TÜRKÇE
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Information
| Code | TYM301 |
| Name | Theories and History of Theatre III |
| Term | 2024-2025 Academic Year |
| Semester | 5. Semester |
| Duration (T+A) | 2-0 (T-A) (32 Week) |
| ECTS | 4 ECTS |
| National Credit | 2 National Credit |
| Teaching Language | Türkçe |
| Level | Lisans Dersi |
| Type | Konservatuar - Yardımcı Meslek |
| Mode of study | Yüz Yüze Öğretim |
| Catalog Information Coordinator | Öğr. Gör. İsmail DİKİLİTAŞ |
| Course Instructor |
İLTER ŞEN
(A Group)
(Ins. in Charge)
|
Course Goal / Objective
The aim is to convey students the theatre applications in all periods of the World Theatre from its first occurrence to the present day, staging formats and the theories developed as a result of these experiences, and create an awareness with all this information.
Course Content
Examination of theories which appeared during the romantic, realistic and anti-realistic periods in the 18th century.
Course Precondition
TYM217 Theories and History of Theatre II
Resources
not available
Notes
Şener, Sevda: Dünden Bugüne Tiyatro Düşüncesi. Anadolu Üniversitesi Yay. Eskişehir, 1991.
Course Learning Outcomes
| Order | Course Learning Outcomes |
|---|---|
| LO01 | Tells the 18th century theater thought. |
| LO02 | Describes the Romantic Movement theater thought. |
| LO03 | Realistic Current knows and explains the idea of theater. |
| LO04 | Knows the counter-realistic current theater thought. |
| LO05 | Analyzes differences in thought of theater between the Romantic Movement and Realistic Movement. |
| LO06 | Analyzes the differences between Realistic and Counter-Realistic Movements in theater thought. |
| LO07 | Evaluates the political, cultural, religious, philosophical and economic conditions that paved the way for the emergence of the 18th century new interpretations, the Romantic Movement, the Realistic Movement and the Counter-Realistic Movement. |
| LO08 | Analyzes the differences between Romantic and Realistic Movements in theater thought. |
Relation with Program Learning Outcome
| Order | Type | Program Learning Outcomes | Level |
|---|---|---|---|
| PLO01 | Bilgi - Kuramsal, Olgusal | Students comprehensively search for the national and international Theatre - Acting literature, techniques and methods, synthesize the knowledge they acquired considering the requirements of the age and gain a critical point of view. | |
| PLO02 | Bilgi - Kuramsal, Olgusal | The Art of Acting is supported with methods, theories, history, the techniques of using voice and body, behavioral psychology, and aesthetics and art theories. He has the knowledge to comprehend his art and transfer it to the future along with his past. | |
| PLO03 | Bilgi - Kuramsal, Olgusal | This program provides with the ways of finding the necessary documents, tools, resources, and the archive related to the art of acting. | 4 |
| PLO04 | Bilgi - Kuramsal, Olgusal | By acquiring the basic techniques and professional habits of the art of acting, having sufficient knowledge in terms of stage technology, comprehends how to express the artistic expression images of the play. | |
| PLO05 | Bilgi - Kuramsal, Olgusal | Gains the ability to present information about the field of Theatre-Acting Art to different audiences of the society. | |
| PLO06 | Bilgi - Kuramsal, Olgusal | Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. | |
| PLO07 | Bilgi - Kuramsal, Olgusal | Students will have the ability to search, discover, create alternative solutions, reach information, think critically and engage in productive discussions for personal and professional growth. | 3 |
| PLO08 | Beceriler - Bilişsel, Uygulamalı | Taking the art of Theatre-Acting into consideration, students comprehend the improvement and transformation period of the art from past to the future, and adapt it according to the requirements of the age. | 5 |
| PLO09 | Beceriler - Bilişsel, Uygulamalı | By developing his coordination skills, he gains the ability to use his own body as an instrument that has recognized and analyzed his world of emotions and thoughts and has a natural mechanism on the stage. | |
| PLO10 | Beceriler - Bilişsel, Uygulamalı | In addition to acting techniques, he knows and applies the right ways of using the body on stage with movement, dance, body plastic and fencing disciplines. | |
| PLO11 | Beceriler - Bilişsel, Uygulamalı | This programme teaches the ways of using voice correctly on stage supporting this with the voice and speech techniques, singing, solfege and ear training. | |
| PLO12 | Beceriler - Bilişsel, Uygulamalı | Gains the ability to interpret universal values and reflect imaginatively with the knowledge gained in his field. | |
| PLO13 | Beceriler - Bilişsel, Uygulamalı | Performs his character taking part in a full range of play (including costumes, makeup, decor, music, lighting, effects,) prepared closest to the professional discipline and stage conditions. | |
| PLO14 | Beceriler - Bilişsel, Uygulamalı | He gains the awareness of having artistic and professional ethics and discipline along with his professional acting qualifications and applies them in rehearsal, representation and all works on stage and set. | |
| PLO15 | Yetkinlikler - Bağımsız Çalışabilme ve Sorumluluk Alabilme Yetkinliği | As an artist, students improve themselves continually, and combine the knowledge and skills appropriate for the rules of professional ethics with the other fields of art and make correlations between them. | |
| PLO16 | Yetkinlikler - Öğrenme Yetkinliği | In addition to his professional development, he constantly improves himself in scientific, social, cultural and sports fields for his personal development. | |
| PLO17 | Yetkinlikler - İletişim ve Sosyal Yetkinlik | Students gain communication and social competence skills as a natural part of the art of theater - acting. | |
| PLO18 | Yetkinlikler - Alana Özgü Yetkinlik | With the help of techniques and methods of acting, this programme teaches the ways of expressing the emotions and thoughts of the character to play on stage. | |
| PLO19 | Yetkinlikler - Alana Özgü Yetkinlik | Considering the art of Theatre-Acting, students learn a social and aesthetic point of view and can apply this on performing arts, radio, television and cinema. | |
| PLO20 | Yetkinlikler - Alana Özgü Yetkinlik | It shows and provides the ways to have the competence to use Turkish correctly, beautifully and effectively as an example for the society. |
Week Plan
| Week | Topic | Preparation | Methods |
|---|---|---|---|
| 1 | 18th Century European Theatre: Eightenment Era, Architects of Enlightenment , The Philosophy of Enlightenment Era. Jean Jacques Rousseau, David Hume, Denis Diderot, Beaumachais ... | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 2 | 18th Century Theatre Writing and Writers (Gotthold Ephraim Lessing, Schiller, George Lillo, Sebastian Mercier.) | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 3 | 18th Century Theatre Thought: Political, Cultural, Economic, Religious and Scientific Developments. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 4 | New Comments in 18th Century Theatre thoguhts: In Theatre Daily events and ordinary people should be included. (how and from whom the theatre events and characters were selected in earlier periods?Search for the answer to the question by reviewing the whole periods.) | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 5 | New comments in 18th Century Theatre thoughts: Theatre Work should be written as a prose, theater should affect audiences, New types should be tried. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 6 | Theatre educates by touching, emotion and suffering gives pleasure to the audience. (What was the purpose and function of theatre in all the previous periods? Searching for the answer to the question by reviewing the earlier periods) | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 7 | General Review of the 18th century Theatre Idea. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 8 | Midterm Exam | Ölçme Yöntemleri: Yazılı Sınav |
|
| 9 | Romantic Movement: Political, Social, Economic, Cultural and Scientific Atmosphere. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 10 | Romantic Movement: Freedom of Creation in art, Art is a superior fact, preference of the national one, and direction to medieval sources. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 11 | Romantic Movement: Evolution of art and idealistic Historicism (remembering Plato´s ´ideas´ philosophy ) Luminous and illuminating function of art. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 12 | Romantic Movement: Reflecting the Essence of Truth, exceeding Classical Rules, Organic Style, Harmony of opposites. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 13 | New Definition of tragedy and comedy, and the grotesque, Creative Imagination and Illusion, Romantic Irony, interpretation of Shakespeare. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 14 | Midterm Exam | Reading the source, | Ölçme Yöntemleri: Yazılı Sınav |
| 15 | semester analysis and general revision (18th century Theatre) | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 16 | semester analysis and general revision (Romance) | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 17 | Naturalism and Realistic Movement: Political, Social, Economic, Cultural, Scientific Atmosphere. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 18 | Response to the Romantic Theatre in the Realistic Movement, Comparison of naturalism and realism. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 19 | Realistic Movement Principles: Reflecting the concrete fact of life, taking environmental factors into account, the use of the Science Method, Thinking Outside The World Turning, Illusion Creation. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 20 | The rules that should be considered in practice in Realistic Movement: Intense, with wheels, tense play structure, Bergson and Comedy, Using everyday language, visual similarity to the concrete fact of life. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 21 | Aim in the Realistic Theatre, dramatic in the realistic theatre, sources that the Realistic movement influences from, Realistic Comparison of Realistic Movement. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 22 | Creative Acting and Constantin Stanislavski. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 23 | Realistic Movement Authors: August Strindberg, George Bernard Shaw, Anton Çehov, Henrik İbsen, Emile Zola, Alexandre Dumas Fils… | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 24 | Midterm Exam | Ölçme Yöntemleri: Yazılı Sınav |
|
| 25 | Counter-Realistic Trends: Social, Political, Economic, Cultural, Scientific Atmosphere, Symbolism, New Romanticism, aestheticism. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 26 | French Symbolists: Mallarme, Maeterlinck, Claudel, Edmond Rostand, Alfred Jarry, Lord ve Lugne Pou. Other Counter-Realistic authors: Oscar Wilde, Hugo von Hofmannsthal, Hanry Bergson. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 27 | Richard Wagner and the composite work of art, Friedrich Nietzsche and The Birth of Tragedy, General and Common Opinions of Counter- Realistic authors, The expression of a hidden truth and Symbolism. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 28 | Theatre should be conditioned with other mission other than giving taste of art. Anxiety of beauty and aestheticism, Studies of Adolphe Appia and Gordon Graeg, Movement of all the elements of theater together,A New understanding of Illusion, Ensuring harmony in the play by the director . | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 29 | General Review of Counter-Realistic Trends. | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 30 | Midterm Exam | Reading the source, | Ölçme Yöntemleri: Yazılı Sınav |
| 31 | Final exam preparation | Reading the source, Research | Öğretim Yöntemleri: Anlatım, Soru-Cevap, Tartışma |
| 32 | Final Exam | Reading the source, | Ölçme Yöntemleri: Yazılı Sınav |
Student Workload - ECTS
| Works | Number | Time (Hour) | Workload (Hour) |
|---|---|---|---|
| Course Related Works | |||
| Class Time (Exam weeks are excluded) | 29 | 2 | 58 |
| Out of Class Study (Preliminary Work, Practice) | 29 | 1 | 29 |
| Assesment Related Works | |||
| Homeworks, Projects, Others | 0 | 0 | 0 |
| Mid-term Exams (Written, Oral, etc.) | 2 | 2 | 4 |
| Final Exam | 1 | 2 | 2 |
| Total Workload (Hour) | 93 | ||
| Total Workload / 25 (h) | 3,72 | ||
| ECTS | 4 ECTS | ||