1.8. Requisitos mínimos de asistencia a las sesiones presenciales / Minimum attendance requirement

Transcription

1 ASIGNATURA / COURSE TITLE Theatre and Cultural Memory: Modern Re-Visions of Shakespeare Código / Course number Materia / Content area Módulo 2: Los Lenguajes Literarios: Teatro: Theatre and Cultural Memory Tipo / Course type Obligatoria. Compulsory 1.4. Nivel / Course level Graduate Studies: Master 1.5. Curso / Year Semestre / Semester Second Número de créditos / Credit allotment 6 ECTS credits 1.7. Requisitos previos / Prerequisites Graduados con nivel alto de inglés. Graduates with high level of English Requisitos mínimos de asistencia a las sesiones presenciales / Minimum attendance requirement Compulsory attendance, 80% 1 de 8

2 1.9. Datos del equipo docente / Faculty data Dra. M. Antonia Rodríguez Gago Profesora Emérita de Literatura Inglesa Departamento de Filología Inglesa. Facultad de Filosofía y Letras. Office: 206, Módulo VI bis Telf antonia.rodriguez@uam.es (Students hours will be arranged) Objetivos del curso / Course objectives The aim of this course is to trace and analyse the influence of Shakespeare on Modern and Postmodern theatre and, especially, on the playwrights and works included in this program. Which are the contemporary dramatists who have re-written Shakespeare? Why and how? This course will provide a detailed textual and visual analysis of the dramatic works listed in the program, as well as the historical, cultural and philosophical background to the given plays. Through a deep analysis of how cultural memory is transmitted and re-presented in dramatic texts, the students will learn to know the re-visions of Shakespeare s canon throughout history. This is a course on influence and diversity. Students should develop the following skills in the field of English literature, culture, communication, drama and theatre studies: B1. Develop an advanced knowledge of the main theoretical foundations of the disciplines and methodologies relevant to this Masters Degree. B2. Learn to apply the knowledge thus acquired to the solution of new problems in the field. B3. Learn to apply inductive and deductive reasoning to the making of critical judgments on the social and ethical responsibilities of knowledge. B4. Communicate their conclusions, as well as the data that support them and the reasoning behind them, to specialist and non-specialist audiences alike, in clear and unambiguous English. B5. Develop skills that will enable them to continue their studies in a largely autonomous manner. 2 de 8

3 GENERAL SKILLS G1. Increase their knowledge of the links between English literatures and other cultural manifestations. G2. Enhance their knowledge and ability to handle major bibliographical resources and databases in the field. G3. Use the specialized lexicon of literature and criticism correctly in publishable essays. E1. Acquire an adequate understanding of the development of canonical and non-canonical / classical and contemporary forms in their field of study. E2. Be familiar with the different critical traditions hermeneutical, historical, formalist- on both the theoretical and the practical levels, as well as with the most representative and influential traductological theories in our field. E3. Become acquainted with the modes of operation of centres and institutions devoted to the production of knowledge and opinion, particularly those in which students are to undergo practical training. E4. Acquire competence in articulating ideas, both orally and in writing, with academic rigour and according to the rules of essay-writing in English. E7. Develop a firm grasp of the concepts and uses of dialogism, intertextuality, comparativism, liminality and reception in such a way as to be able to deal with issues of transition, exchange and conflict in the literary field. E8. Be able to analyze the impact of translation upon literary developments in the English-speaking world. E9. Be able to weigh the relative merits of different arguments in the defence of a thesis, opinion or idea. T1. Be able to plan their own work and manage work schedules efficiently, and to reflect on their own learning process and evaluate it. T2. Be able to work in a team and to reach consensual judgments and decisions. 3 de 8

4 T3. Become familiar with the bases and development of the scientific method and of academic procedures; be able to locate, synthesize, contextualize and assess information obtained from oral, written and electronic sources and media, as well as to use bibliographical conventions correctly. T4. Accept the ethics of research and assume them as a personal responsibility Contenidos del programa / Course contents Students taking this course should have read beforehand the following Shakespeare s plays: Hamlet, King Lear, Othello, The Tempest and Romeo and Juliet. Course Programme 1. Introduction: The language of Drama. Renaissance and Modern Theatre conventions. Historical, cultural and philosophical introduction to the Shakespeare canon. Questioning the subject. 2. Introduction to Modern and Postmodern Theatre conventions: symbolism, naturalism, expressionism, surrealism and the Absurd. Textual and performance analysis. 3. Samuel Beckett: Heroes and anti-heroes. Drama of situation versus drama of action. Place, Time and Memory. 4. Waiting for Gadot as a postmodern re-vision of Shakespeare s Hamlet. 5. Beckett s Endgame as King Lear. De-constructing subjectivity, agency and meaning. 6. Tom Stoppard: Rosencrantz & Guilderstein are dead. Anti-heroes as protagonists. Corruption and power. De-constructing Hamlet. 7. Edward Bond: Lear. Epic theatre and the dialectics of violence. A political re-vision of King Lear for contemporary audiences. 8. Brian Friel: Translations. Linguistic colonialism and politics in postcolonial drama. The problem of mendacity. 9. Anne Marie Macdonald: Goodnight Desdemona (Good Morning Juliet). Gender Issues in post-modern drama. The female Other. 4 de 8

5 10. Video analysis of selected productions of the plays included in this course, and others related to them Referencias de consulta / Course bibliography - Artaud, Antonin, The Theatre and Its Double, London, Calder and Boyars Ltd., Belsey, Catherine, The Subject of Tragedy: Identity and Difference in Renaissance Drama, London, Routledge, Ben-Zvi, Linda & Angela Moorjani (eds.), Beckett at 100: Revolving it All, Oxford University Press, Brater, Enoch & Ruby Cohn (eds), Around the Abssurd: Essays on Modern and Postmodern Drama, The University of Michigan Press, Brook Peter, The Empty Space, Penguin, Camus A. The Myth of Sisyphus. - Campbell, Julie, There is no more : Cultural Memory in Endgame, in Linda Ben-Zvi (ed) Drawing on Beckett: Portraits, Performances and Cultural Contexts, Tel Aviv, Assaph, Books Series Cohn, Ruby, A Beckett Canon, Ann Arbor, The University of Michigan Press, Connor, Steven, Samuel Beckett: Repetition, Theory and Text, Oxford, Basil Blackwell, Drakakis, John (ed.), Alternative Shakespeares, London, Routledge, Elam, Keir, The Semiotics of theatre and Drama, London, Routledge, Garner, Stanton B. Jr., Bodied Spaces: Phenomenology and Performance in Contemporary Drama, Cornell University Press, Greenblatt, Stephen, Shakespearean Negotiations, Oxford University Press, Learning to course: Aspects of Linguistic Colonialism in the Sixteenth Century, Oxford University Press, de 8

6 - Innes, Christopher, Contemporary British Drama, Cambridge University Press, Nuttall, A.D., Shakespeare the Thinker, New Haven & London, Yale University Press, Jameson, Fredric, Postmodernism, or the Cultural Logic of Late Capitalism, London & New York, Verso, Knowlson, James (ed), The Theatrical Notebooks of Samuel Beckett, London, Faber & Faber (Waiting for Godot 1994; Endgame1992). - Kott, Jan, Shakespeare Our Contemporary, London, Methuen, Lyons, Charles R., Beckett, Shakespeare, and the Making of Theory, in Enoch Brater and Ruby Cohn (eds) Around the Absurd: Essays on Modern and Postmodern Drama, Ann Arbor, The University of Michigan Press, Rodríguez Gago, Antonia, The Embodiment of Memory (and Forgetting) in Beckett s Plays, in Linda Ben-Zvi (ed) Drawing on Beckett: Portraits, Performances, and Cultural Contexts, Tel Aviv, Assaph Books Series, Wells, Stanley, Shakespeare Sex and Love, Oxford University Press, Métodos docentes / Teaching methodology Theoretical and Practical Classes. Presentations and Seminars. Performance analysis based on films and videos. Active participation of the students is required. 6 de 8

7 3. Tiempo de trabajo del estudiante / Student workload Lectures and practical clases Nº de horas 18 hs Percentage Contact hours Tutoríals Seminars 14 hs 12 hs 44 hs No presencial Study hours per week : 9 x 6 Final Project. 54 hs 27 hs 81hs Total working hours : 25 hs x 5 ECTS 125h 4. Métodos de evaluación y porcentaje en la calificación final / Evaluation procedures and weight of components in the final grade Participation in classes and seminars: 40% Final project: 60% 5. Cronograma* / Course calendar Semana Week Contenido Contents Horas presenciales Contact hours Horas no presenciales Independent study time 1 Introduction to Renaissance and Postmodern Drama. Lecture. 2 Samuel Beckett s Waiting for Godot. Lecture and Practical class de 8

8 Semana Week Contenido Contents Horas presenciales Contact hours Horas no presenciales Independent study time 3 Waiting for Godot and 3 9 Hamlet. Lecture and Seminar 4 Endgame and King Lear. 3 9 Lecture and practical class. 5 Tom Stoppard s 3 9 Rosencranz & Guildersteirn are Dead. Lecture and Practical class 6 Edward Bond s Lear. 3 Lecture and Seminar 7 Brien Friel s Translations. Lecture and practical class Anne Marie Macdonald s Goodnight Desdemona 3 (Good Morning Juliet). Lecture and Seminar. 9 Video Sessions and 3 presentations. 10 Seminar Presentations. 3 8 de 8