Start Bisheriges Studienmodell Theater Master Theater Partnerschulen HETSR, La Manufacture Lausanne
HETSR / "Atelier pratique de mise en scène" 
Fabrice Gorgerat
4 CreditsMTH-MTH-ERK-PART-04.18F.001
HETSR / "Classique-Burlesque" 
Mathilde Monnier
1 CreditMTH-MTH-ERK-PART-01.18F.002
HETSR / "Des couleurs franches" 
Julien Fisera
3 CreditsMTH-MTH-ERK-PART-03.18F.001
HETSR / "Institute of Global Solitude" 
Christos Passalis (BLITZ)
4 CreditsMTH-MTH-ERK-PART-04.18F.003
HETSR / "Jouer avec" 
Florence Giorgetti
2 CreditsMTH-MTH-ERK-PART-02.18F.002
HETSR / "Jouer les archives" 
Remy Campos
1 CreditMTH-MTH-ERK-PART-01.18F.004
HETSR / "Montage et Mise en scène" 
Clémentine Colpin & Romain Waterlot
2 CreditsMTH-MTH-ERK-PART-02.18F.001
HETSR / "Théâtre National de Nanterre" 
Philippe Quesne, Stéphane Bouquet und Robert Cantarella
4 CreditsMTH-MTH-ERK-PART-04.18F.002
HETSR / "Un producteur à quoi ça sert?" 
Serge Lalou
1 CreditMTH-MTH-ERK-PART-01.18F.005
HETSR / “L’art du croisement. La mise en scène: une construction politique et poétique” 
Maya Bösch
2 CreditsMTH-MTH-ERK-PART-02.18F.003
HETSR / Les arts “out of the black box” 
Myriam Kridi
1 CreditMTH-MTH-ERK-PART-01.18F.001
HETSR / Theorie Slot "Théâtre, ville et architecture" 
Luca Ortelli
1 CreditMTH-MTH-ERK-PART-01.18F.003
 

HETSR / “L’art du croisement. La mise en scène: une construction politique et poétique” 

Applied dramaturgy
Nummer und TypMTH-MTH-ERK-PART-02.18F.003 / Moduldurchführung
ModulPartnerschulen 02 ECTS 
VeranstalterDepartement Darstellende Künste und Film
LeitungMaya Bösch
OrtLausanne, La Manufacture / Studios 5
Anzahl Teilnehmende5 - 10
ECTS2 Credits
VoraussetzungenUnterrichtssprache: Französisch

Read at least one of the chapters from Hans-Thies Lehmann’s book Postdramatic Theatre.
ZielgruppenStudents interested in exploring and experimenting with work tools concerning reflection around and design of staging, stage space, directing of actors, dramaturgy and transdisciplinarity. To be developed in this course: a combinatorial, singular, personal thought and practice.
Lernziele / KompetenzenDevelop and defend one’s artistic conception. Transpose, translate, transform.
InhalteFor this class, students develop a self-portrait in writing that they send me one week before the class begins. This self-portrait is used to take a stand as a director and to develop the various relationships that everyone has with the world and with others. It is important that students base themselves on their own orientations, fields of interest and desires, and that they develop a portrait – the “state of artist” – which defines them best. Here are some examples :
  • Relationship to the text
  • Relationship to space and stage
  • Relationship to the spectator and to the other (transmitter and receiver)
  • Relationship to the actor
  • Relationship to speech
  • Relationship to music
  • Relationship to rhythm
  • Relationship to the body
  • Relationship to other artists
  • Relationship to dramaturgy
  • Relationship to development and repetitions
    This self-portrait exposes the student as a (future) thinker, conductor, as an artist, reader, composer, organiser, defines his sensitivity, his listening skills and evokes his visions, his images and universe. He presents his strengths and desires, but also his weaknesses. This portrait is also to be understood as a cartography of oneself, as a future director, sculptor of aesthetics and forms, shaper of meaning. This self-portrait will be a “face to face” between the student and myself at the beginning of the course, in order to create an exchange on his journey and create new challenges.
– Staging: Each student conceives a staging/performance alone or within a group.
From a text that students choose themselves, they develop a staging lasting 20-30 minutes. It is possible to appropriate oneself a piece of contemporary writing or only a passage drawn from an act or a scene from a classical play, a poem, a manifesto, an original speech or a philosophical reflection. The student must let me know as soon as possible. The aim is to train and clarify the process of practical creation, ranging from the reading of the play and its dramaturgical analysis to a scenic, dramaturgical, and aesthetic construction. The choice of text to stage can also be done together with me, befre the beginning of the course, during our “face to face”. The stagings will be developed during the course, as a “work in progress” or “work sketch”, and might end up being presented publicly.

Course content
Analysis and Discussion
Presentation of some thirty apparatuses and stagings that punctuate the trajectory of the sturmfrei theatre company (www.ciesturmfrei.ch). We will specify the role of the director, the actor, the space and its scenography, time and the construction of different temporalities, the subject, the dramaturgy, and its deployment, but also the role of the viewer.
Discussion and approaches of the stagings that marked the twentieth century through the invention of new forms, methods and approaches to theatrical practice, from classical dramaturgy to the breaking down of temporality and toward poetic force.
Writing and Practice
Realisation of all stages of the staging process, ranging from reflection and language, writing and subjective/objective interpretation all the way to the public event, the staging and the show.
Reinforce the subjectivity of each student, radicalise one’s own approach. Accompaniment. Confrontation and constructive criticism.
Bibliographie / Literatur« Le théâtre post-dramatique » de Hans-Thies Lehmann
« On Space » de la Compagnie sturmfrei / Maya Bösch
« On Body » de la Compagnie sturmfrei / Maya Bösch
Termine09.05. - 18.05.2018
Dauer09.00 - 13.00 Uhr und 14.00 - 18.00 Uhr
Bewertungsformbestanden / nicht bestanden
Termine (1)