Syllabus For Whom the Theater Tolls? Art community and s - 20732 Last update 07-05-2015 HU Credits: 2 Degree/Cycle: 1st degree (Bachelor) Responsible Department: Theatre Studies Academic year: 1 Semester: 1st Semester Teaching Languages: Hebrew Campus: Mt. Scopus Course/Module Coordinator: Nira Moser Coordinator Email: niramoser@gmail.com Coordinator Office Hours: By appoitment Teaching Staff: page 1 / 5
Course/Module description: As its name suggests, the course will examine the toll of the theatre in the community. The name resonates the title of Ernest Hemingways famous novel For Whom the Bell Tolls, which itself resonates the English poet and cleric John Donne's (1571-1631) Meditation 17. Donne wrote: No man is an island never send to know for whom the bell tolls, it tolls for thee. In this spirit, the course will study the reciprocal influences between performing arts in the community and their impact, if any, on social reality. The course will examine different community performing groups, located in Jerusalem and its vicinity. This case study investigation will be accompanied by critical textual readings and class discussions dealing with body, identity and multiculturalism. Through this we will try to identify the voices and ideas that the groups articulate both aesthetically and politically. The course will incorporate meetings with performing art groups in the community, outside of the University campus. Course/Module aims: - Exposure to an aspect of social activism embedded within the community theatre that articulates voices from below. - Familiarization with performing art groups in different communities in Jerusalem and its vicinity. Decoding of the socio-theatrical mechanism they express. - Experiencing theatre exercises, practical for a community theatre session Learning outcomes - On successful completion of this module, students should be able to: - To weave different practices of community theatre into a social narrative and to extract a socio-theatrical code embedded within a theatrical text of community theatre. - To recognize an aspect of social activism embedded within practices of performing arts in the community as part and parcel of reality change motivation. Attendance requirements(%): Attendance and participation in 80% of the lessons Teaching arrangement and method of instruction: - Lecture, viewing and discussion. - Tours and meetings with performing-arts-communities outside the university setting. - Practical theatre exercises in light of the examination of the theoretical issues. page 2 / 5
Course/Module Content: a. Examples of theatre and social change, worldwide. Augusto Boals Theatre of the Oppressed (Boal, 1931-2009). b. What do we mean when we say Community Theatre? Examples of Community Theatre in Israel, in light of socio-cultural narratives articulated in different communities. c. The connection between theatre with people with disabilities and the law for Equal Rights for People with Disabilities (1998). d. Acquaintance with various communities in Jerusalem and its vicinity, in which community theatre currently exists, from multicultural, social and aesthetic perspectives. e. Acquiring practical tools for working with a community theatre group, participating in theatre exercises for non-actors in the community. Writing an outline of one session of a theatre workshop in the community or/ and creating a scene for a community performance. Required Reading: "Chapter 6: First Experiences with invisible Theatre" in: Augusto Boal, Games for Actors and Non-Actors [Second Edition], Trans.: Adrian Jackson (London and New York: Routledge, 2003), pp. 277-287. לב-אלג'ם, שולמית, "מכה שלא כתובה בתורה: נשים מוכות בתיאטרון הקהילתי", תיאוריה וביקורת,(2005) 27 עמ'.145-168 מילר, לואיס, "תיאטרון וקהילה: 'אוהל יוסף'", במה (1975), 65-64 עמ' 69-77. Schechner, Richard, Performance Studies: An introduction (London and New York, 2002), pp.151-156. Sandahl, Carri, "Ahhh Freak Out! Metaphors of Disability and Femaleness in Performance" Theatre Topics 9(1) (1999), pp. 11-30. Additional Reading Material: אוריין, דן, תיאטרון בחברה (רעננה: בית ההוצאה לאור של האוניברסיטה הפתוחה, 2008). אלפי, יוסי תיאטרון וקהילה (ירושלים: הסוכנות היהודית, 1986). באטלר, ג'ודית, "צרות של מגדר (קטע)", תרגום: דפנה רז, מכאן (יולי 2001), עמ' 202-219. באטלר, ג'ודית, קוויר באופן ביקורתי, תרגום: דפנה רז (תל-אביב: רסלינג, 2007). ברסלר, שלומית, עדיף להיות צרודה מאשר אילמת (חיפה: פרדס הוצאה לאור, 2006). הררי דרור, מופע העצמי: פרפורמנס ארט וייצוג העצמי (תל-אביב: רסלינג, 2014). יונה, יוסי ושנהב, יהודה, רב-תרבותיות מהי? על הפוליטיקה של השונות בישראל (תל-אביב: בבל, 2005). לב-אלג'ם, שולמית, "של מי המחזה הזה?", תיאטרון (2002), 9 עמ' 26-30. לב-אלג'ם, שולמית, ניצבים בקידמת הבמה: מחאה, חגיגה וחתרנות בתאטרון הקהילתי (חיפה: הוצאת הספרים של אוניברסיטת חיפה ופרדס הוצאה לאור, 2010). לוי, שמעון, שעת ביקור: תיאטרון קהילתי בית שמש (תל-אביב: אופיר, 1992). page 3 / 5
סדן, אלישבע, עבודה קהילתית: שיטות לשינוי חברתי (תל-אביב: הקיבוץ המאוחד, 2009. פריירה, פאולו, פדגוגיה של מדוכאים, תרגום: כרמית גיא (ירושלים: מפרש, 1981). רוזמרין, מירי, "הקדמה בין חזרה לשכתוב: ג'ודית באטלר והפרפורמטיביות של הזהות" בתוך: באטלר, ג'ודית, קוויר באופן ביקורתי (תל-אביב: רסלינג, 2007), עמ' 7-20. רוטלינגר-ריינר, רינה, עזות שבקדושה: תיאטרון נשים דתיות בישראל (ירושלים: כרמל, 2007). Barba, Eugenio and Savarese, Nicola, A Dictionary of Theatre Anthropology: The secret art of the performer (New York and London: Routledge, 1991). Barker, Clive, Theater Games (New York: Drama Book Specialists, 1977). Boal, Augusto, Games for Actors and Non-Actors [Second Edition], Trans.: Adrian Jackson (London and New York: Routledge, 2003). Boal, Augusto, Theatre of the Oppressed, Trans.: Charles A. and Maria-Odilia Leal McBride and Emily Fryer (London: Pluto Press, 1979 [2008]). Boal, Augusto, Legeslative Theatre (Londeon: Routledge, 1998). Butler, Judith, Gender Trouble: Feminism and the subversion of identity (London and New York: Routledge, 1990). Hagen, Uta, Respect for Acting, (New York: Macmillan, 1973). Hall, Stuart, The Spectacle of the `Other` in: Representation: Cultural representations and signifying practices, Stuart Hall, ed. (London: Sage, 1997), pp. 223-279. Kuppers, Petra and Robertson, Gwen, eds., The Community Performance Reader (London and New York: Routledge, 2007). ציון ללא) Lev-Aladgem, Shulamith, Theatre in Co-Communities: Articulatint power מקום הוצאה,,Macmillan Palgrave.(2010 Pavis, Patrice, Dictionary of the Theatre: Terms, concepts, and analysis, Trans.: Christine Shantz, (Toronto and Buffalo: University of Toronto Press, 1998). Pavis, Patrice, The intercultural performance reader, (London: Routledge, 1996). Sandahl, Carrie and Auslander, Philip, Bodies in Commotion: Disability & Performance (Ann Arbor: University of Michigan Press, 2005). Schechner, Richard, Performance Studies: An introduction (London and New York, 2002). Spolin, Viola, Theater Games For The Classroom: A teacher's handbook (Illinois: Northwestern University Prss, 1986). Spolin, Viola, Improvisation for the Theater [Third edition] (Illinois: Northwestern University Prss, 1999). Van Erven, Eugene, Community Theatre: Global perspectives (London and New York: Routledge, 2001). Course/Module evaluation: End of year written/oral examination 0 % Presentation 0 % Participation in Tutorials 20 % Project work 50 % Assignments 30 % Reports 0 % page 4 / 5
Powered by TCPDF (www.tcpdf.org) Research project 0 % Quizzes 0 % Other 0 % Additional information: The course will incorporate meetings outside the University campus with performing art groups in the community. page 5 / 5