Practical exercises with elements of conversation and independently prepared student presentations, which are the use of analytical tools to build the basis of their own productions.

Analysis and interpretation of drama texts.

Knowledge of drama history and theory, basic literary theory, and art history.

The goal of this course is to introduce students to the basics of ancient, modern and contemporary European drama and European theatrical phenomena in the context of cultural, social and political phenomena.

The intention is - on the one hand - to bring out those elements of consciousness of the structures of dramaturgic, literary and film texts, which influence the pronunciation/interpretation and context of the analyzed text. On the other hand, drama/theatre/film are analyzed as an expression of the cultural consciousness of their own times. To know the mutual conditions of these spaces and creative processes. To learn about the codification of creative manifestos.

To analyze them, contemporary drama texts in the field of drama literature, film literature are used for this purpose, which enable interpretation and reinterpretation. These analyses are then translated into practice. Heuristic methods are used in class, expanding the intertextuality of the tasks.

Scope of individual topics:

1. Basic heuristic techniques, diagnosing and expanding creative and research skills.

2. the theory of dramaturgical techniques - the conceptual foundation of dramaturgical principles (using selected examples)

Implications: content-form based on selected literary examples and own work. 4.

Categories of "non-scenicity", "adequacy", "communicativeness", "intertextuality" as categories of building the world presented in works intended for the stage. 5.

Theories of drama and theater - on the examples of classical, realistic, metaphysical, anti-classical, post-dramatic drama, etc.

The subjectivization of theatrical space.

7. Space as the undermining of the subject.

8. space as affirmation of articulation and undermining of meaning.

9. Kitsch - camp as aesthetic, epistemological and ontological categories of stage works.

10. Categories of irony as attempts to create scenic discourse.

11. dream, illusion, oneirism as categories of the presented worlds. 12.

12. game as a category of building meta-form and meta-language of theater.

Theatrical syncretism, pars pro toto, scenic synecdoche or struggle with scenic verisimilitude.

Critical art of didaskalium interpretation.

Categories of "politicization", "objectification", "manipulation" of art as ethical categories.

Two unexcused absences from classes are allowed.

The condition to get a credit for the semester is an active attendance in class and giving 1 presentation which is an independent application of dramaturgic tools to scenography tasks.

A credit for the semester is required in order to take the exam.

The effect of the classes is the students' broadened knowledge of the basics of ancient, modern and contemporary European drama and European theatrical phenomena in the context of cultural, social and political phenomena and canonical works of film art.

1. canon of obligatory dramas for students of stage design

2. H. Arendt, The Human Condition (frgm)

3. K.H. Bohrer, The Absolute Present (ch. The horror of the phenomenon and the anxiety of expectation. Greek tragedy as modern epiphany; Repetition of myth as aesthetics of horror)

4. M. Foucault, The History of Madness in the Age of Classicism (Foreword)

5. W.Pleśniarowicz, Spaces of Disillusion

6. F.W.J.Schelling, Philosophy of Art, fragments.

7. S. Kierkegaard, On irony

8 W. Szturc, 8 sketches on irony

9. M. Heidegger, On the source of a work of art

10 W. Tatarkiewicz, The History of Six Concepts

11. D. Mamet, Truth and falsehood

1. literary, dramatic, and stagecraft examples self-selected by students for analysis

2. Baudelaire, Painter of Modern Life,

3. G. Debord, Society of the Spectacle

4. C. Wodziński, The Holy Idiot

5. A. Bielik, The Spirit of the Surface

6. Ch. Taylor, The Ethics of Authenticity

7. R. P. Droit, 101 philosophical games

8 J. Brodski, The praise of boredom