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Lecturer(s)
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Pavlišová Jitka, Mgr. Ph.D.
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Kubartová Eliška, Mgr. Ph.D.
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Kubina Lukáš, Mgr. Ph.D.
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Bernátek Martin, Mgr. Ph.D.
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Course content
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Modernity is a key concept in literary and cultural studies. It denotes both a period of time, roughly from the sixteenth century to the present, and a specific quality of cultural and social experience. Typically, modern innovations - such as the ideological concept of the individual, the economic principle of the market, the political principle of the nation-state, the technological mediatisation of communication, or the literary genre of the novel - have served to shape the basic framework of our contemporary world. Modernity is a highly dynamic entity, subject to constant renewal and transformation: in other words, it is characterised by permanent self-modernisation. However, while most theories construct modernity as a phenomenon that originated in Europe and was later 'exported' to other parts of the world, this course helps to conceive of modernity as the result of global exchange and interaction, and thus to consider it in its extensive, pluralistic form. Modern societies, cultures and individual artistic expressions in the performing arts, particularly in the first half of the 20th century, will be examined in the course primarily through these individual prisms: -nation-states and national cultures - commodification - secularity - media revolution - individualism - market economy - autonomisation of art - coloniality - dynamic social and gender roles - aestheticization of the everyday - distinction between private and public spheres - rationalisation - rise and fall of the author/genius - translating cultures - social and geographical mobility - flexible literary genres - urbanisation - governmentality. flexible literary genres - urbanisation - governmentality - cultural transfer and transformation - gender issues - constant self-image of modernisation and preference for novelty - technical reproduction of the artwork - popular cultures - reinvention of traditions - countercultures - migration and diaspora - pirate cultures - renewed interest in the past. In terms of content, we will draw on the Eurocentric canon of the "theatrical reforms" of the first half of the 20th century, its key figures and companies, to which we will then develop a specific concept of their "counter-narrative".
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Learning activities and teaching methods
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Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook), Activating (Simulations, Games, Dramatization)
- Semestral Work
- 13 hours per semester
- Preparation for the Exam
- 25 hours per semester
- Attendace
- 25 hours per semester
- Homework for Teaching
- 12 hours per semester
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Learning outcomes
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The aim of the lecture is to present a contemporary historiographical approach to the developmental tendencies and stylistic changes of world theatre in the first half of the 20th century (artistic modernism and avant-garde). The emphasis will be on tracing the continuity of stylistic changes that also influenced theatre culture during the so-called neo-avant-garde (=second theatre reform) and its diversification. Students will gain a thorough overview of the developmental changes in the performing arts, especially in the first half of the 20th century, while being able to consistently contextualise and conceptualise one of the key aspects of the humanities - modernity, the mechanisms of its construction, deconstruction and reconstruction, and the concepts associated with it. Thus, the aim of the course is not simply to present the established anchoring of this epistemological category in the history of humanity and individual cultures, but rather to fundamentally rethink and revise it through the previously marginalised, peripheral entities and identities that have nevertheless naturally co-constituted the concept of modernity.
Students will gain a thorough overview of the developmental changes in the performing arts, particularly in the first half of the 20th century, and will be able to consistently contextualise and conceptualise one of the key aspects of humanities studies - modernity, the mechanisms of its construction, deconstruction and reconstruction, and the concepts associated with it. Thus, the aim of the course is not simply to present the established anchoring of this epistemological category in the history of humanity and individual cultures, but rather to fundamentally rethink and revise it through the previously marginalised, peripheral entities and identities that have nevertheless naturally co-constituted the concept of modernity.
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Prerequisites
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The course is not subject to any predispositions. The main criterion for participation and successful completion of the course is a personal interest in the types of art that are based on the human body and a desire to actively discuss your knowledge and experience with others. A recommended direct follow-up to this course is to watch thematically relevant productions of this year's Theatre Flora programme with the theme "Freedom".
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Assessment methods and criteria
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Oral exam, Student performance, Analysis of Creative works (Music, Pictorial,Literary), Final project
Regular class attendance (max. 25% absences), preparedness and VERY active participation in discussions, oral examination at the end of the semester.
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Recommended literature
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Cooper Albright, Ann. (1997). Choreographing Difference: The Body and Identity in Contemporary Dance. Middletown, Connecticut: Wesleyan University Press.
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HRIEŠIK, Maja. (2012). Telesnosť súčasného divadla. State o dramaturgii tela v súčasnom tanci a divadle. Bratislava: CODE.
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Pavlišová,Jitka, a kol. Aktuální tanečněvědný diskurz: Obraty v současném tanci. Olomouc: Univerzita Palackého. 2021.
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Sheets-Johnstone, Maxine. (2009). The Corporeal Turn: An Interdisciplinary Reader.
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Vangeli, Nina. Tanec a moc - dialektika konkrétního tance. 2014.
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Vangeli, Nina. Taneční inscenace: přístupové cesty k jejich analýze. 2017.
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