Courses
Introduction to Performance Studies
Faculty of Dramatic ArtsStudy Programme: Theatre and Radio Directing
Code: UDB47 | Course level: master | ECTS credits: 6
Professor: Ivana Vujić
Description:
The aim of this course is introducing students to one of the latest methodologies and theories of performance studies, a young academic (post)discipline which represents an extension, critical examination and redefining of other academic disciplines and their discourses, like culture studies, gender studies, aesthetics, anthropology and theatrology etc.
Content of the course:
1. Introduction to performance studies
2. Performance and/as research or production of knowledge;
3. Performance in the age of culture and pop-culture „terror“;
4. Intercultural performance and postcolonial perspectives;
5. Performance and/as communication;
6. Society of spectacle, social games and public performances;
7. New presentations of body;
8. Performance and/as identity representation, and production of phanstasms;
9. Performance and/as politics;
10. Performance and new market logic ;
Performance in mediatised society; digital and cyber performance;
Learning outcomes:
The course’s outcome is multiple: not only that it trains students for research and theoretical thinking and writing, but it also contributes to the creation of a distinctive school of thought, significant for local context, and capable of following and connecting with latest global trends and literature in the humanities.
The aim of this course is introducing students to one of the latest methodologies and theories of performance studies, a young academic (post)discipline which represents an extension, critical examination and redefining of other academic disciplines and their discourses, like culture studies, gender studies, aesthetics, anthropology and theatrology etc.
Content of the course:
1. Introduction to performance studies
2. Performance and/as research or production of knowledge;
3. Performance in the age of culture and pop-culture „terror“;
4. Intercultural performance and postcolonial perspectives;
5. Performance and/as communication;
6. Society of spectacle, social games and public performances;
7. New presentations of body;
8. Performance and/as identity representation, and production of phanstasms;
9. Performance and/as politics;
10. Performance and new market logic ;
Performance in mediatised society; digital and cyber performance;
Learning outcomes:
The course’s outcome is multiple: not only that it trains students for research and theoretical thinking and writing, but it also contributes to the creation of a distinctive school of thought, significant for local context, and capable of following and connecting with latest global trends and literature in the humanities.
Semester: autumn | Maximum number of visiting students: 2
Language: Serbian – available for international students
Theatre directing
Faculty of Dramatic ArtsStudy Programme: Theatre directing
Code: 044 | Course level: master | ECTS credits: 9
Professor: Alisa Stojanović
Description:
The goal of the course is a creative synthesis of elements of a directing expression within the complex tasks of directing.
Content of the course:
Design of the structure of complex theatre plays from the project to reception.
Design and process of working on the implementation of complex tasks of directing.
The plot, space, time and their interactions in directing structure of the play.
Specific genre approach in directing the complex theatre units. Contemporary styles. Genre – stylistic innovations.
Developing personal manner of directing. Director’s approach to plan, structure and rehearsal process.
Elements of director's composition in settings of complex directing tasks. Mass performances. Specific genres. Spectacle. Ambient and site-specific theatre. New forms in contemporary theatre.
Merging elements in the design of complex directing concept through the development of the play project. Director’s concept in correlation with conditions of production, budget and cast. Creation, composition and realization of all elements of complex theatre units in adequate organization model.
Learning outcomes:
Training students for creative professionals work on setting up complex directing tasks.
The goal of the course is a creative synthesis of elements of a directing expression within the complex tasks of directing.
Content of the course:
Design of the structure of complex theatre plays from the project to reception.
Design and process of working on the implementation of complex tasks of directing.
The plot, space, time and their interactions in directing structure of the play.
Specific genre approach in directing the complex theatre units. Contemporary styles. Genre – stylistic innovations.
Developing personal manner of directing. Director’s approach to plan, structure and rehearsal process.
Elements of director's composition in settings of complex directing tasks. Mass performances. Specific genres. Spectacle. Ambient and site-specific theatre. New forms in contemporary theatre.
Merging elements in the design of complex directing concept through the development of the play project. Director’s concept in correlation with conditions of production, budget and cast. Creation, composition and realization of all elements of complex theatre units in adequate organization model.
Learning outcomes:
Training students for creative professionals work on setting up complex directing tasks.
Entry requirements: Undergraduate studies from similar artistic fields.
Semester: Autumn & Spring | Number of semesters: 2 | Maximum number of visiting students: 3
Language: Serbian – available for international students
Contemporary Theatre – Directing the Classics – a
Faculty of Dramatic ArtsStudy Programme: Theory of Dramatic Arts and Media
Code: 278 | Course level: master | ECTS credits: 4
Professor: Ivan Medenica
Description:
The goal of the course is primarily to theoretically elaborate the concept of “classic drama” by referring to the contemporary literary theories and philosophical concepts (Barthes, Derrida, Eco), and then to determine what the possibilities are in staging this kind of drama. By referring to the French school of theatre semiotics (Dort, Übersfeld, Pavis) three main models in the directors‘ interpretation of drama classics are established - reconstruction, actualization and deconstruction.
In the context of post-dramatic theatre (Lehmann), there are different approaches, those who give up the hermeneutic understanding of “directing as interpretation” and treat (classical) drama on the basis of its non-discursive, associative, energetic and audio qualities.
Learning outcomes:
Students should understand the status and nature of the classical drama as multiply “unfinished”, in constant retreat from any fixed meaning (not a determined piece of art but a textual network), and understand what kind of different approaches/models of interpretation the drama classics in this sense can conjure in contemporary theatre, referring to contemporary literary theories and philosophical concepts. It is also important that students understand that no specific performance can unambiguously be reduced to any of those models (this is just a tendency towards some of the models), and that there are approaches that elude this classification, especially in the most recent, post-dramatic manners of directing.
The goal of the course is primarily to theoretically elaborate the concept of “classic drama” by referring to the contemporary literary theories and philosophical concepts (Barthes, Derrida, Eco), and then to determine what the possibilities are in staging this kind of drama. By referring to the French school of theatre semiotics (Dort, Übersfeld, Pavis) three main models in the directors‘ interpretation of drama classics are established - reconstruction, actualization and deconstruction.
In the context of post-dramatic theatre (Lehmann), there are different approaches, those who give up the hermeneutic understanding of “directing as interpretation” and treat (classical) drama on the basis of its non-discursive, associative, energetic and audio qualities.
Learning outcomes:
Students should understand the status and nature of the classical drama as multiply “unfinished”, in constant retreat from any fixed meaning (not a determined piece of art but a textual network), and understand what kind of different approaches/models of interpretation the drama classics in this sense can conjure in contemporary theatre, referring to contemporary literary theories and philosophical concepts. It is also important that students understand that no specific performance can unambiguously be reduced to any of those models (this is just a tendency towards some of the models), and that there are approaches that elude this classification, especially in the most recent, post-dramatic manners of directing.
Semester: autumn | Maximum number of visiting students: 3
Language: Serbian – available for international students
Contemporary Film Theory and Analysis
Faculty of Dramatic ArtsStudy Programme: Theory of Dramatic Arts and Media
Code: 277 | Course level: master | ECTS credits: 8
Professor: Prof. Nevena Daković, PhD; Aleksandra Milovanović, PhD, associate professor
Description:
The aim of the course is to provide the detailed knowledge of the contemporary film theories and the development of the analytical competences and skills of MA students demanded for the research of the contemporary world cinema. The applied theories range from classical to post-classical with an emphasis on genre hybridization, fragmentary narration, inter- and transtextuality as well as complex relationship of text and context (cultural, ideological, etc.).
Learning outcomes:
Upon completion of the course, the student is expected to have mastered contemporary theories of interpretation and analysis of the film texts.
The aim of the course is to provide the detailed knowledge of the contemporary film theories and the development of the analytical competences and skills of MA students demanded for the research of the contemporary world cinema. The applied theories range from classical to post-classical with an emphasis on genre hybridization, fragmentary narration, inter- and transtextuality as well as complex relationship of text and context (cultural, ideological, etc.).
Learning outcomes:
Upon completion of the course, the student is expected to have mastered contemporary theories of interpretation and analysis of the film texts.
Entry requirements: Enrolled in master studies
Semester: autumn | Maximum number of visiting students: 3
Language: SER/ENG
Psychology of Art
Faculty of Dramatic ArtsStudy Programme: Theory of Dramatic Arts and Media
Code: 16M272a | Course level: master | ECTS credits: 5
Professor: Irena Ristć
Description:
The course is focused on examining the phenomenon of art, taking into account three elements: an artist, an artwork and an audience, as well as two paths: from artist to the artwork (research of the creative process), and from artwork to the audience (research of aesthetic perception). With a review of psychodynamic interpretations in the study of motivation, gestalt and cognitive theory of art, but also the reach of new experimental aesthetics among others, students are introduced to contemporary psychological research and dynamic models that tend to explain art, its functions and outcomes. A special focus is on analysis of psychological portraits in dramatic structures.
Learning outcomes:
At the end of the course, students are expected to be able to independently analyze relevant theories and research in the field of psychology of art and experimental aesthetics, with the competence of applying the acquired psychological knowledge creatively and developing critical thinking in a historical-cultural context.
The course is focused on examining the phenomenon of art, taking into account three elements: an artist, an artwork and an audience, as well as two paths: from artist to the artwork (research of the creative process), and from artwork to the audience (research of aesthetic perception). With a review of psychodynamic interpretations in the study of motivation, gestalt and cognitive theory of art, but also the reach of new experimental aesthetics among others, students are introduced to contemporary psychological research and dynamic models that tend to explain art, its functions and outcomes. A special focus is on analysis of psychological portraits in dramatic structures.
Learning outcomes:
At the end of the course, students are expected to be able to independently analyze relevant theories and research in the field of psychology of art and experimental aesthetics, with the competence of applying the acquired psychological knowledge creatively and developing critical thinking in a historical-cultural context.
Semester: spring | Maximum number of visiting students: 3
Language: Serbian – available for international students
