The objective of this module is to provide methodological tools for the analysis of the relationships, confluences, intersections and creative borders between the writing and staging models of the theater arts and the narrative,
figurative and formal organization codes of related disciplines such as the plastic arts. , music or cinema. It is not about offering an exhaustive analysis of all the possible connections between the different arts, but about 
providing meaningful incursions that complete and enrich the diverse perspectives of study of the performing arts.

1. Theater and cinema
										
											In this block we will examine the relationships between theater and cinema; in particular, the manifestation of theatricality in the seventh art; therefore, the classification of the different modalities in which theatricality 
is manifested in the cinema will be addressed, based on studies carried out by specialists in the field. An overview of the different methodological approaches adopted in the study of film adaptation will also be offered. 
Secondly, the seminar will focus on a detailed study of three playwrights and three prestigious filmmakers within what is called independent cinema: 1) Faust I (1808) by Goethe - adaptation by F.W. Murnau, (1926)
2) Die bitteren Tränen der Petra von Kant [The Bitter Tears of Petra von Kant] by R.W. Fassbinder (1971) - adaptation by R.W. Fassbinder, Die bitteren Tränen der Petra von Kant (1972); 
3) Just the end of the world by Jean-Luc Lagarce (1990) - adaptation of Xavier Dolan, Just the end of the world (2016).

2. Plastic arts and stage arts

The theatrical show is born from the confluence of the word, music, sound, image, and movement, in time and space. In other words, the art of theater arises from the combination or synthesis of various arts.
 In times of the avant-garde, the recovery of the idea of stage performances was understood as an organic whole in which different artistic disciplines collaborate or coincide – an ancient and consubstantial concept 
of performing arts – and prompted the overcoming of the theatrical conventions of the 19th centuryandcontributed decisively to opening paths of experimentation and renewal, and to exceeding the traditional limits of 
the theatrical performance. This notion will become the leitmotiv of this seminar. We will trace a journey through the history of the contemporary scene, from the avant-garde to the present day, based on a selection
of artists and productions. The seminar proposes an approach to the modern scene within a broad context of artistic references - dedicating special attention to the plastic arts - and seeks to encourage reflection around
the multidisciplinary nature of the theatrical phenomenon and its creative and communicative possibilities.

3. Music and stage arts
										
											In the last block of the subject we will focus on the following points:
										
											
1. Constitutive elements of lyrical language: taxonomies.
										
											
2. Scenic framework and sound framework as research spaces in the different lyrical genres.
										
											
3. Dramaturgical analysis in opera:
										
											3.1. The text-music relationship
										
											3.2. Dramas over time
										
											3.3. The contemporary scene in the opera
										
											
4. Dramaturgical analysis in the third genre: musical theater and other subgenres:
										
											4.1. The text-music relationship
										
											4.2. Opera-comique, zarzuela and Savoy opera
										
											4.3. The contemporary musical and its future projections.

Methodology
										
											
										
											1. Theater and cinema
										
											The classes will have a seminar character. It will work from (i) theoretical articles on the issue and (ii) dramatic texts, as well as the viewing of a film adaptation of each of the works worked on. 
Each session will be divided into three segments: a) introductory lesson on the relationship between theater and cinema, b) analysis of a play and c) work on film adaptation.
										
											
										
											2. Plastic arts and performing arts
										
											In class we will work on the topics in an open and dialogical way, based on the documentation provided by the teacher, her presentations and the analysis and commentary of various visual 
and textual sources by the students.
										
											 
										
											3. Music and performing arts
										
											The theoretical classes are combined with reading, the analysis of various materials and documents with the aim of generating a critical debate on the different lines of research in the field of performing arts.

Continuous assessment
										
											The continuous evaluation will focus on the elaboration of a course work, where some of the aspects or themes presented in one of the three modules of which the subject consists will be developed; 
This work will constitute 50% of the mark. At the beginning of the course, the characteristics of the work of each block will be specified so that the students can decide on which of the blocks they want to write their paper.
										
											
										
											All students will carry out an evaluative activity of each block. This activity will be of small format (a file, a summary, a brief written test, etc.); these three activities will account for 30% of the total mark 
(10% for each block) and will be specified at the beginning of the course.
										
											
										
											A guided trip to the Liceu will be programmed as an evaluative activity (10%)
										
											
										
											Attendance and participation in class will account for 10%.
										
											
										
											The student who cannot accredit assistance higher than 60% will not be evaluated.
										
											
										
											The proposed exercises must meet the requirements of regular academic work, including bibliographical references at the bottom of the page.

All essays and comments on activities done in class are recoverable as long as the student does not have any "non-submitted" work.

Sudents will obtain a Not assessed/ Not submitted course grade unless they have submitted more than 30% of the assessment items.

The detection of plagiarism (partial or integral) in the proposed exercises implies the failure of the entire module.


 The single assessment 

The single evaluation will consist of three tests, onefor each block of the subject, which will count equally (33.3%): 
1) Theater and cinema: Oral presentation of one of the topics included in the program of this block, assigned by draw. 
2) Plastic arts and stage arts: Oral presentation of one of the topics included in the program of this block, assigned by lottery 
3) Music and stage arts: Oral test, of a theoretical nature, with questions on dramaturgy and music in the lyrical genre.

ADDITIONAL NOTES
										
											1. At the time of carrying out each evaluation activity, the teacher will inform the students of the procedure and the date of revision of the qualifications.
										
											2. In case that the student performs any irregularity that could lead to a significant variation of the mark of an evaluation act, this evaluation act will be marked with 0,
										
											regardless of the disciplinary process that may be instituted. If various irregularities occur in the acts, the final mark for this course will be zero.
										
											3. In case that the tests cannot be taken in person, their format will be adapted to the possibilities offered by the virtual tools of the UAB.
										
											Homework, activities and class participation will be carried out through forums, wikisi/or exercise discussions through Teams, ensuring that all students can access them.

Bibliography

Bibliography

1. Theatre and cinema

Aumont,J./Marie,M. L'analyse des films. Paris : Armand Colin, 1988.

Abuín González, Anxo. El teatro en el cine. Madrid: Cátedra, 2012.

Bazin, André. ¿Qué es el cine?. Madrid: Rialp, 1990.

Ramón Carmona. Cómo se comenta un texto fílmico. Madrid: Cátedra, 1993;

Cartmell, Deborah & Whelehan, Imelda. Screen Adaptation: Impure Cinema. London:

Palgrave Macmillan, 2010

Corrigan, Timothy (ed. and introd.). Film and Literature: An Introduction and Reader.

London: Routledge, 2012.

Feldman, Simon. La composición de la imagen en movimiento. Barcelona: Gedisa, 1995

Gaudreault, André/ Jost, François. El relato cinematográfico. Cine y narratología.

Barcelona: Paidós, 1995.

Gaudreault, André. From Plato to Lumière: Narration and Monstration in Literature

and Cinema. Toronto: University of Toronto Press,2009.

Gaudreault, André. Du Littéraire au filmique : système du récit . Paris : Méridiens

Klincksieck, 1989.

Guarinos,Virginia. Teatro y cine. Sevilla: Padilla Libros, 1996.

Francisco Gutiérrez Carbajo. Literatura y cine. Madrid : UNED (Educación

Permanente), 1993.

Hamon-Siréjols, Christine, Jacques Gerstenkorn et André Gardies. Cinéma et

théâtralité. Lyon, Aléas, 1994.

Helbo, André. L'adaptation. Du théâtre au cinéma. Paris : Armand Colin, 1997.

Relinger, Jean. «La théâtralité au cinéma», en Anne Larue (ed.), Théâtralité et genres

littéraries. Poitiers : Publications de La Licorne, 1992, 133-139.

Sánchez Noriega, José Luis. De la literatura al cine: teoría y análisis de la adaptación.

Barcelona: Paidós, 2000.

Stam, Robert. Teoría y práctica de la adaptación. Mexico DF: Universidad Nacional

Autónoma de Mexico, 2014.

Stam, Robert/Raengo, A. Literature and Film: A Guide to the Theory and Practice of Adaptation. Oxford: Blackwell, 2005.

Stam, Robert. Reflexivity in Film and Literature. From Dom Quixote to Jean-Luc Godard. Michigan: UMI Research Press, 1985

 

2. Plastic arts and scene arts

APPIA, Adolphe, La música y la puesta en escena, La obra de arte viva, AISGE, Madrid, 2014.

BABLET, DENIS, L’oeuvre d’art totale, CNRS, París, 1995.

BEACHAM, Richard, C, Adolphe Appia, Theatre Artist, Cambridge University Press, Cambridge, 1987.

BRAYSHAW, T; FENEMORE, A. i WITTS, N., The Twenty-First Century Performance Reader, Routledge, London, 2020.

BROCKETT, Oscar G., History of the theatre, Pearson, Boston, 2017.

CASSIERS, Guy, Entretiens, Actes Sud, París, 2017.

CASTELLUCCI, Romeo i Claudia, Los peregrinos de la materia, Continta me tienes, Madrid, 2017.

CRAIG, Edward Gordon, Escritos sobre teatro,  Asociación de directores de escena, Madrid, 2011.

HUBERT, Marie-Claude,  Les grandes théories du théâtre, Armand Colin, Paris, 2005.

CAHN, Isabelle, Le théâtre de l'Oeuvre 1893-1900: Naissance du théâtre moderne, Musée d'Orsay, abril-juliol 2005, Paris, 2005.

GOLDBERG, RoseLee, Performance Art. From Futurism to the Present, Thames and Hudson, London, 2014.

GUIDICELLI, Carole, Surmarionnettes et mannequins. Craig, Kantor et leurs héritages contemporains, L’Entretemps, Institut International de la Marionette, Lavérune, 2013.

HUXLEY, Michael i WITTS, Noel  (eds.), The Twentieth-Century performance reader, Routledge, London, 2002.

MNOUCHKINE, Ariane, El arte del presente,Trilce, Montevideo 2007.

SÁNCHEZ, José A. Dramaturgias de la imagen,  Ed. Universidad de Castilla-La Mancha, Cuenca, 2002.

SANCHEZ, José A., La escena moderna. Manifiestos y textos sobre el teatro de la época de las vanguardias, Akal, Madrid, 1999.

TESSARI, Roberto, Teatro e avantguardie storiche, Laterza, Bari, 2005.

VVAA., Painters in the theatre. (The european avantgarde), Museo del Prado, Madrid, 2002.

3.  Music and scene arts

Abbate, Carolyn; Parker, Roger. A History of Opera: the last four hundred years. Allen Lane, 2012.

Alier, Roger. Historia de la ópera. Barcelona, Ma non troppo, 2002.

Arblaster, Anthony. Viva la liberta! Politics on Opera. London, Verso, 1997.

Barbulescu, Cristina. Les opéras européens aujourd'hui: comment promouvoir un spectacle?. Paris, L'Harmattan, 2012.

Brandenberger, T (ed). La zarzuela y sus caminos. Del siglo XVII a la actualidad. Berlin, Lit Verlag, 2016.

Bravo, Isidre. L'escenografia catalana. Barcelona, Institut del Teatre, 1986.

Cannon, Robert. Opera.  Cambridge, Cambridge University Press, 2012. (disponible on-line a la UAB)

Casares, Emilio (coord). Diccionario de la Zarzuela. España e Hispanoamérica. Madrid, ICCMU, 2002.

Cooke, Mervyn (ed). The Cambridge companion to twentieth-century opera. Cambridge, Cambridge University Press, 2011. (disponible on-line a la UAB)

Dahlhaus, Carl. Drammaturgia dell'opera italiana. Torino, EDT, 2005 (2ª ed).

Everett, Willian. The Cambridge companion to the musical. Cambridge, Cambridge University Press, 2017. (disponible on-line a la UAB)

Gänzl, Kurt. The Encyclopedia of the musical theatre. New York, Schirmer Books, 2001.

Gosset, P. The Operas of Romanticism: Problems of Textual Criticism in 19th Century Opera. Princeton, 1979.

Griffiths, Paul. "Opera, MusicTheater". Modern Music: The Avant Garde Since 1945. Londres, Dent, 1981.

Harris-Warrick, Rebeccaa. Dance and Drama in Franch Baroque Opera: A History. Cambridge, Cambridge University Press, 2016.                        (disponible on-line a la UAB)

Körner, Axel; Kühl, Paulo M. Italian Opera in Global and Transnational Perspective: Reimagining Italianità in Long Nineteenth Century. Cambridge, Cambridge University Press, 2022. (disponible on-line a la UAB)

Lacombe, Hervé (ed). Historie de l'Opéra Français (3 vols). Paris, Fayard, 2020.

Levin, David. J. Unsettling Opera. Stagin Mozart, Verdi, Wagner and Zemlinsky. Chicago, University of Chicago Press, 2007.

Nattiez, J.-J. Wagner androgyne. Paris, Bourgois,1990.

Nieva, Francisco. Tratado de escenografía. Madrid, RESAD, 2000.

Parker, Roger. "The Opera Industry", dins Jim Samson (ed)The Cambridge History of Nineteenht. Century Music. Cambridge, Cambridge University Press, 2002, p. 133-147.

Perroux, Alain. La Comédie musicale: mode d'emploi. Paris, Avant-scène opéra, 2009.

Pestelli, Giorgio; Bianconi, Lorenzo. Opera Production and its resources. Chicago, University of Chicago Press, 1998.

Peterson, Mia. 75 años de historia del musical en España (1930-2005). Madrid, Ediciones Autor, 2010.

Roland Barthes: Image, musique, texte. London, Fontana Press, 1977.

Rosselli, John. The Opera Industry in Italy from Cimarosa to Verdi. Cambridge, Cambridge University Press, 1984.

Smith, Patrick.The Tenth Muse: A historical Study of the opera libretto. New York. Knopf, 1970.

Snowman, David. La Ópera. Una historia social. Madrid, Siruela, 2016.

Taylor, Millie. Musical theatre, realism and entertainment. Cambridge, Cambridge University Press, 2020. (disponible on-line a la UAB)

Vv. Aa. Opéra et mise en scène. Paris, L'Avant-Scène, 2007 (versió en paper i/o pdf).

Young, David. How to direct a musical Broadway-your way!. New York, Routledge, 1995.