ECTS Credits: 6| Degree | Type | Year |
|---|---|---|
| 4318300 Theatre Studies | OB | 0 |
Contact
- Name:
- Nuria Santamaria Roig
- Email:
- nuria.santamaria@uab.cat
Teachers
- Francesc Foguet Boreu
Teaching groups languages
You can view this information at the end of this document.
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
- First part (Francesc Foguet)
- Theoretical approach to critical practice.
- Literary criticism
- Theatre criticism
- Professional careers: a case study
- Second part (Núria Santamaria)
- Theoretical Approaches to Reception Studies: definitions and ramifications of a field of study
- Receptions and mediations
- The dialectics between past and present
- Study of a case
Activities and Methodology
| Title | Hours | ECTS | Learning Outcomes |
|---|---|---|---|
| Type: Directed | |||
| Lectures and seminars | 29 | 1.16 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Type: Supervised | |||
| Discussions and elaboration of essays | 15.5 | 0.62 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Type: Autonomous | |||
| Studying, reading articles and plays, elaborating and presentation of essays | 60.5 | 2.42 | CA08, KA13, KA14, KA15, SA12, SA13, SA14 |
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.
Assessment
Continous Assessment Activities
| Title | Weighting | Hours | ECTS | Learning Outcomes |
|---|---|---|---|---|
| Attendance and active participation in the classroom | 20% | 15 | 0.6 | CA08, CA19, KA13, KA14, SA12, SA13, SA14 |
| Group exercises | 40 % | 20 | 0.8 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
| Individual exercises | 40% | 10 | 0.4 | CA08, CA19, KA13, KA14, KA15, SA12, SA13, SA14 |
Continuous assessment
The continuous assessment is based on:
1) Attendance and active participation in the classroom. 20%. Interest in the subject, relevant debate participation and involvement in group dynamics will be valued.
2) Preparation of group exercises with oral presentation in the classroom on some aspect related to the course contents. 20% (first part) + 20% (second part). The following items will be evaluated: a) the ability to integrate the theoretical foundations acquired; b) the analytical and critical interpretation of the bibliography; and c) the appropriate use of specific terminology and appropriate linguistic register.
3) Preparation of individual exercises: writing a play review or a critique of a show review. 20% (first part) + a short essay on some of the aspects of the syllabus. 20% (second part). The following items will be assessed: a) analysis capacity; b) the ability to relate the theoretical contents of the course with reflection on a specific topic; and c) argumentation and expository clarity.
Single assessment
1) Oral test on a practical case. 25%
2) Written exercise based on one subject proposed by the teaching staff. Extension: 2,100 characters with spaces. 25%
3) Written exam on the content of the two blocks. 50%
The same recovery procedure will be applied as in the continuous assessment.
Remarks:
1. At each evaluation activity, the teacher will inform the students (Moodle) of the procedure and the date for revising the marks.
2. To be eligible for recovery, students must have been previously assessed in a set of activities, the weight of which is equivalent to at least 2/3 of the total grade (continuous assessment), or they must have completed all the tests as planned (single assessment). The teaching staff may also require the student to have obtained an average mark of at least 3.5. Failure to meet these requirements will result in ineligibility for recovery.
3. The student will receive the grade of "Not Assessable" in the case of not having handed in more than 1/3 of the evaluation activities.
Plagiarism
If the student engages in any irregularity (copying, misuse of the IA, etc.) that may lead to a significant variation in the qualification of an evaluation activity, the evaluation activity will be graded with a 0, regardless of any disciplinary proceedings that may be instituted. If several irregularities occur in the assessment activities of the same subject, the final grade for the same subject will be 0.
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
Teams
Language list
| Name | Group | Language | Semester | Turn |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan | first semester | afternoon |