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課程名稱 |
表演研究
PERFORMANCE STUDIES: THEORIES & PRACTICES IN ARTAUD, BROOK, GROTOWSKI & |
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開課學期 |
97-1 |
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授課對象 |
文學院 戲劇學研究所 |
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授課教師 |
蘇子中 |
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課號 |
Thea7221 |
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課程識別碼 |
129 M1190 |
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班次 |
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學分 |
3 |
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全/半年 |
半年 |
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必/選修 |
選修 |
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上課時間 |
星期二6,7,8(13:20~16:20) |
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上課地點 |
總一館208 |
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備註 |
本課程中文授課,使用英文教科書。或於210教室上課。
限碩士班以上 且 限本系所學生(含輔系、雙修生)
總人數上限：15人 |
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課程簡介影片 |
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核心能力關聯 |
核心能力與課程規劃關聯圖 |
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課程大綱
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為確保您我的權利,請尊重智慧財產權及不得非法影印
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課程概述 |
This introductory course of performance studies provides a lively and accessible overview of certain aspects of performance for beginning graduate students in performance studies, theatre, performing arts, and literary and cultural studies. It examines performance theories and practices in Antonin Artaud, Peter Brook, Jerzy Grotowski, and Eugenio Barba. It is a seminar focusing especially on studying the four theatre classics by the four afore-mentioned theatre artists respectively, which include: 1. Artaud's The Theatre and Its Double; 2. Brook's The Empty Space; 3. Grotowski's Towards A Poor Theatre; 4. Barba's The Paper Canoe. |
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課程目標 |
This course is intended to provide a guided close reading of the above four theatre classics. Most important of all, the main goal of the course is not only to introduce the core theories and practices of the four theatre artists which in some way characterize the field of performance studies but also to stimulate students’ interests in performance studies and help those who have already involved in performance studies to advance their knowledge about ritual theatre, theatre anthropology, and global and intercultural performance. |
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課程要求 |
1. Thoughtful, active, and responsible participation and citizenship, including oral discussion, preparation for class.
2. Five 20 minute in-class oral reports giving background to the materials being discussed. Please present leading themes in the works in seven summary-response-position papers (two to four pages) according to the following format as a way to define the context and the issues of the reading.
a. Basic Argument
b. Methodology
c. Main Points and key terms of the work
d. Critiques
e. Works Consulted
The grading will give considerable weight to clarity of organization and to the quality of the oral delivery. Prepare a copy of your presentation paper for every auditor in the classroom, including the instructor.
3. An 8-10 page term paper, edited and polished, will be due on Jan. 22.
a. The term paper should be a thoughtful critical discussion arising out of the readings for the course. Normally it will be an investigation of one of the works or authors assigned.
b. Typical approaches would explain the development of the author’s ideas, identify problems in understanding the author and show how to resolve them productively, demonstrate unacknowledged underlying concerns, and show how they aid in seeing what the author is after, or discuss how one author responds to an earlier author or group.
c. Hand in a prospectus on Dec. 18, 2008: a one-page description and a detailed one-page outline of the project or of the problem, of your preliminary ideas or of your plan of attack.
4. All papers must be typed, double-spaced 12pt Times New Roman. On the top left corner of the first page please include
a. Chinese name
b. Student ID number
c. The order number of paper
d. The critical text you are dealing with
e. A specific paper topic
5. Papers should be turned in in due time. No late papers are allowed.
6. Paper grades will be determined by content and mechanics.
a. Content (50 %): main ideas, argument, supporting evidence, diction, development, etc.
b. Mechanics (50 %): grammar, spelling, punctuation, format, etc.
7. Plagiarism is the ground for failure in this course. It will not be tolerated. |
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預期每週課後學習時數 |
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Office Hours |
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指定閱讀 |
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參考書目 |
Required Texts
Artaud, Antonin. The Theater and Its Double. New York: Grove Weidenfeld, 1958.
Bial, Henry, ed. The Performance Studies Reader. London: Routledge, 2004,
Brook, Peter. The Empty Space. New York: Atheneum, 1968.
Grotowski, Jerzy. Towards a Poor Theatre. Ed. Eugenio Barba. Preface Peter Brook. New York: Routledge, 2002.
Barba, Eugenio. The Paper Canoe. Trans. Richard Fowler. London: Routledge, 2005.
Recommended Texts
Andreasen, John and Annelis Kuhlmann, eds. Odin Teatret 2000. Aarhus UP, 2000.
Barber, Stephen. Antonin Artaud: Blows and Boms. London: Faber & Faber, 1993.
Brecht, Bertolt. Brecht on Theatre: The Development of an Aesthetic. Ed. & trans. John Willett. London: Methuen, 1964.
Drain, Richard, ed. Twentieth-Century Theatre: A Sourcebook. London: Routledge, 1995.
Innes, Christopher. Avant Garde Theatre 1892-1992. London: Routledge, 1993.
Marranca, Bonnie and Gautam Dasgupta, eds. Interculturalism and Performance: Writings from PAJ. New York: PAJ Publications, 1991.
Pavis, Patrice, ed. The Intercultural Performance Reader. London: Routledge, 1996.
Schechner, Richard. Performance Studies: An Introduction. London: Routledge, 2002.
---. Performance Theory. New York: Routledge, 1988.
---. Between Theater and Anthropology. Philadelphia: U of Pennsylvania P, 1985.
Schechner, Richard and Willa Appel, eds. By Means of Performance: Intercultural Studies of Theatre and Ritual. New York: Cambridge UP, 1991.
Scheer, Edward, ed. Antonin Artaud: A Critical Reader. London: Routledge, 2004.
Slowiak, James and Jairo Cuesta. Jerzy Grotowski. London: Routledge, 2007.
Sontag, Susan, ed. & introds. Antonin Artaud: Selected Writings. Berkeley: U of California P, 1976.
Wiles, Timothy J. The Theater Event: Modern Theories of Performance. Chicago: The U of Chicago P, 1980
翁托南۰阿鐸。《劇場及其複象》。劉俐譯注。台北：聯經，2003。
彼得．布魯克。《空的空間》。台北：PAR表演藝術，2008。
鍾明德。《從貧窮劇場到藝乘：薪傳葛羅托斯》。台北：書林，2007。
鍾明德。《神聖的藝術－葛托斯基的創作方法研究》。台北：揚智，2001。
鍾明德。《從馬哈/薩德到馬哈台北》。台北：揚智，1988。
朱靜美。《意象劇場：非常亞陶》。台北：揚智，1999。
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評量方式
(僅供參考) |
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No. |
項目 |
百分比 |
說明 |
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1. |
Five oral reports & outlines (10 % each) |
50% |
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2. |
One research term paper (8-10 pages) |
50% |
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週次 |
日期 |
單元主題 |
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第1週 |
9/16 |
General Introduction |
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第2週 |
9/23 |
Read The Performance Studies Reader
“Introduction” pp. 1-4
Part I “What is Performance Studies?” pp. 5-55
1. “Performance Studies: the Broad Spectrum Approach”
Richard Schechner, pp. 7-9
2. “Disciplines of the Text: Sites of Performance”
W. B. Worthen, pp. 10-25
3. “The Liminal-norm” Jon Mckenzie, pp. 26-31
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第3週 |
9/30 |
Read The Performance Studies Reader
1. “Professing Performances: Disciplinary Genealogies”
Shannon Jackson, pp. 32-42
2. “Performance Studies”
Barbara Kirshenblatt-Gimblett, pp. 43-55
PowerPoint Presentations:
New York U’s Department of Performance Studies
Northwestern U’s Department of Performance Studies
U of California, Berkeley, Department of Theater, Dance, and Performance Studies
University of Paris VIII”s Ethnoscenology
U of Sydney’s Department of Performance Studies
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第4週 |
10/07 |
Antonin Artaud’s The Theater and Its Double
Preface: The Theater and Culture pp. 7-14
Chapter I “The Theater and the Plague” pp. 15-32.
Chapter II “Metaphysics and the Mise en Scene pp. 33-47
Chapter III “The Alchemical Theater” pp. 48-52
Screening & Discussing The True Story of Artaud The Momo
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第5週 |
10/14 |
Antonin Artaud’s The Theater and Its Double
Chapter IV “On the Balinese Theater” pp. 53-67
Chapter V “Oriental and Occidental Theater” pp. 68-73
Chapter VI “No More Masterpieces” pp. 74-83.
Chapter VII “The Theater and Cruelty” pp. 84-88.
Chapter VIII “The Theater of Cruelty (First Manifesto) pp. 89-100.
Screening & Discussing The True Story of Artaud The Momo
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第6週 |
10/21 |
Antonin Artaud’s The Theater and Its Double
Chapter IX “Letters on Cruelty” pp. 101-104.
Chapter X “Letters on Language” pp. 105-121.
Chapter XI “The Theater of Cruelty” (Second Manifesto) pp.122-132.
Chapter XII “An Affective Athleticism” pp. 133-141.
Chapter XIII “Two Notes” pp. 142-146.
“In Memoriam Antonin Artaud” Maurice Saillet, pp. 147-159
Screening & Discussing
My Life and Times with Antonin Artaud
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第7週 |
10/28 |
Screening & Discussing
魏瑛娟 《血如噴泉》(The Spurt of Blood)
Listening & Discussing
Artaud’s “to have done with the judgement of god”
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第8週 |
11/04 |
Peter Brook’s The Empty Space
1. The Deadly Theatre, pp. 9-41
2. The Holy Theatare, pp. 42-64
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第9週 |
11/11 |
Peter Brook’s The Empty Space
1. The Rough Theatre, pp. 65-97
2. The Immediate Theatre, pp. 98-141 |
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第10週 |
11/18 |
Reading & Discussing
Peter Weiss’s The Persecution and Assassination of
Jean-Paul Marat As Performed by the Inmates of the Asylum of Charenton Under the Direction of The Marquis de Sade (or Marat Sade)
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第11週 |
11/25 |
Screening & Discussing
Peter Brook’s Marat/Sade
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第12週 |
12/02 |
Jerzy Grotowski’s Towards a Poor Theatre.
“Towards a Poor Theatre” pp. 15-26
“The Theatre’s New Testament” pp. 27-54
“Theatre is an Encounter” pp. 55-60
“Akropolis: Treatment of the Text” pp. 61-78
“Dr. Faustus: Textual Montage” pp. 79-96
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第13週 |
12/09 |
Jerzy Grotowski’s Towards a Poor Theatre.
“The Constant Prince” pp. 97-116
“He Wasn’t Entirely Himself” pp. 117-126
“Methodical Exploration” pp. 127-132
“Actor’s Training (1959-1962)” pp. 133-174
“Actor’s Training (1966)” pp. 175-204
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第14週 |
12/16 |
Jerzy Grotowski’s Towards a Poor Theatre.
“The Actor’s Technique” pp. 205-224
“Skara Speech” pp. 225-242
“American Encounter” pp. 243-254
Screening & Discussing
鍾明德《馬哈/台北》
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第15週 |
12/23 |
Eugenio Barba’s The Paper Canoe
1. The Genesis of Theatre Anthropology, pp. 1-8
2. Definition, pp. 9-12
3. Recurring Principles, pp. 13-35
4. Notes for the Perplexed (and for Myself), pp. 36-49
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第16週 |
12/30 |
Eugenio Barba’s The Paper Canoe
1. Energy, or rather, the Thought, pp. 50-80
2. The Dilated Body, pp. 81-100
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第17週 |
1/06 |
Eugenio Barba’s The Paper Canoe
1. A Theatre not made of Stones and Bricks, 101-134
2. Canoes, Butterflies and a Horse, pp. 135-172
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第18週 |
1/13 |
Final Paper Due and Presentation |
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