KONWERSATORIUM, PhD ROK I I III, 2014-2015

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KONWERSATORIUM, PhD ROK I i III, 2014-2015
COURSE OUTLINE, part 1
Łukasz Borowiec: [email protected]
REQUIREMENTS: We read, discuss, sometimes watch and listen on the issues concerning new
developments in English drama and theatre.
Final mark: based on your preparation and contribution. At the end of the semester we will
have a brief one-to-one conversation on the covered topics.
THE PLANNED READING is in the table below. All the files will be sent to you as pdfs.
no.
1
Texts etc. for discussion
Introduction to the course; general discussion
THEMED SLOT no. 1: Radio drama
2
http://www.savoyhill.co.uk/playingbyear/index.html - section 1: What Is the
Radio Play?
Stanton, William. “The Invisible Theatre of Radio Drama.” Critical Quarterly 46.4
(2004): 94-107.
Mucha, Aleksandra. “Glosy do ontologii spektaklu radiowego.” Acta Universitatis
Lodziensis, Folia Literaria Polonica 13 (2010): 489-503.
Balázs, Béla, Russell Stockman. “Radio Drama.” October 115 (2006): 47-48.
3
Samuel Beckett and Radio Drama:
Beckett’s Radio Plays Collection
O'Leary, Joseph S. “Beckett and Radio.” Journal of Irish Studies 23 (2008): 3-11.
Jesson, James. “’White World. Not a Sound:’ Beckett’s Radioactive Text in Embers.”
Texas Studies in Literature and Language 51.1 (2009): 47-65.
4
Harold Pinter and Radio Drama:
H. Pinter’s Radio Plays Selection
Miller, Mary Jane. “Pinter As a Radio Dramatist.” Modern Drama 17.4 (1974): 403–
12.
Esslin, Martin. “Harold Pinter’s Work for Radio.” Harold Pinter. Critical Approaches.
Steven H. Gale, ed. London and Toronto: Associated University Press, 1986: 47-63.
Tom Stoppard and Radio Drama:
T. Stoppard’s Radio Plays Selection
“Aardman animates trailer to Radio 2 Pink Floyd play”:
http://www.bbc.com/news/entertainment-arts-23768213.
Read your own selection of reviews of Darkside
Guralnick, Elissa S. “Artist Descending a Staircase: Stoppard Captures the Radio
Station-And Duchamp.” PMLA 105. 2 (1990): 286-300.
Scott Robinson, Gabriele. “Plays without Plot: The Theatre of Tom Stoppard.”
Educational Theatre Journal 29.1 (1977): 37-48.
5
6
7
Approaches to Radio Drama:
Crisell, Andrew, from Understanding Radio. London: Routledge, 1994.
Beck, Alan, see: http://www.savoyhill.co.uk/technique/takingasceneapart.html
http://www.savoyhill.co.uk/pointoflistening/pointoflistening.htm
http://www.savoyhill.co.uk/cognitive/index.html
Radio Drama and New Media:
Moreira da Silva, Nair. “Radio and the Web: BBC Radio as a New Model of Radio
Communication.” Madalena Oliveira, Pedro Portela, Luís António Santos, eds. Radio
Evolution. Conference Proceedings. University of Minho Braga: Communication and
Society Research Centre, 2012: 413-420.
Dann, Lance. “Only Half the Story: Radio Drama, Online Audio and Transmedia
Storytelling.” Madalena Oliveira, Pedro Portela, Luís António Santos, eds. Radio
Evolution. Conference Proceedings. University of Minho Braga: Communication and
Society Research Centre, 2012: 345-356.
Geuy, Bernadette. “A Case for Pod-drama. Portable Theater in Your Ear.” Stanisław
Jędrzejewski, ed., The Medium with Promising Future. Radio in Central and Eastern
European Countries, Lublin: Wydawnictwo KUL, 2007: 149-163.
THEMED SLOT no. 2: Theatrical translation
8
HOMEWORK for meeting 12: Beckett, Samuel. Rough for Radio II & Szkic radiowy.
HOMEWORK for meeting 14: Pinter, Harold. The Homecoming. & Powrót do domu.
Windle, Kevin. “The Translation of Drama.” Kirsten Malmkjær and Kevin Windle.
The Oxford Handbook of Translation Studies. Oxford Handbooks Online. OUP, 2013.
Boehm, Philip. “Some Pitfalls of Translating Drama” Translation Review 62.1
(2001). 27-29.
Dąbrowski, Andrzej Józef. “Najtrudniej jest przetłumaczyć pauzę.” Nowy Dziennik
30 Aug 2013. http://www.dziennik.com/przeglad-polski/artykul/najtrudniej-jestprzetlumaczyc-pauze
9
Zatlin, Phyllis. “Practical Approaches to Translating Theatre.” Theatrical
Translation and Film Adaptation: A Practitioner's View. Multilingual Matters, 2005.
79-114.
Interview with Ranjit Bolt. Recorded on: 06-Jan-2011.
Balcerzan, Edward. “Strategie tłumaczy.” Edward Balcerzan. Literatura z literatury
(stategie tłumaczy). Katowice: “Śląsk” sp. z o.o., 1997. 107-129.
10 Barańczak, Stanisław. “Od Shakespeare’a do Szekspira.” Stanisław Barańczak.
Ocalone w tłumaczeniu. Kraków: Wydawnictwo a5, 2004. 191-215.
Szymańska, Katarzyna. “(Prze)czytać Szekspira. Krótka historia jednego fragmentu
Makbeta.” Piotr Fast, Anna Car, Wacław M. Osadnik, eds. Historyczne oblicza
przekładu. Katowice: “Śląsk” sp. z o.o., 2011. 193-216.
Kozak, Jolanta. Przekład literacki jako metafora. Między logos a lexis. Warszawa:
Wydawnictwo PWN, 2009. 146-159.
11 Bigliazzi, Silvia. “Performing Intertextuality in Translating Rewrites.” Silvia
Bigliazzi, Paola Ambrosi, Peter Kofler, eds. Theatre Translation in Performance.
New York, London: Routledge; 2013. 77-96.
Adamowicz-Pośpiech, Agnieszka. “Historyczne uwarunkowania intertekstualności
w przekładzie (o polskich wersjach Smugi cienia).” Piotr Fast, Anna Car, i Wacław
M. Osadnik, eds. Historyczne oblicza przekładu. Katowice: Wydawnictwo Naukowe
„Śląsk”, 2011. 171-192.
Zarek, Józef. “Krytyka przekładu – w labiryncie intertekstualności.” Piotr Fast, ed.
Krytyka przekładu w systemie wiedzy o literaturze. Katowice: Wydawnictwo
Naukowe „Śląsk”, 1999. 105-114.
http://ninateka.pl/film/hamlet-stanislawa-wyspianskiego-teatr-jerzygrzegorzewski
12 Beckett and translation:
Brater, Enoch. “Beckett, ‘Thou Art Translated.’” Silvia Bigliazzi, Paola Ambrosi,
Peter Kofler, eds. Theatre Translation in Performance. New York, London:
Routledge; 2013. 130-139.
Beckett, Samuel. Dramaty. Wybór. Transl. and ed. Antoni Libera. Wrocław:
Ossolineum, 1995. (stąd tekst polski Skeczu radiowego oraz uwagi tłumacza).
Beckett, Samuel. Rough for Radio II. The Collected Shorter Plays, New York. [ebook], 1984.
Recordings of Rough for Radio II in Polish and English.
Ladouceur, Louise. “Exploring a Bilingual Esthetics through Translation in
Performance.” Silvia Bigliazzi, Paola Ambrosi, Peter Kofler, eds. Theatre
Translation in Performance. New York, London: Routledge; 2013. 111-129.
13 Rocks, Siobhán. “The Theatre Sign Language Interpreter and the Competing Visual
Narrative: the Translation and Interpretation of Theatrical Texts into British Sign
Language.” Baines, Roger, Christina Marinetti, Perteghella, Manuela, eds. Staging
and Performing Translation. Text and Theatre Practice. New York - Basingstoke:
Palgrave Macmillan, 2011. 72-86.
Benshalom, Yotam. “The Impotents: Conflictual Significance Imposed on the
Creation and Reception of an Arabic-to-Hebrew Translation for the Stage.” Baines,
Roger, Christina Marinetti, Perteghella, Manuela, eds. Staging and Performing
Translation. Text and Theatre Practice. New York - Basingstoke: Palgrave
Macmillan, 2011. 215-229.
Kaźmierczak, Marta. “Tłumacz wzięty - tłumacz wielki? O przekładach teatralnych
Agnieszki Lubomiry Piotrowskiej.” Piort Fast, Wacław M. Osadnik, eds. Wielcy
tłumacze. Katowice: Wydawnictwo Naukowe „Śląsk”, 2012. 241–263.
Bednarczyk, Anna. “Krytyka tłumaczenia – dwa modele badawcze.” Piotr Fast, ed.
Krytyka przekładu w systemie wiedzy o literaturze. Katowice: Wydawnictwo
Naukowe „Śląsk”, 1999. 65-80.
14 Pinter, Harold. The Homecoming & Powrót do domu.
Poważa-Kurko, Barbara. Tłumaczenia i recepcja sztuk Harolda Pintera w Polsce w
latach 1960-1990. (nieopublikowana praca doktorska). 2002. “Wstęp” oraz
“Powrót do domu – analiza tłumaczenia.”
+ a surprise?
15 Final meeting – individual conversations with participants; signatures
TERM 2
1
Reflections on translating Harold Pinter’s “The Black and White” sketch.
Harrower, David. Knives in Hens / Noże w kurach (Polish and English text). PL:
Dialog 5-6, 2002.
+ video clips:
ENG:
https://www.youtube.com/watch?v=MAJTbvcjpHQ
https://www.youtube.com/playlist?list=PLA3A6EF4AA03BB6D1
https://www.youtube.com/watch?v=LIj6o_vKvLc
PL:
https://www.youtube.com/watch?v=ZQBSFCo3kf0
https://www.youtube.com/watch?v=QO8Gp8or69A
http://www.e-teatr.pl/pl/realizacje/9280,sztuka.html
2
Theatre & surtitles:
Ladouceur, Louise. “Exploring a Bilingual Esthetics through Translation in
Performance.” Silvia Bigliazzi, Paola Ambrosi, Peter Kofler, eds. Theatre Translation
in Performance. New York, London: Routledge; 2013. 111-129.
Mateo, Marta. „Surtitling today: new uses, attitudes and developments.”
Linguistica Antverpiensia – New Series: Themes in Translation Studies, 6 (2007):
135-154.
Griesel, Yvonne. „Surtitles and Translation Towards an Integrative View of
Theater Translation.” MuTra 2005 – Challenges of Multidimensional Translation:
Conference Proceedings. Eds. Heidrun Gerzymisch-Arbogast and Sandra Nauert. 114 (PDF file).
Szarkowska, Agnieszka i Izabela Künstler. “AUDIODESKRYPCJA W KINIE, TEATRZE
I MUZEUM. WPROWADZENIE DO DZIAŁAŃ PRAKTYCZNYCH.” Audiodeskrypcja w
teorii i praktyce, czyli jak mówić o tym, czego nie można zobaczyć. Ed. Mariusz
Trzeciakiewicz.
Clips:
https://www.youtube.com/watch?v=2sdHgFiYPSo
https://www.youtube.com/watch?v=Jk1vl7H6A6g
http://www.fdc.org.pl/napisy-na-zywo-w-polsce/
https://www.youtube.com/watch?v=_lFkxM6hzP0
http://adapter.org.pl/
3
Home theatre initiative:
Choose 2-3 plays you like – “Home Theatre” in the title:
https://www.youtube.com/user/StratfordEast1/videos
+ a short article:
http://www.britishtheatreguide.info/news/thirty-yes-30-performan-2406
4
Documenting theatre:
Auslander, Philip. “The Performativity of Performance Documentation.” PAJ: A
Journal of Performance and Art, Vol. 28, No. 3 (2006): 1-10.
Baetens, Jan, and Karel Vanhaesebrouck. “Notes on (Theatre) Photo Archives.”
IMAGE [&] NARRATIVE, Vol. 15, No. 4 (2014): 14-29.
Sajewska, Dorota. “Mit efemeryczności teatru.” Materiały z I Zjazdu Polskiego
Towarzystwa Badań Teatralnych, Gardzienice 25-27 X 2013, “Nowe kierunki
badań teatralnych. W stulecie teatrologii w Polsce.”
5
Documenting theatre (2):
Schweitzer, Marlis, and Joanne Zerdy, eds. Performing Objects and Theatrical
Things. Basingstoke: Palgrave Macmillan, 2014. 1-17.
Sosnowska, Dorota. “Prezentacja projektu Sztuki wykonawcze: źródła i mediacje.”
Materiały z I Zjazdu Polskiego Towarzystwa Badań Teatralnych, Gardzienice 25-27
X 2013, “Nowe kierunki badań teatralnych. W stulecie teatrologii w Polsce.”
Feel free to browse: http://re-sources.uw.edu.pl/
Read, Claire. “‘Live, or Almost Live …’: The Politics of Performance and
Documentation.” International Journal of Performance Arts and Digital Media, 10.1
2014: 67-76.
6
Documenting theatre (3):
Bartlett, Vanessa. “New medium, old archives? Exploring archival potential
in The Live Art Collection of the UK Web Archive.” International Journal of
Performance Arts and Digital Media, 10.1 (2014): 91-103.
Bertos, Elena Serrano. “A DEFICIENCY OF DOCUMENTATION IN TRANSLATION
HISTORIOGRAPHY IN SPAIN: REFLECTIONS ABOUT PERFORMED BUT
UNPUBLISHED (AUSTRIAN) THEATRE.” MonTI 5trans (2013). – online edition.
Teresa Ferrer Valls. “CATCOM: A Database on Performances of Spanish Classical
Theater.” The Journal for Early Modern Cultural Studies, 13:4 (2013): 160-163.
Ninateka (performances to compare):
2007: Macbeth Grzegorza Jarzyny:
http://ninateka.pl/film/2007-macbeth
Makbet Andrzeja Wajdy:
http://ninateka.pl/film/makbet
7
Verbatim theatre:
Radosavljevic, Duška. “Verbatim Theatre: Engaging the Audience.” Theatre-Making
Interplay Between Text and Performance in the 21st Century. Basingstoke: Palgrave
Macmillan, 2013. 119-121, 127-131, 140-149 +endnotes.
The Paermanent Way – Educational Pack:
PW_pac - The Permanent Way - verbatim theatre.pdf
On Teatr.doc:
http://wyborcza.pl/1,75475,10415439,Teatr_doc__czyli_piwnica__ktory_wkurza_P
utina.html
Deep Cut trailer:
https://www.youtube.com/watch?v=lixoH4UVE7k
“Pawłowski: Teatr dokumentalny - psychoterapia dla małych miasteczek.” Krytyka
polityczna (online):
http://www.krytykapolityczna.pl/Wywiady/PawlowskiTeatrdokumentalnypsychoterapiadlamalychmiasteczek/menuid-431.html
DLA CHĘTNYCH: http://www.popler.tv/teatrminiatura/75712#75712
8
Theatre and the media:
Pavis, Patrice. “Media na scenie.” Amalgamaty sztuki. Intermedialne uwikłania
teatru. Eds. Jerzy Limon and Agnieszka Żukowska. Gdańsk: słowo/obraz terytoria,
2011. 32-59. (PLEASE BROWSE FOR THE CLIPS OF THE DISCUSSED
PERFORMANCES)
Limon, Jerzy. “Teatralność ‘performatywnej instalacji’ Dalibora Martinisa (Supper
at Last).” Amalgamaty sztuki. Intermedialne uwikłania teatru. Eds. Jerzy Limon and
Agnieszka Żukowska. Gdańsk: słowo/obraz terytoria, 2011. 70-85.
Dalibor Martinis video http://liminalities.net/6-1/martinis.html
9
LaBute, Neil, Gruba świnia (Fat Pig). Dialog 5-6, 2006.
Some English clips:
https://www.youtube.com/watch?v=3iNqTW8JC98
https://www.youtube.com/watch?v=IJLa7bX-eEs
Please search for info on performances in Poland:
http://www.e-teatr.pl/pl/realizacje/15488,sztuka.html
10 Theatre and semiotics:
Knowles, Ric. “Introduction.” How Theatre Means. Basingstoke: Palgrave
Macmillan, 2014. 1-10; or Chapter “Theatre”
Rozik, Eli. “Wielość mediów w teatrze i ich wzajemne relacje – analiza problemu.”
Amalgamaty sztuki. Intermedialne uwikłania teatru. Eds. Jerzy Limon and
Agnieszka Żukowska. Gdańsk: słowo/obraz terytoria, 2011. 19-31.
11 Theatre and props/objects:
Sofer, Andrew. “Introduction: Rematerializing the Prop.” The Stage Life of Props.
Ann Arbor: The University of Michigan Press, 2003. 1-29.
Margolies, Eleanor. “Were those Boots Made Just for Walking? Shoes as Performing
Objects in Everyday Life and in the Theatre.” Visual Communication 2003 2.2: 169188.
Pavis, Patrice. Słownik terminów teatralnych. Wrocław: Zakład Narodowy im.
Ossolińskich, 2002. 428, 390-391, 446-449, 196-203.
Prebble, Lucy. Enron. Dialog 10/2010 – for analysing modern properties.
12 Digital performance:
Sant, Toni. “Theatrical performance on the Internet: How far have we come since
Hamnet?” International Journal of Performance Arts and Digital Media, 2013 9.2:
247-259.
You may also have a look at:
http://en.wikipedia.org/wiki/Cyberformance;
http://en.wikipedia.org/wiki/The_Hamnet_Players
Majchrowski, Zbigniew. “Świat mediów jako wyzwanie rzucone historii teatru.”
Nowe historie 1. Ustanawianie historii. Eds., Agata Adamiecka-Sitek, Dorota
Buchwald, Dariusz Kosiński. Warszawa: Instytut Teatralny im. Zbigniewa
Raszewskiego, 2010. 95-103.
Tytkowska, Anna. “Historia teatru 1.0 i 2.0, czyli nowe szanse i zagrożenia.” Nowe
historie 1. Ustanawianie historii. Eds., Agata Adamiecka-Sitek, Dorota Buchwald,
Dariusz Kosiński. Warszawa: Instytut Teatralny im. Zbigniewa Raszewskiego,
2010. 281-288.
Ninateka:
H. Jana Klaty: http://ninateka.pl/film/h-spektakl-teatr
13 Reading plays – what’s in it for me?
Wiśniewski, Tomasz. Kształt literacki dramatu Samuela Becketta. Kraków:
Universitas, 2006. 9-20 (“Uwagi wstępne”), 243-251 (“Uwagi końcowe”).
Ackerman, Alan. “The Prompter’s Box: Toward a Close Reading of Modern Drama.”
Modern Drama, 49.1 (2006): 1-11.
Worthen, W. B. Print and the Poetics of Modern Drama. Cambridge: Cambridge
University Press, 2009. (excerpt)
14 Theatre/Film/Entertainment/Remake:
Sleuth (1972), dir. Joseph L. Mankiewicz.
vs.
Sleuth (2007), dir. Kenneth Branagh.
15 Final meeting – individual conversations with participants; signatures
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