Baltic russian institute

Course literature:

Required literature:

1. 
   Olinss V. Par zīmolu. – Rīga: Neputns, 2005.
   
2. 
   Бернет Дж., Мориарти С. Маркетинговые коммуникации: интегрированный подход. – СПб.: Питер, 2001.
   
3. 
   Иванов Г.П., Шустров М.А. Экономика культуры. – М.: ЮНИТИ, 2001.
   
4. 
   Имшинецкая И. Ситуативный промоушн. – М.: «РИП-холдинг», 2002.
   
5. 
   Жданова Е.И., Иванов С.В., Кротова Н.В. Управление и экономика в шоу-бизнесе. – М.: Финансы и статистика, 2003.
   
6. 
   Колбер Ф. И др. Маркетинг культуры и искусства. – СПб.: Издатель Васин А.И., 2004.
   
7. 
   Морозова Е.Я., Тихонова Э.Д. Экономика и организация предприятий социально-культурной сферы. – СПб.: Издательство Михайлова В.А., 2002.
   

Additional literature:

1. 
   Noels Žans . Brendu atkalradīšana. Vai vadošie brendi izdzīvos jaunos tirgus apstākļos? - Rīgas Konferences, Vadītājs vadītājam. Rīga, SIA Baltija vadības konferences, 2003.
   
2. 
   Дуков Е.В., Жидков В.С., Осокин Ю.В., Соколов К.Б., Хренов Н.А. Введение в социологию искусства. – СПб.: Алетейя, 2001.
   
3. 
   Как продавать искусство / Составитель и редактор американского издания Дж. В. Мелилло. – Новосибирск: Сибирский хронограф, 2001.
   
4. 
   Кононенко Б.И. Культурология в терминах, понятиях, именах. – М.: «Щит-М», 2001.
   
5. 
   Массовая культура: Учебное пособие /К.З. Акопян, А.В. Захаров, С.Я. Кагарлицкая и др. – М.: Альфа-М; ИНФРА-М, 2004.
   
6. 
   Тульчинский Г. Менеджмент в сфере культуры. – СПб.: «Лань», 2001.
   
7. 
   Шекова Е.Л. Особенности маркетинга в сфере культуры // Маркетинг в России и за рубежом. - 2001. - №3(23).
   

BALTIC RUSSIAN INSTITUTE
Course title:	Practice of organizing festivities and mass events
The course includes of the professional BA program in Cultural administration part B.
Author of the course:	Dināra Klepere
Course abstract:	This course consists of learning the basic history of festivals, theoretical and practical making scripts and directing fests and festivities during the process of studies.
Aim of the course:	To make students familiar with history and specific of directing of festivities; to develop skills in creating of festival scenario and organizing of festivity; to develop a skill of applying theoretical knowledge in praxis.
Course credit value:	3 CP , 48 contact hours
Course assessment:	A theoretical test. To create a script of a festivity. Organization of festivity.
Terms and conditions:	Attendance of lectures (not less then 50%). Participation in group work (10%). Participation in practical lessons (10%). An individual assignment (10%). A test (20%).
Course content:	I. Festivals (festivities) in the context of culture, their history and development. The origin of festivals. Dionysian festival in the Ancient Greece. The origin and organization of theatre performances. The boom of theatre in the Ancient Greece and Rome. The origin of mass festivals in Russia. The boom of mass festivals in the USSR. Various festivals and festivities and their meaning. , The history of festivals and present times. The biggest organized festivals in Latvia. II. The peculiarities of directing a festival. The director of festival as a creator of the script of festival; the methods of organizing a festival. III. A festival. The main parts of festival. IV. The peculiarities of festival dramaturgy. V. Creation of the structural model of festival. VI. The composition of a scenario: a plan of script (screenplay). The methods of creating of a script. An interpretation of a subject (theme). Supporting of the choice of a theme. The idea and its interpretation. the conception and its creation. Documental material and its meaning in development of a script. Creative (artistic) material. Artistic expressiveness. . The principles and choice of a documental and creative material. A plot, its development and meaning. Composition, the compositional structure of a script. The means of artistic expression. The conflict. Assembling as a method of creation of festival director. Different types of assembling. An episode. Assembling of episodes into a scenario. The main action. Catharsis (culmination). A solution (retardation). VII. The basic parts of action and terms in realization of scenario and organization of a festivity. Development of directors’ idea and its basic terms of realization. A festivity director’s dependence from a space, time, audience and other conditions. An atmosphere and its interpretation, meaning and use in a festivity. A „mise-en-scene”– a stylistic and artistic feature of a director. The notion of using theatre elements in organization of event and its use in festivity. A plan of staging as the basic document of directing. Director’s work with a creative tem. The use of technical means. A list of assembling. The types and organization of rehearsals. VIII. The research of audience. The ways of warming up the an audience. IX. The processions, carnival (masqueraded) processions and their dramaturgy. X . A concert. The compositional peculiarities of a thematicly arranged concert and concert with the elements of theatre performance. XI. The specific features of creating the open air or park performances or festivities.
Course literature: 1. Streipa M., Lapsa D. Bērnu svētki. R., 1999. 2. Spoliņa V. Teātra spēles – improvizācija. Rīga, Preses nams,1999. 3. John Storey. Cultural theory and popular culture: an introduction. Harlow, 2001. 4. Jonny Allen. Festival and special event administration. Milton, 2002. 5. Andrew Beck. Cultural work. London, 2002. 6. Rustom Bharucha. The politics of cultural practice: thinking through theatre in an age of globalization. London, 2000. 7. Festivals and holidays. New York, 1999. 8. The artist’s body. London, 2000. 9. Robert H.Griffin, Ann H. Shurgin. Junior world mark encyclopedia of world holidays. Detroit, 2000. 10. Greek theatre performance: an introduction. Cambridge, 2000. 11. Edwin Wilso.. The theatre experience. Boston, 2001. 12. D. Aļs „Dramaturģijas pamati”, 1997. 13. M. Genkins, A.A. Kononovičs „ Массовые театализованные праздники и представления” M., 2201 14. N. Gorčakovs „K. Staņislavska režijas mācība”M., 1998 15. A. Migla „Masu svētku attīstības pirmsākumi”, 1999. 16. I. Šarojevs „Режисура эстрады и массовых представлений” M., 1998. 17.. Антонен Арто. Манифесты. Драматургия. Лекции. Философия театра. Санкт-Петербург, 2000. 18. Шарипов Э. Режиссура социальных игр. 2002.

BALTIC RUSSIAN INSTITUTE

Course title: Trends in Western theatres
The course includes of the professional BA program in Cultural administration part B.

Author of the course: Janina Brance
Course abstract:
The course follows the main course of action in development of the theatre, reflects of the changes of trends and tendencies in dramaturgy, art of acting and directing; it makes familiar with intercultural tendencies and the transformation of traditions in the theatre of the 20^th century.

Aim of the course:
To create the understanding of resourcefulness of stage „language”, to give an idea of influence of the globalization etc. on the changes and their peculiarities in theatre art.
Course credit value: 2 CP, 32 contact hours (lectures - 20 h, seminars - 12 h)

Course assessment: test
Terms and conditions:

participation in 3 seminars: an active participation in a team work and discussing of the offered issues; a short written resume of discussed issues; an individual work (written assignment, 2 reviews ); passing the test (a defence of a report)

Short description of the evaluation: 40% of the mark – the evaluation of individual and written assignment (up to 8 000 signs long), to be handed in via electronic media on the last study week;

20 % of the mark – evaluation of the work done at the seminars;

40% of the mark – defence of the report on some of the issues of the course.
Content of the course:
1. The main principles of dramatic (theatre) art; the synthesis of different kinds of art in a theatre; an actor, a director, a play writer, a theatre. The nature of acting, the value of actors’ work with an image and with a director in a contemporary theatre.

2. A director and the art of directing, the language of director’s tasks and applied forms of work, developing of directing kills and abilities. Credibility, attitude, characteristics of emotions and feelings on the stage. A “mise-en-scene” as a form of physical activity. An improvisation.

3. Dramaturgy and performance, a directors’ work with a play – possibilities of interpretation and their limits. An organization of acting space, a rhythm and a dialog. An atmosphere in theatre.

4. Theatre in the end of the 19^th century. The commercial theatre, the principles of its operation. The theatre of Meiningen and the principles of its operation, the process of rehearsal, the ways of developing mass scene. The small theatres. Trend of naturalism in the theatre. Significance of H. Ibsen on development of the theatre.

5. The aesthetic principles of the modernism in the tradition of European theatre. Theatre in Germany. The art of Georg Fukss and M.Reinhart, their influence on European directing. O.Kokoshka. Expressionism in the theatre, the means of its expression, a new type of “mise-en-scene”, development of a stenography and stage design. The ideas of A.Apia in stage decoration.

6. The genesis of modern theatre in Russia. Russian directing traditions in the beginning of the 20^th century. The principles of modernism and tradition of Russian drama in creation of the Moscow theatre of Beau arts. The work of K. Stanislavski and I. Nemirovich-Danchenko in theatre. The system of K. Stanislavski. V.Meiergold and “the biomechanics”, its connections with the doctrine of K. Stanislavski. The art of acting of M. Chekhov, its influence on the theatre of the 20^th century.

7. The main trends in the theatre of the 20^th century. B. Bract and The Epic Theatre, alienation. Existentialism in theatre, A. Artaud’s “The theatre of Cruelty”, the work of “the new irritated Jauno saniknoto” group. Theatre of the Absurd. Poetical realism in the works of J.Villard and E.Kazan. “The poor theatre” of J.Grotovskij

8. The experience of post-modern directing in European theatre. Aesthetic of the postmodernism in acting. Versatility of interpretation of classical drama inheritance.

9. The Eclectical theatre of the 60s – 90s. The influence of the Eastern theatre aesthetics. P.Brook’s activities in rapprochement of the Eastern and the Western theatre. Stage scenery and the components of performance. The mask in a theatre.

10. The newest trends in theatre and dramaturgy.

11. Amateur theatre in Western Europe. Cherishing of amateur theatres. Relations between an amateur theatre and a professional theatre. Amateur theatre in Latvia.
Suggested literature:

1. 
   Bodrijārs Ž. Simulakri un simulācija. R., 2000.
   
2. 
   Brauneck, Mnafred. Theatre im 20. Jahrhundert: Programmenschriften, Stilferioden, Reformmodelle.- Hamburg, 1991
   
3. 
   Elam K. The semiotics of the Theatre and DraMA London, 1980.
   
4. 
   Fiebig, Joachim. Von Craig bis Brecht. - Berlin, 1975.
   
5. 
   Hausmanis V. Eiropas teātru atbalsis Rīgā. R., 2001.
   
6. 
   The Oxford encyclopedia of Theatre & performance. Oxford , 2003
   
7. 
   Kott, Jan. The Theatre of Essence.- Nortonwestern University Press/ Evanstorm 1984
   
8. 
   Artaud on Theatre. Ed by Claude Schumacher.- Methuen Drama , London, 1991
   
9. 
   Birringer, Johannes, Theatre, Theory, Postmodernism.- Indiana Univ. Press, Bloomington and Indianapolis, 1993
   
10. 
    Goldberg, Rose Lee. Performance Art from Futurism to the Present, NY, 1988
    
11. 
    Postmodernisms teātrī un drāmā. R., 2004.
    
12. 
    20.gs. teātra režija Latvija un pasaulē. R., 2002
    
13. 
    Маньковская Н. Эстетика постмодернизма.СПб., 2000
    
14. 
    Театр ХХ века: закономерности развития. М., 2003.
    

BALTIC RUSSIAN INSTITUTE
Course title: Computer technologies of presentations
The course includes of the professional BA program in Cultural administration part B.

Author of the course: Jūlija Timosčenko, Doc.scien.eng.
Aims and tasks of the course:

To learn how to make electronic presentations and use they effectively while organizing presentations.

Skills obtained during this course: 1) making presentations using Mic­ro­soft PowerPoint; 2) an effective organization of presentation (speech); 3) an ability to work with multimedia projectors.

Terms and conditions: two tests and presentation.
Course credit value: 1 CP, 16 contact hours of practical work.
Course assessment: test.

Content of the course:

1. 
   Presentation preparation program Microsoft PowerPoint.
   
2. 
   Basic principles of making presentations.
   
3. 
   Organization of public speech (presentation).
   
4. 
   Work with multimedia projector.
   
5. 
   Data holders for storage and caring of presentation files and work with them.
   

Course literature:

1. 
   Dukulis l. Presentācijas materiālu sagatavošana. Programma Mic­ro­soft Power Point. – Rīga: Biznesa augstskola Turība, 2002. (Dator­zi­nību bibliotēka; 13). 112 lpp.
   
2. 
   Treiguts E. Ievads datorzinībās: Microsoft Word, maketē­ša­nas automatizācija, objekti / Egmonts Treiguts; rec. Jānis Augucēvičs. – Rīga : Biznesa augstskola Turība, 2000. – (Datorzinību bibliotēka; 9), 2. daļa. – 79 lpp. (MĀC–487, ABO–10).
   
3. 
   Dukulis l. Aprēķini un datu grafiskais attēlojums. Programma Mic­rosoft Excel 2000. – Rīga: Biznesa augstskola Turība, 2002. (Dator­zi­nību bibliotēka; 12). 160 lpp.
   
4. 
   Internets un presentācijas dokumenti. R., 2004.
   
5. 
   Nolke C. Presentēšana. R., 2003.
   
6. 
   Žurnāls “Sakaru Pasaule”.
   
7. 
   Ермакова Л. Создание презентаций в MSPowerPoint. Р.,2004.
   

BALTIC RUSSIAN INSTITUTE

Course title: Study of European country: Scandinavia during New and Newest times
The course includes of the professional BA program in Cultural administration part B.

Author of the course: Ināra Zelmene, Dr Hist., associated professor of the University of Latvia
Course credit value: 1 CP (16 contact hours)
Course assignment: a test with a mark.
Terms and conditions:

• 
  Each student is supposed to make and to hand over a written report or an essay (not least then typed 5 pages) on one of the subjects, mentioned in the plan of the course 3 days before the test. Argumentation of statements should be based in course materials, course literature and own, freely chosen illustrative examples;
  
• 
  The test consists of expanded commentary on the own report or essay and 2-3 questions, asked by the professor on content of the report/essay. As well student will be supposed to answer on 2 questions based in the themes, mentioned in the plan of the course.