List of Courses Autumn Semester 2015-16 E

Transcription

List of Courses Autumn Semester 2015-16 E
Contents
Toolboxes/Workshops Zurich
Serial Narration. Why Breaking Bad is Right................................................................................. 1
Transkulturalität............................................................................................................................... 4
Warum ist nicht schon alles verschwunden..................................................................................... 5
Redekompetenz.............................................................................................................................. 7
Prologe_03 The Startup in Me – How to read, think and write........................................................ 8
Project Management....................................................................................................................... 9
Artist Management: Casting für Film und Fernsehen ..................................................................... 10
Vorsprechen................................................................................................................................... 11
Antisemitismus in Europa................................................................................................................ 13
Song of the Goat Theatre................................................................................................................ 14
Semesterprojekt Schauspiel Zürich................................................................................................. 16
Semesterprojekt Bühne A................................................................................................................ 17
Spiel vor der Kamera....................................................................................................................... 18
Me, Myself and Avatar. Eine Plattform zu künstlerischer Forschung ............................................. 19
Probemethoden I............................................................................................................................. 22
Körper im Raum.............................................................................................................................. 23
Widerstand und Flüchtigkeit des Ortes und eines mobilen Publikums ........................................... 24
Was nun? Bewegungsarbeit mit dem Tänzer und Choreografen Ives Thuwis .............................. 26
Hierarchien im Theater.................................................................................................................... 28
Dramaturgie im Kosmos des Narrativitätsbegriffs.......................................................................... 30
Im Zeichen des Kreisels.................................................................................................................. 32
Körper / Bewegung.......................................................................................................................... 34
Bühnenbild-Kolloquium: Modell und Wirklichkeit ........................................................................... 35
REGIE Kolloquium.......................................................................................................................... 36
Dramaturgie-Kolloquium.................................................................................................................. 37
TP-Kolloquium................................................................................................................................. 38
Einzelsprechstunden Bühnenbild.................................................................................................... 39
Tanzendes Licht.............................................................................................................................. 40
Toolboxes/Workshops Verscio
The Mask and Masking - Identity and Otherness............................................................................ 41
Practical and Theoretical Introduction to the Master Studies at the STD ....................................... 42
Panel............................................................................................................................................... 43
Thinking Theatre............................................................................................................................. 44
Play with Masks............................................................................................................................... 45
Physicality of an Actor / Physicality of a Puppet............................................................................. 46
Toolboxes/Workshops Bern
Theory of Everything but Theatre.................................................................................................... 47
Neues Erzählen im Theater............................................................................................................. 48
Begegnung...................................................................................................................................... 49
Montagsforum.................................................................................................................................. 51
Körper-/Sprechtraining.................................................................................................................... 52
MA-Thesis-Konzept......................................................................................................................... 53
Projektmanagement........................................................................................................................ 54
Block-Projekt................................................................................................................................... 55
Vorbereitung Vorsprechen............................................................................................................... 57
Vorbereitung Vorsprechen............................................................................................................... 58
Feldenkrais...................................................................................................................................... 59
Chorsprechen für Nicht-SchauspielerInnen.................................................................................... 60
Exkursion nach Polen: International Art Workshop in Skoki............................................................ 62
Tools for Creation and Composition................................................................................................ 63
Performance Workshop mit Ann Liv Young.................................................................................... 64
Individuelle Vertiefung..................................................................................................................... 66
A la recherche de la recherche - Theater........................................................................................ 67
A la recherche de la recherche ...................................................................................................... 68
Das Interview. Die forschende und künstlerische Praxis des fragenden Gesprächs...................... 69
Forschungsmittwoch....................................................................................................................... 70
Balance von Berufs- und Privatleben: Weichen stellen vor dem Studienabschluss........................71
Toolboxes/Workshops Lausanne
Lecture innombrable des textes du theatre contemporain ..............................................................72
« Dramatologie » : theatre et video ................................................................................................. 73
Socle humain................................................................................................................................... 74
DISPOSITIF/ARTEFACT ................................................................................................................ 75
Stage technique .............................................................................................................................. 76
Regietheater, de la table au plateau ...............................................................................................77
Interactive Technologies for Stage Performance............................................................................ 78
Le theatre au noir: Dramaturgies britanniques contemporaines......................................................79
L’autofiction, du texte a la scene .................................................................................................... 80
Mise en oeuvre et production d’un projet artistique ........................................................................ 81
Traductions - creations?.................................................................................................................. 82
La place du texte dans la mise en scene ....................................................................................... 83
Les ecritures de plateau, un etat des lieux...................................................................................... 84
Master-Campus-Theatre-CH
List of Courses / Module Description
Autumn Semester 2015 / 16
Title
Serial Narration.
Why Breaking Bad Is Right.
Location / Partner
School
Zurich
Number
ZH01
Dates from / until
15.9. – 19.9.2015
Module Type
Campus Week / EXPLORING
Times
All day
Teacher
s. Comments
Room (if known)
various rooms in the TONI areal
Teaching Language
D/E
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
max. 40
Prerequisites
Target Group
Learning
Objectives
Content of the
Course
All MA
-
Networking and getting to know the other MA Campus Master students
Getting to know serial ways of storytelling and addressing popular formats
Developing narrative serial formats for theatre
Working in a team
Presentation-orientated work in a short space of time
If you’re committed enough, you can make any story work. I once told a woman I was Kevin Costner, and it
worked because I believed it. („Better Call Saul“)
At the annual conference of the "Dramaturgische Gesellschaft" in 2015 in Linz, the question of popular forms,
the popularity of theatre was at the centre. While quality TV series, as the novels and epics of our times, enjoy
great popularity, theatres are fighting for visitors. Of course, theatre is limited by its local nature (all the
attempts to make theatre more popular, such as twittering and live streaming are not to be considered here;
nor the difficult mobile versions of performances) and cannot compete with electronic media. But is the
popularity of (quality) TV series merely due to its medium, its availability regardless of space and time? Not at
all! The potential for addiction that serial storytelling has, lies in the exciting narrative techniques and
procedures, the developments in serial storytelling, the character identification, the cliffhangers and others
ingredients, which we want to explore and try out playfully in the Campus Week. While theatres are trying to
pick up discourses and current topics that are as short-lived as news headlines, and testing new ways of
working and formats on its stages in the city and other places, the internet and television are putting their faith
in the universality of the human condition: the power of the story.
In the Campus Week, we want to tell stories and tackle the "new" television formats practically and try to
develop our own ideas for serial storytelling for/in theatre.
The goal of this week, will be to develop an analogue live series in 5 groups, which we will show on the 19th of
September in a relay in and around the TONI Areal.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Scenic Arts Practice
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
1
Programme (rough):
On Tuesday, 15.9., we will start the Campus Week with a kick-off (welcome and thematic introduction to the
week, presenting the plan for the week, announcing the workshop groups) and by developing a plot for our
theatre series. The work on the plot and the other characters will be supervised by a script writer; then the plot
will be distributed to 4-5 groups. In the following days, the group will develop their episode/season together
with a workshop leader. In the evening, there will be a lecture.
Wednesday - Saturday
We will start every day with a Super-Kondi-Body-Attack, a training which follows the idea of the popular. The
training will take place starting on Wednesday, from the 16th to 19th of September, always from 09:30 - 10:30,
in the entrance hall of the TONI Areal. After that, the separate groups will continue their work on the
episode/season. At lunch and in the evening, we will eat together. Every day, a different group will be
responsible for the preparation of the food. The duties will be distributed on Tuesday, the 15th of September.
There will also be further inputs by invited guests. On Saturday all the groups will come together and we will
work on the presentation of the series as a relay. The relay will take place in the early evening of the same
day.
Literature Used
JOURNAL OF SERIAL NARRATION ON TELEVISION
Umberto Eco (1988): Die Innovation im Seriellen. In: Ders., Über Spiegel und andere Phänomene. Munich:
Hanser.
Tanja Weber & Christian Junklewitz (2008): Das Gesetz der Serie – Ansätze zur Definition und Analyse. In:
Medienwissenschaft 1.
Eric Buhse (2014): Der Vorspann als Bedeutungsträger. Zu einer zentralen Strategie zeitgenössischer Fernsehserien. Darmstadt: Büchner.
Gunther Eschke, Rudolf Bohne (2010): Bleiben Sie dran! Dramaturgie von TV Serien, Konstanz: UVK.
Tanja Weber und Christian Junklewitz: Das Gesetz der Serie – Ansätze zur Definition und Analyse, in:
Medienwissenschaft 1/2008.
Diedrich Diederichsen (2012): The Sopranos. Zurich: Diaphanes.
And many more.
Selected texts will be made available in a reader.
Comments
Das detaillierte Programm und Informationen zu allen Dozenten werden den Teilehmerinnen rechtzeitig
mitgeteilt. Hier finden sich Informationen zu einigen Dozenten der Campuswoche:
Sascha Özlem Soydan (born 1972, lives in Zurich and Berlin) is an actress. After her acting studies at the
Hochschule der Künste Berlin, Sascha Özlem Soydan was an ensemble member of the Deutsches
Schauspielhaus Hamburg from 1993 to 1998 under the artistic direction of Frank Baumbauer. There she
worked with directors including Christoph Marthaler, Matthias Hartmann, Jossi Wieler, Werner Schröter,
Anselm Weber and Dimiter Gottscheff. Since 1998, she has been working freelance at theatres including the
Deutsches Schauspielhaus, the Thalia Theater and Kampnagel in Hamburg, at the Residenztheater in Munich,
the Schauspielhaus Zürich, Schauspiel Frankfurt, Staatsschauspiel Dresden, amongst others with Simone
Blattner, André Wilms, Corinna von Rad und Jarg Pataki. She collaborated on the production Arabqueen,
which won the audience award of the Musich Directing festival Radikal Jung and has toured to numerous
theatres in Germany, France and Switzerland. Sascha Özlem Soydan also shoots for German television. First
film performances were in Der kleine Unterschied (1997), where she co-starred next to Horst Buchholz,
and Hot Dogs (1998) as well as Alles Bob! (1999). At this time, she also played her first parts in German TV
series (amongst other a main part in the Tatort episode In der Falle). From 2007, she got steady parts in TV
series: Jale Deniz in the crime series Lutter or Hatice Surat in the children´s programme Die Pfefferkörner and
she could be seen in Tatort and the ARD production Mordkommission Istanbul.
http://ankebalzer.de/sascha-o-soydan
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
2
Diedrich Diederichsen (born in Hamburg in 1957) is a German cultural scientist, critic, journalist, curator,
author, essayist and university teacher. He counts as one of the most important German pop theoreticians. In
the 80s, he was editor and publisher of music reviews, in the 90s university teacher in Frankfurt, Pasadena,
Gießen, Weimar, Vienna, St. Louis, Cologne, Los Angeles and Gainesville. From 1998 to 2006, he was
professor for Aesthetic Theory / Cultural Sciences at the Merz Academy, Stuttgart, since 2006, Professor for
Theory, Practice and Communication of contemporary art at the Institute for Art and Cultural Sciences at the
Akademie der Bildenden Künste, Wien.
http://diedrich-diederichsen.de/
Stefan Burger (born in 1977 in Müllheim, lives in Zurich) studied Photography at the Zürcher Hochschule für
Gestaltung und Kunst. Since the beginning of his professional life, he has viewed the medium of photography
as the foundation from which he explores all other artistic fields.
So, he has presented sculptures, installations, objects, traveling works, videos and 16-mm-films in significant
Swiss cultural institutions. An extensive collection of his work was exhibited in the Photography Museum of
Winterthur in 2010. In his works, Stefan Burger examines the conditions of artistic production, the mechanisms
of image manipulation and the seductive role of the media.
For Swiss television, Stefan Burger made the short film "Inform". This can be understood as a parody of the
promises advertising makes, of beauty cults and product aesthetics. He receives numerous awards: Follow
Fluxus scholarship, Wiesbaden, award of the "Georg und Josi Guggenheim" Foundation, Zurich, Swiss Art
Award, Stiftung Kunstfonds, Bonn.
http://stefanburger.ch/
Hayat Erdogan (born 1981 in Mühlacker) is a PhD researcher at the Art University of Linz and teacher
Literature and Cultural Theory / Dramaturgy at the ZHdK. She studied German and English Literature and
Language at the University of Stuttgart and Dramaturgy at the ADK-BW in Ludwigsburg. Hayat Erdogan has
worked as a translator and interpreter, for example on the international theatre project "Orient Express", and
as a dramaturge at the Schaubühne Berlin amongst other theatres. She received a research scholarship from
the James-Joyce-Foundation in Zurich and Triest, was a collaborator in the collective for artists and
researchers "International Institute of Political Murder – IIPM" and a research associate in projects such as the
SNF research project "Das Spiel mit den Gefühlen". Since 2014, she has been running the artistic research
project "Polytropos – Dada on Tour", within the framework of Connecting Space Hong Kong/Zurich. Since
2014 Hayat Erdogan has also been a member of the commission for theatre funding of the city of Zurich.
Asked to attend:
Kai Schumann
Alexander Karschnia, andcompany&Co
Christoph Rath
and many more.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
3
Title
Transkulturalität
Location / Partner
School
Zurich
Number
ZH02
Dates from / until
23.9. – 25.9.2015
Module Type
Campus Module Week / EXPLORING
Times
15:00-19:00
Teacher
Prof. Dr. Wolfgang Welsch
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5/30
Prerequisites
A keen interest in the concepts and problems of transculturalism, interculturalism, globalisation
Target Group
All MA
Learning
Objectives
- Getting to know historical and contemporary cultural concepts
- Assessing their advantages and their appropriateness
- Critically assessing contemporary cultural phenomena (concepts and realities)
Content of the
Course
"Contemporary cultures are externally strongly linked and intertwined. Lifestyles do not end with the boundaries of individual cultures (the so-called national cultures), but rather they transcend these borders and appear in other cultures. The lifestyle of an economist, a scientist or a journalist is no longer just German or
French, but - if at all - defined by European or global ideas". (Welsch, Was ist eigentlich Transkulturalität?)
In this 3-day seminar, the concepts of transculturalism, interculturalism and multiculturalism are presented and
discussed in relation to the actual current cultural reality.
Literature Used
Comments
Depending on the exact progress of the seminar, short impulse texts by various authors may be handed out.
Wolfgang Welsch is a world-renowned German philosopher, who has new thoughts about aesthetics, postmodernity, reason, transcultural society and the relationship of man and world. He has taught at the Universities of Bamberg, Magdeburg and Jena. He has had guest lecturer positions at the University of Erlangen, the
Freie Universität Berlin, the Humboldt University in Berlin, Stanford University and the Emory University in Atlanta, Georgia.
In 1992, Welsch received the Max-Planck research award together with Gianni Vattimo.
His main research areas are anthropology and epistemology, philosophical aesthetics and art theory, cultural
philosophy (theory of the transcultural society) and contemporary philosophy. Since 2000, he has been developing a consequent evolutionary understanding of man´s relationship to the world, taking both the natural and
cultural evolution into account.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
4
Title
Warum ist nicht alles schon
verschwunden?
Location / Partner
School
Zurich
Number
ZH03
Dates from / until
16.11. – 17.11.2015 &
11.01. – 12.01.2015
Module Type
Campus-Slots / EXPLORING
Times
15:00-19:00
Teacher
Hayat Erdogan
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5-30
Prerequisites
Preparatory reading
Target Group
All MA
Learning
Objectives
- Getting to know selected culture theoretical / critical positions of modernity / postmodernity
- Developing and comparing core ways of thinking and models of thought
- Transfer and reflection of theoretical texts in relation to one´s own artistic practice
Content of the
Course
You have to hurry, if you want to see something. Everything is disappearing. (Cezanne)
In the dystopian epistolary novel Im Land der letzten Dinge (1987) by Paul Auster, the protagonist Anna
Blume becomes witness to a wide-reaching disappearance. In a sealed-off, ghostly town, she is looking for
her brothers and sees things, houses, people, humanity, names and memories disappearing. This is not
too far from the description of reality in the critical, culture-pessimistic theories of modernity/postmodernity.
In these a present is described and a future is anticipated, in which and from which everything and
everyone is disappearing, yes, reality itself seems to disappear. In these theories, there is talk of an "art
without memory" (Virilio), of self-amputated people (McLuhan), virtual people without the capacity of
thought (Baudrillard), of the "agony of eros" (Han), of the "aesthetics of absence" (Kamper), of the
"progress of stultification" (Horkheimer/Adorno), of the "de-materialization of the world" (Kramer), of the
"destruction of man" (Anders), of the "end of theory" (Anderson), of the "end of history" (Fukuyama), of the
"man without content" (Agamben), of the exhausted self (Ehrenberg or of a mutilated imagination as a
consequence of the creative imperative of the meritocracy (Reckwitz, Rebentisch/Menke et al.).
What are these ideas of disappearance referring to? What perception of self and world are they based on,
these description of reality, the prophecies, these theories determined by critical processes of
disappearance? How do they influence or thoughts and actions? Is really everything gone or in the
process of disappearing? Is it not down to us to reverse this disappearance, to "organize this pessimism"
(Benjamin)?
Literature Used
Selected texts (see Comments below); a reader will be prepared.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
5
Comments
Reading List:
Paul Virilio, Die Verblendung der Kunst, Vienna 2008
Marshall McLuhan, Die magischen Kanäle. Understanding Media, Düsseldorf/Vienna 1968
Jean Baudrillard, "Videowelt und fraktales Subjekt", In: Ars Electronica, Philosophien der neuen Technologie,
Berlin 1989; same source: Warum ist nicht alles schon verschwunden?,
Byung-Chul Han, Agonie des Eros, Berlin 2012
Dietmar Kamper, Ästhetik der Abwesenheit, Munich 1999
Horkheimer/Adorno, Dialektik der Aufklärung. Philosophische Fragmente, Frankfurt a.M. 2003
Wolfgang Kramer, Technokratie als Entmaterialisierung der Welt, Münster 1998
Günther Anders, Die Antiquiertheit des Menschen, Bd. 2, Munich 1981
Chris Anderson, The End of Theory. The Data Deluge Makes the Scientific Method Obsolete, Wired
Magazine, 16.7.2008
Francis Fukuyama, Das Ende der Geschichte, Munich 1992
Giorgio Agamben, Mensch ohne Inhalt, Berlin 2012
Alain Ehrenberg, Das erschöpfte Selbst. Depression und Gesellschaft in der Gegenwart, Frankfurt a.M. 2008
Georges Didi-Huberman, Überleben der Glühwürmchen,
Andreas Reckwitz, Die Erfindung der Kreativität. Zum Prozess gesellschaftlicher Ästhetisierung, Berlin 2012
Christoph Menke/Juliane Rebentisch (ed.), Kreation und Depression. Freiheit im gegenwärtigen Kapitalismus,
Berlin 2010
Et al.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
6
Title
Redekompetenz
Location / Partner
School
Zurich
Number
ZH04
Dates from / until
05.10.2015: 17:00-19:00
19.10. 2015: 17:00-19:00 09.11.2015: 17:0020.00
30.11.2015: 17:00-20:00
14.12. 2015: 17:00-20:00
Module Type
Elective / DEVELOPING FURTHER
Times
Teacher
Corinne Holtz
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshardt
ECTS
Number of
Participants
(min./max.)
3-10
Prerequisites
Target Group
Learning
Objectives
Content of the
Course
Literature Used
Comments
All MA
You can perform competently in various different situations (speaking freely, presentation, speech) and are
credible when speaking with and in front of people.
Based on listening to your "favourite music" together and talking about it, you will be made aware of different
attitudes of speech. You will reflect your own attitudes of speech and those of others, will understand the
relationship of articulation and breath and will discover what your body does, when you are speaking with and
in front of people. Alongside individual speaking situations (such as a job interview, exam, presentation,
rehearsal), you will study the effect of language and body language, the handling of stage-fright and structures
of speech and argumentation and will rehearse your next public speeches - in front of and together with the
other course participants.
Sten Nadolny: Die Gabe der Rede; Julius Hey: Die Kunst des Sprechens; Reiner Brehler: sicher auftreten,
überzeugend vortragen; Roland Barthes: Der Körper in der Musik, in: Der entgegenkommende und der
stumpfe Sinn; Andreas Dorschel: Erwartung und Vorurteil in der Musik, in: Dem Ohr voraus; Hartmut Fladt:
Der Musikversteher: Was wir fühlen, wenn wir hören.
Corinne Holtz, Dr. phil., violinist and music scientist. Since 1989, she has been an editor, today she is an
author at Radio SRF2 Kultur; she publishes in the NZZ and works as an essayist - for the Opernhaus Zürich,
Komische Oper Berlin and Salzburger Festspiele, among others, and she is the author of the monography
about the East-German director Ruth Berghaus. She is a researcher at the Bern University of the Arts and
curates the interdisciplinary cultural platform 'hexperimente-die bühne im avers'. www.corinneholtz.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
7
Title
Prologe_03
The Startup in Me – How to read, think
and write
Location / Partner
School
Zurich
Number
ZH05
Dates from / until
Tuesday, 6.10., 20.10., 10.11., 1.12.,
15.12.2015 and 5.1.2016
Module Type
Times
Beginning and end: 17:00-20:00; Regularly:
17:00-19:00
Teacher
Max Glauner
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
3 – 15
Prerequisites
Laptop with WI-FI access, being prepared to work before and after the course.
Target Group
All MA students of the 1st and 2nd semesters. The participation of students from higher semesters is possible
upon special request.
Learning
Objectives
The seminar teaches basic skills to prepare for the Master thesis in a goal-oriented way. In addition, the participants will learn about the work with texts as an instrument of their own creativity.
Content of the
Course
“The whole hermeneutic ballet is a performance of exhaustion: either we master the text, then we can, but do not need to
deceive; or we do not master the text, in which case we cannot know, if we deceive or not”.
(Paul de Man, Kleist`s Über das Marionettentheater)
As the tricks and shoves of the trained bear in Kleist´s "Über das Marionettentheater", the reading and interpreting of texts is a difficult business. At the heart of this seminar, which aims to prepare students for writing
their Master thesis, is reading, research and independent writing. This will be tested on literary forms and media ranging from oil paintings to videos, from tweets to academic essays. By practicing close reading basic
skills of reading and interpreting will be gained in individual and group work. These insights will be transferred
to different forms of text and presentation, to develop a serendipity and develop core issues further.
Literature Used
Participants will receive the reading material as a pdf-file before the seminar.
Comments
Max Glauner studied General and Comparative Literature, Art History and Philosophy. Teacher for Cultural
History, Architecture and Urban Planning at the Freie Universität, the Senate of Berlin and the Goethe
Institute, among others. Freelance author, editor and journalist for media including the Tagesspiegel Berlin,
Der Freitag, Theater heute, Kunstforum International, frieze.de and Artforum, amongst others. Since 2013, he
has been teaching the Theory of Theatre and Fine Arts, at the ZHdK amongst other universities.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
8
Title
Project Management
Location / Partner
School
Zurich
Number
ZH06
Dates from / until
23.11. – 27.11.2015
Module Type
Elective Compulsory / DEVELOPING
FURTHER
Times
Teacher
Gunda Zeeb
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshardt
ECTS
Number of
Participants
(min./max.)
3-20
Prerequisites
None
Target Group
DR, RE, TP, BN, SC
Learning
Objectives
Creating funding applications, budgets, finance plans, lists of expenses (including social security), as well as
knowledge of legal aspects and communication
Content of the
Course
This module is about the basics of project management in the free theatre scene. Topics such as budgeting
and funding applications will be at the centre. In addition, other organisational aspects of project management
will also be touched on, such as basic legal concerns, such as contracts, legal status, permits. Different
practical examples will be examined and analysed. In the 2nd part of the module, an application concept will
be written on the basis of a real or imagined project and a communication and marketing plan developed.
Literature Used
Comments
Gunda Zeeb has been the Artistic Director of the wildwuchs festival in Basel since 2012. In 2014, she was codirector of the performance festival stromereien in Zurich. From 2006 - 2012, she was a dramaturg at the
Theaterhaus Gessnerallee in Zurich and before that assistant to Matthias Lilienthal at the HAU in Berlin. From
2002 - 2004, she did project management and directed the administrative office at the Forum Freies Theater in
Düsseldorf. 2000/2001 she completed an MA in Cultural Management at the City University in London. Gunda
Zeeb is a member in various juries and has different teaching commissions at the ZHdK and the University of
Zurich. She is also a member of the theatre commission of the canton of Zurich.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
9
Title
Artist Management:
Casting für Film und Fernsehen
Location / Partner
School
Zurich
Number
ZH07
Dates from / until
28.09. - 1.10.2015
Module Type
Times
10:00 - 16:00
Teacher
Nina Haun
Room (if known)
Teaching Language
D
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
5-10
Prerequisites
Target Group
SC
Learning
Objectives
Understanding casting for film and television and preparing accordingly
Content of the
Course
Insights into the casting process, casting training with a camera, taking a look behind the scenes,
dos and don´ts, evaluating the presentation material, one-to-one talks
Literature Used
Comments
Nina Haun studied German Literature and Language and Romance Studies and since the summer of 2002,
she has been working as a casting director for various film and TV productions. She has many years of experience in TV and theatre, founded two small independent theatres, was responsible for the departments film acting and set design at the Film Academy Baden-Württemberg and directed the internal casting agency. She is a
guest lecturer at the Film Academy Baden-Württemberg, the Hamburg Media School, the film school Babelsberg Konrad Wolf, the Academy for Performing Arts Baden-Württemberg and the drama school Ernst Busch,
among others. She is a co-publisher of the "Schauspielerbekenntnisse" (UVK publishing house) and a member of the ICDN (International Casting Directors Network). Nina Haun was responsible for the casting of several award-winning feature films, such as WIR SIND JUNG WIR SIND STARK (Burhan Qurbani), ALLE ANDEREN (Maren Ade), VIER MINUTEN (Chris Kraus), DER MEDICUS (Philipp Stölzl), as well as TV productions, such as UNSERE MÜTTER UNSERE VÄTER (Philipp Kadelbach), WOYZECK (Nuran David Calis), DIE
FREMDE FAMILIE (Stefan Krohmer), ROSE (Alain Gsponer), various episodes of BELLA BLOCK (Andreas
Senn, Markus Imboden, Hans Steinbichler u.a.) and roughly 240 further productions.
She was nominated for the Grimme award in 2009 in the Special category and won the German Casting
Award in 2009, as well as the award of the Deutsche Akademie für Fernsehen in the section Casting in 2013.
For the full filmography: http://www.imdb.com/name/nm1393816/?ref_=fn_al_nm_1
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
10
Title
Vorsprechen
Location / Partner
School
Zurich et al.
Number
ZH08
Dates from / until
Start of rehearsals: 24.8.2015
Further dates: See Content
Module Type
Compulsory / DEVELOPING FURTHER
Times
Teacher
Peter Ender, Marc von Henning,
Walter Küng
Creating the programme: Philipp Becker
Room (if known)
Bühne A
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
Prerequisites
Target Group
SC (3rd semester)
Learning
Objectives
- Presentation of 2 monologues and a scene
- Optional! Presentation of a song
Content of the
Course
For their final audition round, the MA Acting students will develop 2 monologues each, a scene and, if they
want, also a song. During several weeks of intensive work on these presentations, the students will be supervised by 3 teachers in 3 rehearsal groups. These rehearsals will start on the 24.8.2015, take place as arranged and will take priority until the start of October.
From the start of October, 5.10., Philipp Becker will compile and stage the programme. Students involved in
studio co-productions are exempt from this (Theater Luzern / Zürcher Schauspielhaus).
First audition date in Zurich: 22.10.2015
Further dates: 23.10. / 25.10. / 26.10. 2015
Audition dates in Berlin, Munich & Neuss: KW 46 (9.11 - 14.11.2015)
Comments
Marc von Henning, born in London, is an author, director and translator. Under the title
THEATREMASCHINE, his translations of plays, poems and prose by Heiner Müller were published by
Faber&Faber (London). 1992-2001, he caused a stir in London with his theatre company "primitive science",
through visually exciting productions of his own texts, influenced by performance art; he also had international
projects, such as ICARUS FALLUNG for the Expo 2000 in Hanover and INVISIBLE COLLEGE for the
Salzburger Festspiele. His company won the "Time out Critics’ Choice Award". Since 2000, Marc von Henning
has been working in the German-speaking area as an author and director and has directed repeatedly at the
Staatsschauspiel Stuttgart, Schauspielhaus Graz, the Städtische Bühnen Köln, the Schauspiel Frankfurt and
the Deutsches Schauspielhaus in Hamburg. In 2008 he founded "Meyer&Kowski", together with Susanne
Reifenrath. The solo production DAS HOUDINI-GEN won the 4th MONOSPEKTAKEL in Reutlingen in 2014.
He wrote and staged a play for the theatre Die Tonne in Reutlingen, for the Ruhrfestspiele in Recklinghausen ES GIBT NICHTS GRÖSSERES ALS DIE KLEINEN DINGE. Its premiere was on the 24.10.2014.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
11
Walter Küng has been working as an actor and director for over 30 years. He alternately had steady
employment at houses and acted in independent theatre companies. He works in Switzerland, Germany and
Austria. His most important artistic impulses come from the Akko Theatre center, Akko Israel. He made
smaller and bigger productions of his own, together with various artists. This has been becoming an
increasingly important part of his work. With his productions "Bogen West" and "Hotel offen", he produced
successful original pieces, which he was artistically and financially responsible for. In spring 2011, he founded
the wk kulturwerk GmbH as a new body for his activities.
Philipp Becker teaches in the BA Theatre/Acting, is a director and actor and lives in Tübingen with his family.
He studied theatre, film and television science at the University of Cologne (1999-2003) and Directing at the
Otto-Falckenberg drama school, Munich (2003-2006). Since 2002, Philipp Becker has been directing at city
and state theatres, for festivals and the independent scene in Germany, Austria and Switzerland. In 2008, he
was nominated best newcomer in "Theater heute" for "R.-Destillat" (sophiensaele Berlin,
freischwimmerfestival); first prize of the "Bundesbeauftragte für Kultur und Medien" in 2014 for "Ein Dorf im
Widerstand" (Theater Lindenhof, Ruhrfestspiele Recklinghausen). Philipp Becker will be artistic director of the
Tell festival Altdorf in 2016.
Peter Ender studied German Literature and Language, Romance Studies and Acting at the Otto-Falckenberg
drama school in Munich. There followed roles at the Staatstheater Kassel, Staatstheater Mainz and Schauburg
München, among others. He worked on numerous cinema films and TV productions. 1992-1995, he was a
guest lecturer at the Otto-Falckenberg drama school in Munich, where he worked as a teacher for the
foundation course in scenic work and improvisation from 1995. From 2007, Peter Ender was the Director of
the Department of Acting at the Conservatory in Vienna. Since 2012, he has been Head of the BA and MA
programme in Acting at the ZHdK.
Developing the song repertoire wiht Till Löffler
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
12
Title
Antisemitismus in Europa
Location / Partner
School
Zurich
Number
ZH09
Dates from / until
5.10. – 30.10.2015
Module Type
Method Course / IMPLEMENTING
Times
All day, as announced
Teacher
Nuran David Calis
Room (if known)
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
Prerequisites
Target Group
SC
Learning
Objectives
- artistic research methods
- studying antisemitism, exclusion and stigmatization of the other, foreignness
- developing material
- finding a performative form for non-dramatic texts
Content of the
Course
This course for acting methods focuses on research and gathering material on anti-semitism. Artists will be
confronted with reality and will work on the border where fiction and reality meet.
They should learn to "perform", rather than access a character emotionally. "actor" vs. "performer". Together
we will discuss the collected research results and try to develop a small play out of them. The author and
director Nuran David Calis will conduct interviews, develop a text out of these and will then bring it back to the
players. We will develop a machine for discourse; a discursive theatre as another form of theatre.
Comments
Nuran David Calis was born as the son of Turkish-Armenian immigrants in Bielefeld, where he grew up in the
socially difficult area Baumheide. Again and again growing up in difficult circumstances and living together with
people of different origins are the topics of his plays and theatre productions. Calis studied Directing at the
Otto-Falckenberg school in Munich and works as an author, theatre and film director. First, he directed short
films and video clips for hip hip bands. In 2003, his first play "Dog Eat Dog" was shown, which was presented
as part of the Authors´ Days at the Thalia Theatre in Hamburg in the same year. For his production of Schiller
´s "Die Räuber", Calis received the "Nestroy" theatre award in Vienna in 2006 in the category of best new
director. In the same year, he made the cinema film "Meine Mutter, mein Bruder und ich", for which he also
wrote the screenplay. His highly acclaimed treatment of Wedekind´s "Frühlings Erwachen!", which premiered
at the Schauspiel Hannover in 2007, was filmed for the ZDF in 2010. In 2011, he published his novel "Der
Mond ist unsere Sonne". On the occasion of the 200th anniversary of Georg Büchner, Calis will direct a
contemporary film adaption of the drama fragment "Woyzeck" for arte / 3sat. Nuran David Calis regularly
works at theatres in Bochum, Stuttgart and Berlin. At the Staatsschauspiel Dresden he already directed Henrik
Ibsen´s "Peer Gynt" and Tennessee Williams` "A Streetcar named Desire".
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
13
Title
Song of the Goat Theatre
Location / Partner
School
Wroclaw, Poland
Number
ZH10
Dates from / until
24.11. – 19.12.2015
Module Type
Method Course / IMPLEMENTING
Times
Teacher
Anna Zubrzycki & Company
Room (if known)
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
10
Prerequisites
Target Group
SC, BT, SP
Learning
Objectives
The core of the work is learning approaches to physical and vocal techniques that provide students with the
skills for individual research on the body and voice in training and performance. Research is the very nature of
the acting process studied which then manifests itself in students' own investigation into acting. The MA in
acting aims to train the artist to be independent through a programme that gives the skills, confidence and
methods to develop their own practice.
Content of the
Course
RESIDENCY AT SONG OF THE GOAT THEATRE, WROCLAW, POLAND
The course will offer students 25 hours of practical training each week, led by members of the Song of the
Goat company who will teach their own unique approach to actor training. This method, which approaches the
performer in a holistic way, involves working from the body into voice, song and text work. It emphasis the flow
between movement, rhythm and sound both within the individual and the ensemble, with a view to developing
true partnership and support within this dynamic. Each of the company members will approach this from their
own particular strength: the voice and its connection to imagination and deep personal song, working with
physical impulses, text, presence and the state of readiness. Each student will also have the opportunity for an
individual tutorial.
The landscape of his imagination of the writings of Bruno Shulz will provide the framework of exploration.
Additionally there will be lectures each week by eminent academics contextualizing the company's work in the
long tradition of ensemble-research theatre work in Poland and Eastern Europe.
Literature Used
Comments
The expenses for travel and accommodation (2-bed-rooms in a hostel) will be covered by the university.
Anna Zubrzycki, Co-founder and co-director of Piesn Kozla (Song of the Goat Theatre), leading actress, vocal
techniques teacher, Course Leader of MA in Acting taught by Piesn Kozla for Manchester Metropolitan
University School of Theater. Began her acting career in 1975 with the Theater-in Education Jigsaw Company
in Canberra, Australia. From 1977-1992 leading actress in the Gardzienice Theater Association in Poland. Has
received awards, amongst others - Polish Theater critic's prize for best female role - Isolde in Carmina Burana,
Best female role of 2009 - Lady Macbeth in Macbeth, The Polish National Order for Merit in Culture, 2005,
Lublin Voivodship Medal for promoting Culture in the region. Founding member of the Polish branch of Rokpa
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
14
International Charity, helped to set up soup kitchens in Poland as well as traveling to Tibet to monitor its
projects. Song of the Goat Theatre, Teatr Piesn Kozla has been hailed as the most exciting and innovative of
the new avant-garde theatre movements in Poland. It has toured internationally with its performances and
been granted many awards.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
15
Title
Semesterprojekt Schauspiel Zürich
Location / Partner
School
Zürich Schauspielhaus
Number
ZH11
Dates from / until
Rehearsals from the end of August 2015
Premiere: 31.10.2015
Further shows according to the schedule of
the Schauspielhaus, Zurich
Module Type
Semester Project / IMPLEMENTING
Times
Teacher
Zino Wey
Room (if known)
Schauspiel Zürich
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
6
Prerequisites
The Head of Studies will choose the participants.
Target Group
SC
Learning
Objectives
Content of the
Course
The director Zino Wey will develop a production together with the participants, which will be performed in the
Schauspielhaus. The material will be announced in due time.
Literature Used
Comments
Zino Wey, born in Basel in 1988, was a directing intern under Armin Petras, Stefan Pucher and Christof
Marthaler amongst other - alongside his work on projects and stage productions of his own. After a guest
assistant position at the Schauspielhaus Zürich, he assisted at the Müncher Kammerspiele in the seasons of
12/13 and 13/14, where he worked with directors including Alain Platel, Johan Simons, Susanne Kennedy and
Sebastian Nübling. Next to his assisting work, he also staged several projects of his own at the Kammerspiele.
In August 2013, Zino Wey was invited to the Treibstoff Theatertage Basel with his collective
Gilliéron/Koch/We. In addition to this, his production "Die graue Stunde" was shown at the Bayerische
Theatertage in 2014.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
16
Title
Semesterprojekt Bühne A
Location / Partner
School
Zurich
Number
ZH12
Dates from / until
16.11.2015 - 22.12.2015
04.01.2016 - 13.01.2016
Premiere : 13.01.2016
Further shows according to availability until
the 23.01.2016
Module Type
Semester Project / IMPLEMENTING
Times
Teacher
Christoph Frick
Room (if known)
TONI Probebühne & Bühne A
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
10
Prerequisites
The Head of Studies will determine the participants.
Target Group
SC
Learning
Objectives
Together with the director, the actors will develop a production to be performed on Bühne A.
Content of the
Course
Literature Used
Comments
Christoph Frick stages contemporary and classical theatre texts and develops his own plays and projects.
1989-1994, he led the theatre company Pix together with Jo Dunkel and Markus Wolff. There, he realized his
first production "Jetzt-Jetzt-Jetzt", with which he became known nationally and was invited to the festivals Theater der Welt, impulse and spielart. In 1991 he founded the group KLARA Theaterproduktionen together with
Jordy Haderek, which he runs until today and for which he develops and stages original projects. His projects
have been shown at various festivals and theatres. Since 1999, Christoph Frick has also been directing at city
and state theatres. An important mentor figure for him was the artistic director Barbara Mundel. In the following
years, he worked at various German-language state theatres. From 2006 - 2009, he was a resident director at
the Theater Freiburg.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
17
Title
Spiel vor der Kamera
Location / Partner
School
Zurich
Number
ZH13
Dates from / until
2.-13.11.15 and 8.-15.01.16
Module Type
Film Method / EXPLORING
Times
Teacher
Stina Werenfels & Muriel Bader
Room (if known)
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
6 - 10
Prerequisites
Target Group
SC
Learning
Objectives
Skills in camera acting
Content of the
Course
The students choose scenes from proven screenplays and perform them in front of a camera. There will be
meticulous work on the scenes with a methodical approach according to Lee Strasberg. The goal of this
methodical course is to familiarize the students with the independent preparation for filming. Physical
techniques will also be addressed.
Literature Used
Comments
Stina Werenfels studied film directing at the New York University, under Arthur Penn and Marketa Kimbrell,
among others. As a director, she works for television ("Meier Marilyn") and for cinema. With her feature films
"Nachbeben" and more recently "Dora oder die sexuellen Neurosen unserer Eltern" she became known to a
wider audience.
Muriel Bader, born in 1959, is a movement pedagogue, choreographer, dancer, teacher and Feldenkrais pedagogue. Since 1990 she has given body and movement classes and worked as a choreographer for dancers,
actors, opera singers etc, at the Theater Basel under Peter Löscher, Stefan Bachmann, Elias Perrig etc., at
the Schauspielhaus Zürich (amongst other under Peter Zadek), at the Theater St. Gallen under Peter
Schweiger, in Konstanz under Dagmar Schlingmann, at the Mozarteum Salzburg and Theater am Neumarkt,
amongst other under Dünser/Kukla. Her dance theatre company "Compagnie Muriel Bader" toured in West
and East Europe, Russia, Central and South America (1985 - 1994). From 2006 to 2011, she was a jury member of work grants in the canton of St. Gallen. Since 2002, he has had her own therapy practice.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
18
Title
Me, Myself and Avatar. Eine Plattform zu Location / Partner
School
künstlerischer Forschung
Zurich
Number
ZH14
Dates from / until
19.10. – 13.11.2015
Module Type
Platform
Elective Compulsory / EXPLORING
Times
Teacher
Florian Dombois (invited), Gunter Lösel,
Room (if known)
Stephan Müller, Milo Rau (invited), Anton
Rey,Yvonne Schmidt, Andrew Sempere, Pia
Strickler, Gesa Ziemer (invited)
Teaching Language
D/E
Responsible for the
Course
Stephan Müller, Anton Rey
ECTS
Number of
Participants
(min./max.)
3-25
Prerequisites
Collaboration and developing a project of one´s own
Target Group
All MA TH
Learning
Objectives
-
Content of the
Course
Studying and comparing different positions and methods of research over, with and through theatre,
based on concrete examples from research practice
Developing a project in the field of research through theatre
From Adam, the image of God, via Golem, the "unfinished man" created from clay and Nathanael´s Olimpia
from ETA Hoffmann´s "Der Sandmann", through to the avatars and "Real Humans" (Swedish TV series) since the beginning of time, man - especially artists and creatives - has been creating images of himself. In
recent times, these artificial humans, homunculi, living statues, androids or avatars are getting closer and
closer to being spitting images of their "creators". While the golem was rough, Frankenstein´s monster
cloddish and even Dracula easily recognized by his fangs, it is now becoming more and more difficult to
differentiate between "real" and "artificial" actors. Who were the mirror images and distorted images of an
imagined society before and who are they now? Which face carries the mask of individuality, that of a
narcissistic deconstruction, a targeted self-alienation or a collective proclamation of empathy like "Nous
sommes tous Charlie"? Who am I today, who am I allowed to be tomorrow? The monsters of my yearning find
the furrows of the "uncanny valley" in my own face, the selfie is only strange for the trigger. Or in short: Which
portrait does the researching artist create on stage and screen to recognize himself?
Accompanied by different inputs about research about, with and through theatre, the students will develop and
test research questions, as experts of their own practice, which will ultimately lead to projects of their own.
Literature Used
- "house-internal" publications, such as texts from the series subTexte (H.J. Rheinberger, H. Fritsch, Stephan
Müller, Kolesch, Zakharine, Annuß, Bosse, Borgdorff, Baecker, Artaud, Bippus, Goebbels, Roselt, Wille
amongst others); in pdf-format, created in connection with research projects of the DDK.
- ZHdK programmes: 3rd cyle, cooperation contract with Graz
- Milo Rau: publications on "reenactment"
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
19
Comments
A reader with texts will be available in advance.
Florian Dombois, Prof., is a visual artist with a focus on sound art. Since September 2011, he has been
running the research focus Transdisciplinarity at the Department for Cultural Analysis and Communication at
the ZHdK. He deals with land forms, fragility, seismics, scientific and technical fictions in various forms of
presentation and publication. Further info can be found here:
http://de.wikipedia.org/wiki/Florian_Dombois
Gunter Lösel, Dr., is running the research focus Performative Practice at the ZHdK. After studying
Psychology, he did a PhD in Theatre Studies about the topic of improvisation and published several books on
the topic. He is working on the topics spontaneity, interactivity and collaborative creativity in practically and
theoretically.
Stephan Müller Prof., Theatre director and Head of the Focus Directing in the Master in Theatre, Department
for Performing Arts and Film, ZHdK.
Milo Rau, Director of the SNF research project "Reenactment Procedures" at the IPF, studied German
Literature, Romance Studies and Sociology in Zurich, Berlin and Paris. In 2007, he founded the "International
Institute of Political Murder (IIPM)", which is dedicated to the fruitful exchange between scientific theory and
artistic practice. Next to his artistic practice as an author, director and researcher, he also works as a publicist
and teacher. He received numerous distinctions, including an invitation to the Berliner Theatertreffen and
Festival d`Avignon, and he has published various books about his work, including Die Enthüllung des Realen.
Milo Rau und das International Institute of Political Murder. ed. by Rolf Bossart, with contributions by Milo Rau
and others, Theater der Zeit publishing house. Berlin 2013.
Anton Rey, Prof., since 2002 teacher for Theatre Theory and History at the ZHdK. In 2012, guest lecturer at
the UCSB. Most recently he gave workshops in India, China, Brasil; teaches and researches in the fields film,
dance and theatre and has been running the Research Institute for Performing Arts and Film since 2007 (IPF,
Weblink: http://ipf.zhdk.ch).
Yvonne Schmidt (Dr. phil.) is a research associate and project director at the Institute for the Performing Arts
and Film (IPF) of the ZHdK and a teacher for Theatre Studies at the University of Bern. Focus areas: theatre
with non-professional performers, dis/ability & performance, the discourse of authenticity, epistemes and
methods of theatre studies between theory and practice, acting theory. She studied theatre, dance and
literature in Mainz, Paris and Bern and did her PhD at the ITW Bern in 2013. Since 2008, she has been a
researcher in SNF research projects on theatre with non-professional performers at the IPF; 2012 she was a
research fellow at the University of Illinois in Chicago; curator of symposia in Berlin, Bern, Santiago de Chile,
Warwick etc.; editor of etum (e-journal for theatre and media research); co-convener of the working group
"Performance & Disability" of the International Federation for Theatre Research (IFTR).
Andrew Sempere, PhD, is a feral researcher exploring the edges and overlaps of art, design, media studies,
computer science and architecture. He is particularly interested in the role that contemporary technologies play
on our relationships to space and to each other, and the role artists have in this exploration. Andrew's formal
training is in graphic design (BFA 2001 Visual Communications, School of the Art Institute of Chicago) and
Epistemology and Learning (SM 2003 MIT Media Lab Grassroots Invention Group). Andrew has worked
professionally as a designer, software developer for Pearson Education and as a Design Researcher for IBM
Research's Collaborative User Experience Group / Center for Social Software in Cambridge, MA. Andrew
currently lives in Lausanne, Switzerland where he and has recently completed his Ph.D in the context of
SINLAB, an interdisciplinary art and technology program based at Manufacture (Haute École de Théâtre de
Suisse Romande (HETSR) in collaboration with the IPF, ZHdK. http://andrewsempere.org/about.cfm
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
20
Pia Strickler, Dr. phil., studied Theatre Studies, German Literature and Ethnology in Bern and Berlin. 20062010, assistant and PhD student at the Institute for Theatre Studies at the University of Bern. In the summer
semester 2009, she was an associate member of the graduate school InterArt at the FU Berlin (Prof. Dr. Dr.
h.c. Erika Fischer-Lichte). In 2010 she completed her PhD at the ITW Bern, on the topic of "Theaterberichterstattung in der deutschsprachigen Schweiz am Beispiel Bern" (theatre reporting in the Germanspeaking part of Switzerland with the example of Bern), which was funded by the SNF. Subsequently, she
developed projects and since 2012, she has been running the SNF research project "Die polykulturelle
Schweiz am Beispiel der Schauspielausbildung" (The poly-cultural Switzerland, with drama school as an
example) at the Institute for the Performing Arts and Film of the ZHdK.
Gesa Ziemer, Prof. Dr., professor for Cultural Theory and Practice (research area: the culture of the
metropolis) and vice-president of research at the HafenCity University in Hamburg. Speaker of the artisticscientific graduate school "Versammlung und Teilhabe. Urbane Öffentlichkeiten und performative Praxis".
(Gathering and participation. Urban public life and performative practice). Guest lecturer at the ZHdK and the
University of Bern. Core research areas: urban public life and practices of participation, linking art (performing
arts) and other social areas, such as science, economics, the urban and the social, artistic research, creativity
and aesthetics and collective forms of work.
http://www.gesa-ziemer.ch/
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
21
Title
Probemethoden I
Location / Partner
School
Zurich
Number
ZH15
Dates from / until
12.10. – 16.10.2015
Module Type
Qualification / DEVELOPING FURTHER
Times
Teacher
Stephan Müller
Room (if known)
Teaching Language
D
Responsible for the
Course
Stephan Müller
ECTS
Number of
Participants
(min./max.)
All RE
Prerequisites
Target Group
RE (compulsory)
Learning
Objectives
The rehearsal is the director´s main tool. How does one prepare a rehearsal? How does one approach it?
What means, strategies, instructions does the director employ in a rehearsal? How can one gain substantial
and promising interim results for a production? How can one structure a rehearsal process from a reading to
the premiere?
Content of the
Course
The functions of the director are manifold. The are to be tested and tried out with a view to the theatrical
process. In a rehearsal the director can have the following functions:
1. expert and communicator
2. moderator and mediator
3. animator and animated
4. observer and observed
5. logistic planner and technician for the expansion of horizons
Literature Used
Katie Mitchell, The Craft of Directing
Comments
Prof. Stephan Muller, Head of the Profile Directing in the MA in Theatre at the ZHdK, is an opera and theatre
director, dramaturg and teacher for plurimedial aesthetics. His theatre career began in 1972 at the Theater
Basel under the artistic direction of Werner Düggelin as an extra and assistant director. He was Head
Dramaturg at the Theater Basel and lived in the USA for many years, where he worked with Robert Wilson,
Richard Foreman and Mabou Mines among others and founded the theatre company mixed media. From 1978
on, he worked at the Schauspielhaus Zürich, where he directed the laboratory. From 1980 to 1988 he worked
as a freelance director at various theatres in Germany and abroad and taught at the Universität der Künste
Berlin. In 1988 he returned to the Theater Basel as a director. From 1993 to 1999 he directed the Theater am
Neumarkt Zürich, together with Volker Hesse. He worked at the Wiener Burgtheater from 1999 to 2004 as a
director and dramaturg.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
22
Title
Körper im Raum
Location / Partner
School
Zurich
Number
ZH16
Dates from / until
14.12. – 18.12.2015
Module Type
Times
11:00 - 16:00
Teacher
Stephan Müller & Michael Simon
Room (if known)
Teaching Language
D/E/A
Responsible for the
Course
Stephan Müller & Michael Simon
ECTS
Number of
Participants
(min./max.)
Max. 10
Prerequisites
BA & MA students
Target Group
RE, BN, TP
Learning
Objectives
The dialogue between body and space is an existential constant. We inhabit, cross and walk around spaces
with our body. Space is also a constant of drama. Through its dimension, proportion, texture and light, the
space is also a text. It speaks to us, about itself. The poetry of space - as Gaston Bachelard formulates in his
legendary book - will be our topic.
Content of the
Course
Choreography is a spatial art. It puts bodies into a relationship with space and other bodies. We will study the
grammar of bodies in space on the basis of various choreographies and test it. For speaking theatre,
choreographic skills offer the possibility to test an expanded form of theatre - beyond realism. The
choreographic theatre of Wilson, Deschamps, Charmatz, Kennedy, Castellucci or Thalheimer will be the object
of our research.
Literature Used
Gaston Bachelard, Die Poetik des Raums; an extended reading list will be announced in due time.
Comments
Prof. Stephan Muller, Head of the Profile Directing in the MA in Theatre at the ZHdK, is an opera and theatre
director, dramaturg and teacher for plurimedial aesthetics. His theatre career began in 1972 at the Theater
Basel under Werner Düggelin as an extra and assistant director. He was Head Dramaturg at the Theater
Basel and lived in the USA for many years, where he worked with Robert Wilson, Richard Foreman and
Mabou Mines among others and founded the theatre company mixed media. From 1978 on, he worked at the
Schauspielhaus Zürich, where he directed the lab. From 1980 to 1988 he worked as a freelance director at
various theatres in Germany and abroad and taught at the Universität der Künste Berlin. In 1988 he returned
to the Theater Basel as a director. From 1993 to 1999 he directed the Theater am Neumarkt Zürich, together
with Volker Hesse. He worked at the Wiener Burgtheater from 1999 - 2004 as a director and dramaturg.
Prof. Michael Simon, Head of the profile Stage Design in the MA in Theatre at the ZHdK, has been working
as a set designer for opera, dance and theatre since 1983, for William Forsythe, Jiri Kylian, Pierre Audi,
Christof Nel, Peter Greenaway, Stefan Pucher and Stefan Bachmann and others, in Amsterdam, Berlin,
Frankfurt, Los Angeles, Madrid, Paris, New York, Oslo, Beijing, Tokyo and Zurich. He started working as a
director by collaborating with Heiner Goebbels at the TAT Frankfurt in 1990, to then direct theatre and opera at
various theatres. From 1998 to 2004 he was professor for Szenografie at the Hochschule für Gestaltung
Karlsruhe.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
23
Title
Widerstand und Flüchtigkeit des Ortes
und eines mobilen Publikums
Location / Partner
School
Zurich
Number
ZH17
Dates from / until
28.9. – 9.10.
Module Type
Times
All day (as announced)
Teacher
Liliana Heimberg, Michael Simon
Room (if known)
3.A10 and external
Teaching Language
D
Responsible for the
Course
Liliana Heimberg & Michael Simon
ECTS
Number of
Participants
(min./max.)
5-12
Prerequisites
Target Group
BN (compulsory), TP (compulsory), DR, RE
Learning
Objectives
The course fosters the ability to recognize the artistic challenge and potential in that, which is not immediately
accessible and to enter in a dialogue with this. It raises consciousness for the materialized traces of the history
of the landscape, shapes them selectively with artistic means or overwrites them. It strengthens the interest to
face the non-available artistically, which appears as an unknown zone between thought and action, and which
is too readily covered by routines. It tries to overcome disciplinary and ownership regulations by rising practical
variety and the unexpected.
Content of the
Course
Who wants to create theatre in public space has to accept various unavailabilities. Of course, these also exist
within the framework of productions created especially for theatre or exhibition spaces. But outside of such
frameworks, they are so strong and heterogenous that they demand special attention. Artistic production
breaks into property rights and disrupts daily actions and routines. The course is about recognizing these
based on the materialized sources of their history and evolution, testing them for their artistic potential and reinterpreting them in terms of content and form. Because we are also dealing with a mobile audience, the field
of tension of (artistic) intention-disruption/conflict and coincidence is subject to further rules and unpredictable
elements, including how the artistic object or artistic intervention is perceived.
This two-week course tackles all the questions that might arise with theoretical short inputs (see literature), in
combination with practical exercises along the Üetliberg line, where we will enter into an intense creative
dialogue with the places and their uncertainties, and which we want to reshape into thematic and aesthetic
events using material, light, sound and possibly also performers. Which materialized traces inspire us to
become creative? Which have we left out until now? Which external obstacles can be reinterpreted in terms of
content or aesthetics and lead to unexpected results? How can we deal with the fleeting nature of perception,
heightened further by the fact the audience is driving by? How can we gain another dimension? Which
materials have we overlooked thus far that could further strengthen our attitude between knowing, not-knowing
and not-not-knowing? Which light and sound spaces can be (re-)discovered and brought into unexpected and
exciting figurations? When should performers be used to get a message across? How to they relate to
environment, material, light and sound?
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
24
The course addresses the incalculability of artistic communication and perception. It picks up on the questions
arising in this case with the landscape and the passing audience, analyses them and explores different
practical-artistic solutions and develops these further. The implications of the changing daylight and weather
are also to be discussed - so participants should expect to also have a few sessions - as arranged together - in
the evening and at night.
On Thursday eveing of the 2nd course week, there will be an additional trip of the Üetliberg-Bahn after its last
scheduled trip. On this trip, we will summarize for an internal audience, what etudes we created.
Literature Used
Löw, Martina: Raumsoziologie. Frankfurt a. M. 2001.
Dünne, Jörg/Günzel, Stephan (ed.): Raumtheorie. Grundlagentexte aus Philosophie und
Kulturwissenschaften. Frankfurt a.M. 2012.
Döring, Jörg/Thielmann, Tristan (ed.): Spatial Turn. Das Raumparadigma in den Kultur- und
Sozialwissenschaften. Bielefeld, 2009.
Raynaud, Savine: Landscape Theatre. Théâtre de paysage. Le voyage d’ Orphée en Europe. Montpellier
2008.
Burckhardt, Lucius: Warum ist Landschaft schön? Die Spaziergangswissenschaft. Kassel 1980.
Welsch, Wolfgang: Blickwechsel. Neue Wege der Ästhetik. Stuttgart, 2012.
Malzacher Florian: There is a Word for People like you: Audience. In: Deck, Jan, Sieburg, Angelika (ed.):
Paradoxien des Zuschauens. Die Rolle des Publikums im zeitgenössischen Theater. Bielefeld. 2008, S. 41-53.
Zeller, Christoph: Ästhetik des Authentischen. Berlin 2010
Comments
Prof. Michael Simon, Head of the profile Stage Design in the MA in Theatre at the ZHdK, has been working
as a set designer for opera, dance and theatre since 1983, for William Forsythe, Jiri Kylian, Pierre Audi,
Christof Nel, Peter Greenaway, Stefan Pucher and Stefan Bachmann and others, in Amsterdam, Berlin, Frankfurt, Los Angeles, Madrid, Paris, New York, Oslo, Beijing, Tokyo and Zurich. He started working as a director
by collaborating with Heiner Goebbels at the TAT Frankfurt in 1990, to then direct theatre and opera at various
theatres. From 1998 to 2004 he was professor for Szenografie at the Hochschule für Gestaltung Karlsruhe.
Prof. Liliana Heimberg, Head of the profile Theatre Pedagogy in the MA in Theatre at the ZHdK and teaches
in the Bachelor inTheatre (focus project development and direction). She works at the Institute for the Performaing Arts and Film (IPF) of the ZHdK (main focus: theatre with non-professional performers, together with Dr.
Yvonne Schmidt). As a director she runs complex projects at the intersection of theatre and social sculpture, in
the summer of 2013, for instance, the festival, "Der Dreizehnte Ort" of the two cantons Appenzell for the 500year jubilee of their accession to the federation, a cooperative project between applied theorie and theatre.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
25
Title
Was nun?
Bewegungsarbeit mit dem Tänzer und
Choreografen Ives Thuwis
Location / Partner
School
Zurich
Number
ZH18
Dates from / until
23.11. – 27.11.2015
Module Type
Qualification TP / DEVELOPING FURTHER Times
10:00 - 16:00
Teacher
Ives Thuwis
Room (if known)
Probebühne
Teaching Language
D/E
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
5-12
Prerequisites
Willingness to do homework and preparation in the form of movement tasks to add to the course. Collaboration on the final presentation on Friday afternoon.
Target Group
TP (compulsory), RE & DR (elective compulsory)
Learning
Objectives
- Working on the immediacy of the personal physical expression
- Working on the contrast between unbridled strength / energy and stillness in choreographies.
- Developing a dance theatre sequence ready for performance on a set topic, from one´s individual movement
repertoire and a personal perspective.
- Mutual reflection of the working methods in all phases of the work.
Content of the
Course
The workshop is practice-oriented and gives a small insight into Ives Thuwis´ methods in his work with
adolescents to create dance theatre pieces. This way of working does not differentiate between professional
and non-professional performers. The target groups will bring different things to the collaboration. Ives Thuwis
will shape his energetic and touching projects from this.
Starting from personal imagination and the individual, physical possibilities, small scenes and choreographies
will be developed, deepened and polished. The will start from simple tasks, but also short, more or less
abstract phrases, questions or ideas. So language will turn into dance/movement in a very intuitive way.
Everyone will develop their own dance movement sequences individually and in the group: at the end of the
workshop the material will be compiled into a longer showing.
To limit the endless possibilities, Ives Thuwis is setting the following theme: What now? You´ve finished your
school: what now? You`ve finished your studies: what now? You´ve done the same job for 25 years: what
now? There are so many possibilities, so many decisions, so many crossroads, again and again. Doing a year
abroad or studying immediately? An apprenticeship? Maybe another Master after the Master? And shouldn´t I
do something else entirely before I´m too old?
The workshop closes with a presentation to internal guests.
Literature Used
http://www.art-tv.ch/8571-0-Schauspielhaus-Zuerich-und-Junges-Theater-Basel-I-Sand.html
http://www.jes-stuttgart.de/ives-thuwis-de-leeuw.html
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
26
Comments
Ives Thuwis, born 2K.K.63 in Sint-Niklaas (Belgium), studied at the dance academy of Tilburg and worked as
a dancer for various companies for several years after that. After his first original choreography "Royaal
Lyrisch" (1992), he focused on creating his own dance theatre productions, in the field of young theatre but
also with adults. He created about 40 productions to date. In the last 15 years, he has created more and more
productions with adolescent performers. He has staged shows at the Kopergietery-Gent, FFT-Düsseldorf,
JES-Stuttgart, Dschungel Wien, Theater Gessnerallee-Zurich, Junges Theater Basel, Schauspielhaus Zurich
and the Maxim Gorki Theater in Berlin. Up to now, productions by Ives Thuwis have been shown in over 20
countries in Europe and beyond. In 2009, he received the German theatre award "Der Faust" together with
Brigitte Dethier, in the category "best director in children´s and youth theatre". Since 2011, he has been part of
the theatre collective Nevski Prospekt.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
27
Title
Hierarchien im Theater
Location / Partner
School
Zurich
Number
ZH19
Dates from / until
7.12. – 11.12.2015
Module Type
Times
10:00-16:00
Mon. 7.12. and Thu. 10.12. also from 19:00
-21:00/22:00
Teacher
Liliana Heimberg, Dr. Yvonne Schmidt
Room (if known)
3.A10
Teaching Language
D
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
4-10
Prerequisites
Registration in the MA in Theatre, participation in the two evening events and the toolbox Hierarchien im
Theater
Target Group
TP
Learning
Objectives
-
Content of the
Course
Studying and comparing different models of splitting work in the process of theatre-making, based on
selected examples and by combining theory and practice (toolbox)
Identifying hierarchies in the artistic production process and describing them
Reflecting one´s own position as a director in the work with non-professional performers
Consciousness of the hierarchies in theatre work and of one´s responsibilities as a director
Currently the "order of theatre" (Hänzi) is being renegotiated in many shows. Performers are independent
subjects and directing themselves. Instead of the individual artist, the search for collective virtuosity or theatre
as a social art form are en vogue. By staging rehearsal processes, performance theatre reflects the power
structures in theatre on stage. Groups like She She Pop. Gob Squad, Showcase Beat le Mot or Monster Truck
almost totally renounce the position of a director and stage (themselves) in a collective. Not only the role of the
performer, but also of the artistic director is being redefined by all these tendencies.
In theatre pedagogic-artistic work with non-professional performers, the hierarchies in the rehearsal process
are determined by various factors which form the focus of this course: Which opportunities and risks arise from
the different levels of knowledge and the natural hierarchies among professionals and non-professionals? How
do different economic factors of the rehearsal process (time, space etc.) influence the artistic result? Which
role does the field of tension play that exists between the authorship of the performers and the responsibility
and decision-making-competence that lies in the hand of the director despite the shared authorship? Based on
theoretical inputs to the changing hierarchies over the course of theatre history, regulations of the use of
spaces and resources, the relationship of intention-conflict/crisis-coincidence etc. and also by exchanging
experiences in the work with non-professional performers, we will reflect the order of theatre-making and
develop a toolbox step by step. It will be designed to allow a productive handling of hierarchies in the theatrepedagogic practice and to facilitate that which can arise between knowing and not-knowing.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
28
Literature Used
(selection):
- Denis Hänzi: Die Ordnung des Theaters, Bielefeld 2013.
- Hinz, Melanie u. Roselt, Jens (ed.): Chaos und Konzept. Proben und Probieren im Theater, Berlin 2011.
- Jens Roselt: Regie, Bielefeld 2013.
- Martina Ruhsam: Kollaborative Praxis. Choreographie, Vienna 2011.
- Hanne Seitz: Partizipation. Formen der Beteiligung im zeitgenössischen Theater [Impulsreferat, WAS GEHT
II, Symposium des Arbeitskreises Theaterpädagogik der Berliner Bühnen und des Instituts für
Theaterpädagogik der Universität der Künste Berlin, 2013]: http://www.was-geht-berlin.de/ (12.1.2015)
Comments
There will be two evening events in collaboration with non-professional performers of various venues
and the Junges Schauspielhaus Zurich:
Dates: Monday 7.12. and 10. 12. from 19:00-21:00/22:00
Place: Schiffbau
Direction: The participating students
Yvonne Schmidt (Dr. phil.) is a research associate and project director at the Institute for the Performing Arts
and Film (IPF) at the ZHdK and teaches at the Institute for Theatre Studies at the University of Bern. Her focus
areas are: theatre with non-professional performers, theatre and disability, the discourse of authenticity,
epistemes and methods of theatre research between theory and practice and acting theory. She studied
theatre, dance and literature in Mainz, Paris and Bern and did her PhD in 2013 at the ITW Bern. Since 2008,
she has been researching in SNF research projects on theatre with non-professional performers at the IPF
(together with Liliana Heimberg); in 2012 she was a research fellow at the University of Illinois in Chicago;
curator of symposia in Berlin, Bern, Santiago de Chile, Warwick etc.; editor of etum (e-journal for theatre and
media research); co-convener of the working group "perfomance & disability" of the International Federation
for Theatre Research (IFTR).
Prof. Liliana Heimberg, Head of the profile Theatre Pedagogy in the MA in Theatre at the ZHdK and teaches
in the Bachelor inTheatre (focus project development and direction). She works at the Institute for the Performaing Arts and Film (IPF) of the ZHdK (main focus: theatre with non-professional performers, together with Dr.
Yvonne Schmidt). As a director she runs complex projects at the intersection of theatre and social sculpture, in
the summer of 2013, for instance, the festival, "Der Dreizehnte Ort" of the two cantons Appenzell for the 500year jubilee of their accession to the federation, a cooperative project between applied theorie and theatre.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
29
Title
Location / Partner
Dramaturgie im Kosmos des NarrativitätsSchool
begriffs
Zurich
Number
ZH20
Dates from / until
30.11. – 4.12.2015
Module Type
Times
11:00 - 17:00
Teacher
Nis-Momme Stockmann
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5-10
Prerequisites
All DR
Target Group
Learning
Objectives
Content of the
Course
DR (compulsory), TP, RE & BN (elective compulsory)
- Putting the idea of dramaturgy in relation to the wider idea of narration
- The attempt to bring dramaturgy in verbal narration and/or the many forms of media dramaturgy back to a
common core
- Promoting understanding for a concept of dramaturgy valid across all media, which does more than just explain what dramaturgy is
The inner world becomes visible via the social function of telling stories. Because of telling there is under standing. The telling makes understanding possible. The most profane but also the deepest questions about
dramaturgy are hardly ever raised in relation to modern theatre and media science:
With what means do people tell stories and why? What is the dialectic between medium (oral or less direct)
and the image of reality? What is the narrative and why does it take place (not only in what form)?
This seminar is a media-scientific excursion on the genealogy and origin of dramaturgy - to its archetypal form
and timeless aesthetic power.
Literature Used
Comments
The reader "Dramaturgie im Kosmos der Narrativität" will be available for all participants digitally.
Nis-Momme Stockmann was born on Föhr in 1981. He is a trained cook, studied "Tibetan Language and Culture" in Hamburg, media studies in the Danish Odense and then scenic writing at the University of the Arts in
Berlin. He writes plays, radio plays, poetry and prose and stages his own texts together with his collective
Herkules Manhattan. The internationally performed play DER MANN DER DIE WELT ASS received the main
award and audience award of the Heidelberger Stückemarkt in 2009. With KEIN SCHIFF WIRD KOMMEN, he
was nominated for the Mühlheimer Dramatikerpreis in 2010. Theater Heute elected him as the newcomer author of the year in 2010. Also in 2010, he received the Schiller-Gedächtnis award and in 2011 the FriedrichHebbel award. 2010- 2013 Stockmann was the resident author at the Schauspiel Frankfurt. In 2012, his play alongside another work commissioned by Frankfurt - TOD UND WIEDERAUFERSTEHUNG DER WELT
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
30
MEINER ELTERN IN MIR was premiered at the Staatstheater Hanover, directed by Lars-Ole Walburg. This
production was invited to the Mühlheimer Theatertage 2013. For the director Ulrich Rasche, he created DIE
KOSMISCHE OKTAVE (world premiere: 21.3.2014, Sophiensaele, Berlin), which toured to Hamburg, Frankfurt
and Weimar, among others. At the end of the season 2013/14, the world premiere of PHOSPHOROS followed, a commissioned work for the Bayerisches Staatsschauspiel in cooperation with the Ruhrfestspiele
Recklinghausen. In 2014, Stockmann received the dramatists´ prize of the Kulturkreis der deutschen Wirtschaft.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
31
Title
Im Zeichen des Kreisels
Location / Partner
School
Zurich
Number
ZH21
Dates from / until
Teil 1: 21. – 22.12.2015
Teil 2: 13. – 15.01.2016
Module Type
Times
14:00 - 17:00
Teacher
Hayat Erdogan
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
3-8
Prerequisites
Preparatory reading
Target Group
DR (compulsory), RE, BN, TP (elective compulsory)
Learning
Objectives
- Analysis of literary and philosophical texts
- Getting to know rhetoric figures and narrative strategies
- Differentiating symbol, metaphor and idea
- Studying selected metaphors and terminology theories
- Examining the potential of a new term
Content of the
Course
"At the time that this story takes place, even the merging lanes joining a far-away, remote country path,
entered into a roundabout, and this on the entire continent (...) there was hardly anything straight (...) you
always had to bring these roundabouts behind you and then another and another and so on". (Peter Handke)
This seminar aims to reconstruct in what contexts the roundabout as a metaphor for movement and stagnation
appears and what higher meanings this has - on the basis of selected literary and theoretical texts. Is there
evidence for the ambivalence of the roundabout in our time, which is characterized by aimlessness,
indifference, repetition and endless creativity, permanent redefinition etc.? What does this mean for our image
of the world, our thinking and our narrative practices and theories to approach the world? What interpretations
of the world does the roundabout offer and which (new) ways of storytelling does this make possible?
And finally, we want to explore how much philosophical conceptual potential lies in the metaphoric language,
the image language in general and specifically in the example of the roundabout. What are the boundaries of
terms? How can a term, rigid by nature, represent movement? Or put in another way: just as the term sugar is
not sweet, the term dog does not park, it is not the term of the roundabout which turns.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
32
Literature Used
Peter Handke, In einer dunklen Nacht ging ich aus meinem stillen Haus
Franz Kafka, Der Kreisel
Soeren Kierkegaard, Entweder-Oder
Donald Davidson, Wahrheit und Interpretation
Jacques Derrida, Dissemination
Anselm Haverkamp (ed.), Theorie der Metapher
Ders./Dirk Mende, Metaphorologie. Zur Theorie von Praxis
Ralf Konersmann (ed.), Wörterbuch der philosophischen Metaphern
Hans Blumenberg, Paradigmen zu einer Metaphorologie
and many more
A selection of texts will be available as a digital reader in due time.
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
33
Title
Körper / Bewegung
Location / Partner
School
Zurich
Number
ZH22
Dates from / until
Each Thursday
Module Type
Elective / EXPLORING
Times
10:00 - 12:00
Teacher
Muriel Bader
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
5-30
Prerequisites
Target Group
All
Learning
Objectives
Optimal tone regulation in the various body parts when standing, sitting and in motion.
Content of the
Course
Bodily stage presence with special focus on one´s own physicality. Breathing with a focus on difficult positions
or movement sequences. How can I prepare physically for a performance? What are the requirements for the
character to be played? Exercises for relaxation and concentration before a performance.
Literature Used
Comments
Muriel Bader, born in 1959, ZHdK teacher since 2005 in DMU / focus: MA in Opera. Diploma for movement
pedagogy SBTG and diploma in Feldenkrais therapy (EMR). Since 1990 body and movement teacher and
choreographer for dancers, actors, opera singers et al. at the Theater Basel under Peter Löscher, Stefan
Bachmann, Elisas Perrig etc., at the Schauspielhaus Zürich (under Peter Zadek among others), at the Theater
St. Gallen under Peter Schweiger, in Konstanz unter Dagmar Schlingmann, at the Mozarteum Salzburg and
Theater am Neumarkt under Dünser/Kukla etc. Her company "Compagnie Muriel Bader" has toured in West
and East Europe, Russia, Central and South America (1985-1994). 2006 to 2011, she was a jury member of
work grants in the canton of St. Gallen. Since 2002, she has had her own therapy practice.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
34
Title
Bühnenbild-Kolloquium:
Modell und Wirklichkeit
Location / Partner
School
Zurich
Number
ZH23
Dates from / until
16.11. – 20.11.2015
Module Type
Colloquium / DEVELOPING FURTHER
Times
10:00 - 18:00
Teacher
Michael Simon
Room (if known)
Inszenatorikraum
Teaching Language
D
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
Max. 10
Prerequisites
Target Group
BN
Learning
Objectives
The colloquium fosters the skill not to see the "model" only as a helpful tool for set designs, but to extend this
idea to a model of thought and use it in artistic practice.
Content of the
Course
The complexity of social and political processes cannot be presented on stage through text alone. We will
analyse a current event of international politics, visualise it as a model and create a theatrical installation from
this starting point.
Literature Used
Jens Roselt (ed.): Theater als Zeitmaschine: Zur performativen Praxis des Reenactments.
Links to Milo Rau and the theatre of reenactment: http://international-institute.de/
There is also the following research project at the IPF of the DDK:
"Methods of Reenactment. Sondierungen zu einem theatralen Format". See the IPF homepage.
Comments
Attending the colloquium is compulsory for all BN students.
Students of other specialisations can attend in exceptional cases if so agreed with Michael Simon.
BN students can contact Michael Simon if any questions should arise: michael.simon@zhdk.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
35
Title
REGIE Kolloquium
Location / Partner
School
Zurich
Number
ZH24
Dates from / until
Module Type
Times
Teacher
Stephan Müller
Room (if known)
Teaching Language
D
Responsible for the
Course
Stephan Müller
ECTS
Number of
Participants
(min./max.)
All RE
Prerequisites
Target Group
RE (compulsory)
Learning
Objectives
- (Further) development of the students own projects
- Getting to know different styles, methods and formats
- An exchange with fellow students, exercising constructive feedback
Content of the
Course
Directing is a wide-ranging field today. We are confronted with an arsenal of different aesthetics, some of
which we will discuss and possibly even try out in individual projects.
The colloquium is intended as a regular discussion, consulting and feedback forum, shaped by the needs and
project proposals of the RE students.
Literature Used
Comments
Attending the colloquium is obligatory for all matriculated RE students.
Other students may join in exceptional cases, if so arranged with Stephan Müller.
The dates of the Regie colloquia will be announced in due time or arranged together with the participants.
Should there be any questions, RE students can contact Stephan Müller directly: stephan.mueller
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
36
Title
Dramaturgie-Kolloquium
Location / Partner
School
Zurich
Number
ZH25
Dates from / until
First session: 22.9.2015
Other dates will be announced in the first
session.
Module Type
Collquium / DEVELOPING FURTHER
Times
17:00 - 19:00
Teacher
Hayat Erdogan & Res Bosshart
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
All DR
Prerequisites
Target Group
DR (compulsory)
Learning
Objectives
- (Further) development of the students own projects
- An exchange with fellow students, exercising constructive feedback
- Discussing importing articles on the positioning of dramaturgic/curatorial theatre work
- Attending performances together and analysing them
- Discussing the reading list (will be presented in the first session)
Content of the
Course
The DR colloquium is intended as a regular discussion, consulting and feedback forum, shaped by the needs
and project proposals of the students.
Literature Used
DR reader & selected texts
Comments
Attending the colloquium is obligatory for all matriculated DR students.
Other students may join in exceptional cases, if so arranged with Res Bosshart.
The dates of the Dramaturgy colloquia will be announced in due time or arranged together with the
participants. Should there be any questions, DR students can contact Res Bosshart directly:
res.bosshart@zhdk.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
37
Title
TP- Kolloquium
Location / Partner
School
Zurich
Number
ZH26
Dates from / until
2.10., 6.11., 4.12.2015. &15.1.2016
Module Type
Times
17:00 - 19:00
Teacher
Liliana Heimberg
Room (if known)
Teaching Language
D
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
All TP
Prerequisites
Target Group
TP (compulsory)
Learning
Objectives
- Critically examining different approaches of theatre pedagogy, different methods and formats, by discussing
performances attended
- An exchange with fellow students and mutual feed-backing on the MA theses and MA productions
- Discussing important articles on the positioning of theatre pedagogic work, as well as (new) publications on
theatre pedagogy and contemporary theatre work
Content of the
Course
The TP colloquium is intended as a regular discussion, consulting and feedback forum, shaped by the needs
and project proposals of the students.
If needed, there will be 1-2 sessions per semester, together with the BA students in TP, in which we will apply
the DasArts feedback method, reflect it and build on it together.
Literature Used
TP reader & selected texts
Comments
Attending the colloquium is compulsory for all TP students. Students of other specialisations can attend in exceptional cases, if agreed with Liliana Heimberg. Should any questions arise, TP students can contact Liliana
Heimberg directly: liliana.heimberg@zhdk.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
38
Title
Einzelsprechstunden Bühnenbild
Location / Partner
School
Zurich
Number
ZH27
Dates from / until
25.09. 14:00-16:00
23.10. 14:00-16:00
19.11. 18:00-20:00
18.12. 14:00-16:00
22.01. 14:00-16:00
Module Type
Times
Teacher
Michael Simon
Room (if known)
Teaching Language
D
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
1
Prerequisites
Target Group
BN
Learning
Objectives
Content of the
Course
These individual sessions give all BN students the chance to communicate with their Head of Studies regularly, independently of the module topics, in freely scheduled coaching sessions and to discuss relevant study
topics.
Literature Used
Comments
Please make appointments via email, stating a preferred time, a week in advance: michael.simon@zhdk.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
39
Title
Tanzendes Licht
Location / Partner
School
Zurich
Number
ZH28
Dates from / until
14.–18.12.2015
Module Type
Elective Compulsory / DEVELOPING
FURTHER
Times
All day
Teacher
Michael Simon
Room (if known)
Teaching Language
D
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
4
Prerequisites
Having attended the light course.
Target Group
BN
Learning
Objectives
Skills in communication with choreographers, dancers and the light department when developing and realizing
a light concept for a show of the BA in Dance.
Content of the
Course
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
40
Title
The Mask and Masking - Identity and
Otherness
Location / Partner
School
Verscio, STD
Number
TI01
Dates from / until
23 - 25.9.2015
Module Type
Seminar
Times
All Day
Teacher
Prof. Dr. Richard Weihe, Professor (aggiunto Room (if known)
Supsi) for Theater Theory within the Master's
programme of the STD.
Verscio
Teaching Language
E
Corinna Vitale
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
10
Prerequisites
English language skills
Target Group
All
Learning
Objectives
The mask is generally understood as a symbol of the theatre and acting. In Latin the word persona originally
meant the mask of an actor. It served as the interface between the actor and the spectator, indicating the
transformation of the actor into an artificial figure pertaining to the theatre rather than real life. In early Christian
discourse the meaning of persona was transformed. It no longer referred to the mask, but the person behind it.
By concealing the face, the mask became a metaphor for falsehood and deception. Nowadays ‘person’ is
connected with individuality and identity, having lost its historical association with the theatre. We will use the
mask as a device to analyse and conceptualise different modes of theatrical and social behaviour. Moreover,
we will discuss examples of the depiction and employment of masks in the visual arts, in film, as well as in
contemporary popular culture. How do the arts reflect the paradoxical nature of the mask as a tool to conceive
both identity and otherness?
Content of the
Course
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
41
Title
Practical and Theoretical Introduction to
the Master Studies at the STD
Location / Partner
School
Verscio, STD
Number
TI02
Dates from / until
28.9. - 21.10.2015
Module Type
Training and Theory
Times
All Day
Teacher
Richard Weihe, Professor (aggiunto Supsi) Room (if known)
for Theater Theory
Pavel Stourac, director of Continuo Theatre
(Czech Republic)
Corinna Vitale, dancer/choregrapher, Head of
Master Studies STD
Verscio
Teaching Language
E
Corinna Vitale
Responsible for the
Course
ECTS
7
Number of
Participants
(min./max.)
10
Prerequisites
Advanced physical competencies
Target Group
The course is intended mainly for physical theatre students, but students of other theatre departments are
welcome.
Learning
Objectives
To help students to become acquainted with the aim, the principles and the process of the MA studies in Physical Theatre.
To sustain a regular physical training.
To define a common and basic vocabulary of the terms which will be used during their studies (in theory and
dramaturgy lessons).
Content of the
Course
Physical work (training, improvisation, composition). The individual as well as the collective creative work will
be based on technique and movement expression.
Terminology seminar, theory and dramaturgy lessons.
Two to three visits of theatre plays are planned in order to train analytical and critical observation.
Literature Used
Artaud: The Theatre and its Double
Grotowski: Towards a Poor Theatre
Peter Brook: The Empty Space
Comments
External students can also attend the course on a weekly basis.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
42
Title
Panel
Location / Partner
School
Verscio, STD
Number
TI03
Dates from / until
22./23.10.2015
18./19.01.2016
Module Type
Seminar
Times
Teacher
Richard Weihe, Pavel Stourac
Corinna Vitale
Room (if known)
Verscio
Teaching Language
E
Responsible for the
Course
Corinna Vitale
ECTS
Number of
Participants
(min./max.)
min. 6 max. 8
Prerequisites
Target Group
Students BT (STD)
Learning
Objectives
Introduction to artistic research and preparation for the master production and thesis.
Content of the
Course
Gaining perspective on one's own specific artistic discipline as it relates to a larger spectrum.
A round table discussion for teachers and students.
Preparation and artistic steering of the master production and thesis.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
43
Title
Thinking Theatre
Location / Partner
School
Verscio, STD
Number
TI04
Dates from / until
I 16./17.11.2015
11./12.1.2016
II 14./15.3.2016
2./3.5.2016
Module Type
Theory Slot
Times
All day
Teacher
Prof. Dr. Richard Weihe, Professur (aggiunto Room (if known)
Supsi) for Theatre Theory in the Master`s
programme of the STD.
Verscio
Teaching Language
E
Corinna Vitale
ECTS
2 per semester
Number of
Participants
(min./max.)
max. 10
Responsible for the
Course
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
European theatre looks back on a history of two and a half thousand years. The word theatre is derived from
Greek théatron (Latin theatrum), literally meaning ´a space for observation´. Whether the actors' main form of
expression is speaking, singing or dancing, or the actors are non-human as in puppet theatre, whether we
refer to Greek tragedy or contemporary Physical Theatre, the term ´theatre´ applies to a large variety of genres
and forms from the very origins until today. In this theory course we will attempt to identify constant elements
that constitute ´theatre´ throughout the ages and analyse how these elements are related to one another in
specific theatrical forms.
The aim of the course is to establish a general model that we can use as a heuristic tool to recognize and
describe significant historical and structural changes in the system of theatre.
Can we learn to think theatrically?
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
44
Title
Play with Masks
Location / Partner
School
Verscio, STD
Number
TI05
Dates from / until
23.11. - 4.12.2015
Module Type
Workshop/Toolbox
Times
All day
Teacher
Duccio Belluggi Vannuccini
Actor Théâtre du Soleil
Room (if known)
Verscio
Teaching Language
E
Responsible for the
Course
Corinna Vitale
ECTS
4
Number of
Participants
(min./max.)
14
Prerequisites
Target Group
All
Learning
Objectives
The workshop presents the basics of the acting work of Théâtre du Soleil.
Content of the
Course
The mask, once liberated from all clichés that sourround it, is a pedagogic vehicle of excellence in order to arrive at the incarnation of a figure.
The aim is to develop the imaginative of the actor through the use of masks, mainly those from Bali and Commedia dell'Arte.
Beginning with these instruments we confront the work of the actor under different aspects. We start from im provisation, active listening, being in the present and awareness of the body.
The course is divided into two phases:
- gaining rhythmical and musical awareness through physical work
- searching and creating physical transformation through improvisation
Literature Used
For the first phase participants are asked to bring along musical instruments (it is not significant to be able to
play them!)
For the second phase students should procure clothes, material, scarves and pillows for being able to create
volume.
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
45
Title
Physicality of an Actor
Physicality of a Puppet
Location / Partner
School
Verscio, STD
Number
TI06
Dates from / until
4.1. - 9.1.2016
13.1. - 16.1.2016
Module Type
Toolbox
Times
All day
Teacher
Pavel Stourac, director of Continuo Theatre Room (if known)
(Czech Republic)
Verscio
Teaching Language
E
Corinna Vitale
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
12
Prerequisites
For this workshop with puppets, no previous acting experience is required.
Target Group
All
Learning
Objectives
The goal of the workshop is a basic understanding of the principles of the phenomena of puppets.The workshop is primarily about discovering the physicality of puppets and comparing it with the physicality of the actor;
it is also about the possibility of using puppets in theatrical performances.
Content of the
Course
We will discover through different approaches what puppets really are and what puppets can be. We will take
a short historical tour and will realize that puppets have been connected with human culture from its beginning.
Then through various exercises we will try to research the basic principles of puppets and human movement,
their similarities, differences and their potential. We will also try to understand how puppets can help us in lear ning about our movement, our mind, our emotions, and ourselves. Finally we will try to discover ways how to
use all this gained knowledge in concrete theatre work.
Literature Used
Students are asked to:
- Read the book by Henrik Jurkowski „The Metamorphosis of puppet theatre in XX century“
- Learn the basic thesis by Edward Gordon Craig included in „The Actor and the Übermarionette“ (1907)
- Prepare a short speech about your previous meeting with puppets. (As a spectator of a puppet show, or a
meeting with an actor who works with puppets).
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
46
Title
Theory of Everything but Theater
Location / Partner
School
Bern, BUA
Number
BE01
Dates from / until
Attention to the date:
22.-24.9.2015
Module Type
Campus-Module-Week
Times
22.9.: 14:00 - 20:00
23.+24.: 10:00 - 17:00
22.+23.9. excursions in the evening
Teacher
Arne Scheuermann
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
2 ECTS
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
Based on texts, discussions and excursions, we will pursue the question which concepts and models, theories,
terms and ideas can help us approach art events, which are explicitly not theatre. How can one talk about
music? Which theories can explain art? What happens in film that has nothing to do with acting? First
experiences in dealing with texts and cultural events should help the participants find strategies they can use for
their own work (for instance on characters), by studying theories that lie outside of theatre.
The excursions on the 16th and 17th in the evening are an obligatory part of the course.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
47
Title
Neues Erzählen im Theater
Number
BE02
Location / Partner
School
Dates from / until
Module Type
Campus-Slot
Times
Teacher
Dr. Nina Tecklenburg
Room (if known)
Teaching Language
D (E if necessary)
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
Max. 20
Bern, BUA
16.+17.11.2015
11.+12.1. 2016
10:00-17:00
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
In the contemporary theatre landscape new, non-dramatic forms of narration abound, such as
autobiographical, multimedia performances, narrative theatre installations, role plays, game performances,
audio or video walks. How does narration work in these cases? What does it mean to tell stories in theatre
(today)? The goal of this course is to pursue these questions in theory and practice. For this, we will explore
various narrative performance practices of recent years (such as from Forced Entertainment, She She Pop,
Bobby Baker, SIGNA Eva Meyer-Keller, Lone Twin, Janet Cardiff), discuss narrative theory and experiment
with new forms of storytelling.
Nina Tecklenburg (Dr. phil.), is a performance creator and theatre scientist. As a performer, co-director and
dramaturge, she has created numerous projects since 2002 and worked with various artists and performance
groups. Together with Till Müller-Klug, she is co-founder of the performance group Interrobang. She has been
a longstanding guest artist of the peformance collectives She She Pop and Gob Squad, a member of the
English theatre group Lone Twin Theatre and has worked with the Lebanese artist Rabih Mroué, the
Norwegian Performance company Baktruppen and the Swiss choreographer and performer Martin Schick.
Projects she was involved with have been shown at the Heidelberger Stückemarkt, the Wiener Festwochen,
the Kunsten Festival des Arts in Brussels, the Barbican in London and in the Public Theatre New York, among
other venues and festivals. As a theatre scientist, she has worked in the special research area "cultures of the
performative" from 2006 to 2010 at the Freie Universität Berlin, has taught in Hildesheim at the Institute for
Media, Theatre and Popular Culture, at the "Ernst Busch" drama school and has published numerous essays
(for example in The Drama Review, Theatre Research International, Performance Research). Her book about
new narrative forms in contemporary theatre („Performing Stories. Erzählen in Theater und Performance“) has
been published by transcript.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
48
Title
Begegnung
Location / Partner
School
Bern, BUA
Number
BE03
Dates from / until
1st session: 9th October 16:00-20:00 and
10th October 09:00 - open end
2nd session: 16th of January 2016,
10:00-17:00
Module Type
Begegnung / Encounters
Times
See above
Teacher
1st session: Onno Faller
2nd session: Stephan Müller
(Head of Studies Directing, ZHdK)
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
Wolfram Heberle
1 ECTS (for attending both days)
Number of
Participants
(min./max.)
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
1st session: Kochen als Kunstgattung / Cooking as Art Form
This course looks at cooking under the aspect of quality. What has to be considered for the compositions of a
sequence of dishes, what known about the ingredients? And how are stylistic means used dramaturgically
(consistency, surface, shapes, repetition, contrast etc.)? What does this have to do with quality? What is the
role of the cook? Here is what the teacher says about the course:
"I propose cooking a complex sequence of dishes together, starting from the rawest possible state of the
ingredients: that means, animals straight from the butcher with feathers, fur, scales etc. Finally we can eat the
sequence together or invite guests to present our menu to. We do not cook vegetarian, but of course
vegetarians are welcome!"
By inviting Onno Faller as a teacher, this toolbox relates to the cooking workshop of the Städelschule in
Frankfurt (http://www.staedelschule.de/kochwerkstatt.html).
2nd session: Stephan Müller in New York
In the years between 1970 to 1980, New York was the Mecca of the arts: be it film, theatre, fine arts, music,
dance - New York was the home of the creative avant-garde, including artists such as Andy Warhol, Robert
Wilson, Merce Cunningham, John Cage, Martin Scorsese. In the epicentre of the arts, the Swiss citizen
Stephan Müller studied in a transdisciplinary field at the New York University - where many artists taught (not
least to earn money). This environment was a unique source of inspiration for the Swiss director, who
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
49
was hired to the Schauspielhaus Zurich immediately afterwards, as the director of a theatrical laboratory.
The report to an academy - in this case to the Bern University of the Arts - will include text, image and workout.
Please bring loose comfortable clothes that can get sweaty.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
50
Title
Montagsforum
Location / Partner
School
Bern / BUA
Number
BE04
Dates from / until
14.9.; 21.9.; 19.10.; 9.11., 23.11., 25.1.
Module Type
Colloquium
Times
Always 10:00-13:30
Exception: 23.11.: 17:30-20:00
Teacher
Wolfram Heberle, Sibylle Heim, guests
Room (if known)
Zikadenweg 35
Teaching Language
D
Responsible for the
Course
Wolfram Heberle
ECTS
3 (after successful participation over the course of the whole studies)
Number of
Participants
(min./max.)
Prerequisites
Target Group
SAP
Learning
Objectives
Content of the
Course
In the collective “Montagsforum” artistic questions and questions related to planning will be addressed and the
students` projects will be presented and discussed. Guests teachers are invited regularly to talk about current
topics and excursions are organised. The contents will be adjusted to the students` needs and interests. Core
topics are:
Reflection on the students` own artistic work
Basic feedback techniques
Specific inputs on current topics
The foundations of developing a concept for and realising projects
Within the forum, questions around the planning and organisation of the studies will also be answered.
In order to participate in courses at other universities, students have to notify the other universities of
their absensences on the Mondays in question before the semester starts.
Literature Used
Comments
Participation is compulsory for all BUA students.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
51
Title
Körper-/Sprechtraining
Location / Partner
School
Bern / BUA
Number
BE05
Dates from / until
Every Monday (14.9.-18.1.)
Except: 9.+23.11.
Module Type
Toolbox
Times
Body: 17:30-19:30
Voice as arranged
Teacher
Renata Jocic / Jürgen Wollweber /
Marianne Oertel
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
Wolfram Heberle
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
SAP
Learning
Objectives
Training and maintaining performance skills in the fields of body and speech/voice.
The ability to develop a personal training programme for body and speech/voice and exercise it.
Content of the
Course
Every Monday there will be a basic training in the fields body and speech, which allows the actors and
actresses to develop their skills further. The body training is also open to students who are not
actors/actresses.
Literature Used
Comments
Successful participation is compulsory for all students wishing to participate in the auditions in
HS2016.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
52
Title
MA-Thesis Konzept
Location / Partner
School
Bern, BUA
Number
BE06
Dates from / until
1st meeting: 8th of June 2015
2nd meeting: To be arranged
3rd meeting: To be arranged
Module Type
Colloquium
Times
1st meeting: 10:00 – 12:00
2nd meeting: To be arranged
3rd meeting: To be arranged
Teacher
Sibylle Heim
Room (if known)
Zikadenweg 35
Teaching Language
D
Responsible for the
Course
Sibylle Heim
ECTS
4 ECTS (after submission of a concept deemed sufficient)
Number of
Participants
(min./max.)
Prerequisites
Participation is compulsory for all those wanting to show their Master project by the end of HS15-16
(February).
Target Group
SAP
Learning
Objectives
Students are able to systematically develop a concept for their Master project.
Profile skills: A1, A2, K1, K3, T1
Content of the
Course
In the colloquium, the development of the Master thesis concepts is supervised. After an introduction to the
thesis concept, first drafts will be discussed in the group in the 2nd and 3rd meeting. The participants will
receive the texts in advance, so they can actively participate in the discussion. Mutual feedback and the
exchange of experiences are essential to the module. The colloquium is structured as follows:
1st meeting: Input on the concept and procedure of the MA-thesis, presenting the MA projects
2nd meeting: First drafts and lists of contents discussed, questions addressed
3rd meeting: First text parts discussed, questions addressed
The deadline for the MA Thesis registration is the 15th of August 2015
The deadline for the MA Thesis Concept is the 15th of November 2015
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
53
Title
Projektmanagement
Location / Partner
School
Bern / BUA
Number
BE07
Dates from / until
21.9., 22.9., 19.10. Always 15:00-17:00
25.-27.11. Always 09:30-16:30
Module Type
Toolbox: project management
Times
See above
Teacher
Wolfram Heberle
Room (if known)
Zikadenweg 35
Teaching Language
D
Responsible for the
Course
Wolfram Heberle
ECTS
2
Number of
Participants
(min./max.)
12
Prerequisites
Target Group
Learning
Objectives
Students are able to define and plan a project, in terms of staff, tasks, funding, time planning. They are able to
identify the relevant interest groups for projects.
Content of the
Course
The course deals with the foundations of project management and relates explicitly to theatre. It encompasses
defining the term project and explains the typical phases of a project. On the basis of a concrete project, basic
know-how of project management will be taught and important aspects of a project`s realisation will be pointed
out.
a) Basic planning and controlling tools
b) Finances
- Making a budget
- Finantial planning
- An introduction to fundraising
c) Communication:
- Press and PR work for cultural projects
- Communicating with organisers, producers, funding bodies
d) Legal Issues
- The most common problems regarding authorship
Next to the seminar, two hours of one-to-one coaching are planned.
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
54
Title
Block-Projekt
Location / Partner
School
Bern, BUA
Number
BE08
Dates from / until
28.9.-7.11.
Shows: 6.+7.11., always 20:00
Module Type
Block / Composition
Times
All day
Teacher
Hans-Werner Kroesinger
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
10
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle
Prerequisites
Target Group
All - SAP will be prioritised
Learning
Objectives
Content of the
Course
Theatre as a place of gathering has always been a place for public discussion and is, therefore, ideally suited
to address different perspectives on history. Why should we leave history to the formatted narration on
television? Theatre allows us to talk about it with more conflict and precision. For a certain time, the theatre
creates a public, coincidental community of performers and visitors.
Which perspectives can the writing of history take? History is a narration, a collection of events, which were
recorded in the service of ideas, ideologies and which - if we see these texts as stories - also reflect those.
History exists as transmission, representation and interpretation in the form of images, texts and other types of
records.
But which events are included in the writing of history, which excluded?
Who is the author? What is the perspective of the texts? What are their strategies?
In this project, we will pursue the question, if there is a necessity to tell history and will look for methods and
scenic possibilities to address this question in a theatrical framework. At the centre will be the work with texts,
principles of montage, the creation of a text landscape and the question how history is dealt with and in whose
interest. We will analyze sources and try out different approaches to the material. Which texts will remain after
scenic experimentation? In what kind of stage-spaces can documentary theatre take place? And how does an
official report relate to a private memory?
Literature Used
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
55
Comments
Hans-Werner Kroesinger was born in Bonn in 1962. He studied theatre and media at the Institut für
Angewandte Theaterwissenschaften in Gießen. As an assistant director, he worked with Robert Wilson (on
shows including "Hamletmaschine") and as an artistic collaborator with Heiner Müller
("Hamlet/Hamletmaschine"). Within the framework of the documenta X, he showed the theatre sketch "Don´t
look now" in Kassel in 1997. Since then, he has created interdisciplinary projects such as performances,
installations, acting and musical theatre productions at venues such as the Staatsoper Stuttgart, the Podewil in
Berlin, the ZKM in Karlsruhe ("Stille Abteilung", 1996), the Berliner Ensemble, the Berliner Volksbühne, the
Sophiensäle Berlin ("suicide bombers on air. PRIMETIME", 2003), the HAU / Hebbel am Ufer, Berlin, the
Maxim Gorki Theater, Berlin and the Staatstheater Stuttgart. Currently the Maxim Gorki Theater Berlin is
showing: “Musa Dagh – Tage des Widerstands”.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
56
Title
Vorpereitung Vorsprechen
Location / Partner
School
Bern / BUA
Number
BE09
Dates from / until
2.9.-27.10.2015
9.-15.11.2015
Further appointments, as arranged
Module Type
Toolbox
Times
All day, as arranged
Teacher
Tomas Flachs, Johannes Mager, Manuela
Trapp, Stefan Saborowski
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
Tomas Flachs
2
Number of
Participants
(min./max.)
Prerequisites
Successful participation in the preparation for auditions in HS14
Attending body and speech training regularly is compulsory.
Target Group
SAP with the start of studies MA HS 2014
Learning
Objectives
Each student will develop an individual audition programme for autumn 2015, to apply to theatres, for the
“Intendantenvorsprechen” in Zurich, Berlin, Munich and Neuss, as well as fort he ZAV examination in Zurich.
Content of the
Course
Individual work on characters / parts and supervised auditions in Zurich, Berlin, Munich and Neuss.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
57
Title
Vorpereitung Vorsprechen
Location / Partner
School
Bern / BUA
Number
BE10
Dates from / until
CW 46: 9.-13.11.2015
CW 7: 15.-.19.2 2016
CW16: 18.4.-22.4.2016
CW23 : 6.-10.6.2016
Or
CW 26: 27.6.-1.7..2016
Or - due to SKS –Dispo!! CW 36/37
Module Type
Toolbox
Times
All day, as arranged
Teacher
Tomas Flachs, Johannes Mager, Stefan
Saborowski, Frank Schubert
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
Tomas Flachs
2
Number of
Participants
(min./max.)
Prerequisites
Attending body and speech training regularly is compulsory.
Target Group
SAP with the start of studies MA HS 2015
Learning
Objectives
Each student will develop an individual audition programme for autumn 2015, to apply to theatres, for the
“Intendantenvorsprechen” in Zurich, Berlin, Munich and Neuss, as well as fort he ZAV examination in Zurich.
Content of the
Course
Intensive individual rehearsals and rehearsals in small groups with acting, speech and singing teachers to
develop the individual audition programmes. These include two monologues, a partner scene and a song.
The first weeks of work in HS15 will begin with the presentation of three independently rehearsed audition
monologues, two of which will be chosen for continued work with teachers. The following rehearsal weeks
always begin with the presentation of the current state of the monologues and in Calendar Week 7, there will
be a presentation of two new, independently chosen and rehearsed partner scenes. A suitable scene will be
chosen for the following three rehearsal weeks. The main focus of this phase is the continued work on the
monologues and scenes. There will be a presentation of the state of the work at the beginning and end of
every week. This shows that it is expected that in between rehearsal weeks, the students will work on their
parts and scenes independently.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
58
Title
Feldenkrais
Location / Partner
School
Bern, BUA
Number
BE11
Dates from / until
10.-13.11.2015
Module Type
Workshop
Times
08.30-10.30
Teacher
Maria Wille
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
1
Number of
Participants
(min./max.)
Max. 12
Prerequisites
All
Wolfram Heberle
Target Group
Learning
Objectives
Content of the
Course
The FELDENKRAIS METHOD "Consciousness through Movement" chooses simple movement sequences as a
means to discover one´s own movement patterns, find new ways for change and achieve a dynamic equilibrium,
as well as free, strong and precise actions.
The basis for this quality of action is the clarity of the supporting skeleton and makes is possible
- to have an effortless good posture
- to breathe freely
- to act from the centre
- to be present
The last part of each lesson gives space for the individual consolidation and integration of what has been learnt.
Maria Wille is a professional dancer (Tschumi Stein, Bern / Rotterdamse Dansacademie). She has worked as a
freelance dancer and toured to Europe, the United States and Asia with dance productions. She works as a
Feldenkrais instructor and also teaches modern dance and movement. She has been a movement teacher at
the BUA for years.
Literature Used
Comments
The course can be combined with BE12 – Chorsprechen für Nichtschauspieler.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
59
Title
Chorsprechen für NichtSchauspielerInnen
Location / Partner
School
Bern, BUA
Number
BE12
Dates from / until
9.-13.11.2015
Module Type
Workshop
Times
9.11.: 14:00-15:30 and 16:30-18:00
10.-13.11.:11:00-12:30 and 14:00-16:30
Teacher
Marianne Oertel (speech trainer BUA)
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
1 ECTS
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle
Prerequisites
Target Group
All non-actors
Learning
Objectives
Content of the
Course
The course is in German language and is intended for MA Theatre students without a foundation in acting, who
would like to explore and expand the expressive potential of their voice and speech.
When doing choric speaking, speech is the focus. Rhythm, melody, accentuation and articulation are defined
depending on the semantics and acting attitude and spoken like this collectively.
At the same time, participation in this course allows students to get to know an antique form of theatre, which is
gaining more and more significance again in the modern theatre and performance landscape.
The main focus is to develop a dramatic text in choric form. The following areas will be trained by doing so:
posture, sound of the voice, articulation, hearing
stamina, strength, concentration
communication skills, conflict handling, creativity
At the end of the course, the result will be presented in a small performance.
Marianne Oertel: studied Speech Science and Phonetics at the Martin-Luther University in Halle.
She works as a speech trainer for theatre and musical theatre in Germany and Switzerland.
She teaches speech at public music and theatre academies.
She won a directing award for staging speaking choirs. Since 2014, Marianne Oertel has been teaching Speech
in the Theatre Division of the BUA.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
60
Literature Used
Comments
This course can be combined wiht BE11 - Feldenkrais.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
61
Title
Exkursion nach Polen:
International Art Workshop in Skoki
Location / Partner
School
Bern, BUA
Number
BE13
Dates from / until
1.-8.11.2015
Module Type
Excursion
Times
All day
Teacher
Ralf Samens
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
4 ECTS
Number of
Participants
(min./max.)
Limited places
Prerequisites
A strong interest in Fine Arts
Target Group
All (and participants from the BA in Fine Arts at the BUA)
Y-Institute, Andi Schoon
Learning
Objectives
Content of the
Course
The University of Poznan is organizing a get together of teachers and students of different European Art
Universities in Skoki. This year, the BUA is invited. The focus will be on fine arts.
Here is the description of the event according to the Art University of Poznan:
„As in recent years it is an intensive exchange of artistic ideas between artists (teachers and students) from
different countries. During the meetings and presentations chosen participants show their earlier works and
ideas, which are then discussed. At the same time, each participant may develop their own ideas/works in
connection with the proposed themes.
In this year, among the invited professors there are: Jaroslaw Kozlowski-UAP (PL), Danuta Haremska - KHIO
(N), Mikolaj Polinski - UAP (PL) with a group of their students. In the project, the invited artists are: Natalia
Brandt (PL), Helmut Nickels (B), Pawel Polus (PL), Misa Shimomura (JP), Jaroslaw Szelest (PL).“
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
62
Title
Tools for Creation and Composition
Location / Partner
School
Bern, BUA
Number
BE14
Dates from / until
18th-21st of November and 23rd - 24th of
November
Presentation: 24.11. at 19:00
Module Type
Workshop
Times
10:00-17:00
Teacher
Ted Stoffer
Room (if known)
Teaching Language
E
Responsible for the
Course
ECTS
2 ECTS
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
The workshop introduces five fundamental tools for individual creativity and group composition. The tools are
applicable to any physical expression regardless of theatrical genre or level of experience. The workshop
focuses on experiential understanding though it is not necessary to physically practice these tools. Participants
will work alone, in duos and in groups. The course is taught in English though German words do find their way
in whenever they can.
Ted Stoffer (º1970 USA) is a Belgium based choreographer, performer and teacher. He has choreographed six
productions for Aphasia Dance Co., which he formed in 1997. He has choreographed for Les Ballets C de la B
(BE), Norrdans (SE), Ballet Roto (DO), Hochschule für Musik und Tanz in Köln and Frankfurt as well as higher
educational institutes in England and Belgium. His work ranges from audience interactive performance
installations, abstract dance, dance/theater/musicals and butoh. His works tour throughout Europe. He is a
recipient of an Argos Critics Award at the Brighton Festival and a recipient of a Jerwood Award for Young
Choreographers (UK).
He collaborates with theatre directors: Luk Perceval, Chrsitiane Pohle, Arne Sirens and Sandra Strunz. This
year he will collaborate with Thomas Schadt for the Nibelungen Festspiele and again with Sandra Strunz at
Staatschauspiel Dresden. He is a regular guest teacher at the Akademie für Darstellende Kunsten BadenWürttemberg.
He leads creative process workshops around the world geared to all levels of performers from any genre.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
63
Title
Performance Workshop mit Ann Liv
Young
Location / Partner
School
Bern, BUA
Number
BE15
Dates from / until
30.11.- 5.12.2015
Presentation in the BONE festival
Module Type
Workshop
Times
All day
Teacher
Ann Liv Young
Room (if known)
Teaching Language
E
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
The description of the concrete workshop was not yet ready in time for publication in this list of courses.
The workshop results will be presented in the BONE festival.
Ann Liv Young was born on the Outer Banks of North Carolina and has been creating dance work for over
eight years. She is one of the youngest artists whose work has been presented at major venues in New York
City such as Dance Theater Workshop, Danspace Project at St. Mark's Church, Brooklyn Museum, Flea
Theater, Judson Church and The Children's Foundation of Harlem. Her work has also been presented in
Virginia, North Carolina, London, Vienna, Washington D.C., New Mexico, Montana and Philadelphia. Young's
most recent production, Michael, will be shown at Dance Theater Workshop in October 2005 and will continue
to be worked on in France.
Young received her high school diploma in Theater and Dance from North Carolina School of the Arts in 1999
and her B.A. in Choreography and Textile Design from Hollins University in 2003. She received choreography
scholarships to attend Hollins University as well as the Laban Centre in London and four years at the American
Dance Festival in Durham, North Carolina.
Ann Liv Young's creations are essentially a reflection of her life, inspired by her experiences with her dancers,
family, collaborators and passerby. The ultra personal becomes the material she molds for performance.
Young's mission is to create work that is honest in its inception, creation and execution. Her work combines text,
music and choreography to build scenes that set up ideas, images and relationships and then destroy them.
Young's text is explicitly sexual, emotional and blunt, but it is always delivered in a manner that is not. The overt
drama of her work is subdued by the realness of this text. Her work exemplifies constant contrast in all its
layers. Audiences are provoked and forced to examine their role in the presentation of dance and performance.
They must determine their place as supporters, mockers, posers or subjects.
Young creates fantastical sets for the comfort of her dancers and in an effort to take the audience to a unique
space that is not necessarily the stage. She often works with live animals on stage, forcing natural and odd
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
64
relationships between these animals and the performers. A key component of Young's process maintains that
all rehearsals must take place in her apartment. The stage is then set in the manner of her apartment with its
atypical decor. In this way, the work is created with life surrounding it; her dog is walking around, roommates are
doing laundry and the phone rings. The sense of focus for the performers and the work is more immediate and
real than that created in a studio.
Ann Liv Young's work, creation process, titles and intentions are forward and literal resulting in layered,
provocative, contrived and thoughtful work that breaks barriers in dance performance.
"Whatever her whim or impulse, she lays it out before us without question of purpose or value. There is 100%
sincerity and commitment in every part of the work, making each outlandish situation ten times more fascinating
because it's not phony, flimsy, or calculated.....Whatever she's doing - and it's hard to pin down - it's truly
magnetic."
-Eleanor Bauer
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
65
Title
Individuelle Vertiefung
Location / Partner
School
Bern / BUA
Number
BE16
Dates from / until
7.-18.12.15 and11.-22.1.16
Interim presentation: 18.12.2015
Presentations: 22.+23.1.2016
Module Type
Production
Times
All day
Presentations can last until the late evening
Teacher
Mentors (as arranged)
Room (if known)
Teaching Language
Responsible for the
Course
ECTS
6
Number of
Participants
(min./max.)
Max. 12
Wolfram Heberle, Sibylle Heim
Prerequisites
Target Group
SAP
Learning
Objectives
Profile Skills: A1, A2, K1, K2, (TF1)
Content of the
Course
The module Individuelle Vertiefung (IV) gives students the time and space to develop artistic and theoretical
ideas further, on the basis of a personal question they wish to pursue. The module ends with a presentation of
the results. Depending on the question, the presentation can take the form of a try-out, a practical presentation
or a lecture. The students will be individually supervised by their respective mentors during the course.
The Individuelle Vertiefung can serve as a step towards the students` Master project.
At the beginning of the IV students have to set themselves a precise question or task and submit it in writing
(submission form) until the 16th of November 2015. The IV begins on the 7th of December 2015 with a
group session, in which the different plans are presented. The presentations are on the 22nd and 23rd of
January.
Handing in the written work on time and participating in the presentation are compulsory!
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
66
Title
A la recherche de la recherche – Theater Location / Partner
School
Bern / BUA
Number
BE17
Dates from / until
1st session: 31st October 2015
2nd+3rd session: 7th+8th December 2015
4th session: 16th January 2016
5th session: 25th January 2016
Module Type
Toolbox Research
Times
09:30-16:30
Teacher
Yeboaa, Ofosu, Sibylle Heim,
Stephan Lichtensteiger and guests
Room (if known)
Zikadenweg 35
Teaching Language
D
Responsible for the
Course
Y-Institute
ECTS
2
Number of
Participants
(min./max.)
12
Prerequisites
Parallel participation in the Individuelle Vertiefung
Target Group
SAP
Learning
Objectives
Content of the
Course
In this semester, the research toolbox 'A la recherche de la recherche' is offered in combination with the
Individuelle Vertiefung. This way research tasks and questions apply directly to the students´ own projects.
The contents of the toolbox will be distributed on 5 individual sessions:
1st session: Recherche advanced (Yeboaa Ofosu, Sibylle Heim)
The topic of the first session is advanced artistic and theoretical research in relation to current or upcoming
projects. It´s about focusing the topic and finding a concrete question.
2nd-4th session: Forschendes Denken im eigenen Projekt (Yeboaa Ofosu, Steph Lichtensteiger)
The students´ projects will be examined for their research content. Approaches to this research aspect will be
found, plans made for its execution and integration into the project as a whole. The students´ creativity will be
brought into a larger theoretical context. This is intended to help them develop artistic and/or theoretical
questions and work on these in their own artistic projects or use them to reflect on their work (esp. in relation
to their own MA thesis). If relevant to the course, current BUA research projects will be shown.
5th session: Forschendes Theater (Yeboaa Ofosu and guests)
To conclude, there will be a lively encounter with groups, projects, approaches and individuals from theatre
that do research as part of their work. Based on the example of Schauplatz International, there will be a critical
discussion about research in the field of theatre.
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
67
Title
A la recherche de la recherche
Location / Partner
School
Bern, BUA
Number
BE18
Dates from / until
9.-13.11.2015
Module Type
Toolbox Research
Times
09:30-16:30
Teacher
Director: Yeboaa Ofosu (research teacher) Room (if known)
and Minou Afzali (research associate).
Guests from art, music, literature and theatre
Teaching Language
D
ECTS
Responsible for the
Course
Y-Institute
2 ECTS (upon completion of the work on the web tool started during the course)
Number of
Participants
(min./max.)
Prerequisites
Attending the first day is compulsory.
Target Group
All
Learning
Objectives
Students are able to see research in the arts as a means to generate new insights. They are able to address
research questions and question research projects theoretically. The are able to use basic research methods
and to create a piece of research of their own.
Profile Skills: TF1, TF2, TF3
Content of the
Course
This week on research is interdisciplinary with regard to the participants, teachers and content: the students
from Fine Art, Music, Literature and Theatre come together to study the idea of research together.
In this toolbox
- the terms art and research are related in different ways
- researching artists from Fine Art, Music, Literature and Theatre are introduced (presentation of BUA research
projects)
- core terms of research are defined and related to the students´ own work, by doing research actively and
using the web tool «ForschungsWort»
The toolbox requires some preparation: See the mailing 2 weeks before the course begins.
Literature Used
Comments
To work with the web tool «ForschungsWort» students need their own laptop. Whoever does not have one,
should let Yeboaa Ofosu know: yeboaa.ofosu@hkb.bfh.ch
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
68
Title
Das Interview. Die forschende und
künstlerische Praxis des fragenden
Gesprächs
Location / Partner
School
Bern, BUA
Number
BE19
Dates from / until
9.-13.11.2015
Module Type
Toolbox Research
Times
09.30-16.30
Teacher
Priska Gisler (Director of the Research Area Room (if known)
Intermediality)
Fellerstrasse 11
Teaching Language
D
Y-Institute
ECTS
2
Number of
Participants
(min./max.)
Max. 12
Responsible for the
Course
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
In relation to his interview project, Hans Ulrich Obrist calls his archive of over 100 conversations, a small
contribution "against forgetting" and says about the technique: "My interviews are more like strolls, no an end
in and of themselves, but an exploration, a ping pong between coincidence and control".
So this toolbox is dedicated to the explorative potential of the interview. The interview is not just a well
established form for an artist´s talk, but is also common in the literary business as an author´s interview and
the questioning of living artists often accompanies the sale of one of their works. The interview is used to gain
knowledge about people and their actions, in order to make these accessible to a broad audience and make it
possible to interpret the experienced information.
It is widely applied as a research technique, but also as an artistic practice used in many different ways and
above all: given a certain shape.
This toolbox is an introduction to the technique of the interview; it demonstrates different interview formats and
shows how interviews can be used in art and public. Finally, it will also be about conducting an interview and
testing if the developed questions aid the research method. The toolbox addresses the issue how interviews
are used in the arts, what they are and what they can do - together with guests and based on examples.
Ideally students should bring a piece of work or an idea for a piece of work, because the plan is that they use
an interview as part of a project.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
69
Title
Forschungsmittwoch
Location / Partner
School
Bern, BUA
Number
BE20
Dates from / until
From 23.9.2015, about every two weeks,
always on Wednesday
Module Type
Toolbox Research
Times
17:00-19:00
Teacher
Director: Sebastian Dobrusskin,
Priska Gisler, Arne Scheuermann,
Martin Skamletz
Room (if known)
Either in the Auditorium in Fellerstrasse 11,
BUA-Music/Papiermühlestrasse
or other venues
Responsible for the
Course
Y-Institute, Coordination: Yeboaa Ofosu
Teaching Language
ECTS
1 ECTS (when attending at least 6 events)
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
Content of the
Course
The Forschungsmittwoch offers an insight into the research activity at the BUA. In this series, research
projects are presented and discussed. Partly current or finished BUA projects are presented, partly national
and international guests are invited, partly students can also present their work or their approaches as young
researchers. Aside from these projects, questions relating to the relevance of research for the different
Departments and research in the arts in general are to be discussed.
Students will get an insight into the BUA research activity and will have the chance to participate in inspiring
discussions.
For the current event, see the BUA event calendar.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
70
Title
Balance von Berufs- und Privatleben:
Weichen stellen vor dem
Studienabschluss
Location / Partner
School
Bern, BUA
Number
BE21
Dates from / until
6.11.2015
Module Type
Toolbox
Times
09:00-17:00
Teacher
Elisabeth Häni
Room (if known)
Fellerstrasse 11
Teaching Language
D
Responsible for the
Course
Fachstelle Chancengleichheit
ECTS
Keine
Number of
Participants
(min./max.)
Max. 12
Prerequisites
Target Group
Learning
Objectives
During and after their studies, students lay the foundation for their future life. Earning money moves into their
focus and professional life differs greatly from student life. More or less subconsciously, individual ideas about
private life also shape early professional decisions.
Jobs and private tasks, such as household, childcare, voluntary work, as well as personal interests have to be
balanced. Who is in a relationship, has to look after their own goals, while also respecting those of their
partner and find solutions both can accept, in order to avoid stereotypical roles.
This process-oriented workshop allows you to think about your short- and long-term goal, the balance of
professional and private life, but also different life models, social and institutional frameworks, as well as
suitable negotiation strategies.
You will learn tools for a check-up of your life-domain-balance, your professional and private goals. These will
make it easier for you to assess, where you stand. So you can avoid overworking and taking care of your
mental and physical health.
Content of the
Course
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
71
Title
Lecture innombrable des textes du
théâtre contemporain
Location / Partner
School
La Manufacture - HETSR
Number
LM02
Dates from / until
23.-25.09.15
Module Type
CMW
Times
09:00-13:00
Teacher
Michel Corvin
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
To acquire an understanding of contemporary dramatic writing since Beckett.
Content of the
Course
Michel Corvin will present some of the concepts that he develops in his book "La lecture innombrable des
textes du théâtre contemporain" to be published in June 2015. This book is an attempt to study the question of
contemporary dramatic writing by answering these questions: how does contemporary writing play with the
disappearance of writing standards and how does it consequently implicate a change in the perspective of
directing a play? This approach will be supported by historical and aesthetic elements and will seek to analyze
the creation and the reception of theatre plays.
Literature Used
Michel Corvin, "La lecture innombrable des textes du théâtre contemporain"
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
72
Title
Dramatologie » : théâtre et vidéo
Location / Partner
School
Number
LM03
Dates from / until
22.-25.9.15 & 28.9.-2.10.15
Module Type
Stage technics and connected arts
Times
09:00-13:00 & 14:00-18:00
Teacher
Judith Depaule
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
– Introduction to new scenic writing
– Building a dramaturgy based on images and texts
– Experimenting different uses of video on a stage
Content of the
Course
With Le Film des questions (Éd. Plaine, 2014) of the French writer Franck Smith, we will seek to interrogate
the meaning of video material on stage and the relation between text and images. How images and “new
technologies” imply a new scenic writing, that we could call “dramatology”? We’ll explore different projection
possibilities and aim at creating short individual and collective creations.
Literature Used
Franck Smith, Le Film des questions (Éd. Plaine, 2014)
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
73
Title
Socle Humain
Location / Partner
School
Number
LM05
Dates from / until
27-30.10.15
Module Type
Scenography
Times
09:00-13:00 & 14:00-18:00
Teacher
Adrien Rovero
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
Researching the relation between objects and bodies, developing a concept through its materialization,
working on a 1:1 scale and looking for meanings through signs and typology.
Content of the
Course
Each student will be asked to work on a fictional character and to “play” it. The chosen character will be used
to develop a plinth (concept, physical properties, signs and material). During the workshop, each student will
build a “human plinth” and a presentation of the projects will be held at the end of the week.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
74
Title
DISPOSITIF/ARTEFACT
Location / Partner
School
Number
LM06
Dates from / until
19.-23.10.15 & 7.-18.12.15
Module Type
Stage Direction
Times
09:00-13:00 & 14:00-18:00
Teacher
Oscar Gomez Mata
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
4
Number of
Participants
(min./max.)
limited
Prerequisites
-
Target Group
MS
Learning
Objectives
- Aiming at building a scenic dispositive by answering these questions: What? Why? How? What for?
- Structuring creation through ideas, meaning, creative foundations
- Shaping and realizing the form that relates to the given objective
Content of the
Course
This workshop will be held at two different times.
In the first week, students will conceive a scenic dispositive based on a text (theatrical, sociological,
philosophical, political etc.). They will have to address some questions: the first question is “what”: What do I
want to do, what can I do or do I have to do? The second question is “why”: Why should I do it? The answer to
this question will provide an intimate link with the projected piece. The third question is “how?”: How should I
represent this project? The fourth question is “what for?”: What do I think translates to the audience?
The second part of the workshop will give the students the possibility to work on their projects with comedians
and will show how this collaboration can deepen the efficiency and meaning of their projects.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
75
Title
Stage technique
Location / Partner
School
Number
LM07
Dates from / until
2. - 6.11.15
Module Type
Stage technics
Times
9:00-13:00 & 14:00-18:00
Teacher
Nicolas Berseth
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
limited
Prerequisites
-
Target Group
MS
Learning
Objectives
Knowing and being able to use technical tools on the stage.
Content of the
Course
This workshop gives a basic introduction to the technical tools on stage: the students will explore sound, light
and video. The acquisition of a functional relationship to these tools is needed to gain a sustained autonomy
for small and medium scenic projects.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
76
Title
Regietheater, de la table au plateau
Location / Partner
School
Number
LM08
Dates from / until
10.-13.11.15 & 16.-20.11.15
Module Type
Applied dramaturgy
Times
09:00-13:00 & 14:00-18:00
Teacher
Jérôme Junod
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
– Introduction to the German theatrical tradition (Regietheater): story, movements, personalities, debates
– Abilities of projecting an elaborated staging
– Experimenting the gap between a theoretical conception and a concrete production with actors
– Introduction to stage direction
Content of the
Course
This workshop will be held in two different parts:
The first part of the workshop will be a historical presentation of the different periods of the development of
German theatre, from Lessing to contemporary artists. It will focus on the specificities of German theatre and
its great attention to dramaturgy. The second part of the workshop will highlight the gap between a written
project and the reality of the stage. Through an analysis of a realistic scene, we’ll investigate the staging
possibilities of the scene, the different steps towards staging and the tools needed to transfer ideas onto the
stage and into the bodies of actors.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
77
Title
Interactive Technologies for Stage
Performance
Location / Partner
School
Number
LM09
Dates from / until
16.-17.11.15 & 11.-12.01.16
Module Type
Theory Slot
Times
09:00 - 13:00
Teacher
Andrew Sempere
Room (if known)
Teaching Language
E
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
-
Learning
Objectives
-
Content of the
Course
This workshop introduces a brief overview of the current state of the art in contemporary technologies for
stage performance and discusses the considerations for their use. Particular attention will be paid to the issues
these technologies bring to the performance: how they change the way a story can be told on stage and how
this changes the relationship between audience and performer. Care will be taken to cover specific
technologies and issues of relevance to contemporary transdisciplinary art.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
78
Title
Le théâtre au noir: Dramaturgies
britanniques contemporaines
Location / Partner
School
Number
LM10
Dates from / until
24.-27.11 & 30.11. - 4.12.15
Module Type
Applied dramaturgy
Times
09:00-13:00 & 14:00-18:00
Teacher
Julien Fisera
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max-)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
– Introduction to the British contemporary theatre: movements, personalities, debates
– Abilities of analyze a contemporary theatre piece
– Analyzing the auto-description principle in movies and its translation into theatre
– Optimizing the period of work without comedians
– Playing with the possibilities of light and sound effects
– Questioning voices and narration in theatre
Content of the
Course
This workshop will seek to explore post-Beckett writing in British theatre. It will be centered around the figures
Martin Crimp / Caryl Churchill / Simon Stephens. « Black theater » will have a double meaning: the workshop
will be a directing projection through description only. After an immersion in the plays, students will have to
project their staging. They will describe it as if it was done for a visually impaired audience. At the end of the
workshop, students will have to present their projects only helped by light and sound effects.
Literature Used
Comments
Texts in their original language will be used.
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
79
Title
L’autofiction, du texte à la scène
Location / Partner
School
Number
LM11
Dates from / until
4.-8.1.16
Module Type
Dramaturgy
Times
09:00-13:00 & 14:00-18:00
Teacher
Natacha Koutchoumov &
Arielle Meyer McLeod
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
Grasping the theoretical issues at stake and the modalities of autofiction in theatre.
Content of the
Course
This course will be given by two complementary figures: a dramaturge and theorist, Arielle Meyer McLeod, and
an actress and director, Natacha Koutchoumov. It will therefore mix a theoretical insight on autofiction with an
analysis of the place of its interpretation on a stage.
Autofiction, as a topical genre, appeared quite recently on the contemporary scene. First explored in literature,
the genre still represents a new theoretical field in theater studies. The lecture will firstly expose a theoretical
background that will attempt to define the notion of autofiction and allow to describe the “I” expressed,
questioned and blurred in it.
The “I” at the core of autofiction will be discussed and its function will be analyzed through the scenic
instances of Angélica Liddell, Amir Reza Koohestani, Falk Richter, Denis Maillefer and Christiane Jatahy.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
80
Title
Mise en oeuvre et production d’un
projet artistique
Location / Partner
School
Number
LM12
Dates from / until
13-15.1. /18-19.1.16
Module Type
Toolbox
Times
11:00-13:00 & 14:00-18:00 / 09:00-13:00
Teacher
Barbara Giongo
Room (if known)
SMA
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
Content of the
Course
Literature Used
None
MS
This course aims at explaining and experimenting with the production of an artistic project. What is the cultural
strategy in Switzerland? What types of financial support can an artist obtain? How is it possible to collaborate
with institutions (state, theatres, festivals, art council)?
The contemporary artist needs an administrative strategy to create art. Which strategies are on the market?
Should an artist be his own producer? Should his artistic projects influence the way he`ll produce his artwork?
Does the production need to evolve with each project? Should an artist aim at an « artistic career » ?
Portrait de l'artiste en travailleur. Métamorphoses du capitalisme, Pierre-Michel Menger, Seuil, 2002.
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
81
Title
Traductions – créations?
Location / Partner
School
Number
LM13
Dates from / until
18.-22.1.16
Module Type
Writing and composition
Times
14:00-18:00
Teacher
André Markowicz
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
Limited
Prerequisites
-
Target Group
MS
Learning
Objectives
– Seeking the limits and liberties involved in translating texts
Content of the
Course
André Markowicz, a famous translator for English and Russian theatre, poetry and novels, will hold this
workshop. Students will experiments linguistic explorations of creative elements in translating theatre plays.
Literature Used
To be defined
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
82
Title
La place du texte dans la mise en scène
Location / Partner
School
Number
LM14
Dates from / until
27.-29.1.16
Module Type
Writing and Composition
Times
9:00-13:00 & 14:00-18:00
Teacher
Noëlle Renaude
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
MS
Learning
Objectives
– Production of dramatic scenes under the author’s supervision
Content of the
Course
Noëlle Renaude, a dramatic writer whose work defies norms and challenges theatrical space, will hold this
workshop. How can her unique work be explored with scenic tools? How can situations be created from her
written material: graphic maps, linguistic exploration, partitions, inscriptions and signs?
Each student will be asked to experiment his/her own method under the author’s supervision. His/her
interpretation of a scene will be confronted by the author’s own projection of her writings.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
83
Title
Les écritures de plateau,
un état des lieux
Location / Partner
School
Number
LM15
Dates from / until
25.-26.1.16
Module Type
Theory
Times
09:00-13:00 & 14:00-18:00
Teacher
Bruno Tackels
Room (if known)
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
1
Number of
Participants
(min./max.)
-
Prerequisites
-
Target Group
-
Learning
Objectives
Knowledge of the method and history of stage writing
Content of the
Course
For many years, Bruno Tackels has been a keen observer of the contemporary scene. Witnessing its
evolutions, transformations and innovations, he specialized in the study of stage writing as a strategy. He
dedicated some of his writing to the following artists, insisting on their common methodology of work: Roméo
Castellucci and la Societas Raffaello Sanzio, François Tanguy and Théâtre du Radeau, Anatoli Vassiliev,
Rodrigo Garcia, Pippo Delbono, Ariane Mnouchkine and Théâtre du Soleil, Mathias Langhoff. Classifying them
as stage writers is a way to say that their manner of thinking theater has similarities: the conceptual tool
behind this assertion has to be more than a formula.
This lecture aims at looking for a genealogy of stage writing.
Literature Used
Comments
Target Group
Bewegungstheater
Bühnenbild
Mise en scène
Regie
Schauspiel
Theaterpädagogik
Dramaturgie
Leitende Künstler
All
BT
BN
MS
RE
SP
SC
TP
DR
LK
All
Teaching Language
German
English
Italian
French
D
E
I
F
84

List of Courses Autumn Semester 2015-16 E

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