Theatre, concerts, carnivals. Theory and analysis of performance in the Spanish-speaking cultural sphere 3305-TKK-01W
The course provides an introduction to the analysis of performances, drawing on a variety of examples from the Spanish-speaking cultural sphere, ranging from intimate productions to large-scale spectacles. Topics covered:
• Traditional celebrations and rituals versus contemporary performances
• Types of cultural performances and their characteristics
• The space and time of a performance
• Text in a performance
• Forms of communication, means of expression, and stage symbols
• Communicators and receivers
Based on theoretical concepts, selected examples of celebrations and spectacles will be analyzed:
1. Patron saint days and religious celebrations in Spain.
2. Flamenco spaces: tablao, peña, theater.
3. Spanish and Latin American stand-up comedy.
4. Carnival traditions in Spain, Colombia, Uruguay.
5. A selected theatrical performance.
6. Chamber concert (NPR Tiny Desk Latino)
7. Mass events: concerts, sports matches.
The course requires active participation from students, including prior familiarization with texts or audiovisual materials, as well as participation in discussions. Theoretical texts will be adapted to the participants’ language proficiency level (2nd/3rd year).
During the course, it is possible to select from among the proposed topics those to which more time will be devoted, in accordance with the participants’ interests.
Teaching methods:
An eclectic approach that combines elements of traditional teaching (presentation of basic information by the instructor, guided discussion) with active student participation (pair work, group work, collaborative learning).
Guidelines regarding the use of Artificial Intelligence tools:
https://dokumenty.uw.edu.pl/dziennik/DURK/Lists/Dziennik/Attachments/134/DURK.2023.98.UURK.98.pdf
Teaching methods:
An eclectic approach combining elements of traditional teaching (presentation of key information by the lecturer, guided discussion) with active student participation (working in pairs, groups, collaborative learning).
Course coordinators
Type of course
Mode
Learning outcomes
KNOWLEDGE: the graduate knows and understands
1) the fundamental links between Hispanic Studies and other disciplines within the humanities: cultural and religion studies, literary studies and art studies (K_W_01)
2) basic methods of analysing Spanish-language performances and plays, including texts representing various registers and functional styles of the Spanish language (K_W_02)
3) key terminology, subject matter and research areas relating to performing arts in the Spanish-speaking world (K_W_03)
4) basic concepts and principles relating to intellectual property protection and copyright (K_W_09)
5) key issues in the cultural studies of Spanish-speaking countries (K_W11)
SKILLS: the graduate is able to
1) read and understand texts in Spanish on performance theory (K_U01)
2) express his/her own views and opinions, discuss topics, and present prepared topics in Spanish (K_U02)
3) recognise different types of Spanish-language texts, situate them within a broader historical and cultural context, and analyse them using basic terminology and appropriate methods (K_U03)
4) independently acquire knowledge and develop skills by using appropriate sources from selected areas of science and academic disciplines relevant to Hispanic studies (dictionaries, lexicons, encyclopaedias, source texts, monographs)
5) prepare oral presentations in Spanish, using appropriate methods and sources relevant to the fields of study and academic disciplines associated with the study of performing arts in the Spanish-speaking cultural sphere (K_U06)
SOCIAL COMPETENCES: the graduate is ready to
1) critical assessment of his/her own knowledge and skills, independent and autonomous work, and an understanding of the need for professional development and lifelong learning (K_K01)
2) planning and organising work, entrepreneurship and teamwork, and adherence to professional ethics (K_K02)
3) monitoring contemporary processes and phenomena in the language, culture and literature of Spain and Latin America (K_K04)
Assessment criteria
The seminar is assessed as follows:
1. Class attendance: 10%. Up to 2 unexcused absences are permitted.
2. Presentation of a selected theoretical topic: 10%
3. Preparation, in pairs, of a presentation: 10%
4. Active participation (contribution to discussions on assigned reading/film): 10%
4. Final test (open-ended questions): 60%
Practical placement
-
Bibliography
Arnold, A., Etchart, V., Pedraza, G., Silbert, X. (2024), “Buscando las huellas del espectador”, Artilugio Revista, No 10, pp. 301-317.
Blanco Pont, Josep Maria (2001): Las retransmisiones deportivas como género
espectacular y dramático; en ZER (11); 227-272.
Bobes, María del Carmen (1991), Semiología de la obra dramática, Madrid: Taurus Humanidades. [fragmenty]
Bojarska, Paulina (2016), „Murga i candombe. Karnawałowe tradycje Urugwaju”, w: Ameryka Łacińska, No 3 (93), str. 28-49.
Caro Baroja, Julio (1979), El carnaval: análisis histórico-cultural, Madrid: Taurus.
Pavis, Patrice (2000), El análisis de los espectáculos: teatro, mimo, danza, cine, Barcelona: Paidós.
Sánchez Trigueros, Antonio (2008), Teatro y escena: la poética del silencio y otros ensayos, Granada: Alhulia. [fragmenty]
Schechner, Richard (2000), Performance: teoría y prácticas culturales, Universidad de Buenos Aires. [fragmenty]
Zadrożyńska, Anna (1983), Homo fabens i homo ludens, Warszawa: PWN.
Optional reading:
Archetti, Eduardo P. (1999), Masculinidades: fútbol, tango y polo en la Argentina
Bonet, Lluís, Schargorodsky, Hector (2011), La gestión de festivales escénicos: conceptos, miradas, debates, Universitat de Barcelona.
Holt, F. (2010). The economy of live music in the digital age. European Journal of Cultural Studies, 13(2), pp. 243–261.
Mata, María Cristina (1999), “De la cultura masiva a la cultura mediática”, en: Diálogos de la comunicación, No 56, Lima: Octubre, pp. 81-91.
Myerhoff, Barbara G. (2009) „Śmierć we właściwym czasie: konstrukcja „ja” i konstrukcja kultury w dramacie rytualnym”, w: MacAloon, John J. (red.), Rytuał, dramat, święto, spektakl. Wstęp do teorii widowiska kulturowego, Warszawa: Dromena.
Morgan, Sophia S. (2009), „Nieśmiertelny Borgesa: metarytuał, metaliteratura, metawidowisko”, w: MacAloon, John J. (red.), Rytuał, dramat, święto, spektakl. Wstęp do teorii widowiska kulturowego, Warszawa: Dromena.
Stomma, Ludwik (2012), „1:1, czyli ludzie jak bogowie”, Konteksty, No. 3-4 (289-299).