Aus freien Stücken 1
Marcel Grissmer (Vermittlung Gessnerallee), Kathrin Veser (Dramaturgie Gessnerallee)
1 CreditBTH-BTH-L-0019.19H.020_WF
Aus freien Stücken 2
Marcel Grissmer (Vermittlung Gessnerallee), Kathrin Veser (Dramaturgie Gessnerallee)
1 CreditBTH-BTH-L-0019.19H.021_WF
Das Gehen ist eine Bewegungsart & Zürcher Affäre - PROBIEREN_(SC)
Wo38/39: Prof. Peter Ender (PE)
Wo40-43: Ilknur Bahadir (IBa)
3 CreditsBTH-BTH-L-0023.19H.008
Die Gegenwart des Hörspiels
Sylvia Sobottka (SySo), Till Löffler (TL)
5 CreditsBTH-VDR-L-3000.19H.001_WF
Diskurse des Gegenwartstheaters 1: Theater als Konzeptkunst_VDR - (gLV)
Sylvia Sobottka (SySo)
3 CreditsBTH-VDR-L-3011.19H.001
Einführung in die Bühnentechnik: STAGE DIVING_W37
Manuel Fabritz (MF), Arnd Frank, Michel Weber, Carlo Raselli
2 CreditsFTH-BTH-VBN-L-0002.19H.001
Georg Trakl engineered - Sprache im Klangraum - ENTDECKEN/ERWEITERN_(SC)
Oliver Mannel (OM), Martin von Allmen (MVA)
3 CreditsBTH-BTH-L-0023.19H.009
Improtheater - Spontanität auf die Bühne bringen - ENTDECKEN/ERWEITERN_(SC)
Gunter Lösel (GL), Nicole Erichsen (NE)
2 CreditsBTH-BTH-L-0021.19H.006
Inszenieren: Theater als Kritik & Projekteingabe_VRE
Theater als Kritik: Christopher Kriese (CKri),
Projekteingabe: Prof. Liliana Heimberg (LH)
3 CreditsBTH-VRE-L-431.19H.001
Kollaboration: Internationales Projekt: ArtEZ, Arnhem_VRE
Dr. des. Stefanie Lorey (SL), Sabine Harbeke (SH)
3 CreditsFTH-BTH-BTH-L-0023.19H.004_(MTH/BTH)
Kontext: Ruhrtriennale 2019_VRE
Dr. des. Stefanie Lorey (SL), Sabine Harbeke (SH)
1 CreditFTH-BTH-BTH-L-0019.19H.002_WF_(MTH/BTH)
Recherche (v)ermitteln_Ouagadougou / 1. Teil: Burkina Faso_VTP
Prof.Dr. Mira Sack (MS), Prof.Dr. Jochen Kiefer (JK)
3 CreditsBTH-VTP-L-5060.19H.001_WF
Szenische Experimente 1: Proben war gestern? Szenische Readymades
Sylvia Sobottka (SySo), Gast: Manuel Gerst/Performancegruppe Monster Truck, Berlin
3 CreditsBTH-VDR-L-318.19H.001_WF
Theater in allen Räumen (TiaR)_01/2020
Matthias Fankhauser (MaFa), Prof.Dr. Jacqueline Holzer (JaHo)
2 CreditsFTH-BTH-BTH-L-000.19H.001_WF_(MTH/BTH)
Theorie und Programmatik Darstellender Künste_VDR
Prof.Dr. Jochen Kiefer (JK)
3 CreditsBTH-VDR-L-30111.19H.001
Vorlesungen besuchen an der ZHdK_VDR
div. Referierende resp. Prof.Dr. Jochen Kiefer (JK)
1 CreditBTH-VDR-L-302.19H.001
Guernica - our mirror? - PROBIEREN_(SC)
Wird auch angeboten für
Nummer und Typ | BTH-BTH-L-0021.19H.004 / Moduldurchführung |
---|---|
Modul | Modulvorlage VSC/VTP/VRE/VDR_2 |
Veranstalter | Departement Darstellende Künste und Film |
Leitung | Sebastijan Horvat (SeHo) |
Anzahl Teilnehmende | 4 - 9 |
ECTS | 2 Credits |
Lehrform | Kreativkurs/Forschung |
Zielgruppen | L2 VSC (4/7) Wahlmöglichkeit (CR2): L2 VTP / L2 VRE / L2 VDR |
Lernziele / Kompetenzen | We will analyze “Guernica”, in it’s historical and artistic context – we will question “the surface” of the picture and try to connect it with (and rethink) the political power of theatre today... |
Inhalte | Guernica is one of the most important pieces of visual art created in the twentieth century. It is a picture that you can have for a turning point in the life of Pablo Picasso, which – although it is upon its realization have already celebrated the 55. birthday – right after Guernica become a political artist, and an important figure within the left political movement. Picasso was initially experiencing the creative blocade. At the beginning of the thirties he was experiencing personal, creative crisis and a crisis of his own socio-political orientation. But the bombing of Guernica 26. in April 1937 change this. It is an image that, as a product of the Spanish Civil War, calls for rethinking the prelude to the Second World War and the collision of totalitarian ideologies that marked the postwar period.After the First World War all the great painters found that the idea of the avant-garde, which was supposed to change the world, was utopian and that it would not work. When the pre-war tension began, the artists realized that they had to step out of their imaginary world, out of their room, in order to cope with the world and talk about it in a much more explicit way. Picasso began to transform his painting right under these guidelines. To do this, he had to step outside. He had to step out of the security of his own space, from his petite bourgeoisie, from the frames of the first avant-garde. He broke the idea of a dead, intimate nature that is self-sufficient. It breaks up with theatrical nature when the characters begin to disintegrate… |
Leistungsnachweis / Testatanforderung | gem. Angaben der/des Modulverantwortlichen |
Termine | Raum: 1 grosser Proberaum + 2 grosse Tische, 10 Stühle, Beamer & Medien Rack |
Dauer | Anzahl Wochen: 2 (HS: Wo:50/51) / Modus: 5x3h/Wo_Mo-Fr, 10.30-13.30h + 4x3h/Wo_Mo/Di/Mi/Fr, 16.30-19.30h Selbststudiumszeit pro Semester: ca. 6h |
Bewertungsform | bestanden / nicht bestanden |
Bemerkung | Sebastijan Horvat. In 1995 finished his studies at the Academy of Theatre, Radio, Film and Television Ljubljana in the class of theatre direction. Two years later he founded E.P.I. CENTER, independent theatre group where he started to produce experimental theatre. In 2005 started to teach theatre direction and acting at the Academy for Theatre in Ljubljana. He got Montblanc Young Directors Award – Salzburger Festspiele (2005) for theatre project ALAMUT. |