--- Peter Davies <[log in to unmask]> schrieb:
> Datum: Fri, 11 Nov 2005 17:14:15 +0000
> Von: Peter Davies
> <[log in to unmask]>
> Betreff: MA Theatre and Consciousness, University of
> Wales Aberystwyth
> An: [log in to unmask]
>
> Apologies for cross-posting
>
> The Department of Theatre, Film and Television
> Studies at the University of
> Wales Aberystwyth, UK, is considering to develop a
> taught MA Theatre and
> Consciousness, on a one-year full-time or two year
> part-time basis. There
> will be three knowledge-based modules and one
> practical module, together
> with a dissertation. See below for topics covered.
> At this stage, we would
> like anyone interested in taking this MA course to
> get in touch, so that we
> can get an idea of the market. I would ask
> colleagues to make this
> announcement available to potential students. Please
> email me at [log in to unmask]
>
> Topics covered
>
> 1. Introduction. Theatre and consciousness--ideas,
> issues, questions.
> 2. Theories of consciousness (1). The classical
> heritage of monism and
> dualism.
> 3. Theories of consciousness (2). The contemporary
> debate in philosophy
> and the sciences. Survey and open issues
> 4. The creative process
> 5. Consciousness reflected in drama: Sleep
> 6. Consciousness reflected in drama: Dreams
> 7. Consciousness reflected in drama: Waking
> 8. Consciousness reflected in drama: Altered States
> of Consciousness
> 9. Consciousness reflected in drama: Development of
> consciousness
> 10. Consciousness and acting: The actor's emotional
> involvement:
> Diderot
> 11. Consciousness and acting: The actor's emotional
> involvement:
> Stanislavsky
> 12. Consciousness and acting: The actor's emotional
> involvement:
> Meyerhold, Brecht, Strasberg
> 13. Consciousness and acting: Presence (Barba)
> 14. Consciousness and acting: State (Mnouchkine)
> 15. Consciousness and acting: Translumination
> (Grotowski)
> 16. Consciousness and acting: Physical presence and
> neutrality (Artaud)
> 17. Consciousness and acting: The actor and the
> marionette (Kleist,
> Craig)
> 18. Reception and audiences: the senses of sight and
> hearing
> 19. Reception and audiences: the sense of smell
> 20. Reception and audiences: the sixth sense
> 21. Concepts of theatre studies: language of nature
> (Artaud) and
> universal language of theatre
> 22. Concepts of theatre studies: theatre and ritual
> 23. Concepts of theatre studies: postmodernism
> 24. Concepts of theatre studies: utopian
> performatives
> 25. Indian Theatre Aesthetics: The Natyashastra,
> origin, scope and the
> concept of rasa
> 26. Indian Theatre Aesthetics: issues for further
> debate
> 27. The perspective of Vedanta philosophy
> 28. Gandharvaveda, consciousness and the primordial
> sound
> 29. A reassessment of rasa (consciousness studies)
> 30. Indian theatre aesthetics and Artaud and Barba
> 31. Brook: The Mahabharata
>
>
>
**********************************************************************
> Dr Daniel Meyer-Dinkgräfe
> Department of Theatre, Film and Television Studies
> University of Wales Aberystwyth
> Parry Williams Building
> Penglais Campus
> Aberystwyth, Ceredigion SY23 3AJ
> Tel. 01970 622835
> Fax 01970 622831
> email: [log in to unmask]
>
> Consciousness, Literature and the Arts
> URL http://www.aber.ac.uk/tfts/journal
>
> Yn unol â pholisi dwyieithog Prifysgol Cymru,
> Aberystwyth, mae croeso i chi
> ohebu â?r Brifysgol yn Gymraeg neu yn Saesneg.
>
> In accordance with the bilingual policy of the
> University of Wales,
> Aberystwyth, you are welcome to correspond with the
> University in either
> Welsh or English.
>
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