Literature and Theatricality: Multicultural Studies

Code:

LTEC01

Acronym:

LTEC

Keywords
Classification	Keyword
CNAEF	Humanities

Instance: 2019/2020 - SP (of 11-11-2019 to 22-11-2019)

Active?	Yes
Responsible unit:	Department of Anglo-American Studies
Course/CS Responsible:	Literature and Theatricality: Multicultural Studies

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
CL_LTEC	0	Study Plan	1	-		25	25

Teaching language

Portuguese

Objectives

- Investigate the possibility of finding a theatricality in the writings of these authors and, when seeking to make them more dynamic, try to understand their actors and authors from different points of view.
- Find utopian (or dystopian) looks in these authors hidden in their allegories and, by bringing them to the dynamics, reflect on the scope of these utopias.
- Problematize the search for new languages – or multilanguages - that can accurately point out the new problems posed by globalization and new human currents.
- Investigate multiculturalism and their discourses in reality, not only the written speeches, but the speeches of the dynamics, of the movement, whether of the subject or a group or a community. What, in fact, are they looking for?

Learning outcomes and competences

- Recognize the theatricalization performed by other languages as an important tool for reflection on social and individual dynamics.
- Recognize the dramatization performed by other languages as an important tool for reflection on the social and individual dynamics.
- Being able to reflect on multiculturalism as a positive and enriching element. The permeability between cultures, as well as between languages, as the central axis from which to observe and analyse the new social dynamics.
- To know the basic elements of the theatre and how they work, at the individual, interactive and group level, and to know how to identify theatricality in other cultural environments.
- Know, even if basically, how to build small theatrical exercises, aiming to reflect on situations from different points of view, whether individual or cultural.
- Deepen the contact with these important authors and their rich possibilities.

Working method

Presencial

Program

- Basic principles for theatricality.
- Theatricality in the theatre. Characteristic elements.
- The theatrical speech. Theatrical writing. Scenic writing.
- The speech of the actor, the stage manager and the spectator / reader.
- Analysis of fictional texts where the theatrical element is structuring for the writing language itself.
- Relationship between fictional theatrical text and dramaturgy.
- Joint reading of texts by Kafka, Lispector and Tavares. The possibility of accepting some other suggestion opens up, but the three chosen authors have distinct theatricalities and for this reason they can be quite representative of the relationship between literary fiction and theater.- Survey of the points where theatricality assumes a foundation for the development of writing.
- Possibilities for enhancing (staging) exemplary excerpt of this process in the works of these authors.
- Analysis of the discoveries made from the staging. What new meanings? What unwritten voices are heard when the characters move and gesticulate?
- Proposal to rehearse a short excerpt of some text chosen for presentation, with everyone working as actors / researchers on the scene.
- Preparation of a reflection with the public about what was presented, an account of the course's trajectory and sharing its results in order to establish a dialogue, where the uneven character of the participants is also a mirror of multiculturalism on which the course will propose poring over its 12 meetings.

Mandatory literature

KAFKA, Franz; O Processo, São Paulo: Companhia das Letras, 1997
-; Na Colônia Penal, São Paulo: Comapnhia das Letras, 2006
LISPECTOR, Clarice; A hora da estrela, Lisboa: ed. Relogio dagua, 2012
TAVARES, Gonçalo; A Máquina de Joseph Walser, São Paulo: ed. Martins Fontes
BRECHT, Bertolt; Teatro dialético, Rio de Janeiro: ed. Civilização brasileira, 1967
CARLSON, Marvin; Teorias do teatro, São Paulo: editora UNESP, 1995
LEHMANN, Hans-Thies; Teatro pós-dramático, São Paulo: Cosacnaify, 2007
PAVIS, Patrice (org); The intercultural performance reader, Londres: ed. Routledge, 1996

Complementary Bibliography

BAUMAN, Zygmunt; Tempos Líquidos, Rio de Janeiro: Jorge Zahar, 2007
BHARUCHA, Rustom; Thinking through theatre in an age of globalization, Londres: Wesleyan University press, 2000
KAFKA, Franz; A Metamorfose, São Paulo: Companhia das Letras, 2006
LISPECTOS, Clarice; A Via Crucis do Corpo, Rio de Janeiro: ed. Rocco, 1984
RIBEIRO, Almir; Gordon Craig, a pedagogia do Übermarionette, São Paulo: Giostri, 2016
FOUCAULT, Michel; Vigiar e Punir, Petrópolis: Vozes, 1983
TAVARES, Gonçalo M. ; Atlas do Corpo e da Imaginação, Alfragide: editorial Caminho, 2013
-; Sobre a utopia, alguns apontamentos, Revista Público , 2016 (www.publico.pt/culturaipsilon/noticia/sobre-a-utopia-alguns-apontamentos-1719338)

Teaching methods and learning activities

The entire structure of the course is planned so that the theoretical reflection is accompanied by a dynamic reflection, where the two strands have the function of feedback of the contributions from each. The result of this study should be a small scenic presentation, quite simple, but that is the trigger for a later debate table where these points are demonstrated and reflected with the audience, in the form of a live debate, and for that purpose it is inevitable that those that make the journey to its end are imbued with this experience of knowledge that the course proposes.

 

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	100,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Frequência das aulas	25,00
Total:	25,00

Eligibility for exams

75% attendance

Calculation formula of final grade

Not applicable.