Název: The magic of a toolbox : The Prague School in Theatre pedagogy : analysis, comprehension, creativity
Zdrojový dokument: Theatralia. 2020, roč. 23, č. 1, s. 89-104
Rozsah
89-104
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (DOI): https://doi.org/10.5817/TY2020-1-8
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/142552
Type: Článek
Jazyk
Licence: CC BY-NC-ND 4.0 International
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
In a Canadian general theatre studies or liberal arts program in which the majority of B.A. students are expected to simultaneously take classes in theatre practice and theory, including acting, directing, design, theatre history and dramaturgy, teaching and learning can be challenging. Often our students approach exercises in text and performance analysis as unnecessary or even as superfluous tasks which a practitioner can do without. The naiveté of this hostile attitude is not surprising, but what is interesting is how a system of structural text and performance analysis, specifically here regarding the category of space, can be used as a pedagogical strategy to wake up the student's imagination and eventually become a tool of the practitioner's creative work. In the following, I will describe how to use the analytical methodologies of drama and performance analysis as developed by Prague School theoreticians as a pedagogical strategy to harness creativity. My case study is a 4th year class – Practice of Dramaturgy – which I have taught at the Department of Theatre, University of Ottawa.
Note
The paper is an outcome of a research project Divadlo jako syntéza umění: Otakar Zich v kontextu moderní vědy a dnešní potenciál jeho konceptů / Theatre as Synthesis of Arts: Otakar Zich in Context of Modern Science and Actual Potential of His Concepts (GAČR 2016-2018, GA16-20335S).
Reference
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[26] RUSH, David. 2005. Student Guide to Play Analysis. Carbondale: Southern Illinois University Press, 2005.
[27] SCHEIBE, Erin. 2014. Stages of Experience: Theatrical Connections between the Seven Stages of Experience and Historical Museums. Theatre Symposium 22 (2014): 99–109. | DOI 10.1353/tsy.2014.0004
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[29] TEED, Patrick. 2017. Dialectics of Performance/Reality: Investigating the Paradoxical Dramaturgies of Documentary Cabaret. Final Paper. THE 4123, Practice of Dramaturgy. University of Ottawa. April 18th, 2017.
[30] PAVEL, Thomas G. 1989. Fictional Worlds. Cambridge and London: Harvard University Press, 1989.
[31] TURNER, Cathy. 2014. Porous Dramaturgy and the Pedestrian. In Katalin Trencsényi and Bernadette Cochrane (eds.). New Dramaturgy: International Perspectives on Theory and Practice. London: Bloomsbury, 2014: 199–213.
[32] VODIČKA, Felix. 1975. The Concretization of the Literary Work. In Peter Steiner (ed.). The Prague School Selected Writings 1929–1946. Austin: University of Texas Press, 1975: 103–133.
[33] ZICH, Otakar. 2016. Principles of Theatrical Dramaturgy. In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 34–59.
[2] BARRETT, Felix and Maxine DOYLE. 2009. In the Prae-sens of Body and Space – The (Syn)aesthetics of Site-Sympathetic Work. In Josephine Machon (ed.). (Syn)aesthetics: Redefining Visceral Performance. Basingstoke: Palgrave Macmillan, 2009: 89–100.
[3] BOGART, Anne and Jackson GRAY. 2015. The Art of Collaboration: On Dramaturgy and Directing. In Magda Romanska (ed.). The Routledge Companion to Dramaturgy. New York: Routledge, 2015: 213–216.
[4] BRUŠÁK, Karel. 2016. Imaginary Action Space in Drama. In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 303–319.
[5] BOUKO, Catherine. 2015. Dramaturgy and the Immersive Theatre Experience. In Magda Romanska (ed.). The Routledge Companion to Dramaturgy. New York: Routledge, 2015: 459–461.
[6] DE CERTEAU, Michel. 1985. Practices of Space. In Marshall Blonsky (ed.). In Signs. Baltimore: The John Hopkins University Press, 1985: 122–146.
[7] DOLEŽEL, Lubomír. 1998. Possible Worlds of Fiction and History. New Literary History 29 (1998): 4: 785–809. | DOI 10.1353/nlh.1998.0039
[8] DRÁBEK, Pavel. 2016. Prague School Theory and its Contexts (Afterword). In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 533–636.
[9] DROZD, David and Tomáš KAČER. 2016. Introduction. In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 13–27.
[10] ECO, Umberto. 1987. Casablanca: Cult Movies and Intertextual Collage. In Umberto Eco. Travels in Hyper Reality: Essays. London: Picador, 1987: 197–268.
[11] ELAM, Keir. 1980. The Semiotics of Theatre and Drama. New York: Routledge, 1980.
[12] FIORINDI, Catherina. 2017. The Sophie Scholl Creative Project and Making of Counterfactual Worlds. Final Paper. THE 4123, Practice of Dramaturgy. University of Ottawa. 18. 04. 2017.
[13] FISCHER-LICHTE, Erika. 2008. The Transformative Power of Performance: A New Aesthetics. Transl. by Saskya Iris Jai. London and New York: Routledge, 2008.
[14] FOUCAULT, Michel. 1986. Of Other Spaces. Transl. by Jay Miskowiec. Diacritics 6 (1986): 1: 22–27.
[15] FUCHS, Elinor. 2004. EF's Visit to a Small Planet: Some Questions to Ask a Play. Theatre 34 (2004): 2: 4–9.
[16] GINGRICH, Derek. 2014. Unrecoverable Past and Uncertain Present: Speculative Drama's Fictional Worlds and Nonclassical Scientific Thought. MA thesis, University of Ottawa, 2014.
[17] HURLEY, Erin. 2010. Theatre and Feeling. Houndmills: Palgrave, 2010.
[18] HUTCHEON, Linda. 2006. A Theory of Adaptation. New York: Routledge, 2006.
[19] JONAS, Susan S., Geoffrey S. PROEHL and Michael LUPU (eds.). 1996. Dramaturgy in American Theatre: A Source Book. Fort Worth: Harcourt, 1996.
[20] MCAULEY, Gay. 1999. Space in Performance: Making Meaning in the Theatre. Ann Arbor: University of Michigan Press, 1999.
[21] MCGRAIL, Colleen. 2017. Wonders To Be; Wonders That Were: A Practice of Dramaturgy. Final Paper. THE 4123, Practice of Dramaturgy. University of Ottawa. 18. 04. 2017.
[22] MCKINNON, James. 2011. Creative Copying?: The Pedagogy of Adaptation. Canadian Theatre Review 147 (2011): 55–60. | DOI 10.3138/ctr.147.55
[23] MEERZON, Yana. 2015. Michael Chekhov's Theatre Theory and Pedagogy of Theatre Adaptation. Critical Stages 12 (2015). [accessed on 21.08. 2019]. Available online at: http://www.critical-stages.org/12/michael-chekhovs-theatre-theory-and-pedagogy-omef-theatre-adaptation/.
[24] MUKAŘOVSKÝ, Jan. 2016. On the current state of the theory of theatre. In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 59–75.
[25] MURPHY, Vincent. 2013. Page to Stage: The Craft of Adaptation. Ann Arbor: The University of Michigan Press, 2013.
[26] RUSH, David. 2005. Student Guide to Play Analysis. Carbondale: Southern Illinois University Press, 2005.
[27] SCHEIBE, Erin. 2014. Stages of Experience: Theatrical Connections between the Seven Stages of Experience and Historical Museums. Theatre Symposium 22 (2014): 99–109. | DOI 10.1353/tsy.2014.0004
[28] SCHOLL, Inge and Dorothee SÖLLE. 1983. The White Rose: Munich, 1942–1943. Middletown, CT: Wesleyan University Press, 1983.
[29] TEED, Patrick. 2017. Dialectics of Performance/Reality: Investigating the Paradoxical Dramaturgies of Documentary Cabaret. Final Paper. THE 4123, Practice of Dramaturgy. University of Ottawa. April 18th, 2017.
[30] PAVEL, Thomas G. 1989. Fictional Worlds. Cambridge and London: Harvard University Press, 1989.
[31] TURNER, Cathy. 2014. Porous Dramaturgy and the Pedestrian. In Katalin Trencsényi and Bernadette Cochrane (eds.). New Dramaturgy: International Perspectives on Theory and Practice. London: Bloomsbury, 2014: 199–213.
[32] VODIČKA, Felix. 1975. The Concretization of the Literary Work. In Peter Steiner (ed.). The Prague School Selected Writings 1929–1946. Austin: University of Texas Press, 1975: 103–133.
[33] ZICH, Otakar. 2016. Principles of Theatrical Dramaturgy. In David Drozd, Tomáš Kačer and Don Sparling. Theatre Theory Reader: Prague School Writings. Prague: Karolinum Press, 2016: 34–59.