Analysis of dramatic texts, introduction to the author and study of dramatic theory in preparation for theater visits. To become acquainted with the main trends of theater, students read play scripts and handouts focusing on the specific content and historical significance; view, discuss, compare, and contrast varying video productions of the scripts; and then visit live performances in local and regional theaters. Site visits to regional theaters, discussions with directors and actors included.
Learning outcomes:
Students will have an in depth understanding of the main trends in theater as well as the historical significance of particular plays. Students will also be capable of comparing and contrasting different video productions to the original scripts.
Method of presentation:
Lectures and discussion, oral reports by the students
Required work and form of assessment:
Mid-term (20%), final exam (25%), term paper (25%), oral report (20%), participation (10%).
content:
(Please note that the theater ticket office does not release exact dates for some of the theater productions. Thus, premier dates on syllabus may vary!)
1. Büchner, Leonce and Lena, Berliner Ensemble (video), Robert Wilson as an example of a modern transformation of “old” material. Also, for a comparison to Robert Wilson, clips from “Salzburger Festspiele” performances from 1976 (video).
2. Thomas Mann, Buddenbrooks
3. Aischylos, Orestie
4. Intensive seminar (5-6 hours): Presentations focusing on important drama and theater theories
5. Cervantes, Don Quijote, Theater im Marienbad
6. Heinrich von Kleist, Michael Kohlhaas
7. Zeller, Gespräche mit Astronauten
8. Excursion to a theater in Basel or Zurich (location and performance will be announced during the semester)
9. Discussion with “theater creators”
10. Behind the scenes: Tour of the Freiburg theater
11. Internal workshop: Creation of a stage
12. Performance of self-developed skits on the last day of class
Required readings:
Georg Büchner. Leonce und Lena, Stuttgart, Philipp Reclam jun., 2004.
Außerdem die Primärliteratur zu den Stücken, die wir auf der Bühne sehen werden.
Recommended readings:
Klotz, Volker. Geschlossene und offene Form im Drama. München: Hanser, 1969.
Szondi, Peter. Theorie des modernen Dramas (1880-1959). Frankfurt: Suhrkamp, 1963.
Mattenklott, Gert (ed), Szondi, Peter. Die Theorie des bürgerlichen Trauerspiel im 18. Jahrhundert. Frankfurt: Suhrkamp, 1974.
Grotowski, Jerzy. Für ein armes Theater. Zürich: Orell Füssli, 1968.
Esslin, Martin: Das Theater des Absurden, von Beckett bis Pinter. Reinbeck bei Hamburg: rororo, 1985. Brauneck, Manfred. Theater im 20. Jahrhundert. Reinbeck bei Hamburg: rororo, 1989.
Neis, Edgar. Struktur und Thematik des klassischen und modernen Dramas. Paderborn: Schöningh, 1984.
Gelferth, Hans-Dieter (ed.). Wie interpretiert man ein Drama? Stuttgart: Philipp Recalm, 1992.
Piscator, Erwin. Zeittheater ‚Das Politische Theater’ und weitere Schriften von 1915 bis 1966. Reinbeck bei
Hamburg: rororo 1986.
Brook, Peter. Der leere Raum. Berlin: Alexander, 1983.
Lehmann, Hans-Thies. Postdramatisches Theater. Frankfurt am Main: Verlag der Autoren, 1999. Selected texts from “Theater Heute”:
Das Verhältnis zwischen Kunst und Leben
Regeln der Kritik
Die Kunst der Bühne
Brief Biography of Instructor:
Peter Oidtmann earned a Ph.D. in Sociology and Anthropology. He is currently a higher-ranking teacher at a high school and is doing dramaturgical work and music and text selections for a new ballet at the Zurich Opera and choreographer Heinz Spoerli. He has periodically taught seminars and lectures on drama and theatre at IES Freiburg for the last 20 years.
Analysis of dramatic texts, introduction to the author and study of dramatic theory in preparation for theater visits. To become acquainted with the main trends of theater, students read play scripts and handouts focusing on the specific content and historical significance; view, discuss, compare, and contrast varying video productions of the scripts; and then visit live performances in local and regional theaters. Site visits to regional theaters, discussions with directors and actors included.
Students will have an in depth understanding of the main trends in theater as well as the historical significance of particular plays. Students will also be capable of comparing and contrasting different video productions to the original scripts.
Lectures and discussion, oral reports by the students
Mid-term (20%), final exam (25%), term paper (25%), oral report (20%), participation (10%).
(Please note that the theater ticket office does not release exact dates for some of the theater productions. Thus, premier dates on syllabus may vary!)
1. Büchner, Leonce and Lena, Berliner Ensemble (video), Robert Wilson as an example of a modern transformation of “old” material. Also, for a comparison to Robert Wilson, clips from “Salzburger Festspiele” performances from 1976 (video).
2. Thomas Mann, Buddenbrooks
3. Aischylos, Orestie
4. Intensive seminar (5-6 hours): Presentations focusing on important drama and theater theories
5. Cervantes, Don Quijote, Theater im Marienbad
6. Heinrich von Kleist, Michael Kohlhaas
7. Zeller, Gespräche mit Astronauten
8. Excursion to a theater in Basel or Zurich (location and performance will be announced during the semester)
9. Discussion with “theater creators”
10. Behind the scenes: Tour of the Freiburg theater
11. Internal workshop: Creation of a stage
12. Performance of self-developed skits on the last day of class
Georg Büchner. Leonce und Lena, Stuttgart, Philipp Reclam jun., 2004.
Außerdem die Primärliteratur zu den Stücken, die wir auf der Bühne sehen werden.
Klotz, Volker. Geschlossene und offene Form im Drama. München: Hanser, 1969.
Szondi, Peter. Theorie des modernen Dramas (1880-1959). Frankfurt: Suhrkamp, 1963.
Mattenklott, Gert (ed), Szondi, Peter. Die Theorie des bürgerlichen Trauerspiel im 18. Jahrhundert. Frankfurt: Suhrkamp, 1974.
Grotowski, Jerzy. Für ein armes Theater. Zürich: Orell Füssli, 1968.
Esslin, Martin: Das Theater des Absurden, von Beckett bis Pinter. Reinbeck bei Hamburg: rororo, 1985. Brauneck, Manfred. Theater im 20. Jahrhundert. Reinbeck bei Hamburg: rororo, 1989.
Neis, Edgar. Struktur und Thematik des klassischen und modernen Dramas. Paderborn: Schöningh, 1984.
Gelferth, Hans-Dieter (ed.). Wie interpretiert man ein Drama? Stuttgart: Philipp Recalm, 1992.
Piscator, Erwin. Zeittheater ‚Das Politische Theater’ und weitere Schriften von 1915 bis 1966. Reinbeck bei
Hamburg: rororo 1986.
Brook, Peter. Der leere Raum. Berlin: Alexander, 1983.
Lehmann, Hans-Thies. Postdramatisches Theater. Frankfurt am Main: Verlag der Autoren, 1999. Selected texts from “Theater Heute”:
Das Verhältnis zwischen Kunst und Leben
Regeln der Kritik
Die Kunst der Bühne
Peter Oidtmann earned a Ph.D. in Sociology and Anthropology. He is currently a higher-ranking teacher at a high school and is doing dramaturgical work and music and text selections for a new ballet at the Zurich Opera and choreographer Heinz Spoerli. He has periodically taught seminars and lectures on drama and theatre at IES Freiburg for the last 20 years.