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.
The Expanded Stage: Dialogues between the Arts
Code: 44820Credits: 6
| Degree programme | Type | Course |
|---|---|---|
| Theatre Studies | OP | 1 |
Contact lecturer
- Name :
- Jordi Jane Llige
- Email :
- jordi.jane@uab.cat
Teaching staff
- Nuria Llorens Moreno
- Francesc D Assi Cortes Mir
- Anna Corral Fulla
Group languages
You can consult this information at the end of the document.
Prerequisites
No pre-requisites
Objectives
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.
Learning outcomes
- CA12 (Demonstrate, through the formulation of relevant questions and hypotheses, the ability to reflect on the multidisciplinary nature of theatre and its creative and communicative opportunities.) Demonstrate, through the formulation of relevant questions and hypotheses, the ability to reflect on the multidisciplinary nature of theatre and its creative and communicative opportunities.
- KA20 (Identify the transdisciplinary research methodologies which compare the performing arts to the plastic arts, music or cinema according to the pertinent conceptual frameworks.) Identify the transdisciplinary research methodologies which compare the performing arts to the plastic arts, music or cinema according to the pertinent conceptual frameworks.
- KA21 (Incorporate research methods typical of the plastic arts, music or cinema to obtain an original approach which also allows the respective creative processes to be compared.) Incorporate research methods typical of the plastic arts, music or cinema to obtain an original approach which also allows the respective creative processes to be compared.
- SA17 (Apply a critical approach to the observation and analysis of an object of study in which the performing arts converge with the plastic arts, music or cinema.) Apply a critical approach to the observation and analysis of an object of study in which the performing arts converge with the plastic arts, music or cinema.
- SA18 (Use documentary and bibliographical sources from different disciplines with the aim of enriching and looking in greater depth into knowledge on theatre as a phenomenon, which is interdisciplinary in and of itself.) Use documentary and bibliographical sources from different disciplines with the aim of enriching and looking in greater depth into knowledge on theatre as a phenomenon, which is interdisciplinary in and of itself.
Contents
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). Furthermore, we will examine the treatment of Bertolt Brecht's *Mother Courage and Her Children* in cinema and documentary film.
2. Plastic arts and stage arts
Theatrical performance arises from the convergence of word, music, sound, image, and movement in time and space. In other words, theatre emerges from the combination or synthesis of different art forms. During the avant-garde period, the concept of the stage performance as an organic whole in which different artistic disciplines collaborate or converge helped overcome the theatrical conventions of the nineteenth century and contributed decisively to opening new paths of experimentation and creation.
Taking this idea as its guiding thread, the seminar traces a historical overview of the contemporary stage, from the avant-gardes to the present day, through a selection of artists and productions. The course seeks to encourage reflection on the uses and expressive possibilities of combining diverse genres and languages in contemporary performance, with a particular focus on the language of images.
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.
Learning activities and methodology
| Title | Hours | ECTS | Learning outcomes |
|---|---|---|---|
| Reading, study and elaboration of papers | 60 | 2.4 | |
| Lectures and debates | 30 | 1.2 | |
| Tutorials and preparation of papers | 60 | 2.4 |
Methodology1. Theater and cinemaThe 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 artsIn 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 artsThe 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.
15 minutes of a class will be reserved, within the timetable established by the centre/title, for the complementation by the students of the assessment surveys of the teaching staff's performance and the assessment of the subject
Assessment
Continuous assessment activities
| Title | Weight | Hours | ECTS | Learning outcomes |
|---|---|---|---|---|
| Text analysis in class after attending to a performance | 30% | 0 | 0 | CA12, KA20, KA21, SA17, SA18 |
| Exam/ text commentary in class on the content of the various units | 50% | 0 | 0 | CA12, KA20, KA21, SA17, SA18 |
| attendance and active participation | 10% | 0 | 0 | CA12, KA20, KA21, SA17, SA18 |
| Guided Visit to the Liceu | 10% | 0 | 0 | CA12, KA20, KA21, SA17, SA18 |
Continuous assessment
Continuous assessment will consist of several parts:
1- A written test in class towards the end of the module, including questions and/or excerpts for commentary related to the course's three units. This test will account for 50% of the mark.
2- A commentary/analysis of a performance, addressing various aspects covered in each of the units. This activity will account for 30% of the total mark. This year, attendance is planned for a performance of Mother Courage and Her Children by Bertolt Brecht, to be staged at the TNC between May and June 2027.
3- A guided visit to the Liceu or another performing arts institution (such as the SGAE) will be scheduled, subject to availability. This assessment activity will account for 10% of the grade.
4- Class attendance and participation will account for 10%.
All commentaries and assignments based on in-class activities may be retaken, provided the student does not have any tasks marked as "not submitted."
Students will receive a grade of "Not assessable" if they fail to submit more than 30% of the assessment activities.
Detection of plagiarism (partial or total) in the assigned exercises will result in failing the entire module, with no possibility of reassessment.
Single assessment
Single assessment will consist of a written test including questions from each of the course's three units: 50% of the mark; and the preparation of a project—chosen from the topics covered in the units—to be presented orally on the scheduled assessment day, including responding to questions from the panel: 50% of the mark
ADDITIONAL NOTES
1. At the time each assessment activity takes place, the teacher will inform students of the procedure and date for the review of grades.
2. If a student commits any irregularity that could lead to a significant change in the mark of an assessment activity, that activity will be graded as 0, regardless of any disciplinary proceedings that may be initiated. If multiple irregularities occur across assessment activities, the final grade for the course will be zero. In such cases, the course cannot be reassessed or made up.
3. If tests cannot be held in person, their format will be adapted (while maintaining their weighting) to the possibilities offered by UAB virtual tools. Homework, activities, and class participation will be carried out via forums, wikis, and/or exercise discussions on Teams, ensuring accessibility for all students.
4. The use of Artificial Intelligence (AI) technologies is not permitted in this course at any stage. Any work containing AI-generated content will be considered a breach of academic integrity; this will result in the activity being graded as 0 with no possibility of retaking it, or more severe penalties in serious cases.
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.
Software
None
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/Spanish | second semester | afternoon |