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Understanding Theatre (session 1)

Duksung Women's University June 2011 (s.1)
by

Inmaculada Pineda

on 10 July 2011

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Transcript of Understanding Theatre (session 1)

UNDERSTANDING THEATRE University of Málaga English Department Undergraduate Courses:
Contemporary English
Technical English for Architecture
Intro. to Linguistic Sciences in English Graduate Courses:
Oral Presentations in English Research on:
Contemporary US Drama by Black Women Inmaculada Pineda-Hernández, PhD.
Summer 2011 Understanding Theatre: 15 sessions
3 parts (5 sess. each) Plays and Playwrights
Directing, Acting, Producing
Film Adaptation Structure Interactive
Participatory
Dynamic
Collaborative Assessment:
Staged Readings
Quizzes
Projects (2 out of 3)
Class participation Excerpts from:
Midsummer's Night Dream
The Merchant of Venice
Henry IV
Romeo and Juliet
Funnyhouse of a Negro
Cat on a Hot Tin Roof Dramaturgy Task 1: Introduce yourself Task 2: Find someone who... Task 3: Introduce someone else Task 4: Brainstorm High culture
entertainment
education
social interaction
language
story
acting
design
reality/fiction
immediacy
technical devices Dramatic Theory Sociological Interaction . . Find someone who... 1.- can design costumes for a play 2.- can design the set for a play 4.- can imitate Seven (Korean singer) 3.- can recite this quote and act melancholic To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; (Hamlet, Act III, sc I) 5.- has read a Shakespeare play before 6.- perform any type of artistic activity related with theatre: ballet, opera, dance, mime, etc what is a dramaturg? Education? Enterteinment? Research? Front stage
Back stage
Off stage task 5 Create a dialogue for an everyday situation in which you illustrate the 3 stages pace
verisimilitude
accuracy
language
symbolism text performance paralinguistic devices metalinguistic devices paralinguistic devices vocal quality pitch tempo articulation intonation silences To be, or not to be, that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And by opposing end them. To die—to sleep,
No more; (Hamlet, Act III, sc I) metalinguistic devices gestures body language props structure
plot
characters
moral/ purpose Project 1:
(deadline 28th June) Watch the following six versions of Hamlet's soliloquy and analyse two of them: describe their metalinguistic and paralinguistic devices. In your opinion which one is the most convincing and why? (2-3 pages) 1) Lawrence Olivier (1948)
2) Richard Burton (1964)
3) Mel Gibson (1990)
4) Kevin Kline (1990)
5) Kenneth Brannagh (1996)
6) David Tennant (2010) Read the following excerpts:
Midsummer Night's Dream
Merchant of Venice
(deadline 24th June) Homework: Summary: Dramaturgy (theatre and sociology) text and performance text: structure, plot, characters, ... performance: paralinguistic & metalinguistic devices pace, verisimilitude accuracy, language symbolism music Thank you!
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