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HU Credits:
2
Degree/Cycle:
1st degree (Bachelor)
Responsible Department:
Theatre Studies
Semester:
1st Semester
Teaching Languages:
Hebrew
Campus:
Mt. Scopus
Course/Module Coordinator:
Dr. Olga Levitan
Coordinator Office Hours:
Monday 16.00-18.00
Teaching Staff:
Dr. Olga Levitan
Course/Module description:
The course brings together major theories in the fields of drama, theater and performance, from Aristotle's poetics to the theatrical theory of Richard Schechner. A special emphasis will be placed on the connection between artistic language and theoretical thought.
Course/Module aims:
Introduce the uniqueness of theoretical thought and its importance to artistic practice.
Learning outcomes - On successful completion of this module, students should be able to:
Knowledge of the basic concepts in the fields of drama and theater
Attendance requirements(%):
80%
Teaching arrangement and method of instruction:
Frontal lessons and joint discussions
Course/Module Content:
1. Aristotle: mimesis and the theory of tragic.
2. Genre theory in drama and theater.
3. Wagner: the total theater.
4. Theatricality and performance theory.
5. Performing arts and cultural theories in the twentieth century.
6. Reception: a theoretical perspective.
Required Reading:
Mimesis and the theory of tragic:
אריסטו. פואטיקה.תרגם מיוונית והוסיף מבוא, הערות ומאמר מסכם: יואב רינון. ירושלים: מאגנס, 2003.
Genre theory in drama and theater:
ניטשה, פ. הולדת הטרגדיה. המדע העליז. ירושלים: שוקן. 1969.
Deinstag, J.F. "Tragedy
Pessimism, Nietzsche." In Rethinking Tragedy, 104-127. Ed. Felsky, R. Baltimore: The John Hopkins University Press.
FRYE, N., and David D. "Rhetorical Criticism: Theory of Genres." In Anatomy of Criticism: Four Essays, 243-338. PRINCETON; OXFORD: Princeton University
Press, 2020. (JSTOR
Wagner: the total theater:
Wagner, R. The Art-Work of the Future.
http://users.skynet.be/johndeere/wlpdf/wlpr0062.pdf
Berry, M. "RichardWagner & the Politics of Music Drama", Historical Journal, Vol. 47. No 3. 2004, 663-683.
https://www.researchgate.net/publication/231890745_Richard_Wagner_and_the_politics_of_music-drama
Theatricality and performance theory:
Theatracality. Eds. Davis, T. C. & Postlewait, T. Cambridge: University press, 2003, 1-40.
Schechner,R.Performance Theory. NY & London: Routledge, 153-187.
Performing arts and cultural theories in the twentieth century:
Alter, Jean. A Sociosemiotic Theory of Theatre, 91-149. Philadelphia: University of Pensilvania Press' 1990.
Bakhtin, M. Rable and his World. Cambridge, Mass : M.I.T. Press ; 1968.
Erikson, J. Defining political performance with Foucault and Habermas: strategic and communicative action", 156-186. In
Davis, T. C. & Postlewait, T. Cambridge: University press, 2003.
Rokem, F. 'Suddenly a Stranger Appears': Walter Benjamin's Readings of Bertolt Brecht's Epic Theatre." Nordic Theatre Studies, 2019.
Zazzali, P. "The Role of Theatre in Society: A Comparative "Analysis of the Socio-Cultural Theories of Brecht, Benjamin, and Adorno, The European Legacy", 18:6, 685-697, DOI: 10.1080/10848770.2013.774989
Reception: A theoretical perspective:
Meisel, M. How Plays Work. Reading and Performance. Oxford: University Press, 2007.
Additional Reading Material:
קרוק, ד. יסודות הטרגדיה, 16-37. תל-אביב: הקיבוץ המאוחד. 1972.
Rokem, F. "Bodies of Knowledge." In Encounters in Performance Philosophy. Vol. 1, 105-129.
Rokem, F. "Lieber Walter"—"Lieber Gerhard": The Dramaturgical
Strategies for Including the Correspondence of Benjamin and
Scholem in the Performance of Passport", Journal of Dramatic Theory and Criticism, Volume 31, Number 2, Spring
2017, 55-72.
States, B. O. Comedy, Irony an the Crotesque' 55-85. In Irony and Drama.Ithaca and London: Cornell University Press.
Course/Module evaluation:
End of year written/oral examination 0 %
Presentation 0 %
Participation in Tutorials 10 %
Project work 90 %
Assignments 0 %
Reports 0 %
Research project 0 %
Quizzes 0 %
Other 0 %
Additional information:
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