Important notice
The course guide is provisional.
The PDF version of the course guide may take a few days to become available in the DDD.
Research and Analysis Methodologies: Dramatic Text and Performative Action
Code: 44815Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Theatre Studies | OB | 1 |
Contact lecturer
- Name :
- Francesc Foguet Boreu
- Email :
- francesc.foguet@uab.cat
Teaching staff
- Daniela Palmeri
Teaching staff (external to UAB)
- Lluís Masgrau Peya
Group languages
You can consult this information at the end of the document.
Prerequisites
ET
Objectives
This course aims to raise a series of specific methodological issues to address and enhance the analysis of dramatic text and performative performance. It emphasises the importance of methodology in order to effectively analyse theoretical and/or practical research processes.
Learning outcomes
- CA01 (Undertake studies on specific aspects related to dramatic texts and performance both independently and based on self-critique.) Undertake studies on specific aspects related to dramatic texts and performance both independently and based on self-critique.
- KA01 (Incorporate the following variables: nature of the object of study, point of view and pertinent documentary sources into a research project.) Incorporate the following variables: nature of the object of study, point of view and pertinent documentary sources into a research project.
- KA02 (Identify the two large components of the performing arts as the object of study: the dramatic text and performance.) Identify the two large components of the performing arts as the object of study: the dramatic text and performance.
- KA03 (Compare the dramatic text and performance within a theoretical/practical research process related to theatre studies.) Compare the dramatic text and performance within a theoretical/practical research process related to theatre studies.
- KA29 (Identify the different analysis methods used for dramaturgy and performance.) Identify the different analysis methods used for dramaturgy and performance.
- KA34 (Recognise the various elements of artistic language in acting.) Recognise the various elements of artistic language in acting.
- SA01 (Apply research methodologies related to the dramatic text and performance in accordance with international scientific parameters.) Apply research methodologies related to the dramatic text and performance in accordance with international scientific parameters.
- SA02 (Distinguish the various types of documentary and bibliographic resources to analyse dramatic texts and performance.) Distinguish the various types of documentary and bibliographic resources to analyse dramatic texts and performance.
- SA03 (Hold a debate on dramatic text and performance based on their potential categorisations and interrelations using the correct terminology.) Hold a debate on dramatic text and performance based on their potential categorisations and interrelations using the correct terminology.
Contents
The contents of this subject are divided into two blocks. In the first, we start with a series of preliminary theoretical considerations about text and literature, the operation of reading or the theatre reader, to then enter into the definition and scope of the dramatic text and dramaturgy. In addition, various concepts and models for the analysis of a dramatic text are discussed and some general aspects of the theatrical spectator are pointed out. The second, on the other hand, focuses on the field of performative performance in order to deal with specific methodological questions such as the difference between the external and internal point of view, or the discrimination between the logics of working with the result and those of the process. It also analyses a series of issues surrounding the artistic language of performance and its elements.
First section
1. Reading and scene
2. Text and scene: examples of basic typologies
3. Concepts and models for the analysis of a dramatic text
4. Application in concrete plays
Second section
1. General considerations on performative performance
2. Introduction to methodological issues
3. Differences between the external and the internal point of view
4. Discrimination between the logics of result and process work
5. Problems surrounding the language of performance and its elements
On the first day of class, a more detailed list of the contents of each block, the texts and materials to be worked on in class and the evaluation of the subject will be provided.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Theoretical classes and seminars for discussion of texts | 28 | 1.12 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Oral or written commentary on classroom readings | 28 | 1.12 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Documentation, reading, writing and study | 28 | 1.12 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
Theoretical classes are combined with the reading and analysis of various materials and documents, including case studies, in order to generate a critical debate on the different research methodologies related to dramatic text and performance. In the event that there are assigned readings, they must be read before the corresponding class.
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Group work or exercise | 40 % | 29 | 1.16 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Qualitative participation in classroom discussions | 10 % | 4 | 0.16 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Written text of the oral presentation | 10% | 7 | 0.28 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Oral presentation of a group work | 30 % | 22 | 0.88 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
| Attendance in class/lectures/complementary activities | 10 % | 4 | 0.16 | CA01, KA01, KA02, KA03, KA29, KA34, SA01, SA02, SA03 |
Continuous assessment
In addition to attendance (10 %) and participation in class (10 %), continuous assessment is based on these two exercises:
1) The oral presentation, in groups of 3 students, of an analysis of a dramatic text from the parameters set out in class. (30 % for the oral presentation and 10 % for the written part of the presentation) Duration: 15 minutes. The following will be assessed: a) the ability to integrate the theoretical knowledge acquired; b) the depth of analysis and critical capacity; and c) the coherence and the use of appropriate terminology.
2) The performance in the classroom of a case study in small groups. (40 %) The following will be taken into account: a) the ability to apply the methodological tools presented in class in order to interrogate the working documents; b) the ability to extract information from the documentary material; c) the ability to order, prioritise and clearly write up the information produced; and d) the ability to work in a group and effectively divide up the tasks in order to optimise the time available and the abilities of each person.
Single assessment
This subject does not allow a single assessment
Observations
1. At the time of each assessment activity, the teacher will inform the student (Moodle) about the procedure and the date of revision of the qualifications.
2. In order to take part in the recovery, the student must have been previously assessed in a set of activities the weight of which is equivalent to a minimum of 2/3 of the total qualification (continuous assessment). In addition, the teacher may require the student to have obtained a final average qualification of at least 3.5.
3. Thestudent will receive thequalification \"Not evaluable\" if he/she has not handed in more than 1/3 of the evaluation activities.
Plagiarism
In the case of any irregularity (copying, misuse of AI, etc.) by the student that may lead to a significant variation in the qualification of an evaluation act, this evaluation act will be qualified with a 0, regardless of the disciplinary process that this may entail. If several irregularities occur in the evaluation acts of the same subject, the final qualification of this will be 0.
IA
This subject entirely prohibits the use of AI technologies in all of its activities. Any submitted work that contains content generated using AI will be considered academic dishonesty; the corresponding grade will be awarded a zero, without the possibility of reassessment. In cases of greater infringement, more serious action may be taken
Bibliography
Part 1
Barba, Eugenio. 2010. Quemar la casa. Orígenes de un director. Bilbao: Artezblai.
Bobes, María del Carme. 1997. Semiología de la obra dramática. Madrid: Arco Libros.
Bordieu, Pierre, 2006. Las reglas del arte. Génesis y estructura del campo literario. Barcelona: Anagrama.
Compagnon, Antoine. 1998. Le démon de la théorie. París: Seuil.
Crane, Mary Thomas. 2000. Shakespeare's Brain.Readingwith Cognitive Theory. Princeton: Princeton UP.
De Marinis, Marco. 1987. “Dramaturgy of Spectator”. The Drama Review: TDR, 31 (2): 110-114.
De Marinis, Marco. 1992. Semiotica del teatro. L’analisi testuale dello spettacolo, Milano: Bompiani.
Eco, Umberto, 1993. Lector in fabula. La cooperación interpretativa en el texto narrativo. Barcelona: Lumen.
Fischer-Lichte, Erika. 1999. Semiótica del teatro. Madrid: Arco Libros.
Foguet, Francesc; Santamaria, Núria. 2009. La literatura dramàtica. Barcelona: Editorial UOC.
García Barrientos, José Luis. 2020. Anatomía del drama. Madrid: Punto de Vista Editores.
García Barrientos, José Luis. 2020. Cómo se comenta una obra de teatro. Ensayo de método. México: Paso de Gato.
Grande Rosales, María Ángeles. 2004. "Transformaciones de la representación emancipada a la crisis de la representación". Teatro. Revista de Estudios Teatrales, 20: 275-292.
Hébrard, Jean; Chartier, Anne-Marie. 2000. Discours sur la lecture (1880-2000). París: Fayard.
Lotman, Yuri M. 2011. Estructura del texto artístico. Madrid: Akal.
Manguel, Alberto. 2013. Una historia de la lectura. Madrid: Alianza.
Pavis, Patrice. 2000. Análisis de los espectáculos. Barcelona: Paidós.
Romera Castillo, José. 2006. Literatura, teatro y semiótica. Método, prácticas y bibliografía. Madrid: UNED.
Sarrazac, Jean-Pierre (dir.), 2008. Lèxic del drama modern i contemporani. Barcelona: Institut del Teatre <https://redit.institutdelteatre.cat/bitstream/handle/20.500.11904/840/2009_lexic_del_drama_modern.pdf>
Tordera, Antonio. 1999. "Teoría y técnica del análisis teatral". A Talens Jenaro et al. Elementos para una semiótica del texto artístico. Madrid: Cátedra, 155-199.
Williams, Raymond. 2013. Lectura y crítica. Buenos Aires: Godot.
Zunshine, Lisa (ed.). 2015. The Oxford Handbook of Cognitive Literary Studies. New York: Oxford UP.
Part 2
Barba, Eugenio. 2013. La canoa de papel: tratado de antropología teatral. Bilbao: Artezblai.
Barba, Eugenio; Savarese, Nicola. 2013. El arte secreto del actor. Diccionario de antropología teatral. Bilbao: Artezblai.
Féral, Josette. 2003. L'école du jeu. Saint-Jean-de-Védas: L'Entretemps.
Hodge, Alison (dir.). 2007. Twentieth Century Actor Training. Londres i Nova York: Routledge.
Nikolais, Alwin; Louis, Murray. 2019. La tècnica de dansa Nikolais/Louis. Barcelona: Institut del Teatre. <https://redit.institutdelteatre.cat/handle/20.500.11904/1053>
Ruffini, Franco. 2010. L'attore che vola. Roma: Bulzoni.
Software
Teams
Course groups and languages
The information provided is provisional until November 30. After this date, you will be able to consult the language of each group through this link. To access the information, you will need to enter the course CODE
| Type of teaching | Group | Language | Semester | Shift |
|---|---|---|---|---|
| (TEm) Theory (master) | 1 | Catalan | first semester | afternoon |