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Fiche de cours

Experiments in Theater, 1950 to the Present

Faculté de gestion: Faculté des lettres

Responsable(s): Kevin Curran

Période de validité: 2020 -> 2020

Horaires du cours (Hebdomadaire)

Date Lieu Remarque Thématique Intervenant(s)
2020/2021 : Lundi 14:15-16:00 (Hebdomadaire) Synathlon/2420     Kevin Curran

Séminaire

Semestre de printemps
2 heures par semaine
28 heures par semestre
Hebdomadaire
Langue(s) d'enseignement: anglais
Public: Oui
Crédits: 5.00

Contenu

Almost all the major avant-garde movements of western theater had come to fruition by 1950: the realism of Henrik Ibsen and August Strindberg, the Verfremdungseffekt of Bertolt Brecht, the théâtre de la cruauté of Antonin Artaud. So what was left to do? How did playwrights in the second half of the twentieth century forge paths that were challenging and new? This MA seminar sets out to answer these questions by exploring a selection of English and American plays written between 1950 and our own time, each of which advances a new theatrical idiom or uses established modernist techniques in new ways. Samuel Beckett creates absurd worlds that are at once comic and philosophical; Luis Valdez and Caryl Churchill draw on Brechtian techniques to explore modern questions of politics, identity, and gender; Tony Kushner and Suzan-Lori Parks craft plays that combine realist, symbolist, and mythic features; Anna Deavere-Smith pushes naturalism to its radical extreme with "documentary theater"; Howard Barker writes a minimalist, prop-driven play that examines how objects become enchanted, both in the theater and in our lives; and Sarah Kane, in a play that shocked London audiences with its over-the-top violence, tests the limits of what can be represented on stage. By the end of this course, students will have gained four things: (1) a solid understanding of some of the most important playwrights of the later twentieth century; (2) a sense of both the continuities and disjunctions between the pre- and post-War theatrical avant-garde; (3) an understanding of the flexible relationship between theatrical form and spectator experience; and (4) an affirmation of theater's enduring ability to reinvent itself and challenge audiences-aesthetically, intellectually, and morally.

Bibliographie

Samuel Beckett, Waiting for Godot (Grove) Caryl Churchill, Cloud 9 (TCG) Luis Valdez, Zoot Suit (Arte Publico) Tony Kushner, Angels in America: A Gay Fantasia on National Themes (TCG) Anna Deavere-Smith, Twilight: Los Angeles, 1992 (Anchor) Sarah Kane, Blasted (Methuen) Suzan-Lori Parks, Topdog/Underdog (TCG) Howard Barker, Plays Two (we will read 13 Objects) (Oberon Books) Available at "Books, Books, Books" in Lausanne.

Informations supplémentaires

http://www.unil.ch/angl

UtilisationCode facultéStatutCrédits
Maîtrise universitaire ès Lettres, Programme de spécialisation "Etudes théâtrales" (2013 ->) ›› Théâtres, littératures et cultures - MA-SPEC-ET-02Optionnel5.00
Maîtrise universitaire, Anglais (2015 ->) ›› Discussion sur la base d'un dossier de recherche - MA-ANG-2020Optionnel5.00
Maîtrise universitaire, Anglais (2015 ->) ›› Dissertation sur la base d'un dossier de recherche - MA-ANG-2010Optionnel5.00
Maîtrise universitaire, Anglais (2015 ->) ›› Littérature anglaise - MA-ANG-3010Optionnel5.00
Maîtrise universitaire, Programme de renforcement (2015 ->) ›› Littérature anglaise - MA-RENF-ANGOptionnel5.00
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