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Presentation
Presentation
Students should develop critical thinking and analysis skills in relation to the documents and ideas presented to them from primary sources, secondary bibliography or other materials. They should be able to intervene in class whenever timely challenged by the current discussion or discussion. In the context of written evaluation, they should be able to respond to a statement that challenges the contents of the entire semester, producing a well-articulated and reasoned discourse, as well as establishing the necessary links.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 4
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULP1977-15442
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
1 The modern age of drama 1.1 The modern question of history and the "summary of the times". 1.2 The Elizabethan European context of the Restoration. 1.3 Shakespeare: The Founding of the Subject as an "Infinite Poem" 1.4 Theater as a mirror of Reason of State: Shakespeare, Corneille, Racine 1.5 Repercussion of Shakespeare on Aufklärung and German Romanticism: Goethe, Lessing, Schiller 1.6 Modern lineage of tragedy: from Shakespeare to Kleist. 2. The performative age of the drama 2.1Three births of contemporary theater: - from Lessing to symbolism. -from Stanislavsky to Brook. - from "mechanical theater" to Wagner: the generalization of the aesthetic state. 2.2 Scenic modeling of the avant-garde: from Hofmannstahl to Duchamps 2.3 New Scenic Communities: Artaud and Brecht 2.4 The dissolution of the representative chain: the advent of Beckett. 3. The Post Dramatic Theater: Discussion of Hans-Thyes Lehmann's Proposal 4. The Portuguese Theater: from Eighteenth century to the present
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Objectives
Objectives
The generic objectives UNDERLINE the statements for u.c. Cultural History of Theater I, specifying here the Modern period of the performing arts, beginning in Shakespeare, until the breakthrough of the avant-garde and critique of the modern in the twentieth century. Specific Objectives: To get a diachronic perspective of western theater from the beginning of modernity to the twentieth century. Acquire concepts of theory and theatrical aesthetics of the period covered; deepen knowledge about the performing arts with regard to the specificity of their forms; know how to identify nuclei acting in modern dramaturgy and their impact on the cultural situation of modernity understand the multi-factorial character of metamorphoses in theatrical form under the impulse of the modern paradigm; Discuss the Post-Dramatic Theater and give an overview of the Portuguese Theater, from The Eighteenth century to the present.
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Teaching methodologies and assessment
Teaching methodologies and assessment
Action-research based on solving problems raised by theory and on increasing Conference-Performance.
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References
References
BECKETT, Samuel, Endgame/ Krapp's Last Tape/ Not I, in The Grove Centenary Edition, vol. III, New York: Grove Press, 2006 CAMPBELL, O. J. (ed.), The Reader's Encyclopedia of Shakespeare, New York: MJF Books, 1966 CRUZ, Duarte Ivo. História do Teatro Português. Lisboa: Verbo, 2002. DOBSON, M., WELLS, S. (eds.), The Oxford Companion to Shakespeare, Oxford: O.U.P, 2001 FISCHER-LICHTE, E., History of European Drama and Theatre, New York: Routledge, 2002 KLEIST, H. v. Sobre o Teatro de Marionetas, Lisboa. Hiena, 1988 LESSING, Dramaturgia de Hamburgo. Selecção de Textos, Lisboa: Gulbenkian, s/d NIETZSCHE, A Gaia Ciência, Lisboa: Relógio d'Água, 1998 REBELLO, Luíz Francisco, Breve História do Teatro Português, Mem Martins: Europa América, 5ª ed., 2000 SZONDI, P., Teoría del Drama Moderno. Tentativa sobre lo Trágico, Barcelona: Destino, 1994 LEHMANN, H.-T. (2003). Teatro Pós-Dramático e Teatro Político. Sala Preta, 3, 9-19. https://doi.org/10.11606/issn.2238-3867.v3i0p9-19
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Office Hours
Office Hours
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Mobility
Mobility
No
