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170301 VO Lecture: The History of Theatre (2025S)
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Registration/Deregistration
Note: The time of your registration within the registration period has no effect on the allocation of places (no first come, first served).
Details
Language: German
Lecturers
Classes (iCal) - next class is marked with N
- N Monday 03.03. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 10.03. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 17.03. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 24.03. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 31.03. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 07.04. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 28.04. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 05.05. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 12.05. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 19.05. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 26.05. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 02.06. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 16.06. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 23.06. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
- Monday 30.06. 09:45 - 11:15 Hörsaal 3 2A211 2.OG UZA II Geo-Zentrum
Information
Aims, contents and method of the course
Assessment and permitted materials
The lecture will be concluded with a written exam. Lecture notes can be used for this, but no technical devices.
Minimum requirements and assessment criteria
Students should
be able to trace and discuss the development of theater based on humanistic ideals in representative courtly contexts;
be familiar with and able to discuss the development of an acting style that is not oriented towards the Comici dell'Arte, the professional theater that developed at the same time, but towards academic and courtly ideals;
- apply this knowledge to the critical reading of various types of texts (treatises on architecture, writings on rhetoric, humanistic literature, treatises on theatre, Renaissance comedy, etc.) as well as to the critical reading of secondary literature.
In order to pass the exam, students must therefore demonstrate both knowledge and the ability to discuss this knowledge and question its current relevance.
be able to trace and discuss the development of theater based on humanistic ideals in representative courtly contexts;
be familiar with and able to discuss the development of an acting style that is not oriented towards the Comici dell'Arte, the professional theater that developed at the same time, but towards academic and courtly ideals;
- apply this knowledge to the critical reading of various types of texts (treatises on architecture, writings on rhetoric, humanistic literature, treatises on theatre, Renaissance comedy, etc.) as well as to the critical reading of secondary literature.
In order to pass the exam, students must therefore demonstrate both knowledge and the ability to discuss this knowledge and question its current relevance.
Examination topics
Contents of the individual lectures and slides as well as defined compulsory texts for each lecture. These materials are provided via Moodle.
Reading list
Recommended introductory reading:
Andreas Kotte: Theatergeschichte. Eine Einführung. Köln, Weimar, Wien: Böhlau, pp. 141–199.
Andreas Kotte: Theatergeschichte. Eine Einführung. Köln, Weimar, Wien: Böhlau, pp. 141–199.
Association in the course directory
Last modified: Tu 28.01.2025 13:06
On the one hand, the theory and practice of acting are examined in detail. The starting point here is the fundamentally negative connotation of professional practice, which draws attention to the academic style of acting that emerged from the spirit of rhetoric. In the representative use of theater, actors are seen as part of the apparatus, or rather, they find their place on the narrow stage in front of the spectacular stage set.
On the other hand, the lecture focuses on the process that can be summarized with the formula “from the theater in the beautiful city to the beautiful city in the theater”: the search for an egalitarian public space in the beautiful city culminates in an elitist space for a few who enjoy idealized urban architecture in perspective stage sets. The developments in theater architecture and stage technology associated with this are relevant because, starting in Italy, they defined the relevant components of the humanist-bourgeois concept of theater for centuries to come.