This course is designed for advanced students. It focuses on all the skills but principally on oral and writing communication. The goals of the course are to broaden oral expression both individually and within groups as well as writing with grammatical precision. Students should also be able to read about the history of theatre, critical works from different periods, genres, movements, and plays from Spanish theatre. Students will complete a final project by performing a Spanish play previously studied in class.
Research has demonstrated that study abroad can enhance every aspect of language ability. One of the most important general findings of this research is, however, that study abroad is most beneficial for the development of abilities related to social interaction. Students who go abroad can learn to do things with words, such as requesting, apologizing, or offering compliments, and they may also learn to interpret situations calling on such speech acts in ways that local people do…In short, and logically, study abroad has been shown to enhance the aspects of communicative competence that are most difficult to foster in classroom settings (IES Abroad MAP for Language and Intercultural Communication, p. 6).
STUDENT PROFILE:
This course builds upon the skills introduced in Emerging Competent Abroad I. Students who enter this course will have mastered most of the outcomes of the Emerging Independent Abroad level as defined by the IES Abroad MAP for Language and Intercultural Communication. Among other characteristics, these students are able to converse at a rate of speed approaching normal conversation with some errors. They are creative, spontaneous and self-reliant as they solve problems, interpret texts, negotiate, express their opinions, likes and dislikes in the culture. Although they still make errors and experience communication breakdowns, these students tend to resolve these challenges with some guidance. Students who enter this level can already understand a variety of colloquial expressions and slang, and are also able to understand a wider variety of native speakers from different backgrounds.
Students entering this level can succeed in a range of simple university courses designed for native speakers. Before registering, they should consult with the appropriate IES Abroad academic adviser on course selection.
By the end of this course, students will have started to acquire the subtlety of expression and control of complex structures that characterize Competent Abroad learners. However, Emerging Competent Abroad learners have only partial mastery of these structures and quite often resort to simpler and more direct modes of expression, particularly when negotiating linguistically difficult or unfamiliar situations. Emerging Competent Abroad speakers understand local cultural attitudes, values, beliefs, and behavior patterns well enough to make an informed choice about which cultural features they would like to adopt or need to adopt in order to live harmoniously in the local culture. They lack some of the depth of understanding and sophistication of those who have spent more time living and working in the local context.
Prerequisites:
Completion of IES Abroad’s Independent Abroad outcomes from the MAP for Language and Intercultural Communication, determined by placement test.
Attendance policy:
Attendance is mandatory for all IES Abroad classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
Students who are placed in this level should be capable of achieving the outcomes in the Independent Abroad level as defined by the IES Abroad MAP for Language and Intercultural Communication.
By the end of the course, students will be able to achieve some of the outcomes for the Emerging Competent Abroad level as defined by the MAP for Language and Intercultural Communication. The key learning outcomes from the MAP are summarized below:
I. Intercultural Communication
A. Students will begin to recognize and describe key host cultures, subcultures, habits, norms, and behaviors in a variety of settings, and they will be aware of the risk that generalizations can lead to stereotypes.
B. Students will be able to reflect on and discuss the validity of their own cultural beliefs, behaviors, and values by contrasting and comparing them with the host cultures.
C. Students will demonstrate openness toward different beliefs and styles even when they do not agree with them.
D. Students will accept responsibility for their own learning by defining their linguistic goals and demonstrating independence in their exploration of the culture
II. Listening
A. Students will be able to identify a range of social and cultural dialects of the spoken language.
B. Students will be able to understand a variety of native speakers and non-native experts and comprehend an array of moderately complex interactions.
III. Speaking
A. Students will participate reasonably well in most academic and social interactions using when appropriate complex language including slang, colloquial expressions, double meaning, and humor with increasing confidence.
B. Students will be able to make arguments and form opinions on almost any topic of their interest.
IV. Reading
A. Students will be able to read and understand textbooks and academic articles for classes taught in the host language as well as some popular texts for enjoyment.
B. Students will be able to read and understand authentic materials including newspapers, advertisements, brochures, instruction manuals, etc. on abstract topics with some assistance at times.
V. Writing
A. Students will be able to write for certain native audiences and express themselves somewhat clearly and effectively.
B. Students will be able to write essays for classes incorporating aspects of appropriate academic style with some assistance at times.
Method of presentation:
This course focuses principally on the improvement of oral and writing skills, as well as grammatical correction of the written, and reading understanding of the students:
Class participation (homework, quizzes, etc.): Active participation in class discussions and activities is expected, as is attendance to all classes, performances and workshops.
Examinations (Mid-term and Final exam): short and essay answers will be use in both examinations.
Theatre performances (Field-studies): Attendance to four plays in Barcelona is mandatory. Students must turn in a 2-page critical reaction to each play on the dates assigned.
Scene direction (oral and writing): All students must direct a short scene from one play previously selected in class. The director is responsible for a general dramatic concept: choice of actors, acting styles, discussions after the scene, and a writing resume to the instructor.
Final project (Oral presentation): Performance of a short Spanish play previously approved by the instructor. The project also consists of workshops to learn basic acting styles and stage techniques such interpretation, use of space, and so on.
Field study:
Students will attend two theatre plays in Barcelona during the semester
Required work and form of assessment:
Class participation: 15%; Midterm: 15%; Final Exam: 15%; Theatre performances (field studies and written reactions): 15%; Scene direction (oral and writing) 15%; Final project (oral presentation): 25%
content:
Week 1
Presentation of the course
1. Functional: Estructura y técnicas del teatro medieval / Del teatro religioso y la teología medieval (cultura monástica) al teatro profano (cultura popular-juglaresca)
2. Grammatical: Descomposición del latín / Las lenguas vernáculas / el gallego-portugués / Unidad polifónica del drama europeo…
3. Vocabulary: Theatre: Miracles / Misteries / Juegos de escarnio (Mockery Games) / Autos (short religious plays)…
4. Culture: Spanish theatre: Historical, political, and social aspects. Middle Ages and beginning of Renaissance. (Juan del Encina, Fernando de Rojas...) Birth of PRINTING
I.C-D, II.B, III. B, IV. A, V. A
Week 2
1. Functional: De la lírica y el misticismo a lo patético y realista o laudes líricas / las glosas
2. Grammatical:Escriturario litúrgico / Tropos = Diálogos / alegorías / Monólogos y soliloquios
3. Vocabulary: Theatre: Miracles / Misteries / Juegos de escarnio (Mockery Games) / Autos (short religious plays)
4. Culture: Spanish theatre: Historical, political, and social aspects. Middle Ages and beginning of Renaissance. Birth of PRINTING
Quiz 1: Middle-Ages
I.C-D, II.B, III. B, IV. A, V. A
Week 3
1. Functional: Humanismo y Erasmismo / Antropocentrismo: el hombre como centro / Vuelta a los clásicos grecolatinos, sus modelos estéticos y las tres unidades dramáticas: tiempo, lugar y acción
2. Grammatical: Equilibrio y armonía / Regularidad-Simetría. Desplazamiento del latín: las lenguas romances son vehiculares ahora de la expresión culta
3. Vocabulary: Theatre: Popular Comedies, Comedies of Swashbuckling, Religious, Pastoral, Pasos (short dramatic piece)
4. Culture: Spanish theatre: Historical, political, and social aspects (Bartolomé de Torres Naharro, Lope de Rueda…) Renaissance
Quiz 2: Middle-Ages
I.A-D, II.B, III. B, IV. A, V. A
Week 4
1. Functional: Lope y la transgresión de los clásicos: La comedia y puesta en escena de los problemas de la clase media con mayor libertad para los actores
2. Grammatical: Carga poética y expresividad del lenguaje…
3. Vocabulary: Theatre: Popular Comedies, Comedies of Swashbuckling, Religious, Pastoral, Pasos (short dramatic piece)
4. Culture: Spanish theatre: Historical, political, and social aspects. Renaissance Quiz 3: Renaissance
>>PLAY 1 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. B, IV. A-B, V. A-B
Week 5
1. Functional: Pesimismo, desconfianza y desengaño: obras moralizadoras, ascéticas y satíricas
2. Grammatical: Expresiones retorcidas y rebuscadas: Conceptismo y Quevedo (poesía amorosas, satíricas y burlescas, religiosas y morales, políticas y filosóficas) y Culteranismo y Gongorismo (Romances, sonetos, letrillas, fonética expresiva, latinismos y cultismos, hipérbaton)…
3. Vocabulary: Theatre: Corrales (open-air auditoriums), actors, public and censure, power and theater, brief comic plays…
4. Culture: Spanish theatre: Historical, political, and social aspects (Frey Lope Félix de Vega Carpio, Juan Ruiz de Alarcón, Tirso de Molina, Pedro Calderón de la Barca) Baroque -Quiz 4: Renaissance
>>Play 2 in BCN and 2-page critical reaction
Week 6 1. Functional: Decadencia nacional
2. Grammatical: Expresiones retorcidas y rebuscadas: Conceptismo y Quevedo (poesía amorosas, satíricas y burlescas, religiosas y morales, políticas y filosóficas) y Culteranismo y Gongorismo (Romances, sonetos, letrillas, fonética expresiva, latinismos y cultismos, hipérbaton)
3. Vocabulary: Theatre: Corrales (open-air auditoriums), actors, public and censure, power and theater, brief comic plays
4. Culture: Spanish theatre: Historical, political, and social aspects. Baroque
MIDTERM EXAM I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 7
1. Functional: La Ilustración / Importancia de la razón, la libertad y el progreso / Secularización del pensamiento / Valor de la enseñanza / La enciclopedia
2. Grammatical: Genéros poéticos y dramáticos / Prosa concisa e impecable / Poesía anacreóntica / Fábulas / Odas
3. Vocabulary: Theatre: Tragedies, New Comedy, Sainete (comedy sketch)
4. Culture: Spanish theatre: Historical, political, and social aspects. Neoclassicism (Vicente García de la Huerta, Leandro Fernández de Moratín, Ramón de la Cruz…)
>>Play 3 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 8
1. Functional: Vuelta a los clásicos (la tragedia) y sus tres unidades dramáticas: tiempo, lugar y acción
2. Grammatical: Genéros poéticos y dramáticos / Prosa concisa e impecable / Poesía anacreóntica / Fábulas / Odas
3. Vocabulary: Theatre: Tragedies, New Comedy, Sainete (comedy sketch)
4. Culture: Spanish theatre: Historical, political, and social aspects. Neoclassicism
-Quiz 5: Neoclasicism
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 9
1. Functional:Libertad en todos los órdenes (imaginación, senti-miento y movimiento): el hombre y la conquista de su plenitud / Subjetivismo y “Vedetismo” / Valores nacionales / Ruptura con lo clásico / La Naturaleza / El Panteón / Lo exótico / EL DESTINO
2. Grammatical:Falta de estructuras y descuido léxico / Prosa / Métrica variada…
3. Vocabulary:Theatre: Integral Lyricism / The feelings and sensations in the lyrics / Esperpento (Absurdity: distorted descriptions of reality)
4. Culture: Spanish theatre: Historical, political, and social aspects. Romanticism (Ángel Saavedra -duque de Rivas-, José Zorrilla, M. Bretón de los Herreros…) -Quiz 6: Neoclasicism
>>Play 4 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 10
1. Functional:Triunfo del Positivismo / Se pinta la vida como es / Auge de la clase burguesa / De lo tradicional y pai-sajístico a la reacción del hombre en su entorno social / Conflicto de clases
2. Grammatical: Renovación de la lírica / Descuido y formalismo en las estructuras…
3. Vocabulary: Theatre: Vehemence / Moralist and Social Intentions / Esperpento (Absurdity: distorted descriptions of reality)…
4.Culture:Spanish theatre: Historical, political, and social aspects. Realism and Naturalism (Adelardo López de Ayala, José de Echegaray, Joaquín Dicenta, Ramón María del Valle-Inclán…)
-Quiz 7: Romanticism
>>First workshop for final rehearsal: Buero´sHistoria…
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 11
1. Functional: Corrientes estéticas vanguardistas / Rechazo total con el pasado (Realismo, etc.) / El arte como un fin en sí mismo: imaginación fluida y fuera del control de la razón y de la escritura automatizada / Actitud militante / Diversos -ismos
2. Grammatical: Prosa pictórica / Verso musical
3. Vocabulary: Theatre: Commercial theater, Género chico (genre of short plays with music), Humor (absurd and fetched)
4.Culture: Spanish theatre: Historical, political, and social aspects. Contemporary (Jacinto Benavente, Federico García Lorca, Antonio Buero Vallejo, Els Joglars, La Fura…)
-Quiz 8: Realism and Naturalism
DiscoveryIES: Play performance of Buero Vallejo´s Historia…
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 12
1. Functional: Corrientes estéticas vanguardistas / Últimas ten-dencias
2. Grammatical: Prosa pictórica / Verso musical…
3. Vocabulary: Theatre: Commercial theater, Género chico (genre of short plays with music), Humor (absurd and fetched)
4.Culture: Spanish theatre: Historical, political, and social aspects.
FINAL EXAM I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Alonso de Santos, José Luis (2007). Manual de teoría y práctica teatral. Madrid: Castalia.
de Peter Handke, Gaspar (2010). Una puesta en escena:
Huerta Calvo, Javier (2003). Historia del teatro español. Tomo 1: De la Edad Media al Siglo de Oro. Tomo 2: Del siglo XVIII hasta la época actual. Madrid: Gredos.
Ruiz Ramón, Francisco (1978). Estudios sobre teatro español clásico y contemporáneo. Madrid: Fundación Juan March.
Brief Biography of Instructor:
Ataúlfo Portela Fraguela was born in La Coruña (Galicia, Spain) and risen in Barcelona, and has lived in a few places, including several cities in the United States. He earned a MA degree in Spanish at Miami University, Oxford, OH, where he specialized in Spanish Literature and Spanish as a Second Language. He has been teaching Spanish to American students for over 15 years. He also earned a BA in Spanish language and literature at Indiana University.
Spanish Through Theater
This course is designed for advanced students. It focuses on all the skills but principally on oral and writing communication. The goals of the course are to broaden oral expression both individually and within groups as well as writing with grammatical precision. Students should also be able to read about the history of theatre, critical works from different periods, genres, movements, and plays from Spanish theatre. Students will complete a final project by performing a Spanish play previously studied in class.
Research has demonstrated that study abroad can enhance every aspect of language ability. One of the most important general findings of this research is, however, that study abroad is most beneficial for the development of abilities related to social interaction. Students who go abroad can learn to do things with words, such as requesting, apologizing, or offering compliments, and they may also learn to interpret situations calling on such speech acts in ways that local people do…In short, and logically, study abroad has been shown to enhance the aspects of communicative competence that are most difficult to foster in classroom settings (IES Abroad MAP for Language and Intercultural Communication, p. 6).
STUDENT PROFILE:
This course builds upon the skills introduced in Emerging Competent Abroad I. Students who enter this course will have mastered most of the outcomes of the Emerging Independent Abroad level as defined by the IES Abroad MAP for Language and Intercultural Communication. Among other characteristics, these students are able to converse at a rate of speed approaching normal conversation with some errors. They are creative, spontaneous and self-reliant as they solve problems, interpret texts, negotiate, express their opinions, likes and dislikes in the culture. Although they still make errors and experience communication breakdowns, these students tend to resolve these challenges with some guidance. Students who enter this level can already understand a variety of colloquial expressions and slang, and are also able to understand a wider variety of native speakers from different backgrounds.
Students entering this level can succeed in a range of simple university courses designed for native speakers. Before registering, they should consult with the appropriate IES Abroad academic adviser on course selection.
By the end of this course, students will have started to acquire the subtlety of expression and control of complex structures that characterize Competent Abroad learners. However, Emerging Competent Abroad learners have only partial mastery of these structures and quite often resort to simpler and more direct modes of expression, particularly when negotiating linguistically difficult or unfamiliar situations. Emerging Competent Abroad speakers understand local cultural attitudes, values, beliefs, and behavior patterns well enough to make an informed choice about which cultural features they would like to adopt or need to adopt in order to live harmoniously in the local culture. They lack some of the depth of understanding and sophistication of those who have spent more time living and working in the local context.
Completion of IES Abroad’s Independent Abroad outcomes from the MAP for Language and Intercultural Communication, determined by placement test.
Attendance is mandatory for all IES Abroad classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Students who are placed in this level should be capable of achieving the outcomes in the Independent Abroad level as defined by the IES Abroad MAP for Language and Intercultural Communication.
By the end of the course, students will be able to achieve some of the outcomes for the Emerging Competent Abroad level as defined by the MAP for Language and Intercultural Communication. The key learning outcomes from the MAP are summarized below:
I. Intercultural Communication
A. Students will begin to recognize and describe key host cultures, subcultures, habits, norms, and behaviors in a variety of settings, and they will be aware of the risk that generalizations can lead to stereotypes.
B. Students will be able to reflect on and discuss the validity of their own cultural beliefs, behaviors, and values by contrasting and comparing them with the host cultures.
C. Students will demonstrate openness toward different beliefs and styles even when they do not agree with them.
D. Students will accept responsibility for their own learning by defining their linguistic goals and demonstrating independence in their exploration of the culture
II. Listening
A. Students will be able to identify a range of social and cultural dialects of the spoken language.
B. Students will be able to understand a variety of native speakers and non-native experts and comprehend an array of moderately complex interactions.
III. Speaking
A. Students will participate reasonably well in most academic and social interactions using when appropriate complex language including slang, colloquial expressions, double meaning, and humor with increasing confidence.
B. Students will be able to make arguments and form opinions on almost any topic of their interest.
IV. Reading
A. Students will be able to read and understand textbooks and academic articles for classes taught in the host language as well as some popular texts for enjoyment.
B. Students will be able to read and understand authentic materials including newspapers, advertisements, brochures, instruction manuals, etc. on abstract topics with some assistance at times.
V. Writing
A. Students will be able to write for certain native audiences and express themselves somewhat clearly and effectively.
B. Students will be able to write essays for classes incorporating aspects of appropriate academic style with some assistance at times.
This course focuses principally on the improvement of oral and writing skills, as well as grammatical correction of the written, and reading understanding of the students:
Class participation (homework, quizzes, etc.): Active participation in class discussions and activities is expected, as is attendance to all classes, performances and workshops.
Examinations (Mid-term and Final exam): short and essay answers will be use in both examinations.
Theatre performances (Field-studies): Attendance to four plays in Barcelona is mandatory. Students must turn in a 2-page critical reaction to each play on the dates assigned.
Scene direction (oral and writing): All students must direct a short scene from one play previously selected in class. The director is responsible for a general dramatic concept: choice of actors, acting styles, discussions after the scene, and a writing resume to the instructor.
Final project (Oral presentation): Performance of a short Spanish play previously approved by the instructor. The project also consists of workshops to learn basic acting styles and stage techniques such interpretation, use of space, and so on.
Students will attend two theatre plays in Barcelona during the semester
Class participation: 15%; Midterm: 15%; Final Exam: 15%; Theatre performances (field studies and written reactions): 15%; Scene direction (oral and writing) 15%; Final project (oral presentation): 25%
Week 1
Presentation of the course
1. Functional: Estructura y técnicas del teatro medieval / Del teatro religioso y la teología medieval (cultura monástica) al teatro profano (cultura popular-juglaresca)
2. Grammatical: Descomposición del latín / Las lenguas vernáculas / el gallego-portugués / Unidad polifónica del drama europeo…
3. Vocabulary: Theatre: Miracles / Misteries / Juegos de escarnio (Mockery Games) / Autos (short religious plays)…
4. Culture: Spanish theatre: Historical, political, and social aspects. Middle Ages and beginning of Renaissance. (Juan del Encina, Fernando de Rojas...) Birth of PRINTING
I.C-D, II.B, III. B, IV. A, V. A
Week 2
1. Functional: De la lírica y el misticismo a lo patético y realista o laudes líricas / las glosas
2. Grammatical:Escriturario litúrgico / Tropos = Diálogos / alegorías / Monólogos y soliloquios
3. Vocabulary: Theatre: Miracles / Misteries / Juegos de escarnio (Mockery Games) / Autos (short religious plays)
4. Culture: Spanish theatre: Historical, political, and social aspects. Middle Ages and beginning of Renaissance. Birth of PRINTING
Quiz 1: Middle-Ages
I.C-D, II.B, III. B, IV. A, V. A
Week 3
1. Functional: Humanismo y Erasmismo / Antropocentrismo: el hombre como centro / Vuelta a los clásicos grecolatinos, sus modelos estéticos y las tres unidades dramáticas: tiempo, lugar y acción
2. Grammatical: Equilibrio y armonía / Regularidad-Simetría. Desplazamiento del latín: las lenguas romances son vehiculares ahora de la expresión culta
3. Vocabulary: Theatre: Popular Comedies, Comedies of Swashbuckling, Religious, Pastoral, Pasos (short dramatic piece)
4. Culture: Spanish theatre: Historical, political, and social aspects (Bartolomé de Torres Naharro, Lope de Rueda…) Renaissance
Quiz 2: Middle-Ages
I.A-D, II.B, III. B, IV. A, V. A
Week 4
1. Functional: Lope y la transgresión de los clásicos: La comedia y puesta en escena de los problemas de la clase media con mayor libertad para los actores
2. Grammatical: Carga poética y expresividad del lenguaje…
3. Vocabulary: Theatre: Popular Comedies, Comedies of Swashbuckling, Religious, Pastoral, Pasos (short dramatic piece)
4. Culture: Spanish theatre: Historical, political, and social aspects. Renaissance Quiz 3: Renaissance
>>PLAY 1 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. B, IV. A-B, V. A-B
Week 5
1. Functional: Pesimismo, desconfianza y desengaño: obras moralizadoras, ascéticas y satíricas
2. Grammatical: Expresiones retorcidas y rebuscadas: Conceptismo y Quevedo (poesía amorosas, satíricas y burlescas, religiosas y morales, políticas y filosóficas) y Culteranismo y Gongorismo (Romances, sonetos, letrillas, fonética expresiva, latinismos y cultismos, hipérbaton)…
3. Vocabulary: Theatre: Corrales (open-air auditoriums), actors, public and censure, power and theater, brief comic plays…
4. Culture: Spanish theatre: Historical, political, and social aspects (Frey Lope Félix de Vega Carpio, Juan Ruiz de Alarcón, Tirso de Molina, Pedro Calderón de la Barca) Baroque -Quiz 4: Renaissance
>>Play 2 in BCN and 2-page critical reaction
Week 6 1. Functional: Decadencia nacional
2. Grammatical: Expresiones retorcidas y rebuscadas: Conceptismo y Quevedo (poesía amorosas, satíricas y burlescas, religiosas y morales, políticas y filosóficas) y Culteranismo y Gongorismo (Romances, sonetos, letrillas, fonética expresiva, latinismos y cultismos, hipérbaton)
3. Vocabulary: Theatre: Corrales (open-air auditoriums), actors, public and censure, power and theater, brief comic plays
4. Culture: Spanish theatre: Historical, political, and social aspects. Baroque
MIDTERM EXAM I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 7
1. Functional: La Ilustración / Importancia de la razón, la libertad y el progreso / Secularización del pensamiento / Valor de la enseñanza / La enciclopedia
2. Grammatical: Genéros poéticos y dramáticos / Prosa concisa e impecable / Poesía anacreóntica / Fábulas / Odas
3. Vocabulary: Theatre: Tragedies, New Comedy, Sainete (comedy sketch)
4. Culture: Spanish theatre: Historical, political, and social aspects. Neoclassicism (Vicente García de la Huerta, Leandro Fernández de Moratín, Ramón de la Cruz…)
>>Play 3 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 8
1. Functional: Vuelta a los clásicos (la tragedia) y sus tres unidades dramáticas: tiempo, lugar y acción
2. Grammatical: Genéros poéticos y dramáticos / Prosa concisa e impecable / Poesía anacreóntica / Fábulas / Odas
3. Vocabulary: Theatre: Tragedies, New Comedy, Sainete (comedy sketch)
4. Culture: Spanish theatre: Historical, political, and social aspects. Neoclassicism
-Quiz 5: Neoclasicism
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 9
1. Functional:Libertad en todos los órdenes (imaginación, senti-miento y movimiento): el hombre y la conquista de su plenitud / Subjetivismo y “Vedetismo” / Valores nacionales / Ruptura con lo clásico / La Naturaleza / El Panteón / Lo exótico / EL DESTINO
2. Grammatical:Falta de estructuras y descuido léxico / Prosa / Métrica variada…
3. Vocabulary:Theatre: Integral Lyricism / The feelings and sensations in the lyrics / Esperpento (Absurdity: distorted descriptions of reality)
4. Culture: Spanish theatre: Historical, political, and social aspects. Romanticism (Ángel Saavedra -duque de Rivas-, José Zorrilla, M. Bretón de los Herreros…) -Quiz 6: Neoclasicism
>>Play 4 in BCN and 2-page critical reaction
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 10
1. Functional:Triunfo del Positivismo / Se pinta la vida como es / Auge de la clase burguesa / De lo tradicional y pai-sajístico a la reacción del hombre en su entorno social / Conflicto de clases
2. Grammatical: Renovación de la lírica / Descuido y formalismo en las estructuras…
3. Vocabulary: Theatre: Vehemence / Moralist and Social Intentions / Esperpento (Absurdity: distorted descriptions of reality)…
4.Culture:Spanish theatre: Historical, political, and social aspects. Realism and Naturalism (Adelardo López de Ayala, José de Echegaray, Joaquín Dicenta, Ramón María del Valle-Inclán…)
-Quiz 7: Romanticism
>>First workshop for final rehearsal: Buero´s Historia…
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 11
1. Functional: Corrientes estéticas vanguardistas / Rechazo total con el pasado (Realismo, etc.) / El arte como un fin en sí mismo: imaginación fluida y fuera del control de la razón y de la escritura automatizada / Actitud militante / Diversos -ismos
2. Grammatical: Prosa pictórica / Verso musical
3. Vocabulary: Theatre: Commercial theater, Género chico (genre of short plays with music), Humor (absurd and fetched)
4.Culture: Spanish theatre: Historical, political, and social aspects. Contemporary (Jacinto Benavente, Federico García Lorca, Antonio Buero Vallejo, Els Joglars, La Fura…)
-Quiz 8: Realism and Naturalism
DiscoveryIES: Play performance of Buero Vallejo´s Historia…
I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Week 12
1. Functional: Corrientes estéticas vanguardistas / Últimas ten-dencias
2. Grammatical: Prosa pictórica / Verso musical…
3. Vocabulary: Theatre: Commercial theater, Género chico (genre of short plays with music), Humor (absurd and fetched)
4.Culture: Spanish theatre: Historical, political, and social aspects.
FINAL EXAM I.A-D, II.A-B, III. A-B, IV. A-B, V. A-B
Benavente, Jacinto. Los intereses creados. PDF. http://nemefish.sytes.net/Biblioteca_Virtual%5CBENAVENT.PDf
Molina, Tirso de. El Burlador de Sevilla y Convidado de piedra. PDF. (Some fragments) http://blogs.ua.es/marialuisamerlo/files/2013/01/pdf-el-burlador-de-sevilla.pdf
Rojas, Fernando de. La Celestina. PDF. (Some fragments) http://aix1.uottawa.ca/~jmruano/celestina.moderna.pdf
Torres Naharro, Bartolomé de. Comedia Himenea. PDF. (Some fragments) http://www.biblioteca-antologica.org/wp-content/uploads/2009/09/TORRES-NAHARRO-Himenea.pdf
Encina Juan del. Auto del Repelón. PDF. (Some fragments) http://freeditorial.com/es/books/auto-de-repelon
Valle-Inclán, Ramón María del. Luces de Bohemia. PDF. http://www.profedelengua.es/Valle-Inclan__Ramon_Maria_-_Luces_de_Bohemia.pdf
Columbi lapsus. Els juglars. URL. http://artesescenicas.uclm.es/archivos_subidos/companias/143/Columbi%20Lapsus%20de%20Els%20Joglars.%20Albert%20Boadella%20en%20los%20sotanos%20del%20Vaticano.%20Santiago%20Fondevila.%20El%20Publico,%2075.%20Dic.%201989.%20pp.4-6.pdf
Olympic Man Movement. Els juglars. URL. http://www.elsjoglars.com/produccions/prensa_olympicman.pdf
Sol, solet. Els comediants. URL. http://www.google.es/url?sa=t&rct=j&q=&esrc=s&source=web&cd=21&ved=0CCwQFjAAOBQ&url=http%3A%2F%2Fdialnet.unirioja.es%2Fdescarga%2Farticulo%2F3736362.pdf&ei=8mesUciMNMXE7Abs8YGoBQ&usg=AFQjCNG1-uFnzttheBflTtcXDKSy1fwpDw&bvm=bv.47244034,d.ZG4
Suz/o/Suz. La fura dels baus. PDF. http://pendientedemigracion.ucm.es/info/per3/profesores/abernardez/pdfs/fura.pdf http://www.torralbadecalatrava.es/upload/banner/20111005_diptico.pdf
Zorrilla, José. Don Juan Tenorio. PDF. http://books.google.es/books?id=2bH0y-z3xVYC&printsec=frontcover&hl=es&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
Teoría: desde el origen hasta nuestros días. http://www.nicolacomunale.com/teoria.escenica/teorhistescenic/renacimiento.html#vi.
Alonso de Santos, José Luis (2007). Manual de teoría y práctica teatral. Madrid: Castalia.
de Peter Handke, Gaspar (2010). Una puesta en escena:
Huerta Calvo, Javier (2003). Historia del teatro español. Tomo 1: De la Edad Media al Siglo de Oro. Tomo 2: Del siglo XVIII hasta la época actual. Madrid: Gredos.
Ruiz Ramón, Francisco (1978). Estudios sobre teatro español clásico y contemporáneo. Madrid: Fundación Juan March.
Ataúlfo Portela Fraguela was born in La Coruña (Galicia, Spain) and risen in Barcelona, and has lived in a few places, including several cities in the United States. He earned a MA degree in Spanish at Miami University, Oxford, OH, where he specialized in Spanish Literature and Spanish as a Second Language. He has been teaching Spanish to American students for over 15 years. He also earned a BA in Spanish language and literature at Indiana University.