DIFA:DSCZ501 Stage design II - Course Information

DSCZ501 Stage design II

Extent and Intensity

1/4/4. 3 credit(s). Type of Completion: zk (examination).

Teacher(s)

doc. Mgr. Jana Preková (lecturer)

Guaranteed by

doc. MgA. Marie Jirásková, Ph.D.
Set and Costume Design Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts
Supplier department: Set and Costume Design Department – Dean’s Office – Theatre Faculty – Janáček Academy of Performing Arts

Timetable

Tue 18:00–19:30 uc_C, Fri 16:15–17:45 uc_C

Prerequisites

Completed course Scenography I Winter Semester and Summer Semester

Course Enrolment Limitations

The course is only offered to the students of the study fields the course is directly associated with.

fields of study / plans the course is directly associated with

• Stage Design (programme DIFA, N-DRAUM)
• Set and Costume Design (programme DIFA, Sce_Sd:N)

Course objectives

The student deals with the theory and practice of staging in theater and non-theatrical spaces in connection with current trends. It explores and provokes new staging solutions. Students devote themselves conceptually to the spatial, acoustic, light, visual and media processing of the topic, organized by post-dramatic and other methods of approach. They process the political-historical, social-performative, aesthetic, emotional, philosophical or material qualities that the topic contains. The text or basic theme is considered in this kind of project as an interchangeable starting point, which, freely associated or reduced, deconstructed and not "responsible" for the final result, is understood as open source. The task also includes an examination of the role of performer and spectator (actor), the principles of self-presentation, distance, sharing, and the possibility of personal or group engagement. It deals with the philosophy of perception, media in the context of media space. The scenographic grasp of the theme is thus transformed into a strategic organization of space without the need for linear formulas or narrative tactics, which, like physical objects, are freed from established relationships and subjected to revision. From critical situations, new narrative processes can emerge, reflecting the students' individual processes. Interviews are conducted in a group as a discussion throughout. The ability to react and formulate immediately is essential for the profession.

Learning outcomes

The student has knowledge in the area of social-artistic and creative-dramaturgical strategies and manipulations, in connection with solving the spatio-temporal organization of a work staged or shared in non-theatrical/theatrical spaces. He has knowledge of new forms of post-dramatic and deconstructive work with text, space, material, object, light and sound. The student recognizes supporting sources and is able to process high-quality materials for the creation of an author's work, is able to critically transform and innovate already given staging procedures. He is able to create concepts that intervene in the public space and performatively touch current paradigms. He uses both conceptual and associative procedures to develop creative projects. He works with procedural methods that open up new relationships of meaning, pushing the boundaries of the field. In his work, he reflects new technological procedures and experiments with their other possibilities. The student is qualified to work in international creative teams as an active member of the conceptual management of the project. He is able to lead and process his artistic projects independently, to create and evaluate new patterns of artistic strategies according to his possibilities. He is qualified to work in the field at a prestigious level. The student can express and formulate complicated questions and topics in a creative and dramatic way. The student can apply and connect knowledge from the independent creation of artistic projects with a creative approach to artistic operation. He understands the functioning of complicated social-artistic projects. He works with the ambivalences of contemporary artistic strategies. He can apply the principles of the theatrical approach to a wider field of interdisciplinary activities.

Syllabus

• 1. What are the new staging options? What is performativity? What does "zero burden of drama" mean? What are the differences and common qualities of visual and dramatic (space) in the artistic strategies of the last 20 years? Who or what formulates the space and under what conditions? Staging, performance and sharing not only in social networks. Subject entry, verification examples) 2. Can we understand the exhibition as a performance? When does social space become dramatic or exhibitionist? What approach do we choose to our personal story, can we even be in conflict with it? 3. What is the authentic and stylized articulation of space? What qualities of intermingling, non-dual tendencies? How important is the question of the degree of transgression? What are the consequences of having borders? The student processes the collected inspirational material, looks for ways to approach the topic in relation to the current context). 4. Searching for regularities in the project's organizational and management concept. What possibilities does the white non-illusive exhibition space offer, what are its archetypal values? What are the possible "game" strategies? (Psychological, symbolic, symbolic, aesthetic social aspects of space in connection with socio-political tendencies) 5. Who and what participates in the creation of a specific "site"? Is it possible not to be a performer when everything is staged? Does the role lead to depersonalization and loss of responsibility, or does it change the relationship to the ego and reference values of the individual and the group? The role of actor and spectator in changing values of drama and visuality? What is beautiful and what is ugly? What is apolitical? School of attention, voyeurism, "being there and observing observation". What are the qualities of a post-truth reality? (Personal story, its floor plan, game plan, structure of relationships, material options) 6. What are our emotions? To what extent do we present them and if not, what is the reason? Image, object, space, body as a story. What relationships define space? (Perception and its social development, possibilities. Discussion of visual strategies in contemporary art. 7. Theme empty, distance, interval, emptying of meaning, loss of direct continuity, change of paradigms, tension. How is the induction field created between subjects and objects? What makes relationships empty? What is the limit of non-dramatic? What is the value of sharing the situation itself? Where, when does the performance start and end? Can we stop performing? Submit roles? In what conditions? Transhumanism and spiritual existence. Investigation of the narrativity of materials, presentation of current possibilities through new technologies, consultation with a technologist-professional, presentation of consequences in film and media art. 8. To what extent is "life a project"? Project univesa. The ethics of performance. We observe the probability of other projects, we flow through projects that leave traces on us, our projects merge with others, disappear. Liquid company. Are we independent of archetypes because they don't belong in our project? To what extent do we solve the shadow issue? (Presentation of previous work - consultation, analysis and verification of the concept) 9. Macro story - Analysis of political and social issues, the Central European way of perceiving democracy and its limits in the current context, the question of otherness, assessment of spatial expressions of these phenomena in the history of nations. An image of the current state and futurological or utopian systems. Micro story versus macro strategy. (Process - examination of the retrospection of given topics in the current state of the project. Searching and refining a new way of narration, dramaturgical and technological issues of the project, defining them) 10. The dramaturgical side of the project, the strategy of movement of the audience / performers along the lines of points of interest. Four types of viewer (exhibition visitor) and what else?. Leading the choreography of the group, the geometry of relationships bringing new levels of perception. (Consulting the current status of the project with a non-participating colleague or opponent) 11. Observation of resulting tendencies and their verification. Conceptual credibility, visual, emotional, symbolic, conceptual grasp of the whole. Defining new narratives, strategies and curatorial modes of staging. Qualities of reduction as part of the creative process. 12. Physical realization, technological concept. Error as a progressive moment of the process. 13. A written report reflecting the concept, process, result of the project and its possible reflection in the future. Image as essay. Adjustment, documentation, portfolio. Final installation. 14. Clauses – oral and written defense of the project. Assessment in the collective. Event.

Literature

required literature
• Leehmann, Hans-Thies: Postdramatické divadlo. Bratislava : Divadelný ústav, 2007. info
• A. Loos, Řeči do prázdna, Orbis, Praha 1929. info

not specified
• Zálešák, Jan, Minulá budoucnost / Past Future, Tranzit.cz, Vysoké učení technické v Brně, ISBN: 978-80-214-4794-3, 2013 (1. vydání)
• Marcel Duchamb: Rozmluvy s Pierrem Cabannem,2017, Nakladatelství Tranzit ,ISBN 978-80-87259-39-9, EAN 9788087259399
• SOWIŃSKA, Agnieszka: Reality From the Bottom Up: Documentary Theatre in Poland. Přel. Benjamin Palof. In Dramaturgy of the Real on the World Stage. CarolMartin (ed.). Palgrave Macmillian 2010
• BOURDIEU, Pierre. Nadvláda mužů. Praha : Karolinum, 2000. ISBN 80-7184-775-5. S. 148.
• Erika Fischer-lichte, The Show and the Gaze of Theatre: A European Perspective (Gesammelte Aufsätze Englisch). University of Iowa Press, 1997, ISBN 0-87745-608-9
• Lipowetski, Gilles: Éra prázdnoty, Prostor, 978-80-7260-190-5 ,4. vydání , 2008
• Kulka J.: Psychologie umění. Praha, SPN 1991. info
• Výrost, Jozef, Slaměník, Ivan: Aplikovaná sociální psychologie I., Člověk a sociální instituce. Praha, Portál 1998 (kapitola 5. Člověk a média: Psychologie masové komunikace). info
• Atkinson, R. : Psychologie, Portál 2003. info
• Hayes, N.: Psychologie týmové práce. Praha: Portál, 2005. info
• Hayesová, N.. Základy sociální psychologie, Portál, Praha 2003. info
• Nakonečný M.: "Sociální psychologie organizace", Praha, Grada Publishing, 2005. info
• Aniela Jaffe, Vzpomínky, myšlenky C.G.Junga,1998, Atlantis, Počet stran: 400, ISBN: 80-7108-178-7
• Le Bon, G. (1994). Psychologie davu. Praha: Kra. info
• Marina Abramovic, MAI – Marina Abramovic 24 ORE Cultura s.r.l, ISBN: 8866481114,

Teaching methods

Lectures, discussions, exercises, seminars, workshops, research, work in public space, adjustment and presentation work, documentation methods work with image, archetype, association, concept, material work with text, space, sound, light, time
Work in a socio-political, media environment.
discussion

project teaching

e-learning

individual consultation

self-study of students

study of literature

* Regular tuition
* Number of contact teaching hours per week: 4
* Number of hours of independent student work per week: 4

Assessment methods

Klasifikovaný zápočet na základě 75% docházky, pravidelné systematická tvůrčí práce, konzultace koncepčního výtvarného řešení na zadané téma a obhájení projektu při klauzurách, dokumentace projektu, portfolio, 3 stránky textu - reflexe.

Language of instruction

Czech

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