The latvian academy of culture

Description of the Study Course

The Name of the Course: Introduction to Theatre Semiotics.
The Scope of the Course: 32 academic hours (18 hours of lectures, 14 hours of

seminars)

2 credit points. The type of assessment: a written examination.

The Author of the Course: Prof. Valda Čakare, Dr. Philol.
Preconditions for the Acquisition of the Course: Passed tests in the history of theatre and the theory of drama.

The Contents of the Course: The objective of the course is to form an understanding about the functionality of sign system in the theatre.

Thematic Planning:

LVI.Theme	Week	Type of Classes and Hours
Introduction. Comprehension of the notion. Semiotics as a system of knowledge about signs and creation of meanings.	1.	L2
Signs in the theatre. The structuralism of Prague and the sign of the theatre. The typology of signs.	2.,3.	L2;S2
The systems of theatre communication. Primary (sound, linguistic, visual) and secondary (smell, touch) systems.	4.,5.	L2;S2
The sign systems of “a framework”. A place. Architecture. Interior. The foyer. The place for the performance. Intellectual, historical and social “framework” systems.	6.,7.	L2;S2
Public sign systems. Factors influencing perception. The ticket price. Social relations. The significance of a performance. The public as a sign system. The theatre as a social event.	8.,9.	L2;S2
The sign systems of performers. Personal relations. Charisma. The spoken word and its quality. Mimics. A gesture. A movement and its elements. Make-up. Hairdo.	10.,11.	L2;S2
Visual sign systems. Space. Relations in space. Stage design. Costumes. Properties. Lights and their quality. Colour code.	12.,13.	L2;S2
Sound sign systems. Sound semiotics. Sound effects. Music. Smell and touch sign systems.	14.,15.	L2;S2
Simultaneity of the functioning of sign systems and the role of the director in its provision.	16.	L2

Requirements for the Acquisition of Credit Points:
1. Compulsory attendance of all seminars.

2. A written examination including the analysis of a theoretical question in connection with the aesthetic practice.

Literature:

1.Barba, E. and Savarese. N.A. Dictionary of Theatre Antropology. London: Routledge, 1991

2.Eco, U.ATheory of Semiotics. Bloomington: Indiana University Press, 1076

3.Elam, K., The Semiotics of Theatre and Drama. London: Methuen, 1980

4.Grotowski, J.Towards a Poor Theatre. New York: Simon and Schuster, 1968

5.Kott, J. The Theatre of Essence. Northwestern University Press/ Evanston, 1984

6.Pavis ,P., Languages of the Stage. NY: Performing Arts Jaurnal Publications, 1982

7.Whitmore, J., Directing Postmodern Theater. Ann Arbor/ The University of Michigan Press.

The Name of the Course: Latvian Original Drama in the Years of Soviet Power
The Scope of the Course: 32 academic hours (32 hours of lectures)

2 credit points. The type of assessment – an oral test.

The Author of the Course: Prof. Gunārs Bībers, Dr. philol.
Preconditions for the Acquisition of the Course:

1. Successfully passed examinations in the History of Latvian Literature.

2. An understanding of the theory of drama.
The Contents of the Course: The course provides information on the canons set forth by aesthetics of the socialistic realism and their negative impact on the Latvian original drama in the years of Soviet occupation. The objective of the course is to highlight positive tendencies in the development of Latvian original drama after 1955, to assess the importance of Latvian original drama in the development of the Latvian art of theatre.
The Thematic Planning:

LVII.Theme	LVIII.Week	Type of classes and hours
The object and structure of the course.	1	L2
The aesthetic principles of socialist realism, their negative impact on the Latvian original drama in the years of Soviet occupation.	2	L2
The Latvian drama in the Soviet Union in the 20-30ies. The solution of theoretical problems. Principles of the portrayal of characters, composition and language. The theatre Skatuve. The characteristics of its activities. Mass staging (Masu uzvedumi), the realistic, romantic and conventional drama.	3	L2
Drama in 1940/41. Changes in the Latvian theatre life.	4	L2
The development of drama in the Soviet Union during World War II. A. Upītis tragedy Spartaks (Spartacus).	5	L2
Latvian drama after World War II (1944 – 1955). The crisis in the development of original drama created by vulgar-sociologist aesthetic canons. The expression of the non-conflict theory in the plays of A. Brodele, A. Grigulis, E. Zālīte and other authors.	6, 7	L2;L2
Principally new features in Latvian original drama after 1955. The most characteristic tendencies in the development of original drama. Problems. Principles of the revelation of characters. Compositional structures. Dialogue. Genre. The writings of G. Priede. Genres of his plays. Characters and conflicts. Composition. Dialogue. Staging of G. Priede plays. The writings of H. Gulbis. Genres of his plays. Characters and conflicts. Composition. Dialogue. Staging of H. Gulbis plays. The writings of P. Pētersons. Genres of his plays. Characters and conflicts. Composition. Dialogue. P. Pētersons theoretical views on drama. Staging of P. Pētersons plays. The characteristics of P. Putniņš’s drama. The characteristics of L. Stumbre drama. A survey of the main drama features of J. Jurkāns, H. Paukšs, M. Zālīte. The role of Latvian literature and theatre critique in Latvian original drama. A survey of activities of J. Kalniņš’s, L. Dzene’s, V. Hausmanis’s, S. Radzobe’s critique of literature and theatre.	8, 9, 10, 11, 12 13, 14, 15, 16	L2;L2;L2; L2;L2;L2; L2;L2;L2

Requirements for the Acquisition of Credit Points:

1. To pass a test successfully.

Literature:

1. Bībers G. Latviešu padomju oriģināldramaturģija. - R., 1976.

2. Bībers G. Gunāra Priedes dramaturģija. - R., 1978.

3. Freinberga S. Pauls Putniņš un latviešu drāmas divi gadu desmiti. - R., 1989.

4. Gudriķe B. Arvīds Grigulis - dramaturgs un teātra kritiķis. - R., 1976.

5. Hausmanis V. Dramaturgs Harijs Gulbis. - R., 1980.

6. Kalniņš J. Satīras asajā gaismā. - R., 1957.

7. Plēsuma A. Gājums pretī gaismai. - R., 1987.

8. Pētersons P. Darbības māksla. - R., 1978.

9. Pētersons P. Drāma kā kritērijs. - R., 1987.

10. Radzobe S. Cilvēks un laiks Gunāra Priedes lugās. - R., 1982.

The Name of the Course: Rainis
The Scope of the Course: 32 academic hours (24 hours of lectures, 8 hours of

seminars)

2 credit points. The type of assessment – a test and an

examination.

The Author of the Course: Prof. Gunārs Bībers, Dr. philol.
Preconditions for the Acquisition of the Course: It is necessary to have an

understanding of the development process of Latvian literature, as well as know the writings of Rainis at secondary school level.

The Contents of the Course: The course gives a survey of the writings of Rainis within the context of Latvian and European literature, as well as outlines the evolution of Rainis political and aesthetic views. The objective of the course is to analyse the historographic material on Rainis’s political views and the method of writing by paying special attention to discussion issues.
The Thematic Planning:

LIX.Theme	LX.Week	Type of classes and hours
The basic development tendencies of Latvian literature at the end of the 19^th century and the beginning of the 20^th century. The role of Jaunā strāva (“The New Current”) in the development of Latvian literature. Literary trends at the end of the 19^th century and the beginning of the 20^th century.	1, 2	L2;L2
The course of life of Rainis. The evolution of his political views. Rainis and Jaunā strāva, Rainis activities during the 1905 Revolution. Rainis political activities during independent Latvia in the 20ies.	3, 4	L2;L2
Rainis’s aesthetic views. Rainis attitude towards traditions of national literature. Reminiscences of European culture in the art of Rainis. The characteristics of Rainis methods of writings. Rainis views on the relationship of contents and form, style. The peculiarities of character formation in the drama of Rainis. The interpretation of organic symbols.	5, 6, 7	L2;L2;S2
The drama of Rainis. Genres of Rainis plays. Conflict in Rainis’s plays. Peculiarities of the compositions of Rainis plays. Dialogue. The staging of the most outstanding Rainis plays on the Latvian stage. A complete analysis of Rainis plays Uguns un nakts, Jāzeps un viņa brāļi, Spēlēju, dancoju. Information on Rainis unfinished drama works.	8, 9, 10, 11	L2;L2;S2;S2
Rainis poetry. The evolution of Rainis poetry. Features of Expressionism, Symbolism and Impressionism in the poetry of Rainis. The composition of Rainis collections of poetry. The figurativeness of poetry. The versification and stranza of Rainis poetry. An extensive analysis of the collections of poetry Gals un sākums and dagdas skiču burtnīcas.	12, 13, 14	L2;L2;S2
Information on Rainis journalist activities.	15, 16	L2;L2

Requirements for the Acquisition of Credit Points:

1. 
   To receive a positive assessment at seminars.
   
2. 
   To pass a test and an examination.
   

Literature:

1. Birkerts A. Rainis dzīvē un darbā. - R., 1930.

2. Birkerts A. Rainis Slobodskas trimdā. - R., 1961.

3. Birkerts A. J. Raiņa dzīve// J. Rainis. Dzīve un darbs. - R., 1937. I sēj.

4. Birkerts A. Rainis Pleskavas trimdā. - R., 1964.

5. Bunduls J. Mīlas problēmas ģēnija prizmā. - R., 1935.

6. Cielēns F. Rainis un Aspazija. - Vesterosa, 1955.

7. Dziļleja K. Raiņa ģenealoģija. - R., 1932.

8. Freinbergs K. Kopā ar Raini. - R., 1974.

9. Hausmanis V. Raiņa daiļrades process. - R., 1971.

10. Hausmanis V. Raiņa dramaturģija. - R., 1973.

11. Hausmanis V. Rainis un teātris. - R., 1965.

12. Kalniņš J. Rainis. - R., 1977.

13. Mikainis Z. Rainis - internacionālists un patriots. - R., 1978.

14. J. Raiņa daiļrade. - R., 1954.

15. Raiņa gadagrāmata. - R., 1975.-1990.

16. Raiņa un Aspazijas gadagrāmata.

17. Rudzītis J. Spīdola Nāves salā. - Lībeka, 1948.

18. Rudzītis J. Raiņa ritmi. - Vesterosa, 1958.

19. Kursīte J. Raiņa dzejas poētika. - R., 1996.

20. Tikšanās ar Raini. Atmiņu krājums. - R., 1965.

21. Vārdaune Dz. Traģēdijas žanrs latviešu literatūrā. - R., 1973.

22. Ziedonis A. Par Raiņa reliģijas filozofiju. - R., 1992.

23. Ziedonis I. Mūžības temperaments. - R., 1991.

24. Informācija, recenzijas par Raiņa lugu iestudējumiem žurnālā Karogs, almanahā

Teātris un Dzīve, avīzē Literatūra un Māksla.
The Name of the Course: The Theory of Drama
The Scope of the Course: 64 academic hours (48 hours of lectures, 16 hours of

seminars)

4 credit points. The type of assessment – a test and an

examination.

The Author of the Course: Prof. Gunārs Bībers, Dr. philol.
Preconditions for the Acquisition of the Course:

1. To have knowledge about the issues of literary theory at the level of

secondary school.

2. To know at least one foreign language for the acquisition of the

theoretical literature.
The Contents of the Course: The interrelation of tradition and innovation: the structural elements of drama are revealed in their functional correlation. The objective of the course is to present a survey of the development of drama theory in relation to the drama practice of the relevant period; to introduce the theoretical views on drama of the most outstanding Latvian playwrights; to link the issues of drama theory with the basic development tendencies of the art of the theatre.
The Thematic Planning:

LXI.Theme	LXII.Week	Type of classes and hours
The classification of literature into types, subtypes and genres. Epic. Poetry. Drama.	1	L2
The most significant features of drama. Dramatism. Action. Conflict. Personage, character, type. The typological character. The peculiarities of revelation of personages in drama.	2	S2
The general principles of composition of a play. The unity of action. Completeness.	3	L2
Plot with a story and without a story. Types of plots with a story. Types of situations. Elements of plots with a story. Plots without a story. The role of montage in the structural formation of plots without stories.	4	L2
The arrangement of a system of characters. The organisation of time and space in drama.	5	L2
Subtypes and genres of drama. Tragedy. Ancient tragedy. Tragedy in Renaissance. Tragedy in Classicism. Tragedy in the period of Romanticism. The problem of tragedy in the drama of the 20^th century.	6	S2
Comedy. The explanation of the essence of the comic in the works of I. Kant, G. Hegel, Z. Freud and A. Bergson. The genre of comedy. Farce. Commedia dell’arte. Vaudeville. The lyric comedy. The heroic comedy. The satiric comedy.	7	L2
Drama. The modifications of the genre during the historical development. The drama of the Enlightenment period, the drama of Critical Realism. The drama of Naturalism. The drama of Expressionism, Symbolism and Surrealism. Drama and other types of art. Play and the filmscript. Play and the theatre. Play and television.	8	L2
Information about the most popular systems of production in the 20^th century.	9	L2
A historic survey of the development of drama theory. The theory of drama in Ancient Greece and Rome. Aristotle Poetics. Horace Ars Poetica.	10	S2
The theory of drama in the Middle Ages. The understanding of the tragic and the comic as aesthetic categories. Genres of plays. The liturgical drama. Mystery. Miracle. Morality. Farce. Carnival. M. Bakhtin’s views on the essence of carnival.	11	S2
The theory of drama in the period of Renaissance. Statements of the Italian humanists on tragedy and comedy.	12	L2
The theory of drama in England. The significance of Shakespeare’s plays for the development of the theory of drama.	13	L2
The theory of drama in Spain during the Golden Age of the drama development. Lope de Vega New Indications on Comedy Writing.	14	L2
The basic features of drama of the Spanish Baroque period. The importance of P. Calderon’s works in the further development of the theory of drama.	15	L2
The theory of drama in France during the period of Classicism. N. Boileau The Art of Poetry, views of P. Corneille, J. Molière, J. Racine on tragedy and comedy.	16	L2
The theory of drama during the period of Enlightenment. The theory of drama in France. D. Diderot Paradox on Actor. D. Diderot On Dramatic Poetry.	17	S2
The theory of drama in Germany during the period of Enlightenment. G. Lessing Hamburgische Dramaturgie.	18	L2
The theory of drama in Germany before Romanticism. Views of F. Schiller and J. W. Goethe on drama.	19	L2
The theory of drama in Germany during the period of Romanticism. Views of A. Schlegel and F. Schlegel on drama. A. Schlegel Lectures on Dramatic Art. R. Wagner’s views on musical drama.	20	L2
The theory of drama in France during the period of Romanticism. V. Hugo’s theoretical views on drama. The preface of V. Hugo to the play Cromwell.	21	L2
G. Hegel’s views on drama. The explanation of the essence of a conflict, the tragic, the comic and the structure of a play in G. Hegel’s works.	22	L2
The theory of drama in the period of Critical Realism. Views of H. Ibsen and B. Shaw on drama. B. Shaw The Quintessence of Ibsenism.	23	L2
The aesthetic principles of Naturalist drama. E. Zola Naturalism in the Theatre.	24	S2
The theory of drama in the 20^th century. The aesthetic principles of Modernist drama. The most significant features of the drama of Expressionism, Symbolism and Surrealism. Information on theoretical manifests of the representatives of these trends. M. Maeterlinck The Treasures of the Humble.	25	L2
The aesthetic principles of Realistic drama. B. Brecht’s theory of the epic theatre. B. Brecht The New Organon for the Theatre. B. Brecht Dialectics in the Theatre.	26	S2
The aesthetic principles of intellectual drama of A. Camus and J. P. sartre.	27	L2
The influence of Neo-Realism on the formation of the aesthetic principles of the English rebellious playwrights.	28	L2
The aesthetic principles of documentary drama.	29	L2
The aesthetic principles of absurd drama.	30	L2
The development of drama theory in Latvia. The theoretical views of R. Blaumanis, Rainis, M. Zīverts, G. Priede, P. Pētersons on drama.	31	L2;S2

Requirements for the Acquisition of Credit Points:

3. 
   To receive a positive assessment at seminars.
   
4. 
   To pass a test and an examination.
   

Literature:

1.Bently E. The Life of Drama. - NY, 1967.

2.Carlson M. Theories of Theatre. - NY, 1984.

3.Dirrenmatt F. Theaterprobleme. - Zürich Im Verl, der Arche, 1955.

4.Elam K. The Semiotics of Theatre and Drama. - London, 1980.

5.Innes C. Avant Garde Theatre. - London, 1993.

6.Kesting M. Zur Strukturen modernen Drama. - köln. Berlin, 1966.

7.Modernism. Literature 1890-1930. - London, 1991.