List of Courses Autumn Semester 2016/17 E

Transcription

List of Courses Autumn Semester 2016/17 E
List of Contents
Toolboxes/Workshops Zurich
Intervenieren: Postkoloniale Theorie und kulturelle Praxen ........................................................... 1
Was gehen uns die Nibelungen an? ............................................................................................... 2
Prologe IV _ How to Read and Write .............................................................................................. 4
Redekompetenz.............................................................................................................................. 6
Korper-Arbeit .................................................................................................................................. 7
Artist Management ......................................................................................................................... 8
Vorsprechen ................................................................................................................................... 11
THE STATE OF THINGS – THE NEW REALISM .......................................................................... 13
Song of the Goat Theatre ............................................................................................................... 14
Semesterprojekt 1 .......................................................................................................................... 16
Semesterprojekt 2 .......................................................................................................................... 17
AFRICA – Formen der interkulturellen und -disziplinaren Kollaboration ........................................ 18
Strichfassung Nibelungen .............................................................................................................. 20
Probemethoden I............................................................................................................................. 21
Performance Art.............................................................................................................................. 22
X Nibelungen .................................................................................................................................. 23
LichtRaumDrama ............................................................................................................................ 24
Danse afro-contemporaine ............................................................................................................. 25
Reallabor Theater? Forschung auf und mit der Buhne .................................................................. 27
Recherche (v)ermitteln. .................................................................................................................. 29
Variete Bastarde ............................................................................................................................. 30
1. Zeitmaschine Ausstellung 2. Punk Islam .................................................................................... 32
Regie Kolloquium ........................................................................................................................... 34
Der Ring der Nibelungen ................................................................................................................ 35
Theaterpadagogik-Kolloquium ........................................................................................................ 36
Dramaturgie-Kolloquium.................................................................................................................. 37
Practice Based Research oder: Die Kunst des Forschens mit Kunst..............................................38
Toolboxes/Workshops Verscio
Bodies on the Contemporary Stage ...............................................................................................
Practical and theoretical introduction to the Master Studies at the ATD ........................................
Panel...............................................................................................................................................
Thinking Theatre.............................................................................................................................
The Encounter ...............................................................................................................................
Commedia dell'Arte ........................................................................................................................
40
41
42
43
44
45
Toolboxes/Workshops Bern
Between Poetry and Praxis. The Status of Creation ...................................................................... 46
ARBEITSWEISEN - KREATION .................................................................................................... 47
Begegnung...................................................................................................................................... 49
Montagsforum.................................................................................................................................. 50
Korper-/Sprechtraining.................................................................................................................... 51
MA-Thesis-Konzept......................................................................................................................... 52
Projektmanagement........................................................................................................................ 53
Vorbereitung Vorsprechen I............................................................................................................. 54
Vorsprechen 2016........................................................................................................................... 55
Block: Kreation in drei Teilen .......................................................................................................... 56
Tools for Creation and Composition................................................................................................ 57
BE12................................................................................................................................................ 58
Do yourself a favour ....................................................................................................................... 59
Mr. Compost's compositons ........................................................................................................... 60
Szenen aus Molieres Komodien // Rollenstudien mit Schauspielstudierenden .............................. 62
Eigene Texte schreiben und sprechen als darstellerisch/performatives Mittel................................ 63
TALKING STRAIGHT PRESENTS .................................................................................................65
A la recherche de la recherche - Theater........................................................................................ 66
Individuelle Vertiefung..................................................................................................................... 67
Fragezeichen. Was ist eine gute Frage? ........................................................................................ 68
Wer ist eigentlich hier der Chef ? Selbstversuche mit Publikum .................................................... 69
Toolboxes/Workshops Lausanne (F)
OBEY!............................................................................................................................................................. 70
Arts de la scene comtemporains .................................................................................................... 71
Le Theatre Baroque......................................................................................................................... 72
Marche ou reve ! ............................................................................................................................ 74
Atelier technique ............................................................................................................................. 75
De l'idee abstraite au concret du plateau........................................................................................ 76
2666 espaces.................................................................................................................................. 77
La lumiere en soi............................................................................................................................. 78
Nouvelles theatralites – mises en scene contemporaines ............................................................. 79
TOUT EST IN/ADAPTABLE ........................................................................................................... 80
Le Visible et l’invisible: Godard entre en scene............................................................................... 81
La pensee au theatre ..................................................................................................................... 82
Creer c’est produire, produire c’est creer ....................................................................................... 83
Master-Campus-Theater-CH
List of Courses / Module Description
Autumn Semester 2016
Title
Intervenieren: Postkoloniale Theorie und Location / Partner
kulturelle Praxen
School
Zurich
Number
ZH01
Dates from / until
28.09. – 30.09.2016
Module Type
Campus module week
Times
14:00 - 18:00
Teacher
Maria do Mar Castro Varela
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5 – 25 (max. 30)
Prerequisites
Obligatory reading:
Castro Varela, M./Dhawan, N.: Postkoloniale Theorie. Eine kritische Einführung. Bielefeld: transcript.
Target Group
All
Learning
Objectives
-
An introduction to postcolonial theories and concepts
An understanding of postcolonial perspectives
Critical thinking
Familiarity with counter-hegemonic cultural interventions
Content of the
Course
This seminar offers an introduction to postcolonial theories and seeks to facilitate a critical engagement with
cultural practices from a postcolonial perspective. To this end, it will introduce core concepts of postcolonial
theory as well as outline debates on the role of cultural practices. Finally, we will examine examples of con crete cultural production and discuss them with reference to the aforementioned concepts and perspectives.
Literature Used
Bhabha, Homi K. (2000): Die Verortung der Kultur/The Location of Culture (1994). Tübingen: Stauffenburg
Verlag.
Castro Varela, M./Dhawan, N. (2015): Postkoloniale Theorie. Eine kritische Einführung. Bielefeld: transcript.
Said, Edward (1993): Kultur und Imperialismus Einbildungskraft und Politik im Zeitalter der Macht/ Culture and
Imperialism (1993). Frankfurt am Main: Fischer.
Spivak, Gayatri (2012): An Aesthetic Education in the Era of Globalization. Cambridge Havard University
Press.
A course reader will be provided.
Comments
Prof Dr Maria do Mar Castro Varela is professor for education and social work with a focus on gender at the
Alice Salomon University in Berlin, as well as a Visiting Fellow at the IWM institute in Vienna. She holds
degrees in psychology, education and politics. In addition to her critical research on migration, she focuses on
postcolonial theory and critical education, gender and queer studies, Holocaust studies and politics of
remembrance.
Most recent publication (Nomos):
April 2016: „Binationalismus, Kohabitation und radikale Ethik. Judith Butlers postkoloniale staatstheoretische
Überlegungen, in: L. Diestelhorst (Hg.), Staat, Politik, Ethik. Zum Staatsverständnis Judith Butlers, S. 135-158.
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
Title
Was gehen uns die Nibelungen an?*
Location / Partner
School
Zurich
Number
ZH02
Dates from / until
Part 1: 21.11. - 22.11.2016
Part 2: 09.01. - 10.01.2017
Module Type
Campus slots
Times
16:00 – 20:00
Teacher
Olaf Knellessen & Hayat Erdogan
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5 - 25
Prerequisites
Participants are expected to have read Hebbel’s “Nibelungen”.
Target Group
All MA programmes
Learning
Objectives
Contents of the
Course
-
Engaging with the Nibelungen material
Discussion, analysis and reflection of the concepts of myth, mythmaking and mythologisation on the
basis of the Nibelungen material, Hebbel’s version in particular.
The history of the Nibelungenlied, of the old Nibelungen material that attained the status of a German national
epic in the 19th century, can be told as a story of suspension on at least three levels. In this course, we will
trace suspension as a way of thinking on three levels, based on Hebbel’s “Nibelungen”:
1.
Reception, passing on & canonisation of the material
2.
Myth, mythmaking & mythologisation
3.
Myth as plot/fable
The narrative core of the Nibelungen legend (that featuring the latter-day national hero Siegfried) may have
been passed down by minstrels long before it was first written down in the 13 th century. It was thus
continuously re-interpreted and re-assessed, especially after first being recorded. Its reception experiences
upgrades as well as downgrades, to the point that Frederick II the Great of Prussia deemed it worth less “than
a shot of powder”. It was then rediscovered and rehabilitated, inter alia by Goethe, worked over constantly by
any manner of artists, not least by Wagner, later exploited by the Nazis and even temporarily banned, and
finally unearthed once more and rewritten, by Jelinek, amongst others. What does this history of suspension
tell us at the level of reception? What forces, strategies, elements and processes form the basis of a myth?
What is being suspended, and in what way does the dialectic of suspensions and archetypes create
productive tension? And finally, what kinds of suspensions stand at the core of the myth, for example when
Gunther suspends the act of sexual intercourse?
Literature Used
Comments
*Einar Schleef “Was gehen uns die Nibelungen an?”, 1987
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
Olaf Knellessen was born in Sindelfingen, which is not far from Mühlacker, in 1951. At first, football was his
dearest hobby, before he studied psychology in Tübingen and Salzburg. A psychoanalyst, he has his own
practice in Zurich, is active in the Psychoanalytical Seminar Zurich (PSZ), open for all kinds of nonsense and
very interested in interdisciplinary projects. In this manner and spirit, he is engaged in various publications,
presentations and seminars. www.knellessen.ch
Hayat Erdogan was born in 1981 in Mühlacker and studied German and English at the University of Stuttgart
and dramaturgy at the ADK in Ludwigsburg. She worked as translator, interpreter and dramaturge and was the
recipient of a research stipend from the James Joyce Foundation in Zurich and Trieste. In addition, she
contributed to the International Institute of Political Murder (IIPM) and worked as a research assistant on the
SNF-funded research project “Das Spiel mit den Gefühlen” (toying with emotions) as well as on the Master of
Arts programme in theatre at the Zurich University of the Arts. Since 2014, she has served as a member of the
commission for theatre promotion of the city of Zurich. From 2014 to 2016, she headed the artistic city
research project “Polytropos – Dada on tour” in the context of the event series “Connecting Spaces Hong
Kong/Zurich”. Since 2015, she has been a PhD researcher at the University of the Arts in Linz and a lecturer in
theory and dramaturgy on the Master of Arts programme in theatre at the Zurich University of the Arts.
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
Master-Campus-Theatre-CH
Title
Prologe IV _ How to Read and Write
Location / Partner
School
Zürich
Number
ZH03
Dates from / until
Tuesdays: 04.10., 25.10., 08.11., 06.12.,
20.12.2016 and 17.01.2017
Module Type
Elective / DEVELOPING FURTHER
Times
Introductory and closing seminar: 17:0020:00; 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 to 15
Prerequisites
Laptop
Target Group
MA in all specializations; candidates for subsequent Master thesis
Learning
Objectives
Ideal preparation for writing the Master thesis. Honing the students' writing skills, helping them to find topics,
conduct research, structure their work, write the work in a consistent and transparent way and overcome
writer's block.
Content of the
Course
„The whole hermeneutic ballet is a performance to exhaustion: either we
master the text, then we can, but to not have to feign; or we do not and then
we cannot even know if we are feigning or not".
(Paul de Man, Kleist's Über das Marionettentheater)
Texts are a difficult thing - especially when we are about to write one ourselves. The Master thesis, like all
academic texts, has to relate to performances, videos, images, art and also, first and foremost, to other texts.
To prepare the students for writing their Master thesis, the seminar will focus on understanding different forms
and genres of text, different ways of expression and various media, as well as the definition of a topic, doing
research and writing independently. This will be practiced in tweets and short academic essays.
Through the practice of close reading, the students will learn basic skills of reading and interpreting in
individual and group work and transfer what they learn to different types of text and presentation. The main
goal is to regard writing as something fun and as a journey of discovery.
Literature Used
To be announced.
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
Comments
Max Glauner studied Comparative Literature, Philosophy and Art History. He teaches and lectures about the
history of culture, architecture and urban planning at the Freie Universität, the Senate of Berlin and the Goethe
Institute, to name just a few employers. He gives lecture performances, works as a freelance author and
publisher, editor and journalist for the Tagesspiegel Berlin, Der Freitag, Theater heute, Kunstforum
International, frieze.de and Artforum, amongst others. Since 2013, he has been a teacher for Theatre and Fine
Arts Theory and the Director of the mentoring project at the DDK of the ZHdK.
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
Title
Redekompetenz
Location / Partner
School
Zürich
Number
ZH04
Dates from / until
03.10., 24.10., 14.11., 5.12., 19.12.2016
Module Type
Elective / DEVELOPING FURTHER
Times
17:00 - 19:00
Teacher
Corinne Holtz
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
3 to 10
Prerequisites
Target Group
Learning
Objectives
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.
Content of the
Course
You have developed an artistic project with a lot of passion (set design, stage production, installation, etc.) and
have to present this to a theatre, a jury or an exam commission. In the best of cases, you will tell a story and
send signals: with your speech, your gestures, the form you choose. Based on your speech experience and
your upcoming speech performances, you will reflect on your own and others' attitudes of speech, will be
made aware of the difference between written and oral communication and will discover what your body does,
when you speak in front of people. On the basis of concrete speech situations, you will examine the
preparation and dramaturgy of the entire appearance, the effect of language and body language, as well as
the tools available to deal with stage fright. You will practice your upcoming speeches - in front of and together
with the other participants.
Literature Used
Sten Nadolny: Die Gabe der Rede; Vera Birkenbihl: Rhetorik: Redetraining für jeden Anlass; Tiziano Bruno,
Gregor Adamczyk, Wolfgang Bilinski: Körpersprache und Rhetorik; http://www.praxis-mahkorn-klick.de/dasbieten-wir-ihnen/lampenfieberambulanz/
Comments
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, curates
the interdisciplinary cultural platform 'hexperimente-die bühne im avers' and works as a communicator
(moderation, speech training, text work). 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
6
Title
Körper-Arbeit
Location / Partner
School
Zürich
Number
ZH05
Dates from / until
Thursdays
Module Type
Elective / EXPLORING
Times
10:00-12:00 (During these two hours, there
will be no parallel teaching)
Teacher
Muriel Bader
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
5 to 20
Prerequisites
Target Group
All, SC, RE, BN, DR, TP
Learning
Objectives
Optimal tonus regulation in the different body parts when standing, sitting and moving.
Content of the
Course
Working on physicality with a special focus on presence, on the basis of breath, posture, relationship to the
space etc.
-
Optimizing the effort required for each movement.
-
Optimizing the unity of the entire body in movement.
-
Finding variations of personal movement patterns.
-
Physically preparing for a lecture, presentation, performance etc.
„Each change in the nervous system shows itself clearly through a change in gesture, posture and muscular
configuration. These are not to different states, but two aspects of the same state".
(Moshé Feldenkrais)
Literature Used
Comments
Muriel Bader, born in 1959, ZHdK teacher in DMU and DDK since 2005. Diploma for movement pedagogy
SBTG and diploma in Feldenkrais therapy (EMR). Since 2002, she's had her own therapy practice. Since
1990, she's been working as a body and movement teacher and choreographer for dancers, actors, opera
singers etc. 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 Theater am Neumarkt etc. From 1985 to 1994, she had her own dance theatre company, the "Compagnie Muriel Bader", which toured in West and East Europe, Russia, Central and
South America.
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
Artist Management
Location / Partner
School
Zurich
Number
ZH06
Dates from / until
Part 1: 31.10.2016 and 01.11.2016
Part 2: 02.11.2016 and 03.11.2016
Module Type
Elective Compulsory / DEVELOPING
FURTHER
Times
Part 1: 10:00-14:00
Part 2: 10:00-13:00
Teacher
Part 1: Claudia Galli, Barbara Stocker
Part 2: Silvan Kappeler
Room (if known)
Teaching Language
D
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
Min. 3, max. 14
Prerequisites
Target Group
SC, Scenic Art Practice, Physical Theater
Learning
Objectives
Part 1:
- Basic knowledge about contracts, social security and salaries in theatre, as well as inputs on negotiating contracts and salaries.
Part 2:
- Understanding the differences between a caster, an actors' agency and casting agencies
- Knowing which online platforms are relevant
- Knowing specificities of advertising and film contracts
- Understanding the pros and cons of provision contracts
- Being aware of common salaries, recommended salaries
- Knowing what a buyout is and why it has nothing to do with the salary
- Understanding when and for which medium a buyout applies
- Being familiar with the guidelines for buyouts
- Reacting to a job, casting offer professionally
- Being able to negotiate in a well-informed and thoughtful fashion
- Knowing the professional associations for filmmakers in the German-speaking area
- Knowing who is in charge of copyright law and how actors can profit from this.
Content of the
Course
Part 1
Contracts:
What defines a good contract? What do I need to know before signing a contract?
Salaries:
Common salaries in the free theatre scene, minimum wage at GAV theatres, common salaries in advertising
Negotiating salaries:
How do I behave? Practical exercises for negotiating salaries in theatres.
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
Social Security / Insurances:
Am I independent or dependent? Which social security insurances exist? How can I insure myself, if there is a
limited contract? How do I ensure myself when I work in Germany?
This course is focused on the working in the Swiss theatre scene.
Part 2
2.11.2016
- Professional associations for filmmakers in CH, DE, A
- Professions in the film business, who does what
- Casters, acting agencies, casting agencies - demonstrating the differences, contracts
- Marketing platforms (important online platform CH, DE, international), what to pay attention to.
- Copyright protection organizations, CH, DE, where and why you should register.
3.11.2016
- Analyzing contracts for film and advertising, types of contracts.
- A typical actor`s contract Verdi (DE)
- Salaries and buyouts, guidelines and recommendations for TV, cinema, advertising, image and educational
films.
- How do I behave properly when a casting or booking request comes in.
- Differences of freelance, employed and independent work. Explaining the SPK.
Literature Used
Part 1
"Richtgagen und Richtlöhne für Berufe im Freien Theater" (ACT, 2016), literature on recommended salaries
"Checkliste für den Vertragsabschluss" (ACT, 2013), a checklist for signing a contract
"Richtlinien zu Schauspielgagen und Buyouts bei Werbeproduktionen" (SSFV, ACT, SBKV und SSRS, 2013),
guidelines for salaries and buyouts in advertising
Part 2
- SIG and Swissperform distribution regulations (brochure including. FAQ)
- Explanations of GVL, deska, VdFS
- Information brochures on ssfv, bffs and vöfs
- Exemplary contract for film/TV
- Sample of a provision contract and annex letter
- Guidelines for actors' salaries and buyouts in advertising
- VELMA buyout conditions (worldwide)
- vps list of tariffs
- Info sheet and regulations SPK
- Film professions (overview and short descriptions)
- List of casters BVC members
- Check your Contract form
- Verdi wage agreement for actors
- Wage agreement TV FFS (bit player and crew)
Comments
Claudia Galli (ACT Executive Manager) born in Zurich in 1972. She studied International Relations in Geneva
from 2001 to 2005. Subsequently, she worked in communication and marketing for various international
organizations. Since 2009, Claudia Galli has been managing ACT, the professional association for freelance
theatremakers. She lives in Bern with her family.
Barbara Stocker (production manager/ managing director). She studied to become a secondary school
teacher (maths and sciences) at the University of Zurich. From 2002 to 2004, she was an assistant director at
the Theater am Neumarkt in Zurich. Since 2004, she has been working as a production manager in the free
theatre scene in Switzerland and abroad. From 2008 to 2014, she was the managing director and organizer of
the Biennale Bern (festival for contemporary arts). Since 2009 , she has been teaching project management at
the Scuola Teatro Dimitri in Verscio. From July 2016, she will be managing director of the Tuchlaube in Aarau.
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
Silvan Kappeler, 41, from Zurich, is a freelance actor and a dedicated member of Zurich's cultural scene.
After finishing his actor's training at the ZHdK in 2002 (back then still the Hochschule für Musik und Theater)
and after various jobs at theatres in Germany, Switzerland and Lichtenstein, he has joined the free theatre
company jetzt&co and plays and works at the Schauspielhaus Zürich as a freelancer. He has a company
called "Silvan Kappeler, stage and film production", with which he works in the fields of camera, editing and
prop construction, and also as a prop master and set dresser for theatre and television. Next to his mandate
as a board member of the foundation Komturei Tobel, he has been running the professional association
Filmschauspieler of the ssfv as its president since 2011. Thanks to his wide-ranging work and diverse
interests, he has a solid and wide-reaching network. He has also worked as a cultural manager and curator for
art, music and theatre several times. He is co-organizer and co-curator of the art festival TATORT KOMTUREI
and of the Christmas salon of the Schauspielhaus Zürich.
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
Number
ZH07
Dates from / until
24.08.-16.09.16 rehearsals, as well as
03.10.-07.10; from 08.10.-19.10.16
rehearsals, putting the programme together
Presentations on 20.10. / 21.10./ 23.10.2016
Module Type
Qualification / DEVELOPING FURTHER
Times
As arranged
Teacher
Andreas Hermann, Nikolay Stefanov,
Nicolas Rosat
Room (if known)
TONI rehearsal stage and Bühne A
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
13 (6 women / 7 men)
Prerequisites
Target Group
Learning
Objectives
SC (3rd semester)
-
Presentation of 2 monologues and a scene,
optional! presentation of a song
Content of the
Course
Within the framework of the final audition in the Master in Acting, the students will develop 2 monologues
each, a scene and, if they wish, a song. During the several weeks of intense rehearsal work on their final
presentations, the students will be supervised by 2 guest teachers in two groups. These rehearsals will begin
on 24.08.2016, take place as arranged with the students and will take priority until October. At the beginning of
October 2016, an artistic personality will put together the audition programme as a guest teacher.
Comments
Andreas Herrmann, grew up in Zurich, studied Music for 3 years and then Directing at the SchauspielAkademie-Zürich. For 15 years, he worked as an actor in ensembles at the Städtebundtheater Biel-Solothurn,
Stadttheater Bern and Staatstheater Mainz (including roles auch as Andri, Alex from "A clockwork orange",
Edward II., Hamlet, Raskolnikow, Graf Wetter vom Strahl). Alongside his work as an actor, he has been
directing since 1995 (including «Die Präsidentinnen» by Werner Schwab, «Die Nacht singt ihre Lieder» by Jon
Fosse and «Zügellos in Vermo» by Harri Virtanen as a German premiere). He taught at the Schauspielschule
Bern and the Theaterwerkstatt Mainz. Collaboration on the concept and foundation of the educational platform
"spielart – Werkstatt für Sprache und Bewegung". Between 2004 and 2006, he created and ran a sociocultural centre in Saxony-Anhalt with its own music and theatre festival. From 2007 to 2016, he was director of
the Luzerner Theater (most recent production he directed: Swiss premiere of Wolfram Lotz’ "Die lächerliche
Finsternis", "Hamlet", together with director Thorleifur Örn Arnarsson and "Dantons Tod"). He has been a
mentor for various collaborative projects between the Luzerner Theater and the ZHdK.
Nikolay Stefanov, studied Directing at the Institute for Dramatic Arts and Film "Krastjo Sarafov" in Sofia
(Bulgaria). Subsequently, he realized various productions as a co-director, including with Dimiter Gotscheff
and productions in Hamburg, Bochum and Munich. Since 2007, he has been a guest teacher for Acting at the
Otto-Falckenberg-Schule in Munich, since 2013 also at the Conservatory in Vienna.
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
Nicolas Rosat, born 1967 in Zurich, studied Acting at the Conservatory for Music and Theatre in Bern. His
first job was at the Theater Basel. After that, he became an ensemble member at the Theater Bremen and the
Schauspielhaus Hannover. From 1997, he worked as a freelancer, at Kampnagel Hamburg, the TAT in
Frankfurt and in Lucerne, among others. 2002/03 he became an ensemble member at the Deutsches
Schauspielhaus in Hamburg, where he performed in projects of his own and in Roland Schimmelpfennig's
"Vorher/Nachher" (directed by Jürgen Gosch). In 2005, he played in Christoph Marthaler's "Schutz vor der
Zukunft" at the Wiener Festwochen. From 2003 to 2006, he was employed at the Schauspielhaus Zurich,
where he worked with the directors Christiane Pohle, Stefan Pucher and Rafael Sanchez, among others. In
recent years, he was a guest at theatres in Berlin, Salzburg, Dresden and Stuttgart; he also performed his
Jacques-Brel evening "Jacques un pour soi", which was invited to the Berliner Theatertreffen in 2002. Since
the season of 2009/10, Nicolas Rosat has been part of the ensemble at the Schauspielhaus Zürich again.
Most recently he played in Chekhov's "Drei Schwestern" (dir.: Barbara Frey), "Die Brüder Löwenherz" (dir.:
Ingo Berk) and in "Schweizer Schönheit" (dir.: Dani Levy).
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
THE STATE OF THINGS – THE NEW
REALISM
Location / Partner
School
Zurich
Number
ZH08
Dates from / until
31.10. - 11.11.2016
Module Type
Methods / DEVELOPING FURTHER
Times
10:00-13:00 and 16:00-19:00
Teacher
Sebastijan Horvat
Room (if known)
Teaching Language
E
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
8
Prerequisites
Target Group
SC
Learning
Objectives
An actor on stage as a ruler / real being / persona / re-actor in the situation.
Situation instead of character.
The reality and the perception of real life around you (everything around you is real / should be real).
How to produce the reality and be alive and react to the state of things around you?
Actor as a thinking body and a producer of meaning (actor as a co-author of the performance; actor is not a
tool but an active part in the chain pointed towards the audience: we are all watching in the same direction…).
How to be critical and which are the modes of saying the truth and not falling into the trap of abstract humanism? Acting is doing something in a particular time and space that is valuable exactly for this moment we are
living in. Acting as a fight against abstract humanism and trying to construct the situation that has the power to
intervene in the reality and to shatter the state of things. How to bring back the conflict? Not to consolidate the
audience but to bring back their awareness of not being the same, of being a whole, but full of differences.
Let’s define the context and then play with text. Let’s find the painful grey areas and traumas outside and not
inside of us.
Content of the
Course
We will try to investigate acting as an ideological institution of explicit and implicit censorship (by artistic
directors, success and the public alike). An actor is an artist who can doubt even our most cherished cultural
traditions and revered religious beliefs. To give offense and to disobey is not a merely a question of rights, but
a normative value. An actor should develop a critical horizon for imagining how the theatre performs beyond
the boundaries of power. Let’s develop action, thought and desires by “proliferation, juxtaposition and
disjunction, and not by subdivision and pyramidal hierarchization.
Literature Used
Comments
The acting workshop will last two weeks and will be based on improvisations, given tasks, instant writing,
thinking, playing and a lot of acting. In the end we will prepare a “showing” and confront an audience.
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
Sebastijan Horvat, director and Head of Studies for Directing at the Theatre Academy in Ljubljana. After his
Directing studies at the Academy for Theatre in Ljubljana, Horvat founded a theatre company together with
Petro Veber and Nataso Matjasec, which has collaborated with various institutions successfully (Cankarjev
dom, SNG Drama Ljubljana, Drama SNG Maribor). Horvat has realized productions at almost all Slovenian
theatres. His performances are invited to international festivals.
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
Title
Song of the Goat Theatre
Location / Partner
School
Wroclaw, Polen
Number
ZH09
Dates from / until
21.11. - 17.12.2016
Travelling there on 19.11.2016
Return on 17.12.2016
Module Type
Methods / DEVELOPING FURTHER
Times
Teacher
Anna Zubrzycki & Company
Room (if known)
Teaching Language
E
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 the students' own investigation into acting. The MA in
acting aims to train the artist to be independent through a program 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 emphasizes 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 university will cover the expenses for travel and accommodation (2-bed-rooms in a hostel).
Anna Zubrzycki, co-founder and co-director of Piesn Kozla (Song of the Goat Theatre), leading actress, vocal
techniques teacher, Course Leader of the 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
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
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 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
16
Title
Semesterprojekt 1
Location / Partner
School
Zurich
Number
ZH10
Dates from / until
28.08. to 17.09.2016 and
03.10. to 05.11.2016
Module Type
Semester project / PUTTING INTO
PRACTICE
Times
As arranged
Teacher
Yael Cramsky
Room (if known)
TONI Probebühnen and Bühne A
Teaching Language
E
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
8 to 10
Prerequisites
The actors will be selected by the Head of Studies.
Target Group
Learning
Objectives
Content of the
Course
Together with director Yael Cramsky, the actors will develop a stage production to be performed on Bühne A.
Literature Used
Comments
Yael Cramsky has graduated with Honors with a Bachelor’s Degree in Movement and Movement Notation
from the “Rubin Academy of Music and Dance”, Jerusalem.
She choreographed and performed on major stages in Israel and abroad up until 1998. In 2004 Yael
graduated with Honors with a Master’s Degree in Directing from “Tel Aviv University”. Since 2001 she has
been directing in various theaters in Israel and collaborating with main performers and artists in Israel and
abroad.
Yael was the art director of the theater department in “Matan” organization until 2008. Yael has been teaching
at major theater, dance and cinema schools in Israel for twenty years.
Since 2012 she has been the Head of the Acting Program in the Department of Theatre in Tel Aviv University.
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
Semesterprojekt 2
Location / Partner
School
Zurich
Number
ZH11
Dates from / until
21.11.2016. to 21.01.2017
Module Type
Semester project / PUTTING INTO
PRACTICE
Times
Teacher
Peter Ender
Room (if known)
TONI Probebühne and Bühne A
Teaching Language
D
Responsible for the
Course
Peter Ender
ECTS
Number of
Participants
(min./max.)
8 to 10
Prerequisites
The actors will be selected by the Head of Studies.
Target Group
Learning
Objectives
Content of the
Course
Together with Peter Ender, the actors will develop a stage production to be performed on Bühne A.
Literature Used
Comments
Peter Ender studied German and Romance Language and Literature and also completed the Acting programme at the Otto-Falckenberg Academy in Munich. He subsequently worked as an actor at the Staatstheater Kassel, Staatstheater Mainz and the Schauburg München. He played in various cinema film and television
productions. From 1992 to 1995, he was a guest teacher at the Otto-Falckenberg Academy in Munich and,
from 1995 on, also a regular teacher for foundational studies in scenic work and improvisation. From 2007 on,
Peter Ender was the Director of the Acting Department at the Conservatory in Vienna. Since 2012, he has
been the Head of the Acting programmes at both Bachelor and Master level at the ZHdK.
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
AFRICA – Formen der interkulturellen und
-disziplinären Kollaboration
Location / Partner
School
ZHdK/ Espace Gambidi Ouagadougou
Number
ZH12
Dates from / until
31.10. - 25.11.2016
Module Type
Platform
Elective Compulsory / EXPLORING
Times
10:00 - 17:00 Uhr, various evening events
Teacher
Hamadou Mandé, Prosper Kompaore, Domi- Room (if known)
nique Lämmli, Annemarie Bucher,
Nana Adusei-Poku, etc.
Coordination: Liliana Heimberg
Research associates: Theres Indermaur,
Simone Karpf
Teaching Language
F/E
Translation of the input lectures
Responsible for the
Course
Res Bosshart, Liliana Heimberg
ECTS
6
Number of
Participants
(min./max.)
8 to 18
Prerequisites
Small contribution to the conference booklet and preparation of a short presentation on a self-chosen aspect of
the topic "collaboration".
Target Group
MA students DDK, DKM, DDE, DKV, DMU
Learning
Objectives
The students will heighten their sensitivity for different cultural constellations, diversify their options for action
with regard to this and, thereby, widen their methodical repertoire for intercultural and interdisciplinary collaboration. They will acquire key skills for the development and positioning of their own artistic practice and for
playing an active role as an artist in global contexts.
Content of the
Course
In December 2015, the board of directors of the ZHdK decided to begin a cooperation with the Department of
Performing Arts and Film DDK with Burkina Faso (HUB Burkina Faso).
The platform AFRICA is intended as a four-week-long research module, in which first common attempts at inter- and transcultural research will be made. The goal is to explore, which questions and interests arise from
this exchange and which potential is released by this first encounter. The platform should lead to projects of
small transdisciplinary and intercultural groups of students in the short and mid term, which will be shown in
Switzerland and/or Burkina Faso.
Invited to Zurich are Prosper Kompaoré, who studied Theatre Science and did his PhD at the Sorbonne,
founded and directed the Atelier Théâtre Burkinabé (ATB, founded in 1978) and works as a teacher, director
and author today. Further, there is also Dr. Hamadou Mandé, teacher, researcher and director of the theatre
programme at the University of Ouagadougou, Yolande Lingani, sociologist and Department Head in the Ministry of Urbanization, Aïssata Ouarma, an award-winning documentary film-maker, for example for her documentary film on the life of a dancer and author from Burkina Faso, as well as four students of the "Centre formation de recherche des arts vivants", CFRAV, in Ouagadougou.
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
ORDER OF EVENTS
The topics and forms of collaboration will be developed in a dialogue among the participants.
We will begin the platform in the first and second week with workshops on the following topics: forms of collaboration, cultural diversity, differentiating between cultural differences and inequality, whiteness, axes of activity
of artistic practice, with the aim to be socially and scientifically effective and relevant, international ties (especially between Burkina Faso and CH) - We will discuss all these aspects on the basis of concrete examples,
such as gold mining.
The two-day introductory conference on the topic of "collaboration" will bring together the different experiences
and backgrounds of all participants and make this the starting point for further research. This conference will
be moderated by Dominique Lämmli and Annemarie Bucher, both in the DKM and working at the IFCAR. As
practicing artists, teachers, researchers and directors of the independent research enterprise FOA-FLUX (The
Functions of Art in Global Contexts), they study processes of change of art in global contexts and are especially interested in potential future ways of working. Not the question "What is art?", but rather "Why make art?" is
always part of their work.
(http://foa-flux.net; http://www.psychotherapie-wissenschaft.info/index.php/psy-wis/article/view/1116/1284).
Another focal point of the platform AFRICA, is the collaboration with Nana Adusei-Poku, professor for Cultural
Diversity in the research centre "Creating 010", which is a filiated with the Piet Zwart Institute of the Willem de
Kooning Academie and is part of the Hogeschool Rotterdam. She will present and re flect on relationships of
gazes and the representation of gender, race and sexuality in visual cultures, on the basis of contemporary images from fine arts and visual media (print, internet, film, tv). She will relate these thoughts and observations to
the creative practice of the course participants.
(http://www.nana-adusei-poku.com)
Aside from presentations, podiums and world-cafés with the partners from Burkina Faso, for example about art
forms that are passed on orally, such as storytelling traditions, further guests will be invited for additional input
on global concerns. They will add political and economic perspectives of the collaboration between Switzerland and West Africa and raise questions of sustainable development in international contexts from a theoretical and practical standpoint.
In the 2nd and 3rd week, the student groups will focus mainly on the creation and planning of their research
projects. They will be supervised and supported by the present teachers from Burkina Faso and the ZHdK. In
this time period, there will also be two trips to cities in Switzerland and into the mountains. Dominique Lämmli
and Annemarie Bucher will also hold a summarizing conference to collect the experiences of the collaboration
up to that point and explore and expand them with regard to the functionality, the roles, the inclusion and exclusion of people and content.
The final week will be about evaluation and the formulation of selected questions and formats, with a view to
realizing projects in the time frame of the subsequent year in Switzerland and/or Burkina Faso.
Documentation of this first cooperation platform through Aïssata Ouarma and students of the Bachelor in Media & Art: Photography.
Literature Used
Comments
Please be aware that there might be additional evening events.
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
Title
Strichfassung Nibelungen
Location / Partner
School
Zurich
Number
ZH13
Dates from / until
26.10., 12.11., 3.12., 17.12.2016
Module Type
Qualification Course / DEVELOPING
FURTHER
Times
Will be announced in due course
Teacher
Julia Reichert
Room (if known)
Teaching Language
D
Responsible for the
Course
Res Bosshart
ECTS
Number of
Participants
(min./max.)
Prerequisites
Participants are expected to have read Hebbel’s “Nibelungen”, as well as a secondary text of their own
choosing that deals with the play.
Target Group
DR (obligatory), RE (obligatory), TP and BN (optional)
Learning
Objectives
Independent development of a cut text version
Content of the
Course
In preparation for the “Nibelungen” platform that will take place in the spring of 2017, the course participants
will jointly develop and implement a cut text version of the play.
Literature Used
Christian Friedrich Hebbel’s “Nibelungen”
Comments
Julia Reichert was born in Munich in 1983, and after studying theatre, film and media she worked as assistant
director and assistant dramaturge at the Munich Kammerspiele, where she was responsible for the
dramaturgical direction of a number of plays, a well as the artistic co-direction of the city project “Munich
Central”. Next, she served as assistant dramaturge and dramaturge at the theatre in Heidelberg, where she
was also a member of the pre-selection commission for the drama competition “Heidelberger Stückemarkt”. In
2011, Julia Reichert moved to Zurich, initially to work as dramaturge at the Neumarkt theatre. Since the
2013/14 season, she has held the same position at the Zurich Schauspielhaus. In 2014 and 2015, she worked
in the same capacity at the theatre in Fribourg, as well as on her own projects. Since the 2016/17 season, she
has been employed as a dramaturge at the theatre in Lucerne.
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
ZH14
Dates from / until
03.10.-14.10.2016
Module Type
Qualification Course / DEVELOPING
FURTHER
Times
10:30 - 16:30
Teacher
Stephan Müller
Room (if known)
Teaching Language
D
Responsible for the
Course
Stephan Müller
ECTS
Number of
Participants
(min./max.)
6 to 10
Prerequisites
Target Group
RE (compulsory) DR TP BN
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 can the director employ? 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, together with Frank Baumbauer. 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. He is currently Head of Studies for the profile Directing in the
Master of Arts in Theatre at the ZHdK and directs at various theatres and opera houses in the Germanspeaking area.
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
Performance Art
Location / Partner
School
Zurich
Number
ZH15
Date from / until
09.01. - 13.01.2017
Module Type
Times
10:45 to 16:45
Teacher
Stephan Müller, Catherine Hug,
Daniel Baumann
Room (if known)
Teaching Language
D/E
Responsible for the
course
Stephan Müller
ECTS
Number of
Participants
(min./max.)
10
Target Group
RE (obligatory), TP, BN, DR
Learning
Objectives
Ever since the Dadaists, the Futurists and the Surrealists, practitioners of fine art have tried their hands at
performance as an artistic form. Following in the wake of fluxus, happenings and art events, performance art
has come into its own as an artistic form of presence in time and space. The objective of the course is to
explore the foundations of this art form as it appropriates or negates certain traditional elements of
theatricality.
Content of the
Course
This course will open up the history of performance art and its main exponents (from Beuys, Naumann, and
Abramovic to contemporary artists such as Jonathan Meese, Thomas Hirschhorn and Adel Abdessemed) in
order to extrapolate the strategies of the individual performance artists. In addition, participants are
encouraged to experiment with their own performative systems that may arise from such a contextual history
of performance art.
Comments
Cathérine Hug studied computer science, journalism and art history at the University of Zurich. Following her
studies, she worked as an assistant at the Kunsthaus Zurich and later for ARTbasel. From 2008, she served
as curator at the Kunsthalle Wien, and since 2013 as full-time curator at the Kunsthaus Zurich, where she curated and organised the exhibitions EUROPA, TONI UNGERER, and EXPRESSIONISM. In addition, she has
published essays and articles on questions of contemporary art in various media.
Daniel Baumann studied art history and German literature in Geneva. Since 1996, he has worked as curator
for the Adolf Wölfli Foundation at the Museum of Fine Arts in Berne. In 2003, he curated the exhibition “Junge
Szene” at the Vienna Secession. From 2003 to 2010, he was responsible for “Kunsttangente”, a project for art
in public spaces in the city of Basel. In 2004, he initiated a series of exhibitions in Tbilisi that contributed to putting Georgia back on the cultural map. Additionally, he curated exhibitions in Asia, Europe and the US, advised
the Frieze Art Fair in London on the creation of its new Frame section, and worked as a critic for Artforum,
Kunst-Bulletin, Mousse, Parkett, Piktogram, Tate Etc. and Spike Art. In November 2014, he was appointed director of the Kunsthalle Zurich. A selection of his projects can be found at www.denver.cx, and his written work
at http://denver.cx/texts/texts.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
23
Title
X Nibelungen
Location / Partner
School
Zürich
Number
ZH16
Dates from / until
05.12. - 09.12.2016
Module Type
Times
09:00 - 17:00
Teacher
Jörg Zielinski
Room (if known)
Teaching Language
D
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
6
Prerequisites
Target Group
BN (compulsory)
Learning
Objectives
The module aims at honing the skills necessary for understanding complex opera material and orientating
oneself as a set designer in an opera house, with its various professions. You should recognize, which
possibilities a modern opera house can offer a set designer. You should try to transfer your interpretation of
the work, developed within the colloquium, into a functioning model, which is scenically, visually and
technically convincing.
Content of the
Course
Wagner's "Ring der Nibelungen" adds the musical, spherical level to the myth of the Nibelungen. We will
explore the possible differences between conceiving of a set design for an opera production of the Nibelungen
and conceiving of a set design for a theatre production of the same story.
Within the framework of this qualification course, we will make excursions to the Zurich opera house.
Literature Used
Friedrich Hebbel's "Nibelungen", Richard Wagner's opera tetralogy
Comments
Jörg Zielinski comes from Berlin and has been living in Switzerland since 1991. He completed his traineeship
and his studies in Berlin, Basel and Zurich. His field of work includes performances, production management,
technical directing and set design for theatre. His work as a production manager at the Theater Basel and his
collaboration with "The Really Useful Group" gave him first experiences with international theatre productions.
He worked at the Expo.02 in Yverdon-les-Bains, as well as on the spatial staging "Hotel Offen" in Baden. He
collected first experiences with design in Vitra. As director of the set and costume department at the opera
house in Zurich, he collaborated with the Shanghai Opera House. This collaboration brought about contacts
with the National Academy of Chinese Theatre Arts in Beijing and the ZHdK, where he was invited for lectures.
Jörg Zielinski held lectures at the Bern University of the Arts, within the framework of the Master's programme.
He designs and realizes sets and scenic spaces. He has created proposals for the Zurich opera house, the
Zürcher Kammerorchester, the London studio "United Visual Artists" and various projects. His photos have
been published and exhibited internationally.
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
Title
LichtRaumDrama
Location / Partner
School
Zurich
Number
ZH17
Dates from / until
09.01. - 20.01.2017
Module Type
Times
10:00 - 22:00
Teacher
Michael Simon
Room (if known)
Teaching Language
D/E
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
14
Prerequisites
Target Group
BN (compulsory), MA Film Camera
Learning
Objectives
Skills in creating a light concept for theatre and film scenes. Understanding light as a dramatic, narrative tool
for spatial design.
Content of the
Course
Individual scenes from Fritz Lang's film "Die Nibelungen" and the eponymous play by Friedrich Hebbel serve
as the basis for two parallel space and light situations. On a rehearsal stage we will light a film set / stage set,
while on a second rehearsal stage, the same scene will be created only with light, in an empty space. The
students will have the possibility to develop a lighting concept of their own for both basic situations. At the
same time, we will discuss the different approaches for film and theatre light. In this module, the camera and
set design students will have the opportunity to stage their own dramatic sequence through lighting only, which
makes light, for several minutes, completely without the presence of actors, the protagonist.
Literature Used
Max Keller: Faszination Licht, Licht auf der Bühne, Prestel publishing house 1999
Richard Blank: Licht & Film. Die Geschichte des Filmlichts, Alexander publishing house 2009
Comments
The module will be begin with a technical introduction to lighting technology and controlling the lighting board.
The students will work independently in small groups, with technical support coming in for a few hours.
Prof. Michael Simon, Head of the Profile in Set Design in the MA in Theatre at the ZHdK, has been working
as a set designer since 1983, for opera, dance and theatre, for artists including William Forsythe, Jiri Kylian,
Pierre Audi, Christof Nel, Peter Greenaway, Stefan Pucher and Stefan Bachmann in Amsterdam, Berlin,
Frankfurt, Los Angeles, Madrid, Paris, New York, Oslo, Beijing, Tokyo and Zurich. As a director, he
collaborated first with Heiner Goebbels at the TAT Frankfurt in 1990, to then direct theatre and opera
productions from 1992 onwards at a range of theatres. From 1998 to 2004 he was professor for Set Design 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
25
Title
Danse afro-contemporaine
Location / Partner
School
ZHdK
Number
ZH18
Dates from / until
12.12. - 22.12.2016
Module Type
Qualification course / DEVELOPING
FURTHER
Dance seminar
Times
10:00 to 13:00, 14:00 to 17:00
Teacher
Irène Tassembédo
Room (if known)
Teaching Language
F/E
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
5 to 20
Prerequisites
Being in good physical shape
Target Group
TP (obligatory), BN, DR, RE, Bachelor TP, BA/MA Dance, Physical Theatre
Learning
Objectives
-
To develop spatial and body consciousness
To discover the foundations of contemporary African dance
To jointly work on a choreography
To understand the challenges facing dance in Africa today
An initiation to percussive rhythms
Content of the
Course
The objective of this course is to transmit, exchange and share experiences of dance. The course is divided
into a practical part, focusing on contemporary African dance with the help of a percussionist, and a shorter
theoretical part. At the end of the six-day course, the students will create a choreography on the themes of
sharing and diversity, which will serve as the core themes of the workshop.
Literature Used
www.edit-danse.org / www.festivalfido.wordpress.com
Facebook - EDIT
Comments
A former student of Maurice Béjart’s dance school Mudra-Afrique in Dakar, Irène Tassembédo is one of the
principal exponents of modern choreography in Africa today. Based in Europe since the 1980s, she has developed an original choreographic oeuvre that unites contemporary and African dance while being firmly
rooted in the present.
Her openness to different dancing techniques as well as to the other branches of the performing arts has resulted in a multidisciplinary career as a choreographer, teacher and actress for stage, cinema and television, in
Europe and beyond.
In 1988, she founded “Compagnie Ébène” (“The Ebony Company”), with which she toured all five continents in
order to present her choreographic oeuvre. In 2000, she received the French SACD award for choreography.
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
In 2007, Irène Tassembédo returned to her native Burkina Faso, hoping to pass on her rich professional experience to dancers, choreographers and other artists active in Africa today. While continuing her choreographic work with her company, now renamed Compagnie Irène Tassembédo, she is also working on the development of innovative cultural projects, in her home country as well as on the wider African continent. One of
these is the “École de Danse internationale Irène Tassembédo” (EDIT, “Irène Tassembédo International
School of Dance”), which she founded in Ouagadougou in October 2009 to establish professional dance education in Africa and to set up a diploma programme in line with international standards. More recently, she has
also turned her attention to stage direction (Euripides’ “The Bacchae”, 2012) and filmmaking (“Kokoko, Afférage.com”, 2015).
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
Reallabor Theater?
Forschung auf und mit der Bühne
Location / Partner
School
Zurich
Number
ZH19
Dates from / until
16.- 20.1.2017
Module Type
Times
10:00 - 16:00
Teacher
Gesa Ziemer
Room (if known)
Teaching Language
D/E
Responsible for the
Course
Liliana Heimberg
ECTS
Number of
Participants
(min./max.)
3 - max. 20
Prerequisites
Target Group
TP (compulsory), RE, DR, BN, SP
Learning
Objectives
The aim of this block week is to give students from various specializations an insight into different types of
research on and through the stage. Current practical examples from scientific-artistic research and theoretical
texts on the topic will be analyzed, related to one another and discussed. At the end of the week, the students
should be able to understand different types of research, repeat it in their own words and relate it to their own
work. It would be desirable, if this reflection allows students to recognize first research approaches in their own
work and develop this further.
Content of the
Course
The block week will present different forms of scientific-artistic research, drawing especially on material from
the last four years of the graduate training groups "Performing Citizenship" and "Versammlung und Teilhabe"
at the HafenCity University in Hamburg (in cooperation with the Fundus Theater and K3/Kampnagel). These
works are transdisciplinary and integrate experts of the everyday, such as students, migrants, old people or
urban activists. Many projects are set up as small (urban) real laboratories, which regard the stage as a place
of (democratic) research, on which as many people as possible of different backgrounds can explore together.
The aim is to use research in order to affect real life and transform social situations. How does this type of
research reveal itself? Which insights does it produce? What are the strengths of performative research?
Which working fields open up through such activities? How can you finance such research?
Literature Used
The precise reading list will be announced in due time, ahead of the seminar.
Information can be found here: www.performingcitizenship.de
To prepare:
- Uwe Schneidewind. Urbane Reallabore. Ein Blick in die aktuelle Forschungswerkstatt, 2014.
- Wolfgang Krohn. Künstlerische und wissenschaftliche Forschung in transdisziplinären Projekten, 2011.
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
Comments
Dr. Gesa Ziemer is a Professor for Cultural Theory and Practice (Area: culture of the metropolis) and Vice
President of Research at the HafenCity University in Hamburg. She is the Director of the City Science
Lab, a cooperation with the MIT Media Lab in Boston. She is also the speaker of the graduate training
group "Performing Citizenship", which studies new articulations of urban citizenship in the metropoles
of the 21st century. Dr. Gesa Ziemer is a member of the advisory councils Böll-Stiftung umdenken,
Hochschule für Kunst und Design Luzern, Urbane Künste Ruhr and one of the curators of the Choreography Centre PACT Zollverein Essen.
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
Recherche (v)ermitteln.
Location / Partner
School
Ouagadougou/CEFRAV
Number
ZH20
Dates from / until
9.- 20.1.2017
Module Type
Times
09:00 - 20:00
Teacher
Mira Sack/ Hamadou Mandé
Room (if known)
Espace Gambidi
Teaching Language
F
Responsible for the
Course
Mira Sack
ECTS
Number of
Participants
(min./max.)
min. 2, max. 5
Prerequisites
French language skills
Successful participation in the module "Von der Recherche zum Spiel" (BA)
Continuation of the collaboration in the spring has to be possible.
Target Group
TP
Learning
Objectives
Getting to know research methods, to systematize one's work and reflect on it critically. Students will choose
research tools for their projects and be able to combine them with theatre pedagogic contexts. Students will
open up to processes of research in the transnational field and apply this constructively to their own practice.
Content of the
Course
Together with students of the university and the CEFRAV, we will develop, test and evaluate research
methods, that could be a starting point for artistic and theatre pedagogic practice and provide a strategy for
collaboration. Different personal, cultural and national contexts will be the starting point for our research, so
that the binational framework of the module can be used to discover and uncover expectations, demands and
attitudes.
Literature Used
Andrea Sabisch: Inszenierung der Suche.
Recherchen 106: Theater in Afrika - Zwischen Kunst und Entwicklungszusammenarbeit.
Comments
Ahead of the module, there will be about 2-3 preparatory sessions in Zurich, as well as one or two
sessions with Hamadou Mandé at the end of October in Zurich.
Expenses for travel, visas and accommodation will be covered.
Mira Sack, Dr. (phil.), Professor for Theatre Pedagogy. She works at the ZHdK and the University fof Applied
Arts in Vienna. She teaches and researches on artistic education, as well as cultures of education and
theatrical processes in the intersection of theory and practice. She is co-editor of a specialized magazine in
Theatre Pedagogy and a co-curator of the German children's and youth theatre centre. Monograph: "spielend
denken. Theaterpädagogische Zugänge zur Dramaturgie des Probens".
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
Title
Variété Bastarde
Location / Partner
School
Zurich
Number
ZH21
Dates from / until
03.10. - 05.10.2016
10.10. - 12.10.2016
19.10. - 23.10.2016
27.10. - 29.10.2016 (École des Écoles)
Module Type
FURTHER
Times
Will be communicated in due course.
Teacher
Julia Reichert, Peter Ender &
Hayat Erdogan
Room (if known)
Teaching Language
D
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5 - 15
Prerequisites
Target Group
DR (obligatory), SC, RE, BN & TP (optional), SP
Learning
Objectives
- A critical engagement with various artistic and theoretical positions on questions of representation and
underrepresentation in theatre and performance.
- An artistic and performative exploration of the associated themes and questions.
- A presentation and performance of the results at the theatre in Lucerne, and in the context of the École des
Écoles.
Content of the
Course
Seeing eye to eye versus exoticism, black face, othering, voyeurism, or the Othello complex, and the dilemmas of “Kulturkanaken” (cultural bastards), choirs of the unemployed, and refugees on stage: this is where debates in migration theory, theatre studies and the societal right to participation clash with the concepts, discourses and practices surrounding the representation of “the other”. In and of itself, the representation of the
underrepresented is a paradoxical process, since the logic of representation includes “the other” in order to
create and exclude it simultaneously via the same gesture.
These effects, whether achieved intentionally or unintentionally, can result in uncomfortable situations and –
occasionally even productive – dilemmas for theatre makers.
This research- and practice-based course will facilitate a critical overview of the debates surrounding representation in performance and politics, with the purpose of developing small lectures, in(ter)ventions or performances that will eventually be performed.
The stage of the theatre in Lucerne will be become a space for thinking and playing, and ideally also a stage
for multiple identities and hybrid identity politics. “If the subaltern can’t speak, how can we bring them into
play?”
Guest participants in the Varieté Bastarde:
Kijan Espahangizi, expert on migration and science research, Head of the Centre for the History of Science at
ETH Zurich and the University of Zurich
Rohit Jain, sociologist, migration researcher, University of Zurich
Idil Baydar alias Jilet Ayse, actress / cabaret artist
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
Literature used
Comments
Julia Reichert was born in Munich in 1983, and after studying theatre, film and media she worked as assistant
director and assistant dramaturge at the Munich Kammerspiele, where she was responsible for the
dramaturgical direction of a number of plays, a well as the artistic co-direction of the city project “Munich
Central”. Next, she served as assistant dramaturge and dramaturge at the theatre in Heidelberg, where she
was also a member of the pre-selection commission for the drama competition “Heidelberger Stückemarkt”. In
2011, Julia Reichert moved to Zurich, initially to work as dramaturge at the Neumarkt theatre. Since the
2013/14 season, she has held the same position at the Zurich Schauspielhaus. Since 2014/15, she has
worked in the same capacity at the theatre in Fribourg, as well as on her own projects. Since the 2016/17
season, she has been employed as a dramaturge at the theatre in Lucerne.
Peter Ender studied German and Romance languages, and in addition completed a degree in acting at the
Otto Falckenberg School in Munich. Among others, he appeared on stage at the State Theatres in Kassel and
Mainz, at the Schauburg theatre in Munich, as well as in many films for TV and cinema. From 1992 to 1995,
he was guest lecturer at the Otto Falckenberg School in Munich, where he served as lecturer in the foundation
course in improvisation from 1995 onwards. In 2007, Peter Ender became the director of the acting department at the Vienna Conservatoire, and since 2012 he has led the acting department of the Bachelor and Master programmes in theatre at the Zurich University of the Arts.
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
Title
1. Time machine exhibition
2. Punk Islam
Location / Partner
School
Zurich / Kunsthalle St. Gallen
Number
ZH22
Dates from / until
Part 1: 28.11. - 30.11.2016
Part 2: 05.12. - 16.12.2016
Module Type
FURTHER
Times
Teacher
See below
Room (if known)
Teaching Language
D/E
Responsible for the
Course
Hayat Erdogan
ECTS
Number of
Participants
(min./max.)
5 - 15
Prerequisites
The participants are expected to conduct research in advance of the course, and to compile a selection of
materials (see PART 2).
Target Group
DR (obligatory), RE, TP & BN (optional), SP, MTR, MFA
Learning
Objectives
PART 1
- Familiarity with various curatorial practices, methods and principles
PART 2
- Engaging with artistic contexts that are foreign to the theatre
- Conducting artistic and academic research on a given topic (see content of PART 2) on the basis of which
new performative formats can be developed; these will then be implemented at the Kunsthalle St. Gallen,
using the concepts developed for a pre-existing exhibition (see content of PART 2)
Content of the
Course
PART 1 - Time machine exhibition
with Susanna Kumschick, November 28th to 30th, 2016
Part 1 of the course focuses on exhibitions as such and their forms of production: which narrative modes are
available? Why are exhibitions such a successful media form? What does curating mean today? How are
exhibitions conceived? Exhibitions bring together a number of disciplines, and their ephemeral character turns
them into performative events that, at best, become imprinted on the mind. Successful exhibitions narrate
stories with their own individual signature and create an atmosphere in which visitors and objects find one
another. More and more often, exhibitions are accompanied by elements of dialogue, performance and
interactive mediation, just as supplementary publications, events, websites of blogs play an ever more
important role. Part 1 of this course will provide a reflection on the core methods and principles governing
exhibitions via a historical survey. Selected texts and illustrative examples drawn from the teachers’ own
practical experience, alongside visits to exhibitions, will form the starting point for a discussion on various
theoretical standpoints.
PART 2 - Punk Islam
with Giovanni Carmine & Hayat Erdogan, December 5th to 16th, 2016
We have conceived of an experimental platform at the Kunsthalle St. Gallen that will allow us to explore the
situation in the Arab world primarily via an investigation into – and a reflection on – musical counter cultures.
At the end, we will present the results of our research, with a focus on the genesis of “punk Islam”, the so-
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
called hard-core god-fearing punk Islam, and the “taqwacore” movement, respectively, which incorporates the
symbols of both Islam and punk. Punk Islam, a term first coined by Michael Muhammad Knight in his eponymous novel “Taqwacore”, is often characterised as an anarchic-religious movement, or an identity that, like punk
generally, is reflected in its proponents’ attire, life style and political attitude.
Based on the research material, this course will investigate the subversive potential of music in general and of
punk Islam in particular. When do such movements arise? What are the utopias, dystopias and alternatives on
the basis of which they operate? What are the relevant stereotypes on either side? Our discoveries and questions will be channelled into a performative and discursive format that will be implemented at the Kunsthalle St.
Gallen.
Literature used
Part 1: a course reader will be provided.
Comments
Susanna Kumschick studied ethnology (with a focus on non-European art), film and music in Zurich and
Freiburg; from 1999 to 2005, she was head of the department for visual anthropology and education at the
ethnology museum of the University of Zurich. She provided curatorial support to the Solothurn Film Days, and
from 2002 served as research assistant and head of various research projects and the Zurich University of the
Arts. From 2006 to 2009, she headed the department of fine art at the Berne University of the Arts. In addition,
she served as curator of various exhibitions, contributed to a number of publications, and held regular teaching
positions in art and design, photography and film; since 2012, she has acted as deputy director and curator at
the Gewerbemuseum (Museum of Applied Arts and Design) Winterthur.
Giovanni Carmine (born in 1975 in Bellinzona, Switzerland) has been the director of the Kunsthalle St. Gallen
(www.k9000.ch) since 2007. Before joining the Kunsthalle, he worked as an independent curator and art critic,
initiating a temporary exhibition in former Swiss military bunkers, entitled «Unloaded» (2002), curating the
monographic exhibition «Body Proxy» of Norma Jeane and realising a project with Christoph Büchel for the
7th Sharjah Biennale, amongst other projects and books. At the Kunsthalle St. Gallen Giovanni Carmine has
curated numerous exhibitions with international and Swiss artists, such as Ryan Gander, MaiThu Perret, Gedi
Sibony, Loris Gréaud, Shahryar Nashat, Matias Faldbakken and David Nuur. In 2011, he was artistic coordinator of ILLUMInations, the 54th edition of the Venice Biennale, and co-editor of the Biennale catalogue. Giovanni Carmine lives and works in Zurich and St. Gallen.
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
Regie Kolloquium
Location / Partner
School
Zurich
Number
ZH23
Dates from / until
See Comments
Module Type
Colloquium / 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
- (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 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
35
Title
Der Ring der Nibelungen
Location / Partner
School
Zurich
Number
ZH24
Dates from / until
04.10., 25.10., 15.11., 20.12.2016
Module Type
Times
17:00-19:00
Teacher
Jörg Zielinski
Room (if known)
Teaching Language
D
Responsible for the
Course
Michael Simon
ECTS
Number of
Participants
(min./max.)
6
Prerequisites
Target Group
BN (compulsory)
Learning
Objectives
The colloquium is intended to familiarize the students with the Nibelungen myth, which Richard Wagner's
opera tetralogy "Der Ring der Nibelungen" is based on. The goal is that the students will find a personal way of
interpreting the material, of making an artistic statement about it that satisfies scenic and design requirements.
Content of the
Course
The Nibelungen is one of the best known myths in the German-speaking cultural area and it has made its way
on stage in both opera and theatre. Studying the material and the operas is part of the preparation for the
FS17 semester project, in which all Master theatre students will develop a production of Hebbel's "Die
Nibelungen".
Literature Used
The myth of the Nibelungen.
Comments
Jörg Zielinski comes from Berlin and has been living in Switzerland since 1991. He completed his traineeship
and his studies in Berlin, Basel and Zurich. His field of work includes performances, production management,
technical directing and set design for theatre. His work as a production manager at the Theater Basel and his
collaboration with "The Really Useful Group" gave him first experiences with international theatre productions.
He worked at the Expo.02 in Yverdon-les-Bains, as well as on the spatial staging "Hotel Offen" in Baden. He
collected first experiences with design in Vitra. As director of the set and costume department at the opera
house in Zurich, he collaborated with the Shanghai Opera House. This collaboration brought about contacts
with the National Academy of Chinese Theatre Arts in Beijing and the ZHdK, where he was invited for lectures.
Jörg Zielinski held lectures at the Bern University of the Arts, within the framework of the Master's programme.
He designs and realizes sets and scenic spaces. He has created proposals for the Zurich opera house, the
Zürcher Kammerorchester, the London studio "United Visual Artists" and various projects. His photos have
been published and exhibited internationally.
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
Theaterpädagogik-Kolloquium
Location / Partner
School
Zurich
Number
ZH25
Dates from / until
30.09., 11.11., 09.12.2016 and 13. or
20.01.2017.
Module Type
Times
17:00 - 20:00
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:
- having an exchange with fellow students and giving each other feedback on current projects in their different
stages of development
- 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, their proposed MA theses and further inputs of the TP students.
If needed, there will be several sessions with the TP BA III students per semester, in which we will apply the
DasArts feedback method, reflect it and build on it together.
Literature Used
TP reading list & selected texts
Comments
Attending the colloquium is compulsory for all TP students. Students of other specialisations can attend, 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
37
Title
Dramaturgie-Kolloquium
Location / Partner
School
Zurich
Number
ZH26
Dates from / until
First session: 04.10.2016
(further dates will be set together)
Module Type
Colloquium
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.)
Prerequisites
Target Group
DR (compulsory)
Learning
Objectives
- (Further) development of the students own projects
- Discussing importing articles on the positioning of dramaturgic/curatorial theatre work
- Attending performances together and analyzing 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. In this colloquium,
apart from the discussion of various texts, artistic work and planned projects, we will focus on the Nibelungen
myth and Hebbel's dramatization, in preparation of the Nibelungen platform in FS17.
Literature Used
Reading list et al.
Comments
Attending the colloquium is obligatory for all matriculated DR students.
Other students may join in exceptional cases, if so arranged with Res Bosshart / Hayat Erdogan.
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 / Hayat Erdogan directly:
res.bosshart@zhdk.ch / hayat.erdogan@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
Practice Based Research oder:
Die Kunst des Forschens mit Kunst.
Location / Partner
School
Zurich
Number
ZH27
Dates from / until
Always on Friday afternoon (for precise dates
see below)
Module Type
Research Seminar
Times
14:00 - 18:00
Teacher
Germán Toro Pérez, Anton Rey, Christoph
Schenker
Room (if known)
Teaching Language
D
Responsible for the
Course
Germán Toro Pérez, IFCAR: Christoph
Schenker, IPF: Anton Rey
ECTS
Number of
Participants
(min./max.)
3 - max. 20
Prerequisites
Target Group
All MA DDK, incl. Master Composition (DMU), Master Fine Arts (DKM)
Learning
Objectives
In Rhetorics, a royal discipline in the arts for more then two thousand years, the word "inventio" appears
strikingly often. "Inventio" means the art of finding something and the word suggests that the finding of
intellectual, sensual and emotional content was not left to chance, but depended on skills one wanted to learn.
In Greek, "invention" means εύρεσις (heuresis). It is from the name Heuresis – a mythological nymph, known
in literature as the protector or goddess of invention, also known as Discovery in the Anglo-American language
area - that we derive the modern term "heuristic", which means as much as the technique of finding and
inventing.
Content of the
Course
This seminar deals with basic aspects of "finding and inventing" new knowledge. One aspect is the field of
artistic research: What sort of things do the arts research? A second aspect revolves around the procedures of
artistic research: which methods are applied? Another aspect addresses the tools used: Is artistic research
characterized by specific media and materials? A final aspect relates to the epistemic potential of artistic
research: which forms of knowledge are generated by the arts? The seminar will start by presenting similarities
and differences in the self-understanding and character of artistic research (practice based research) in the
fields of music, theatre, film and fine arts. The further sessiona will focus on specific questions. Concrete
research examples with their respective references and intellectual positions will be presented.
Comments
Friday, 23. Sept. 2016
Introduction (AR/CS/GTP)
Friday, 7. Oct. 2016
responsible: AR
Friday, 21. Oct. 2016
responsible: CS
Friday, 4. Nov. 2016
responsible: GTP
Friday, 18. Nov. 2016
Z-PLUS
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
Friday, 2. Dec. 2016
ELIA Florence
Friday, 9. Dec. 2016
Research Day ZHdK
Friday,16. Dec. 2016
Closing Session + Walcheturm (with Kaspar König)
Prof. Anton Rey, Professor for Theatre Theory and Dramaturgy at the ZHdK. Since 2002, he has been
teaching and researching in the fields of film, dance and theatre. Since 2007, he has been directing the
Research Institute for Performing Arts and Film (IPF). Here, he developed the research areas "Performative
Practice" and "Film Knowledge", coming from perspectives of practical aesthetics, applied dramaturgy and
application-oriented fundamental research for the fields of film, dance and theatre. Most recently, he taught in
Brazil (2014), China (2013), India (2012) and as a guest teacher at the University of California Santa Barbara
(2012). He studied Theatre and Film Studies at the University of Zurich and the Free University Berlin. From
1985, he began to work as a director's and dramaturgy assistant, later a production manager, dramaturge and
director. He realized numerous productions and collaborated with the theatre- and filmmakers Peter Stein,
Peter Zadek, Robert Wilson, Heiner Müller, Klaus-Michael Grüber, Wallace Shawn, Heiner Goebbels, Wim
Wenders, Herbert Achternbusch, Michel Deville. Since 2015, he has been a member of the PEEK Board, of
the Austrian Fund for Science.
Prof. Christoph Schenker has been the Director of the ZHdK's Institute for Contemporary Arts Research (IFCAR) since 2005, in the same year the institute was founded. He directs trans-disciplinary research projects
in the field of contemporary arts, especially in the field of art and the public. As a Professor for Philosophy of
Art and Contemporary Art, he teaches in the MA in Fine Arts of the Department Art and Media at the ZHdK.
From 1999 to 2005, Christoph Schenker ran the degree programme "Bildende Kunst" (SBK) and managed its
set-up at the Hochschule für Gestaltung und Kunst Zürich (today the ZHdK). He founded the «Kunsthof
Zürich», an institute for exhibitions in the exterior space, which he directed from 1993 to 2005, in close collaboration with students of the SBK. Christoph Schenker wrote various monographs and thematic contributions on
contemporary art and has curated exhibitions in Switzerland and abroad. He was a collaborator, advisor and
director of the set-up of various exhibiting institutions. At the ZHdK and for other art institutions, he organizes
seminar, lecture and film cycles in the field of contemporary arts. Christoph Schenker is a member of the
Board of Directors of the Department of Art and Media at the ZHdK.
Prof. Germán Toro-Pérez was born in 1964 in Bogotá. He studied Music Theory at the University Los Andes
and took private lessons under Luis Torres Zuleta and Sergio Mesa in Bogotá. He studied Composition under
Erich Urbanner and Karl-Heinz Füssl at the Music University of Vienna. Subsequently, he studied Conducting
under Karl Österreicher, Dominique Rouits and Peter Eötvos, as well as Electronic Acoustics under Tamas
Ungvary in Vienna and at the IRCAM in Paris. His work to date consists of 50 pieces, including compositions
for orchestra, instrumental ensembles, chamber music with and without electronics, electro-acoustic music,
sound art, as well as works in combination with graphic design, video and fine art. Some of his works refer to
artists such as Mark Rothko, Adolf Wölfli, Italo Calvino, Fernando Pessoa, Jorge Luis Borges, Juan Rulfo und
José María Arguedas. Performances in Europe, Korea, North and South America. Festivals include: Wien
Modern, Klangspuren Schwaz, Synthèse Bourges, Sonorities Belfast, WNMD Stuttgart. He has collaborated
with ensembles such as die Reihe Wien, On-Line Wien, Mondrian Basel, New Century Players L.A., Mosaik
Berlin and Klangforum Wien. He is co-founder of the NewTonEnsemble. From 2002 to 2006, he ran the programme for Computer Music and Electronic Media. In 2006/07, he was guest lecturer for electro-acoustic composition at the University for Music and Performing Arts in Vienna. Since the autumn of 2007, he has been the
Director of the ICST - Institute for Computer Music and Sound Technology and teacher for electro-acoustic
composition at the ZHdK. In 2012, he taught in the international holiday courses in Darmstadt.
www.toro-perez.com
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
Bodies on the Contemporary Stage
Location / Partner
School
Verscio
Number
TI01
Dates from / until
28.-30.9.2016
Module Type
Seminar
Times
All day
Teacher
Prof. Dr. Richard Weihe, teacher for Theater Room (if known)
Theory within the Master's programme of the
ATD.
Verscio
Teaching Language
E
Corinna Vitale
ECTS
2
Number of
Participants
(min./max.)
14
Prerequisites
English language skills
Target Group
All
Responsible for the
Course
Learning
Objectives
Content of the
Course
Since critics noted the ‘return of the body’ in the 1980s, society has seen the emergence of virtual bodies as
well as cloned bodies and imitative bodies of advanced robotics. Is the human species replacing its biology
with synthetic and technical ‘children‘ of the brain? In what ways is the theatre reacting to these changes? To
what extent are they expressed in the form termed ‘physical theatre’? In this [three-day] Campus Module we
will examine various concepts and models of the body, social developments and their reflection in the
performing arts. The aim of the course is to become more aware of the starting point of theatre: the
appearance of a body in front of an audience. What body?
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 ATD
Location / Partner
School
Verscio
Number
TI02
Dates from / until
3.10. - 26.10.2016
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 ATD, N.N.
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 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
For external students the course can also be attended 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
Number
TI03
Dates from / until
27./28.10.2016
26./27.01.2017
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
2
Number of
Participants
(min./max.)
min. 6 max. 8
Prerequisites
Target Group
Students BT (ATD)
Learning
Objectives
Introduction into artistic research and preparation for the Master thesis.
Content of the
Course
Gaining perspective on one's own specific artistic discipline as it relates to a larger context.
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
Number
TI04
Dates from / until
I 21./22.11.2016
9.1./10.1.2017
II 13./14.3.2017
2./3.5.2017
Module Type
Theory Slot
Times
All day
Teacher
Prof. Dr. Richard Weihe, teacher for Theatre Room (if known)
Theory in the Master`s programme of the
ATD.
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
After the theatre of authors (‘dramatic theatre’) and the theatre of directors (‘postdramatic theatre’), is it the
actors’ turn to take the lead in the creative process in a theatre focused on physical presence, voice and
movement?
In four two-day modules (with seminar sessions in the morning and afternoon) the course will develop and
challenge a standard model of institutionalized theatre in Europe. We will investigate the waves of opposition
since the historical avant-garde against a hierarchically organized theatre that places the text at the top (as an
artistic product that endures) and the performance at the bottom (as a transient aesthetic experience).
What if we turn the hierarchy upside down and begin the work on the stage rather than on paper? Shifting the
meaning of play away from drama as a literary form to ‘drama’ in the sense of the Greek verb it originates
from, meaning simply ‘to do‘ or ‘to act’? Taking into account the focus of the Master Course at the Accademia
Teatro Dimitri – the expression of the body and its movements – we will question the validity of the term
‘physical theatre’. The aim of the course is to identify and define key aspects of the contemporary scene. 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
The Encounter
(part of the research project Disability on
stage (ZHDK/ATD))
Location / Partner
School
Verscio
Number
TI05
Dates from / until
7.11. - 18.11. 2016
Module Type
Workshop/Toolbox
Times
All Day
Teacher
Emanuel Rosenberg (Artistic Director,
director and performer in the Teatro
DanzAbile/ Progetto Brockenhaus)
www.teatrodanzabile.ch
www.progettobrockenhaus.com
Room (if known)
Verscio
Teaching Language
E/I
Responsible for the
Course
Corinna Vitale
ECTS
4
Number of
Participants
(min./max.)
8
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
The encounter - joy of transformation and constructing moments of daily poetry.
In the work which I propose, the encounter between the people participating in the course is fundamental.
I will ask Master students and performers with different abilities to work together on physical and theatrical
exercises and improvisations in order to find a common language. The physical research will grow out of
observation, paying attention and listening to the bodies and to the space surrounding them. In this exchange
everyone will learn and enrich one's own knowledge and capacity through experiencing the other.
The encounter itself between different people, with different abilities will generate movement sequences and
theatrical situations, unique in their way.
I will pay much attention to the presence of the individual, the group and the interrogation of what dance is,
what theatre is and what it generates.
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
45
Title
Commedia dell'Arte
Location / Partner
School
Verscio
Number
TI06
Dates from / until
12.1. - 25.1.
Module Type
Toolbox
Times
All day
Teacher
Davide Giovanzana, Director and Performer Room (if known)
Verscio
Teaching Language
E
Corinna Vitale
ECTS
4
Number of
Participants
(min./max.)
12
Responsible for the
Course
Prerequisites
Target Group
All
Learning
Objectives
The goal of the workshop is to gain 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 potential. We will also try to understand how puppets can help us in learning
about our movement, our mind, our emotions, and ourselves. Finally we will try to discover ways how to use all
this 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 encounters 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
Between Poetry and Praxis.
The Status of Creation
Location / Partner
School
Bern, BUA
Number
BE01
Dates from / until
28.-30.9.2016
Module Type
Campus-Module-Week
Times
10:00 - 17:00
Teacher
Roberto Fratini Serafide
Room (if known)
Teaching Language
E
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
max. 15
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
We will focus on the theoretical issues of the concept of creation in the landscape of the contemporary
performing and visual arts, mainly through the analysis of the ancient dichotomy between the notion of POIESIS
and the one of PRAXIS, as a good paradigm of the recent dialectical split between a certain idea of art based on
the protocols of Fabrication and a more recent configuration of an art whose main protocol is action or
experience. That would permit in order: to illustrate the subjective or autobiographical turn of the traditional
concept of Poetics as a corpus of objectives rules, trying to detect which cultural causes allowed the performing
arts to shift from a status where the prevailing criteria were of an easthetic kind to one where the prevailing
criteria are of a poetic kind; to analyze the meaning of creation on the backdrop of some recent pratical format
or “gestures” such as the copy, the reenactment, the displacement, the recontextualization, the impromptu, the
ready made; to discuss the problematic situation of the idea of creation in the frame the postmodern sindrome of
exhaustion of the languages, and to formulate an hipothesis about new dramaturgy as a possible context of
revitalization of the creative momentum of the arts; to research the phenomena of poetical socialization
associated with the web, with self-fiction, co-creation, participation and the multiple formats the administration of
contents actually takes.
Literature Used
Comments
Roberto Fratini Serafide (1972) works as a dramaturg and writer in contemporary dance and physical
theatre. Since 2000, he has collaborated with Cie Caterina Sagna, Cie. Philippe Saire, Inesperada-Germana
Civera, Roger Bernat-General Electrica, Taiat Dansa, Lanonima Imperial, Societas Raffaello Sanzio and
others. At present, he works as a lecturer in dance theory, dance history and dance dramaturgy for the Institut
del Teatre and Conservatori Superior de Dansa in Barcelona, where he also directs the Theory Department.
Since 2009, he has superintended the “Dramaturgie chorégraphique” project supported by the SSDA. He has
organised conferences and master classes in universities and theatres throughout France, Spain, Italy,
Switzerland and Germany. He has written articles and essays about dance theory and dramaturgy. His book,
“A Contracuento. La danza y las derivas del narrar” was published in 2012.
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
ARBEITSWEISEN – KREATION
Location / Partner
School
Bern, BUA
Number
BE02
Dates from / until
21.+22.11.2016 and 9.+10.1.2017
Module Type
Campus-Slot / Theory of the performing arts Times
Teacher
Lucie Tuma
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
max. 20
10:00-17:00
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
This course analyses the relations between modes of work and products. Each piece and artistic work finds
itself in a complex set of relations towards the structures it takes place in: institutions, economic conditions,
decision making within the realm of cultural politics on the one hand, dealing with time and rhythms, materials
and work or social relations as well as functions within a production. An artistic positioning and its aesthetics
don’t come from nothing - ex nihilo. It it closely entangled with the factors described. We will look into different
artistic positions and their relations towards the dispositives enabling them and look into questions around
artistic autonomy within historical and contemporary modes of production. We will also ask ourselves, in as
much the widely discussed term of curating could be applied to artistic practice and my ways of working and
involving with structure, that could lead to an influence towards the modes of production those structures
propose.
Literature Used
Comments
Lucie Tuma studied Applied Theatre Science and Choreography in Gießen (D) and Montpellier (F). Since she
finished her studies in 2010, she has been living and working mainly in Zurich. Depending on her aim and
material, she develops works for stage, texts, installations, audio and video formats. Her works are located on
the border between theory and practice. Since 2011, under the title «Volkskörper», she has been exploring the
relationship between tradition and modernity, populism and national narratives, currently with a focus on
choreography and tectonics (Kultur Stadt Zürich Recherche Tanz, 2013/4). For two months in 2013, she was
the artist-in-residence of the Gessnerallee Zurich and the IPF (Institute for the Performing Arts and Film,
ZHdK) and researched the mechanics of passivity under the title «it's doing it». In 2012 she developed a
performance on the same topic at the Gessnerallee entitled «passive movement». It was an ensemble piece
for 5 dancers, 27 objects and one musician. Together with Cecilie Ullerup Schmidt, she founded the
performance duo Chuck Morris in 2008. It represents a continuous exploration of twins as a very specific
collective, as well as the attempt to dissolve the individual identity of the female artist. So far, they have
created «siebenschoenchen» (2008), «souvereines» (2011) and «feminine fun studies» (2013). Alongside this,
Lucie Tuma also works as a performer and dramaturge, for instance with deufert+plischke, Simone Truong,
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
Simone Aughterlony, JungYun Bae. Her works have been shown at festivals and theatres in Germany,
Austria, France, Denmark, Sweden and Switzerland. Since 2014, she has been a research associate in the
specialization Dramaturgy in the Bachelor in Theatre at the Department for Performing Arts at the ZHdK.
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
Title
Begegnung
Location / Partner
School
Bern, BUA
Number
BE03
Dates from / until
September 27th, 2016
Module Type
Begegnung
Times
10:00 – 17:00
Teacher
Andreas Zumach
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
1
Number of
Participants
(min./max.)
max. 20
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
Andreas Zumach
1) More “free trade” – a blessing or a curse for mankind?
For some years now, the EU, the US, Canada and a number of countries in the Asia-Pacific region have been
negotiating bilateral and regional free trade agreements behind closed doors (TTIP, CETA, TPP). In Geneva,
Switzerland is party to secret negotiations over a further liberalisation (read: privatisation) of all services,
including even those that qualify as public goods (water, health, education, energy, etc.). Resistance against
these new trade agreements is growing on both sides of the Atlantic. What is at stake? Are the worries of the
critics and opponents justified?
2) How to get from war to peace? – Negotiation practice and mediation in violent intra- and interstate conflicts.
Switzerland, especially Geneva in its role as a seat of the UN, has frequently hosted attempts to end violent
conflicts via negotiation; Syria, the most recent example, is only one of many that include the civil wars in the
former Yugoslavia and Sri Lanka, the Iran-Iraq War or the war in Afghanistan. What are the factors that
determine the success or failure of these negotiations? What methods do mediators employ in their position
between the two conflicting sides?
Andreas Zumach was born in Cologne in 1954. Since 1998, he has worked as an independent journalist at
UN headquarters in Geneva, where he served as a correspondent for the German daily “die tageszeitung”
(taz), as well as for other newspapers and radio and TV stations in Germany, Switzerland, Austria and the US.
He is the author of a number of books about the Iraq war, the UN, and international conflicts; his most recent
book, “Globales Chaos Machtlose UNO – ist die Weltorganisation überflüssig geworden?” (Global Chaos,
Powerless UN – Has the Global Organisation Become Superfluous?) was published in April 2015.
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
19.9., 3.10., 31.10., (5.12.), 16.1.
Module Type
Colloquium
Times
Teacher
Wolfram Heberle, Sibylle Heim, guests
Room (if known)
Zikadenweg 35
Teaching Language
D/E
Responsible for the
Course
Wolfram Heberle
ECTS
1
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 (exceptions will be
communicated)
Module Type
Toolbox
Times
Body: 18:00-20:00
Speech as arranged
Teacher
Body: Kiri Haardt
Speech: 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
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.
The speech appointments are only for students preparing for the Final Auditions and will be arranged
individually.
Literature Used
Comments
Successful participation is compulsory for all students wishing to participate in the auditions in
HS2017.
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 session: 6th of June 2016
2nd + 3rd session: as arranged
Module Type
Colloquium
Times
1st session: 10:00-12:00
2nd + 3rd session: as 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 HS16/17 (Feb.).
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 16th of August 2016
The deadline for the MA Thesis Concept is the 15th of November 2016
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
3.10., 31.10., 5.12., 16.1. / further dates as
arranged
Module Type
Toolbox: Project Management
Times
14:00 - 17:00
Teacher
Wolfram Heberle
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
2 (after submission of a project dossier)
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
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.
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
Vorbereitung Vorsprechen I
Location / Partner
School
Bern, BUA
Number
BE08
Dates from / until
14.-20. November 2017 / Calendar Week 46
Module Type
Toolbox
Times
All day, as arranged
Teacher
Tomas Flachs, Frank Schubert,
Manuela Trapp
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
Tomas Flachs
2
Number of
Participants
(min./max.)
Prerequisites
BA in Acting from the BUA.
Partipating regularly at body and voice trainings is compulsory.
Target Group
SAP with the start of studies MA HS 2016
Learning
Objectives
Each student will develop an individual audition programme for autumn 2016, 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 working week in HS16 will begin with the presentation of three independently developed audition
monologues, of which two will be chosen by the teachers to be developed further. The following rehearsal
weeks will always start with a presentation of the current state of the monologues and in Calendar Week 7 /
2017, there will be a presentation of two new, independently chosen and rehearsed partner scenes. Suitable
scenes 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. Therefore, the students are expected to continue the work on their parts and scenes
independently in between the presentations.
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
55
Title
Vorsprechen 2016
Location / Partner
School
Bern, BUA
Number
BE09
Dates from / until
6.9.-25.10.2017
14.-20.11.2017
Further dates as arranged
Module Type
Toolbox
Times
All day, as arranged
Teacher
Tomas Flachs, 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 audition preparation in semesters HS15/16 + FS16.
Regular participation in body and speech training 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 2016, 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
56
Title
Block: Kreation in drei Teilen
Location / Partner
School
Bern, BUA
Number
BE10
Dates from / until
Block 1: 5.-8.10 + 10.-14.10.
Block 2: 18.-22.10. + 24.-29.10
Block 3a: 1.-4.11. + 7.-11.11.
Block 3b: 2.-5.11. + 7.-11.11.
Module Type
Block / Composition
Times
Depending on the individual workshop
announcements
Teacher
Ted Stoffer, Hans-Werner Kroesinger,
Ivo Dimchev, Ralf Samens
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
Florian Reichert, Wolfram Heberle
10 ECTS
Number of
Participants
(min./max.)
Prerequisites
Target Group
SAP
Learning
Objectives
Content of the
Course
In this semester, the block will address the topic of creation and is composed of three separate workshops. The
idea is to get to know three different creative methods and apply them in practice. Each workshop will close with
a presentation. The workshops will be accompanied and reflected on through talks with Florian Reichert.
The Block consists of the following three workshops:
Block 1: Ted Stoffer – Tools for creation and composition
Block 2: Hans-Werner Kroesinger – Der neue Mensch?
Block 3a: Ivo Dimchev – Do yourself a favour
Block 3b: Ralf Samens – Mr. Compost's compositons
For accreditation as a Block, Blocks 1 and 2 have to be attended in combination with either Block 3a or 3b. The
specific ideas for each workshop will be described in separate workshop announcements.
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
Tools for creation and composition
Location / Partner
School
Bern, BUA
Number
BE11
Dates from / until
5.-8.10. and 10.-14.10.2016
Module Type
Workshop / Block 1
Times
10:00-17:00
Presentation: 14.10. - open end
Teacher
Ted Stoffer
Room (if known)
Teaching Language
E
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
Prerequisites
Target Group
All – BUA students participating in the workshop as part of the Block will be prioritized.
Learning
Objectives
Content of the
Course
The workshop focuses on the concept of Ma (resonance of action), five fundamental aspects of movement and
the value of persistence. The five aspects of movement are used for individual creativity and frames for group
composition. The aspects act not only as a focus for the individual to focus their creativity but they are also
communicative vehicles for directors. The fundamentals of movement 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.
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
58
Title
Location / Partner
School
Bern, BUA
Number
BE12
Dates from / until
18. - 22. October and 24. - 29. October 2016
Module Type
Workshop / Block 2
Times
All day
Presentation: 29. October, open end
Teacher
Hans-Werner Kroesinger
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
Prerequisites
Target Group
All – students of the BUA who take the workshop as part of the block will receive preferential treatment
Learning
Objectives
Content of the
Course
When we use the term “creation” today, many of us think of an exquisite new dish, or an extravagant fashion
collection. But what if the object of creation is the human being itself? In Faust 2, Goethe’s Faust dreams of
the creation of a new man, the Homunculus. In the 21st century, human beings no longer merely dream, but
have turned to brain research. Medical and neuro-technological interventions in the brain fundamentally affect
human self-awareness, since they directly target the organic locus of our consciousness and identity. An
optimisation of the human brain is the goal of this research. What do “brain-machine interfaces”, “deep-brain
simulations” and “brain doping” have to tell us, and what do they reveal about the society in which we live?
How far are we ready to go in the quest for self-optimisation? These questions will form the core of our
workshop on documental theatre techniques.
Hans-Werner Kroesinger was born in Bonn in 1962. He studied theatre and media at the Institute for Applied
Theatre Studies in Gießen. He worked as assistant director for Robert Wilson (on “Hamletmachine”, among
others) and also assisted Heiner Müller (“Hamlet/Hamletmachine”). In 1997, he developed a short theatre
performance entitled “Don’t look now” for the documenta X in Kassel. Since then, he has realised
interdisciplinary projects such as performances, installations, and theatre and music productions at the State
Opera in Stuttgart, the Podewil centre for contemporary art in Berlin, the Centre for Art and Media in Karlsruhe
(“Stille Abteilung”, 1996), at the Berliner Ensemble, the Volksbühne theatre in Berlin, the Sophiensäle in Berlin
(“suicide bombers on air. PRIMETIME”, 2003), at the HAU / Hebbel am Ufer theatre in Berlin, the Maxim Gorki
Theatre in Berlin, the State Theatre in Stuttgart, and most recently, at the Maxim Gorki Theatre Berlin, “Musa
Dagh – Tage des Widerstands”. With his production “Stolpersteine Staatstheater”, he was invited to participate
in this year’s Berlin Theatertreffen theatre festival.
Comments
Students of the BUA can select this workshop as part of the block.
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
Do yourself a favour
Location / Partner
School
Bern, BUA
Number
BE13
Dates from / until
1.-4.11. and 7.-11.11.2016
Module Type
Workshop / Block 3a
Times
11:00-18:00
Presentation: 11.11. - open end
Teacher
Ivo Dimchev
Room (if known)
Teaching Language
E
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
Prerequisites
Target Group
All – BUA students attending the workshop as part of the Block will be prioritized
Learning
Objectives
Content of the
Course
Ivo Dimchev describes his workshop as follows:
"Do yourself a favor" is a workshop about making yourself a solo. I'm proposing to the participants different
ways on developing a solo work. Each individual will explore diverse ways on writing own dramaturgy, dealing
with space, objects, contexts, making choices. The aim of the workshop is that everyone at the end of it has a
coherent solo performance.
Ivo Dimchev /1976/ is a choreographer and performer from Bulgaria. His work is extreme and colorful mixture
of performance art, dance, theater, music, drawings and photography. Dimchev is author of more then 30
performances. He has received numerous international awards for dance and theater and has presented his
work all over Europe and North America. Besides his artistic work Ivo Dimchev has given master classes in
the National theater academy in Budapest/Hungary, the Royal dance conservatorium of Belgium in Antwerp,
DanceWeb/Vienna etc.He is founder and director of Humarts foundation in Bulgaria and organizes every year
a national competition for contemporary choreography. Since Oct 2009 after doing his master studies on
performing arts at Dasarts academy / Amsterdam, Ivo Dimchev moved to Brussels where he opened his own
performance space Volksroom.
www.ivodimchev.com
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
60
Title
Mr Compost's compositions
Location / Partner
School
Bern, BUA
Number
BE14
Dates from / until
2. - 5. November and 7. - 11. November 2016
Module Type
Workshop / Block 3b
Times
10:00-17:00
Presentation: 11. November, open-ended
Teacher
Ralf Samens
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
Prerequisites
Target Group
All – students of the BUA who take up the workshop as part of the block will receive preferential treatment
Learning
Objectives
Content of the
Course
Ralf Samens describes his workshop in the following manner:
The standard methods of realising a play are based on:
a) the selection of a text, and the editing of the same (e.g. through cutting), the selection of the actors, the
location (the main stage), lighting (spotlights from above), the props (3 sofas and 1 table) and costumes
(from the theatre’s stock)
b) the selection of a theme (migration, gender, generational conflict), research (online, through interviews),
collating textual material (documentary material, quotations, own statements), then proceeding as in a)
So far so good, and so routine.
In this course, we will explore alternative practices, based on the following concrete conditions:
a) the local situation (e.g. a road crossing, a forest clearing, an escalator)
b) the language of objects (what would a paper cup’s speech be like?)
c) the texture of clothing (artificial silk – real silk)
d) the light temperature (neon – dusk)
e) the dance inherent in movement (2 hands, 4 hands, 8 hands)
f)
the variation in a sequence of words (to turn – turn around, turn something to use, turn away, turn
towards)
This means that we will try to develop a piece from the concrete, given conditions of a situation and the
potential of the elements contained therein – from a hotpot to a 7-course menu.
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
Ralf Samens sees himself as a plastician, and his sculptural thinking has led to live art in public spaces, on
escalators, and in special architectural situations like football stadiums, banks and department stores, as well
as collaborations and interactions with BKH Gutmann, Boris Nieslony, Raoul Marek, Norbert Klassen, and
others.
Ralf Samens headed the Stadtgalerie Bern (city gallery Bern)), which was previously located in the basement
of the Schlachthaus theatre, and in 1997 founded the BONE festival together with Norbert Klassen and
Markus Henseler. He contributes regularly to the MA programme in theatre studies.
Literature Used
Comments
Students of the BUA can select this workshop as part of the block.
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
Szenen aus Molières Komödien //
Rollenstudien mit
Schauspielstudierenden
Location / Partner
School
Bern, BUA
Number
BE15
Dates from / until
23.-26.11. + 28.11.-2.12.
Presentation on: 2.12.2016
Module Type
Workshop
Times
10:00 - 17:00
2.12. open end
Teacher
Laurent Chétouane
Room (if known)
Teaching Language
D
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
12
Prerequisites
BA in Acting
Wolfram Heberle
Target Group
Learning
Objectives
Content of the
Course
What does it mean to be funny? Generally, it is considered funny when someone does the wrong thing, in the
wrong place or at the wrong time. In a time, when any political action could seem "senseless", or rather in which
any position can be seen as wrong and inappropriate, funny situations on stage might best represent our current
situation in a sensual way. But how can you play in such a way that theatre itself can be seen as funny? That
would mean to take it back to its very essence by celebrating the false, the state of being beside oneself, of
speaking as an act of lying. Maybe theatre could be political by not promising something new, something better,
but rather laughing with us, as the only possible reaction to the current state of the world.
Laurent Chétouane studied Engineering and then Theatre Studies at the Sorbonne and Theatre Directing at
the Hochschule für Musik und Darstellende Kunst in Frankfurt/M. Since 2000, he has realized numerous
productions in Hamburg, Munich, Weimar, Cologne, Athens, Oslo and Zurich, among other places. Alongside
this, he has also been creating dance projects since 2006 (Tanzstück #1 - #4), which toured internationally.
Chétouane received the "Wild Card" of the RUHR in 2010 and in 2008 the prize of North Rhine-Westphalia for
outstanding young artists. He is also the Artistic Director of the Master Studies in Dramaturgy at the Institute for
Theatre, Film and Media Studies at the Goethe University Frankfurt am Main, guest lecturer in Gießen and
Berlin, guest lecturer in Oslo, Frankfurt/M., Hamburg, Leipzig, Bochum.
www.laurentchetouane.com
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
Eigene Texte schreiben und sprechen als Location / Partner
darstellerisch/performatives Mittel.
School
Bern, BUA
Number
BE16
Dates from / until
23. November - 2. December 2016
Presentation: 2. December 2016
Module Type
Workshop
Times
10:00 – 17:00
Teacher
Marianne Oertel (lecturer on speech),
Sibylle Heim
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
max. 12
Wolfram Heberle
Prerequisites
Target Group
All non-actors
Learning
Objectives
Students will become familiar with different methods of generating their own textual material. They will write
their own texts and work on speaking them in different theatrical or performative formats.
The students will acquire the skills and means necessary for performing their own texts. The following goals
will be pursued: understanding text, speaking, voice and language as modes of expression.
Content of the
Course
This workshop focuses on writing texts and working on the spoken realisation of texts for different theatrical and
performative formats.
In the first part of the workshop, students will be introduced to different methods for generating textual material,
which they will then apply themselves. The resulting texts will not primarily be judged from a literary perspective,
but from the point of view of their suitability as texts to be spoken in a performance. What does a text need in
order to work in a theatrical or performative format? In the second part, students will work on the realisation of
their own texts, with an emphasis on questions of language and speech. Independently of the text genre and the
individual expressive drive of each student, different means of speech and voice will be explored.
The workshop will conclude with a presentation of the students’ texts.
Marianne Oertel: studied speech studies and phonetics at the Martin Luther University in Halle; in addition to
speech coaching for theatre and music productions in Germany and Switzerland, she is a lecturer on speech
studies at several state universities of music and theatre. The recipient of a directing award for a production
featuring a speaking choir, Marianne Oertel has lectured on speech in the theatre department of the University
of the Arts Berne since 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
64
Sibylle Heim: studied German, theatre, film and TV studies and philosophy in Bern, Bonn and Cologne, and
then worked as an independent journalist and contributor to the House of Literature in Cologne. From 2004 to
2008, she was active as dramaturge at the Winkelwiese in Zurich. In 2005/06 and 2007/08, she contributed to
the “DRAMENPROFESSOR” project for promoting authors, as well as serving on its jury. Since 2008, she has
worked as a research assistant and researcher on the MA programme in theatre studies at 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
65
Title
TALKING STRAIGHT PRESENTS
Location / Partner
School
Bern, BUA
Number
BE17
Dates from / until
6.- 10.12.2016
Presentation: 10.12.2016
Module Type
Workshop
Times
11-18 Uhr
Presentation: 20:00
Teacher
Talking Straight
Room (if known)
Teaching Language
D/E
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
Max. 20
Wolfram Heberle
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
In the form of coaching seminars, conferences and religious rituals, the performance collective TALKING
STRAIGHT regularly simulates everyday life as a sexist, racist and repressive state of emergency. Using the
techniques of immersive simulation and by using "foreign language", an artificial European language they
developed themselves, the performers emulate forms of social exchange, rehearsed rituals and social
imaginative spaces, in order to make unmarked hierarchies and marginalization visible and fluid. In their
collective work, TALKING STRAIGHT has developed a specific hologram-like mode of performance, which
brings together theatrical representation with performative presence. In this workshop, run by two artists from
the collective, the students are asked to participate in a skill share, in which their own theatrical ways of working
are tested for their usefulness as political tools.
The common workshop simulation will end in a presentation hologram.
Language? No problem. The workshop will take place with multiple languages (D, E, foreign language).
More about Talking Straight here: http://talkingstraight.de/
Literature Used
Comments
This workshop is programmed and organized by the 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
66
Title
A la recherche de la recherche – Theater Location / Partner
School
Bern, BUA
Number
BE18
Dates from / until
1st session: 12. November 2016
2nd+3rd session: 12.+13. December 2016
4th session: 11. Januar 2017
5th session: 21. Januar 2017
Module Type
Toolbox Research
Times
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
Participation in "Individuelle Vertiefung" in parallel
Target Group
All, preferably 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". In this way, research tasks and researching thought are applied to the students own
projects. The contents of the toolbox will be split into 5 sessions.
1st session: Recherche advanced (Yeboaa Ofosu, Sibylle Heim)
The topic of the first day is the advanced research on artistic or theoretical questions, in relation to current or
future projects. The idea is to define a topic and find a concrete questions.
2nd-4th sessions: Forschendes Denken im eigenen Projekt (Yeboaa Ofosu, Steph Lichtensteiger)
The individual projects will be examined for their research components. Ways will be found to approach the
research, execute it and integrate the results into the whole. The students' artistic practice will be put into a
theoretical and artistic context. This is intended to enable the students to develop artistic and/or theoretical
questions of their own and pursue them within the framework of their artistic projects (especially with a view to
their MA thesis). If topically relevant, current BUA research projects will be presented.
5th session: Forschendes Theater (Boris Nikitin, Yeboaa Ofosu)
Finally there will be a focus on groups, projects, approaches and individuals from the theatre, who do
research. Using Boris Nikitin's work as an example, we will critically reflect on "researching theatre".
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
67
Title
Individuelle Vertiefung
Location / Partner
School
Bern, BUA
Number
BE19
Dates from / until
12.-23.12.2016 / 9.-20.1.2017
Interim presentation: 22.+23.12.2016
Presentations: 19.+20.1.2017
Module Type
Production
Times
All day, presentations can last until late
Teacher
Mentors
Room (if known)
Teaching Language
Responsible for the
Course
ECTS
6
Number of
Participants
(min./max.)
max. 12
Florian Reichert, Sibylle Heim
Prerequisites
Target Group
All - SAP will be prioritized
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 17th of November 2016. The IV begins on the 12th of December 2016 with a
group session, in which the different plans are presented. The presentations are on the 19th + 20th of
January 2017.
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
68
Title
Fragezeichen. Was ist eine gute Frage?
Location / Partner
School
Bern, BUA
Number
BE20
Dates from / until
14.-18.11.2016
Module Type
Toolbox Research
Times
09:30-16:30
Teacher
Tine Melzer (teacher CAP) and guests
Room (if known)
Schwabstrasse 10
Teaching Language
D/E
Responsible for the
Course
Y Institute
ECTS
2
Number of
Participants
(min./max.)
max. 12
Prerequisites
Target Group
All
Learning
Objectives
Content of the
Course
Whoever wants to conduct research needs a research question, preferably a good one. How questions work,
how they are formulated and how you can play with them productively, is at the core of this toolbox. What kind
of questions exist (already) and what sources play with good questions? Starting from interdisciplinary
research in the arts, we will kick off the toolbox with examples from literature and fine arts. Guests from
various fields will present their own approach to the phenomenon of «questions».
Each participant will develop a catalogue of questions, relevant to their own practice. All approaches are
welcome, a certain enjoyment of reading is required. At the end of the week, we will create a publication that
collects all the contributions and experiments.
The formats are inputs, guest talks and practical experiments. The course is intended for students of all
disciplines.
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
Wer ist eigentlich hier der Chef ?
Selbstversuche mit Publikum
Location / Partner
School
Bern, BUA
Number
BE21
Dates from / until
14.-18.11.2016
Module Type
Toolbox Research
Times
09:30-16:30
Teacher
Barbara Balba Weber, Musikvermittlung FB Room (if known)
Musik und Florian Reichert,
Fachbereichsleiter Oper/Theater
Zentweg 27
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
Which (unspoken, unquestioned, naturally practiced) standards exist for the relationship between cultural
actors and their audience? And what happens when you deliberately change details of these established
settings? In a five-day research toolbox we will examine and analyze such manipulations of what we are used
to and put them in a context of reception research, cultural theory and history.
The participants will gain insight into the basics of scientific thought and action, which can support and
enhance their future artistic practice. In the centre is a practical experiment, in the sense of modern field
research. The evaluation of this and the insights gained can then be applied to the participants' practice.
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
OBEY!
Location / Partner
School
La Manufacture - HETSR
Number
LM01
Dates from / until
21. - 25. September 2016
Module Type
Campus week
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Collectif Zooscope
Room (if known)
Teaching Language
F/E/D
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
unlimited
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
- Experiment with different power relations between fiction and reality.
- Take over a space that is not necessarily a theatre.
- Understand the political significance of different performative forms.
Content of the
Course
The anti-disciplinary workshop OBEY! seeks answers to the following questions: when and how should we
obey, collaborate, rebel, be submissive, or emancipate ourselves?
What attitude should we take towards the role of force in creation?
The educational objective of this course will be to investigate the question: is he who does also the one who is
right?
How to prepare: come with your idea of a successful workshop.
At your disposal: people in a space featuring tools, desires, video cameras, pens, lights, sound equipment, a
kitchen, a dance mat, paint, projectors, a library, different temperaments, a coffee machine, special guests
(depending on their availability: start-up entrepreneurs, CEOs, activists, refugees, representatives of various
associations).
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
Arts de la scène contemporains: dans
quels lieux et pour quel public?
Location / Partner
School
Number
LM02
Dates from / until
29.09.16 / 30.09.16
Module Type
CMW
Times
9:00 – 13:00 / 9:00 – 13:00 and 14:00 –
18:00
Teacher
Anja Dirks
Room (if known)
Teaching Language
F/E/D
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
limited
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
- Investigating the situation of contemporary art in its political and social context.
- Examining the conditions and modes of interaction outside of institutions.
Content of the
Course
Through the practical example of the 2017 Festival Bollwerk Belluard International, the following questions will
be investigated:
- Which creative context to use, depending on the intended impact
- Whom is the artist addressing?
- How to communicate with a potential audience
- Are mediation and public relations part of the artistic process?
- Is diversity on stage and in the audience an end in itself?
The first day, held at La Manufacture, will introduce the theoretical background of the curating process.
On the second day, we will explore the sites of the 2017 BBI in Fribourg.
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
72
Title
Le Théâtre Baroque, modèle pour une
stylisation du jeu de l'acteur
contemporain
Location / Partner
School
Number
LM03
Dates from / until
26. - 29.10.16 / 03. - 07.10.16
Module Type
Techniques of the stage and connected
arts / Toolbox
Times
14:00 – 18:00 / 9:00 – 13:00 and 14:00 –
18:00
Teacher
Alexandra Rübner
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
2
Number of
Participants
(min./max.)
limited
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
-
Applying the canonical dispositions of rhetorical art
Using baroque theatre to enrich acting and directing today
Content of the
Course
In the 17th century, following the example of Greco-Roman Antiquity, rhetoric touched upon all the domains of
art: literature, poetry and painting, as expressed by Horace in Ut Pictura Poesis; rhetoric reigned absolutely
over all forms of speech intended for public reception, in poetry, politics, religion, and jurisprudence, but also in
the theatre. It combined categories that today are neatly separated: the power of the voice, the oral aspects,
but also the embodiment of the word in the body of the orator, and the gestures and body language that bring
it to life.
This course will be based on a free selection of works by French and Italian artists of the 17 th century, on
account of their dramatic content and the rich gestural eloquence of the figures they contain. These pictorial
representations, with their bodily attitudes and the passions of the soul they display, will be contrasted with
dramatic texts from the same era that evoke similar passions, as well as with theoretical texts on the art of
baroque acting and the techniques of expression at its disposal. In the second part, students are invited to
apply these techniques by reading short text segments out loud. In this process, and to better interpret the
texts, the students will develop a gestural programme based on the analysed works of art.
I find it important to give this course a practical element where play – both in the theatrical sense and that of a
game – has a place, and where the acquired knowledge is actually applied. We will thus assess what baroque
theatricality can offer today’s directors and actors, and how the art of the gesture and declamation can be used
as tools for stylisation and distancing. In the third part, based on our analysis of these tools of baroque
expressionism, we will investigate the possibility of a contemporary expressionism that would allow today’s
directors to reveal the full poetic potential of contemporary writing, and liberate actors, and the theatre more
generally, from notions of the natural or of naturalism – notions this course seeks to examine critically.
Literature Used
Traité de l'Action de l'Orateur, Michel Le Faucheur (1657)
Méthode pour bien prononcer un discours et pour le bien animer, René Bary (1679)
Chirologia, John Bulwer
L'Ecole du silence, Marc Fumaroli
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
Marche ou rêve !
Location / Partner
School
Number
LM04
Dates from / until
11. - 14.10.16 / 18. - 21.10.16
Module Type
Dramaturgy / toolbox
Times
14:00 – 18:00 / 9:00 – 13:00 and 14:00 –
18:00
Teacher
Robert Cantarella
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
Robert Cantarella
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
-
Aligning the movement of the body with that of the mind.
Discovering texts through the senses.
Content of the
Course
Walking offers access to knowledge. Philosophers, painters, and poets have experimented with the
exploration of the mind through the exercise of the walking body. Discovering texts and imagining their
realisation will be the focus of this workshop.
The workshop will be split in two:
Several days of walking and exploring texts from a set list. In the course of this first session, we will
follow a path of readings connected either to views, directions or rhythms. Reading and “digesting”
the texts via the act of walking will allow for a new understanding and transmission of the ideas they
contain, which will be revealed by sharing our experiences.
An application of the insights of the previous week in practice via the realisation of a small scene.
The discovery of the texts and their language will be transformed into a choice of spaces, games,
the distribution of signs, and imaginary elements. The scene will be performed at the end of the
workshop.
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
Atelier technique
Location / Partner
School
La Manufacture – HETSR
Number
LM05
Dates from / until
17.10.16 – 28.10.16
Module Type
Techniques of the stage and connected arts / Times
toolbox
Teacher
Nicolas Berseth
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
1
Number of
Participants
(min./max.)
limited
14:00 – 18:00
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
Familiarity with the technical tools of the stage and the basic ability to use them.
Content of the
Course
This workshop offers a basic introduction to the technical tools of the stage in the areas of sound, light and
video. The goal is to try out the basic technical tools of the stage the stage and to acquire a working
knowledge thereof that will allow the participants to take technical leadership for small and medium-sized
theatre 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
De l’idée abstraite au
concret du plateau
Location / Partner
School
Number
LM06
Dates from / until
25-28.10.16 / 31.10.16- 04.11.16 & 28.11.16
-09.12.16
Module Type
Directing actors / Toolbox
Times
9:00 – 13:00 / 9:00 – 13:00 and 14:00 –
18:00
Teacher
François Gremaud
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
6
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
-
Content of the
Course
Formulating an idea or desire for a project
Defining the objectives of the project (what, how, why)
Adapting the project to the restraints of production
Defining a format, a framework and a working strategy
Choosing the appropriate tools (instructions, exercises, texts, etc.) in order to allow the actors to work in
the spirit of the project
Redefining and reaffirming the project over time, taking into account developments that occur during the
rehearsal process.
In the first week, the students will develop a project for the stage (a play, a performance, or other) and define
its objectives (what do I want to do, why do I want to do it, how do I want to do it, etc.). The students may
choose to work on the basis of pre-existing material (a theatrical or non-theatrical text, an opera, a painting, a
video, a choreography, a political reference, a philosophical reference, etc.).
In the second week, the students will try to adapt their project to the constraints they face (technical means,
number of actors at their disposal, the time available) and – in light thereof – define a format, a framework and
a working strategy (selection of the directing method in view of the material they have researched, selection of
the needs and means, whether in terms of technology or scenography, the formulation of a working plan, etc.).
In the course of the third and fourth week, the students will rehearse their project with students from the acting
programme in order to find the right angle for achieving the desired results. In this, they should:
- choose the right tools that will allow the actors to work in the spirit of their project: what exercises can
help reach this goal, what materials (texts, music, images, etc.) can help illuminate their ideas, etc.
- choose their “vocabulary”: how to formulate or reformulate instructions to be understood properly, how
to welcome or reject input, how to invite the otherto go this way or that, etc.
- identify priorities and adapt the work process accordingly
- reaffirm, reformulate, and, if necessary, revise their project
- At the end of these four weeks, the various groups will present their finished projects.
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
2666 spaces
Location / Partner
School
Number
LM07
Dates from / until
09. - 10.11.16
Module Type
Scenography / Toolbox
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Elodie Doguet
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
Robert Cantarella
1
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
Experimenting with the functioning of a stage space using a life-sized model. An excerpt from Roberto
Bolano’s novel 2666 will form the basis for this experimentation.
Content of the
Course
Scenography does have an interest in aesthetic questions, but its main objective is the definition of a scenic
space that includes the audience. It defines a relationship between what is seen and the place from where it is
seen; it organises the stage space through principles that define how it can be measured and navigated; and
finally, it is characterised by the duration of each piece, reinventing it anew.
This workshop seeks to test the students’ responses to these questions under real-world conditions.
Cardboard will be the basic material of the workshop, since it allows for the rapid implementation of ideas and
the representation of architecture and objects alike.
In Roberto Bolano’s novel 2666, situations become enmeshed, a multitude of characters emerge and
sometimes merge into each other, shining a bright light on one page only to disappear completely on the next,
all of which will provide the students with ample material for investigating questions of staging.
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
La lumière en soi
Location / Partner
School
Number
LM08
Dates from / until
14.11.16 - 18.11.16
Module Type
Scenography / Toolbox
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Philippe Gladieux
Room (if known)
Auditorium
Teaching Language
F
Responsible for the
Course
Robert Cantarella
ECTS
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
-
How to conceive of lighting design
Playing with light, interpreting a discrete space
Sensing the relations between staging, dramaturgy, scenography and acting.
Content of the
Course
The course has two parts, a theoretical one that focuses on the work with lighting, and a practical one in which
students can apply the knowledge they have gained on an actual stage. Staging a lighting situation will
demonstrate to the students how to work with the perception of a space: through the interplay of rhythm,
colorimetric elements, intentions, symbolic elements and impact angles, the workshop takes the form of an
improvisation on a cyclorama.
I. THE DRAMATURGY OF LIGHT
I.I The angles of impact
Volumes in space.
Impact on the body.
Scenography in light.
I.II Colour
Connected emotions.
Colours and their associations.
The movement from one colour to another.
II. PLAYING WITH LIGHT
II.I Organic light
Perception
The relationship between the waves emitted by a body and those of light.
Transitions, the interplay between two lighting states.
II.II The material of play
The body of light, an organism.
Improvisation.
Writing.
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
Nouvelles théâtralités – mises en scène
contemporaines
Location / Partner
School
Number
LM09
Dates from / until
21.-22.11.16 and 09.-10.01.17
Module Type
Theory Slot
Times
9:00 – 13:00
Teacher
Eric Vautrin
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
Robert Cantarella
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
Content of the
Course
After an analysis of productions from the last thirty years as well as of recent productions that were presented
in Lausanne, this course seeks to reflect on the common attributes of contemporary staging. In particular, we
will investigate recent developments in art, in technology and in society, to understand how these attributes
have been reformulated in Europe in the past ten years, which have been characterised by a postperformance situation and a social and collective life that has undergone great chances (what François Hartog
refers to as the “presentism” of our age). In addition, students will acquire critical tools that combine aesthetic
considerations with lessons drawn from the social sciences to examine theatre in the context of its age – how
it relates, reflects and responds to the latter.
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
79
Title
TOUT EST IN/ADAPTABLE
Location / Partner
School
Number
LM10
Dates from / until
13.12.16 – 22.12.16
Module Type
Workshop
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Nicolas Doutey and François-Xavier Rouyer Room (if known)
Teaching Language
F
ECTS
Responsible for the
Course
Robert Cantarella
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
Understanding non-theatrical art forms, investigating the history of art forms and their specificities, as well as
the history and current situation of theatre, and reflecting on the possibilities of theatre and the act of staging.
Content of the
Course
This workshop will tackle the question of adaptation, and the art of translating non-theatrical forms into a
format appropriate for the stage. How can a painting, a poem, a comic, etc., be translated into a theatrical
form? Transposing one medium into another above all requires a reflection on the media concerned, on their
history, the sensory and aesthetic relations they create, and their definitions. We will thus investigate the
formal aspects of different media in order to better define the act of staging, particularly in the context of the
theatre. Each participant will have the mission to translate a non-theatrical form using properly theatrical
means, in order to test his or her convictions (as well as doubts) on what is essential to theatre.
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
Le Visible et l’invisible: Godard entre en
scène
Location / Partner
School
Number
LM11
Dates from / until
11.01.17 – 20.01.17
Module Type
Dramaturgy / Toolbox
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Julien Fisera
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
Robert Cantarella
2
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
-
Creating theatre on the basis of cinematographic material
Confronting Jean-Luc Godard’s art and universe
Gaining the necessary tools for analysing films
Working on Godard’s films with the goal of staging a production
Understanding the narrative heterogeneity inherent in theatre
Analysing the possibilities offered by the adaption of cinematographic works to the stage
Content of the
Course
This workshop aims at investigating theatrical adaptations based on films. The stage appears to reveal the
invisible aspect of the cinematographic arts: how to treat the frame? How is montage done? Is the continuity
the same as in theatre? How is it possible to zoom in?
Three cinematographic works will be studied: Une femme est une femme, Pierrot le fou and Le Mépris, all by
Jean-Luc Godard. Students will choose one of the three films, based on which they will prepare a short scene
at the end of the workshop. After an analysis of the films in question, we will examine the links between
Godard’s work and the theatre, the sources he used, and the techniques that are particular to film as an art
form.
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
81
Title
La pensée au théâtre: un
plan de conséquences pour le jeu et
l’acteur
Location / Partner
School
Number
LM12
Dates from / until
24.01.17 – 10.02.17
Module Type
Dramaturgical and scenic project
Times
9:00 – 13:00 and 14:00 – 18:00
Teacher
Marie José Malis
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
4
Number of
Participants
(min./max.)
limited
Robert Cantarella
Prerequisites
Target Group
Learning
Objectives
-
Creating an autonomous piece of around 15 minutes.
Applying the theoretical and practical knowledge gained.
Content of the
Course
Staging and directing cannot be reduced to the methodical pursuit of a sequence of steps that will then result
in a play. It is more often a complex mix of intuitions, methods, techniques, luck, and exploration. This
workshop thus asks students to question their personal creative processes through the development of a
performance- or text-based piece. The students will confront the various layers of working, of
conceptualisation, of communication and of realisation in order to bring out the main points that are at work on
each level and thus to try and uncover previously unknown or unconscious aspects of their creative process.
In addition, we will also investigate the possible links between the different artistic projects, at the level of the
text as well as that of the staging, to allow the students to better understand and affirm their own processes.
Finally, special attention will be paid to the experimental dimension of the material and the accompanying
processes, with a view to a public staging of the students’ pieces at the end of the workshop.
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
82
Title
Créer c’est produire,
produire c’est créer
Location / Partner
School
Number
LM13
Dates from / until
13.02.17-14.02.17
Module Type
Production / Toolbox
Times
10:00 – 13:00 and 14:00 – 17:00
Teacher
Caroline Marcilhac
Room (if known)
Teaching Language
F
Responsible for the
Course
ECTS
Robert Cantarella
1
Number of
Participants
(min./max.)
Prerequisites
Target Group
Learning
Objectives
-
Content of the
Course
Understanding the cultural landscape in France, in terms of programming, production and diffusion, and
the institutions involved. What partners exist for what sort of projects?
Contextualising the director’s role as project leader in its economic and social context
Helping students understand the constraints of production they will face in the realisation of their cultural
projects
Day 1: the professional environment
- An overview of the production and diffusion of culture in France. Who does what?
- The director as project leader: the different organisational modes (independent, employed by a theatre,
associated with a production company), the different interlocutors (administrators, heads of cultural
programming and outreach, artistic teams, other local partners), and the dialectic between production and
diffusion.
Day 2: from idea to realisation
- the different steps of the creative process: conceptualisation – planning – technical environment – budget –
production – diffusion
- case studies based on the students’ own projects
- The place of a given project on an artist’s trajectory: from short-term projects towards a long-term identity.
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

List of Courses Autumn Semester 2016/17 E

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