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Einrichtungen >> Philosophische Fakultät und Fachbereich Theologie (Phil) >> Department Medienwissenschaften und Kunstgeschichte >> Lehrstuhl für Theater- und Medienwissenschaft (Prof. Dr. Warstat) >>

  Magister-Hauptseminar: "Dionysos and ancient Greek theatre, then and now - aesthetics and politics "

Dozent/in
Prof. Dr. Henri Schoenmakers

Angaben
Hauptseminar
2 SWS
geeignet als Schlüsselqualifikation, Magister, Sprache Englisch, die Arbeiten im englischsprachigen Seminar können in Englisch, Deutsch, Französich oder Holländisch geschrieben werden.
Zeit und Ort: Einzeltermine am 25.4.2012 18:00 - 20:00, 00.6 PSG; 26.4.2012 8:30 - 10:00, 00.3 PSG; 9.5.2012 18:00 - 20:00, 00.6 PSG; 10.5.2012, 23.5.2012 8:30 - 10:00, 00.3 PSG; 12.6.2012 18:00 - 20:00, 00.4 PSG; 13.6.2012 8:30 - 10:00, 00.3 PSG; 19.6.2012 15:00 - 17:30, B 202 Technik- und Schnittraum; 20.6.2012 14:00 - 17:00, 18:00 - 21:00, B 202 Technik- und Schnittraum; 21.6.2012 8:30 - 11:30, 16:00 - 18:00, B 202 Technik- und Schnittraum; 27.6.2012 18:00 - 20:00, 00.6 PSG, 00.4 PSG; 28.6.2012 8:30 - 10:00, 00.3 PSG

Voraussetzungen / Organisatorisches
Communication during the sessions will take place in English. Written work can be handed in in English, French, German, Dutch or Italian but presentations in the class have to be in English.

Planning:

The seminar is organized as block seminar.
Meetings will take place:

1a and b:

April 25th

April 26th

2a and b:

May 9th
May 10th

3a and b:

May 22d
May 23d

4a and b:

June 12th

June 13th

5a and c:

June 27th
June 28th

Inhalt
Aim

The aim of this seminar is to discuss and analyze performances of ancient Greek drama in the aesthetic and historical political context of the fifth Century b. C. and in its performance and adaptation history during the ages, particularly from the second half of the twentieth century and the beginning of the 21st century.

Dealing with performances of ancient Greek drama implies that the few drama texts that are left from the rich theatrical culture in the fifth century b. C. are the most important source for theme and dramaturgy, and because of that for the function of those performances in their time. However, this important role of the text should not prevent an understanding of the performance praxis in the fifth century as a multimedia event which we would now associate more with danced opera’s than with our experience of performances of plays. As an exercise to deal with the visual aspects students analyze critically vase paintings which according to scholars (could) have portrayed performances of ancient Greek drama. The importance of the text as source for our knowledge about ancient Greek performances implies that we will deal intensely with different drama texts of Aeschylus, Sophocles, Euripides and Aristophanes. An important point of departure is that those texts were not classic at all in the time of the first performance. The fact that they were performed within the framework of contests, implies that the dramatists were competing by means of aesthetic inventions or by means of the presentation of challenging world views in their performances. That is why we will deal with the dramaturgical characteristics and with the moral, social, and political impact of the performances in their time as well.

The information about performances in their historical contexts will not only be treated as a source of information about theatrical culture of the past, but also as a source of inspiration for modern theatrical practice. Not only recent performances of ancient Greek drama will be discussed and analysed but students will also collaborate in the simulation of an artistic production team on the development of a dramaturgical concept for the staging or filming of an ancient Greek drama nowadays.

Preparation for the first session:
As preparation for the first session students read the following plays in which Dionysos as one of the characters appears: Euripides Bacchae (Bakchai) and Aristophanes Frogs (Ranae). Good English translations are available in Penguin books. But also English translations are available on internet. Students with family names beginning with A-K write a summary of the plot of Bacchae and with the names L – Z of Frogs of Aristophanes. With plot is meant the order of the events as depicted in the play. The summary of the plot should be max 2 pages. Besides 3 questions regarding the aesthetics of the play/performance and 3 regarding the historical context should be formulated.

Session 1 a/b: (25 & 26 april)
[students have prepared a plot description of Bacchae or Frogs]

  • Introduction by the instructor about the course.

Students:
Presentation and discussion of the plot descriptions of Bacchae and of Frogs.

Instructor:

  • Introduction of a systematic approach to the analysis of ancient Greek Drama

  • Introduction to the performance history of ancient Greek Drama: the role of Dionysos, the context of the festivals, the financial and organizational performance conditions, the chorus in general.

  • Introduction to the problem of visual sources (Trendall & Webster).

  • Viewings of (fragments of) performances of Bacchae

Session 2 a/b: (9 and 10/5)
[Students have prepared a drama analysis of an ancient Greek drama according to the model discussed in session 1a and b]
Students:

  • presentations of their drama analyses and their questions.

Instructor:

  • Introduction to the performance history of ancient Greek Drama (continuation): theatre space and theatrical space; visual performative aspects, the role of the chorus in specific plays

  • The authenticity problem: Viewings of examples of ancient Greek drama Oedipus from Pier Paolo Pasolini to Oskuras Korsunovas and Jörgen Gosch

  • Introduction of performance analysis: theatre, society and emotion.

  • Introduction to the development of a dramaturgical concept.

Session 3 a/b (22 and 23 May)
[Students have prepared (1) an analysis of a visual source from Trendall/Webster, (2) a drama analysis of an ancient Greek drama according to the model discussed in session 1a and b OR an analysis of performances of one or more plays discussed in the first sessions (with the help of the proposed performance analytical approach in the second session, incl. the choice of AV material, (3) The first choice of a play, space and audience for a dramaturgical concept of a production of ancient Greek drama has been chosen.]
Student presentations of:

  • the visual sources

  • drama analyses

  • performance analyses

  • Dramaturgical concepts, 1st presentation and discussion in order to come to production teams who agree on a play, audience and space.

Instructor:

  • Introduction to performance history of ancient Greek drama (continuation): Audience, Aristotle, Reception

  • Introduction to the analysis of the historical (political, moral etc.) context with examples from Medea (Euripides), Helen (Euripides), and Oresteia (Aeschylus), Electra (Euripides and Sophocles), Lysistrata and/or Birds (Aristophanes).

  • The problem of theatre and ritual (Bacchae and other examples)

  • Introduction to the possibilities of the final (academic) paper.

  • Viewings of examples of Ancient Greek drama in theatre and on film, with particular attention for the problem of interculturality: Peter Stein’s Orestie (the Berlin version vs. the Moscow version), Ariane Mnouchkine Les Atrides and Pasolini’s and Lars van Trier’s Medea.

Session 4 a/b (June 12th and 13th)
[Students have prepared (1) revised dramaturgical concepts, now as a production team result; (2) a topic for their final paper]

Students present

  • their dramaturgical concepts as a team result

  • outline for the final paper

Instructor:

  • The problem of authenticity, of theatre & ritual, and of intermediality

  • Viewings of examples of Ancient Greek drama in theatre and on film, with particular attention for the problem of intermediality and recontextualisation: a.o. Michael Cacoyannis (Iphigineia in Aulis, Electra, Trojan Women) and Miklos Jancso (Electra,my love).

Session 5 a/b (June 27th and 28th) [Students have prepared (1) a specification of dramaturgical concepts (theatre or film) as a result of their production team discussions with a detailed proposal for a crucial scene (2) outlines of final papers

Students present

  • The revised dramaturgical concepts

  • The outlines of their final papers

Instructor:

  • Capita Selecta: topics relevant for the student papers and viewings of examples of ancient Greek drama in theatre and on film relevant for the student papers.

Assignments and grading 1. summary of plot of Bacchae or Frogs (exercise – not graded)
2. summary of a drama analysis of an ancient Greek drama (GRADE 10%)
3. critical analysis of a visual source (GRADE 10%)
4. second drama analysis or a performance analysis (GRADE 10%)
5. outline for the final paper (GRADE 10%)
6. applied project: dramaturgical concept (team work ) GRADE 30%
7. academic paper: final research paper GRADE 30% [ has to be handed in before September 1st]

Zusätzliche Informationen
Maximale Teilnehmerzahl: 30

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