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| Course Description |
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| Course Name |
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Theories and History of Theatre III |
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| Course Code |
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TYM 307 |
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| Course Type |
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Compulsory |
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| Level of Course |
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First Cycle |
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| Year of Study |
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3 |
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| Course Semester |
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Fall and Spring (32 Weeks) |
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| ECTS |
: |
3 |
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| Name of Lecturer(s) |
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Lecturer TURGUT BAĞIR
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| Learning Outcomes of the Course |
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Is able to describe the idea of theatre in the 18th century.
Is able to describe the theatre thought in Romantic Movement.
Is able to describe theatre thought of Realistic Movement.
Is able to describe the idea of theatre in Counter-Realistic Movement.
Is able to analyze differences in thought of theater between the Romantic Movement and Realistic Movement.
Is able to analyze differences in thought of theater between the Realistic Movement and Counter-Realistic Movement.
Is able to evaluate the political, cultural religious, and economical conditions that pave the way for the occurrence of new comments of 18th century, Romantic Movement, Realistic Movement, and Counter-Realistic Movements.
Is able to analyze differences in thought in the theater of the Romantic and Realist Movements.
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| Mode of Delivery |
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Face-to-Face |
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| Prerequisites and Co-Prerequisites |
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None |
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| Recommended Optional Programme Components |
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None |
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| Aim(s) of Course |
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The aim is to convey students the theatre applications in all periods of the World Theatre from its first occurrence to the present day, staging formats and the theories developed as a result of these experiences, and create an awareness with all this information. |
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| Course Contents |
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Examination of theories which appeared during the romantic, realistic and anti-realistic periods in the 18th century. |
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| Language of Instruction |
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Turkish |
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| Work Place |
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Classroom |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
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1 |
18th Century European Theatre: Eightenment Era, Architects of Enlightenment , The Philosophy of Enlightenment Era. Jean Jacques Rousseau, David Hume, Denis Diderot, Beaumachais ... |
Reading the source, Research |
Lecture - Discussion |
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2 |
18th Century Theatre Writing and Writers (Gotthold Ephraim Lessing, Schiller, George Lillo, Sebastian Mercier.) |
Reading the source, Research |
Lecture - Discussion |
|
3 |
18th Century Theatre Thought: Political, Cultural, Economic, Religious and Scientific Developments. |
Reading the source, Research |
Lecture - Discussion |
|
4 |
New Comments in 18th Century Theatre thoguhts: In Theatre Daily events and ordinary people should be included. (how and from whom the theatre events and characters were selected in earlier periods?Search for the answer to the question by reviewing the whole periods.) |
Reading the source, Research |
Lecture - Discussion |
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5 |
New comments in 18th Century Theatre thoughts: Theatre Work should be written as a prose, theater should affect audiences, New types should be tried. |
Reading the source, Research |
Lecture - Discussion |
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6 |
Theatre educates by touching, emotion and suffering gives pleasure to the audience. (What was the purpose and function of theatre in all the previous periods? Searching for the answer to the question by reviewing the earlier periods) |
Reading the source, Research |
Lecture - Discussion |
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7 |
General Review of the 18th century Theatre Idea. |
Reading the source, Research |
Lecture - Discussion |
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8 |
Midterm Exam |
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|
9 |
Romantic Movement: Political, Social, Economic, Cultural and Scientific Atmosphere. |
Reading the source, Research |
Lecture - Discussion |
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10 |
Romantic Movement: Freedom of Creation in art, Art is a superior fact, preference of the national one, and direction to medieval sources. |
Reading the source, Research |
Lecture - Discussion |
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11 |
Romantic Movement: Evolution of art and idealistic Historicism (remembering Plato´s ´ideas´ philosophy ) Luminous and illuminating function of art. |
Reading the source, Research |
Lecture - Discussion |
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12 |
Romantic Movement: Reflecting the Essence of Truth, exceeding Classical Rules, Organic Style, Harmony of opposites. |
Reading the source, Research |
Lecture - Discussion |
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13 |
New Definition of tragedy and comedy, and the grotesque, Creative Imagination and Illusion, Romantic Irony, interpretation of Shakespeare. |
Reading the source, Research |
Lecture - Discussion |
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14 |
Midterm Exam |
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15 |
semester analysis and general revision |
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16 |
semester analysis and general revision |
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17 |
Naturalism and Realistic Movement: Political, Social, Economic, Cultural, Scientific Atmosphere. |
Reading the source, Research |
Lecture - Discussion |
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18 |
Response to the Romantic Theatre in the Realistic Movement, Comparison of naturalism and realism. |
Reading the source, Research |
Lecture - Discussion |
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19 |
Realistic Movement Principles: Reflecting the concrete fact of life, taking environmental factors into account, the use of the Science Method, Thinking Outside The World Turning, Illusion Creation. |
Reading the source, Research |
Lecture - Discussion |
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20 |
The rules that should be considered in practice in Realistic Movement: Intense, with wheels, tense play structure, Bergson and Comedy, Using everyday language, visual similarity to the concrete fact of life. |
Reading the source, Research |
Lecture - Discussion |
|
21 |
Aim in the Realistic Theatre, dramatic in the realistic theatre, sources that the Realistic movement influences from, Realistic Comparison of Realistic Movement. |
Reading the source, Research |
Lecture - Discussion |
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22 |
Creative Acting and Constantin Stanislavski. |
Reading the source, Research |
Lecture - Discussion |
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23 |
Realistic Movement Authors: August Strindberg, George Bernard Shaw, Anton Çehov, Henrik İbsen, Emile Zola, Alexandre Dumas Fils… |
Reading the source, Research |
Lecture - Discussion |
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24 |
Midterm Exam |
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25 |
Counter-Realistic Trends: Social, Political, Economic, Cultural, Scientific Atmosphere, Symbolism, New Romanticism, aestheticism. |
Reading the source, Research |
Lecture - Discussion |
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26 |
French Symbolists: Mallarme, Maeterlinck, Claudel, Edmond Rostand, Alfred Jarry, Lord ve Lugne Pou. Other Counter-Realistic authors: Oscar Wilde, Hugo von Hofmannsthal, Hanry Bergson. |
Reading the source, Research |
Lecture - Discussion |
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27 |
Richard Wagner and the composite work of art, Friedrich Nietzsche and The Birth of Tragedy, General and Common Opinions of Counter- Realistic authors, The expression of a hidden truth and Symbolism. |
Reading the source, Research |
Lecture - Discussion |
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28 |
Theatre should be conditioned with other mission other than giving taste of art. Anxiety of beauty and aestheticism, Studies of Adolphe Appia and Gordon Graeg, Movement of all the elements of theater together,A New understanding of Illusion, Ensuring harmony in the play by the director . |
Reading the source, Research |
Lecture - Discussion |
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29 |
General Review of Counter-Realistic Trends. |
Reading the source, Research |
Lecture - Discussion |
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30 |
Midterm Exam |
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31 |
Final exam preparation |
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Lecture - Discussion |
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32/33/34 |
Final. |
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Required Course Resources |
| Resource Type | Resource Name |
| Recommended Course Material(s) |
 Oscar Gross Brockett, Franklin Joseph Hildy, History of the Theatre
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| Required Course Material(s) | |
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Assessment Methods and Assessment Criteria |
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Semester/Year Assessments |
Number |
Contribution Percentage |
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Mid-term Exams (Written, Oral, etc.) |
4 |
100 |
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Homeworks/Projects/Others |
0 |
0 |
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Total |
100 |
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Rate of Semester/Year Assessments to Success |
40 |
| |
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Final Assessments
|
100 |
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Rate of Final Assessments to Success
|
60 |
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Total |
100 |
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
With the help of techniques and methods of acting, this programme teaches the ways of expressing the emotions and thoughts of the character to play on stage. |
0 |
|
2 |
Students comprehensively search for the national and international theatre literature, techniques and methods, synthesize the knowledge they acquired considering the requirements of the age and gain a critical point of view. |
3 |
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3 |
Taking the art of Theatre-Acting into consideration, students comprehend the improvement and transformation period of the art from past to the future, and adapt it according to the requirements of the age. |
4 |
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4 |
The Art of Theatre-Acting is supported with methods, theories, history, the techniques of using voice and body, behavioral psychology, and aesthetics and art theories. This programme helps undergraduates to comprehend the concept of art and have the knowledge sufficient to transfer to the future with the past. |
5 |
|
5 |
This programme teaches the ways of gaining the ability of using Turkish correctly and efficiently. |
0 |
|
6 |
Having sufficient information on stage technology, students comprehend how to express the artistic expression images of the play. |
2 |
|
7 |
Considering the art of Theatre-Acting, students learn a social and aesthetic point of view and can apply this on performing arts, radio, television and cinema. |
1 |
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8 |
Students gain the ability to evaluate universal values with the knowledge acquired in their own field of study. |
1 |
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9 |
This programme provides with the ways of finding the necessary documents, tools, resources, and the archive related to the art of theater - acting. |
3 |
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10 |
Improving coordination skills, students know about and analyze their own body, emotions and thoughts and gain the ability to use their natural mechanism as an instrument on the stage. |
0 |
|
11 |
Students gain the ability to present information related to the Art of Theatre-Acting to various audiences. |
2 |
|
12 |
Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. |
3 |
|
13 |
In addition to acting techniques, this programme teaches the correct ways of using body on stage with movement, dance, body plastic and fencing disciplines.
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0 |
|
14 |
This programme teaches the ways of using voice correctly on stage supporting this with the voice and speech techniques, singing, solfege and ear training. |
0 |
|
15 |
Students gain communication and social competence skills as a natural part of the art of theater - acting. |
3 |
|
16 |
Students gain the habit and awareness of having art ethics and professional discipline together with the professional acting qualifications. |
1 |
|
17 |
As an artist, students improve themselves continually, and combine the knowledge and skills appropriate for the rules of professional ethics with the other fields of art and make correlations between them. |
3 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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| Student Workload - ECTS |
| Works | Number | Time (Hour) | Total Workload (Hour) |
| Course Related Works |
|
Class Time (Exam weeks are excluded) |
32 |
2 |
64 |
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Out of Class Study (Preliminary Work, Practice) |
32 |
0 |
0 |
| Assesment Related Works |
|
Homeworks, Projects, Others |
0 |
0 |
0 |
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Mid-term Exams (Written, Oral, etc.) |
4 |
2 |
8 |
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Final Exam |
1 |
2 |
2 |
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Total Workload: | 74 |
| Total Workload / 25 (h): | 2.96 |
| ECTS Credit: | 3 |
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