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Lecturer(s)
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Bernátek Martin, Mgr. Ph.D.
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Kubina Lukáš, Mgr. Ph.D.
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Pavlišová Jitka, Mgr. Ph.D.
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Kubartová Eliška, Mgr. Ph.D.
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Course content
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1. Introduction to dance studies How to look at dance? Its perception and analytical-critical reflection, elementary theoretical dance concepts and their correct interpretation. 2.-4. Historical paradigms of the development of dance and theoretical thinking about it I Classical dance versus modern dance? Isadora Duncan and her "rejection" of classical dance, pioneers of modern dance (Emile Jaques-Dalcroze, Rudolf Laban, Oskar Schlemmer). 5.-6. Historical paradigms of the development of dance and theoretical thinking about it II Dance as an individual dancer's statement (Mary Wigman, Martha Graham, Doris Humphrey), the dance solo - the most significant legacy of dance modernism and its contemporary modifications. 7.-8. Tanztheater and its variants (Kurt Jooss, Pina Bausch and others) 9.-10. Principles of negation and absence in dance Dance avant-garde and postmodern dance: an analysis of the essence of dance (Merce Cunningham, Judson Dance Theatre). 11.-12. Contemporary dance, physical theatre, movement performance Major artists, forms/genres/concepts, key choreographic works (William Forsythe, Wim Vandekeybus, Lloyd Newson, Anne Teresa de Keersmaeker and others). 13. Conceptual turn in dance and performance Xavier Le Roy, Jérôme Bel, Boris Charmatz, Vera Mantero, Doris Uhlich, etc.
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Learning activities and teaching methods
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Lecture, Monologic Lecture(Interpretation, Training), Dialogic Lecture (Discussion, Dialog, Brainstorming), Work with Text (with Book, Textbook), Methods of Written Work, Projection (static, dynamic)
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Learning outcomes
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Transformations of dance expression: dispositifs of dance art in the dynamic 20th century Contemporary dance art knows no boundaries, no precise rules and no limiting structures. It develops in creative, constant variations as the needs and urges of its creators demand. Its very beginnings were characterized by tendencies to break away from the (by then prevailing) classical dance, to give more space to the free action of the body, to point out the myriad possibilities of human movement and the expression of the intentions of a given artistic personality. Therefore, the choreographies of contemporary dance are very diverse and not always easy to classify. They range from dance consciously developed from classical dance, to a pure and distinct play of body symbolism, to improvisation and performance. Everyone has his/her own dance "style" and concept of realization on stage. Therefore, the objectives of this course will be directed towards the development and transformation of modern dance and its most important representatives through individual explanations, partial examples and subsequent discussions and analyses. Particular attention will be paid to contemporary dance, which often requires from the audience, among other things, knowledge of the theoretical foundations and concepts of individual choreographers.
Passing this course guarantees a more comprehensive knowledge and definition of the specifics of dance art (or more broadly body-based arts) in the context of the development of performing arts during the 20th century. The students will become more thoroughly acquainted with the key dispositifs of 20th-century dance and the choreographic figures that are absolutely integral to the view of dance art also in its current variants. Through their own written work, students will learn the possibilities of analyzing dance performance in its historiographic as well as contemporary variants.
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Prerequisites
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The prerequisite is an interest in dance and body-based arts and a desire to actively participate in the discussion. However, knowledge of important historical milestones and political and social events and transformations during the 20th century is essential for the subject we are focusing on.
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Assessment methods and criteria
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Oral exam, Student performance, Dialog, Seminar Work, Video essay
attendance at lectures, active participation in discussions, preparation of two dance analyses (1. during the semester, 2. at the beginning of the exam period), final oral debate
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Recommended literature
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Aaltonen Sirkku. (2000). Time-sharing on Stage: Drama Translation in Theatre and Society. Multilingual Matters.
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Ando, Clifford, Thomas Habinek and Giulia Sissa. A Cultural History of Ideas in Classical Antiquity. Bloomsbury Academic. 2022.
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Beard, Mary. A History of Ancient Rome. Profile Books. 2015.
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Bremser, Martha. Fifty Contemporary Choreographers. London: Routledge. 2011.
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Dvořáková, Dita (ed.). Tanec, prostor a světlo. Brno: JAMU. 2017.
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Holeňová, Jana et al. Český taneční slovník: tanec, balet, pantomima. Praha: Divadelní ústav. 2001.
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Martindale, Charles a Richard F. Thomas (edd.). Classics and the Uses of Reception. Blackwell Publishing. 2006.
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Petišková, Ladislava -Vangeli, Nina. (2005). Čítanka světové choreografie 20. století. Praha: Konzervatoř Duncan Centre.
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Pomeroy, Arthur J. (ed.). A Companion of Ancient Greece and Rome on Screen. Wiley. 2017.
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Siblík, Emanuel. Tanec mimo nás a v nás: historické poznatky a estetické soudy. Praha: Václav Petr. 1937.
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Vangeli, Nina. Taneční inscenace: přístupové cesty k jejich analýze. 2017.
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Waterfield, Robin. Creators, Conquerors and Citizens: A History of Ancient Greece. Oxford University Press. 2018.
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