AJ24258 The Theatres of Václav Havel - II

Filozofická fakulta
podzim 2018
Rozsah
0/2/0. 2 kr. (plus 3 za zk). Doporučované ukončení: zk. Jiná možná ukončení: z.
Vyučující
James Joseph Little, M.Phil., Ph.D. (přednášející)
Garance
doc. PhDr. Jana Chamonikolasová, Ph.D.
Katedra anglistiky a amerikanistiky – Filozofická fakulta
Kontaktní osoba: Tomáš Hanzálek
Dodavatelské pracoviště: Katedra anglistiky a amerikanistiky – Filozofická fakulta
Rozvrh
St 10:00–11:40 G25
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 20 stud.
Momentální stav registrace a zápisu: zapsáno: 0/20, pouze zareg.: 0/20, pouze zareg. s předností (mateřské obory): 0/20
Jiné omezení: Předmět si nemohou zapsat studenti Bc. studia AJ
Mateřské obory/plány
předmět má 18 mateřských oborů, zobrazit
Cíle předmětu
Students on this course will study the dramatic writing of one of Central and Eastern Europe’s most important cultural figures in the context of modern European and American drama. Working from an understanding of the political situation in which Havel wrote, we will read his plays alongside those by playwrights who inspired Havel to start his own theatre career (Ionesco; Beckett), compare his work to that of writers with whom he had important working relationships (Beckett; Stoppard) and analyse his dramatic writing alongside that of his Central and Eastern European antecedents and contemporaries (Brecht, Čapek, Mrożek). In addition, we will investigate parallels between Havel’s work and other modern dramatic representations of self-alienation (Adamov; Pinter). The course will run in two parts: Part I in the spring semester; Part II in the winter semester. Students can take one or both parts.
Výstupy z učení
Our comparative approach will allow us to examine the following questions related to Havel’s dramatic style: Can Havel be included as part of what Martin Esslin termed the ‘theatre of the absurd’? How do Havel’s representations of key intellectual topics of the 20th century such as self-alienation and a perceived estrangement from language compare to those of his theatrical contemporaries? How might we imagine future stagings of Havel’s work?
Osnova
  • Week 1: Re-Introducing the Absurd; re-introducing Havel
  • Week 2: Havel, Audience (1975); Havel, Unveiling (1975); Havel, Protest (1978)
  • Week 3: Tom Stoppard, Rock ‘n’ Roll (2006)
  • Week 4: Samuel Beckett, Catastrophe (1982); Havel, Mistake (1983)
  • Week 5: Havel, Largo Desolato (1984)
  • Week 6: Stoppard, Professional Foul (1977)
  • Week 7: Václav Havel, Temptation (1985)
  • Week 8: Arthur Adamov, Professor Taranne (1953)
  • Week 9: Havel, Redevelopment (1987)
  • Week 10: Harold Pinter, The Dumb Waiter (1960)
  • Week 11: Havel, Leaving (2007)
  • NOTE: There will be no class on 10 October. This class has been rescheduled for Wednesday 14 November (during Reading Week) at the same time (10:00–11:40) in the same classroom (G 25).
Výukové metody
All primary texts will be available in the learning materials section of the IS course page as PDFs. It is crucial that you bring the primary texts (in print or digital form) to class so we can discuss them each week.
Discussion questions will be sent out prior to class. Aside from week 1, each class will feature a short presentation (10–15 minutes) by members of the class.
Metody hodnocení
Students will be assessed on an end-of-term essay of 2,500 words, written according to MLA Style. Active participation in class discussion and the giving of a presentation is required in order to receive a credit for the course.
Vyučovací jazyk
Angličtina
Další komentáře
Studijní materiály
Předmět je zařazen také v obdobích podzim 2019.