Transformations of dramatic forms WH-KU-SP-I-3-PrzeDra
The subject covers the history of European drama from antiquity to the mid-twentieth century in terms of changes in its poetics. Works belonging to the canon of European drama will be analyzed and interpreted. For their implementation, we will discuss the basic definitions and categories in the field of drama theory. We treat the dramatic form as a tool for learning about selected aspects of the culture of a given epoch (theater, philosophy, social thought). We will pay particular attention to the image of social and cultural practices recorded in selected dramas. We will also focus on dramatic conflicts, treated as a form of artistic transgression of social conflicts of the epoch. We will base the methodology of working on the texts on the findings of philology, theatrology, performance and cultural poetics. We choose texts that are representative of a given epoch, aiming to show the changes of the most important dramatic categories: the hero, place, time, action, the represented world, the language of dialogue and dramatic monologue, dramatic paractexts, style and textual composition of the drama. Our analyzes will be accompanied by a reflection on theatrical conventions with which the drama form corresponds, and on the aesthetic changes of the epoch, in which the transformations of dramatic forms fit in.
(in Polish) E-Learning
(in Polish) Grupa przedmiotów ogólnouczenianych
Subject level
Learning outcome code/codes
Type of subject
Course coordinators
Learning outcomes
30 - participation in classes
30 - preparation for classes
15 - preparation for final work
Polish philology:
- knows at an extended level the terminology of the humanities in the field of the history of the theory of European theater and drama, theatrical works, the creative process of a theatrical work;
- knows the ordered general and detailed knowledge of the history of European theater, the history of changes in the forms of European drama, the most important theater doctrines (historical and contemporary), knows the workshop of theater critic, knows the languages of contemporary theater and drama
- knows the contemporary methods of analysis and interpretation of the subject dramatic and theatrical work, the principles of construction and the goals of theatrical review.
- is able to integrate with his scientific workshop research tools in the field of various fields of the humanities in order to analyze and interpret a theatrical work in order to describe its artistic structure and reveal its meanings, social entanglements and place in the historical and cultural process, entering into a discourse, also polemical, with its author.
- correctly identifies and resolves dilemmas resulting from the profession of a historian of theater and drama, theoretician of theater doctrines, theater critic, literary manager in contemporary theater, organizer of theatrical life.
Cultural Studies:
- has in-depth knowledge of the subject specificity of cultural studies, which is able to develop and creatively apply in future professional activity - in relation to knowledge of drama and theater.
- knows at an extended level terminology in the field of humanities in relation to the disciplines of cultural studies and the specializations studied - in this case theater.
- has an orderly and in-depth detailed knowledge of the specializations studied, which allows him to specialize in a chosen field of cultural studies - in this case, theater.
- can, in the original perspective, make a critical analysis and interpretation of various products of Polish and foreign culture, using typical and innovative methods created in the course of independent research activities, in order to determine the meanings
cultural texts, their social impact and their place in the historical and cultural process. He applies these skills to dramatic and theatrical works.
30 - participation in classes
30 - preparation for classes
15 - preparation for final work
Assessment criteria
Graded credit.
Oral exam. Three questions related to the discussed material.
A very good grade is given to a student who is able to situate a selected drama in the history of drama and theater, indicate the era in which the work was created, name the author of the work and the place where it was written (and staged). He can analyze the most important dramatic categories in a selected work: the hero, the hero's action, the state of the world, action, time, space, language, dialogue, monologue, paratexts and compare their construction with the achievements of authors from earlier and later eras. He can recognize and characterize the style in which the drama was written and define the purpose of specific treatments. He can recognize the philosophical and social issues in the drama, as well as interpret the cultural practices reflected in the piece. He knows the most important dramatic genres and can connect them with the transformations of European theater.
A good grade is awarded to a student who is able to situate a selected drama in the history of drama and theater, indicate the era in which the work was created, name the author of the work and the place where it was written (and staged). He can analyze the most important dramatic categories in a selected work: the hero, the hero's action, the state of the world, action, time, space, language, dialogue, monologue, paratexts and compare their construction with the achievements of authors from earlier and later eras. He can recognize and characterize the style in which the drama was written and define the purpose of specific treatments. He knows the most important dramatic genres and can connect them with the transformations of European theater.
A satisfactory grade is awarded to a student who is able to situate the selected drama in the history of drama and theater, indicate the epoch in which the work was created, name the author of the work and the place where it was written (and displayed). He can analyze the most important dramatic categories in a selected work: the hero, the hero's action, the state of the world, action, time, space, language, dialogue, monologue, paratexts. He knows the most important dramatic genres and can connect them with the transformations of European theater.
Practical placement
Internship at the editorial office of the "Teatr" monthly (reviewing performances, editing critical texts, working in the editorial office's archive) or at the Theater Institute in a selected department.
Bibliography
Literatura o charakterze podręcznikowym:
Margot Berthold, "Historia teatru", przekład Danuta Żmij_Zielińska, Warszawa 1980.
Biały, Leszek: wstęp do: P. Calderon de la Barca, „Autos sacramentales”, Wrocław 1997;
Błoński, Jan:
Błoński, Jan: Beckett, „Dialog” 1973, nr 10
Andrzej Dąbrówka, „Teatr i sacrum w średniowieczu”, Warszawa 2001.
Brown, J.R.: Historia teatru, przekład Hanna-Baltyn Karpińska,Warszawa 1999.
Degler, J. red: Problemy teorii dramatu i teatru, Wrocław2003.
Janion, Maria: Absolut, namiętność, tragedia, w: H. Kleist, Dramaty wybrane,Warszawa 2000
Lewański, Julian: Dramat i teatr średniowiecza i renesansu w Polsce, rozdział Oficjum dramatyczne – dramat liturgiczny Nawiedenia Grobu, Warszawa1981.
Kott, Jann: Ibsen na nowo odczytany, „Dialog” 1981 nr 7.
Limon, Jerzy: Między niebem i sceną, rozdział Teatr elżbietański. Trudna sztuka patrzenia uszami, Gdańsk 2003.
Misiorny, H. Współczesny teatr na świecie. Sylwetki pisarzy, 1978.
Raszewski, Zbigniew: Krótka historia teatru polskiego, r. Teatr liturgiczny, Misterium i moralitet. Warszawa 1990.
Nicolle, Allardyce: Dzieje dramatu. Od Ajschylosa do Anouilha, tłumacze różni, Warszawa 1962.
Romilly, Jacquline: Tragedia grecka, przekład Irena Sławińska, Warszawa1994.
Siemek, Andrzej: Molier mniej wesoły, w: Molier, Cztery komedie, Warszawa 2002.
Sinko, Grzegorz: Kryzys języka w dramacie współczesnym, 1977;
Sinko, Grzegorz: Postać sceniczna i jej przemiany w teatrze XX wieku, 1988.
Skwara, Ewa: Wstęp do: Plaut, „Komedie”, Warszawa 2002.
Sprusiński, M.: T.S. Eliot – Dramaturg, „Dialog” 1981, nr 3-4.
Srebrny, Stefan: Komedia attycka w V wieku, w: tegoż: Teatr grecki i polski, Warszawa 1984.
Styan, John. L.: Współczesny dramat w teorii i scenicznej praktyce, przekład Małgorzata Sugiera, Kraków 1995.
Sugiera, Małgorzata: Dramat dwudziestowieczny: próby porządkowania, "Dialog" 1992, nr 6.
Szondi, Peter: Teorie nowoczesnego dramatu. 1890-1950, przekład E. Miziołek, 1976.
Udalska, Eleonora, red: O dramacie. Źródła do dziejów teorii dramatycznych" T. 1-3, Katowice 2001.
o charakterze słownikowym
Kosiński, Dariusz: Słownik postaci dramatycznych, Kraków 1999.
Pavis, Pavice: Słownik terminów teatralnych, przeł. S. Świontek, Wrocław 2002.
Literatura uzupełniająca:
Arystoteles: Poetyka, w: Arystoteles, "Retoryka-Poetyka", przekład Henryk Podbielski, Warszawa 1988.
Additional information
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