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MONROY FERNANDO MARTÍNEZ.
STAGE MANAGEMENT DIPLOMA
first module.
Diploma
that from a theoretical aesthetic, will raise the basic principles and concepts of stage direction for the development of artistic practice.
To: acting and directing students in recent years and graduate degrees in theater, film students and professionals.
Duration: 13 sessions of 3 hours once a week.
Hours: Saturday from 12:00 to 15:00.
Cost: $ 1,800.00
Space is limited to 15 students.
Home: September 18, 2010. / * New start date: 25
septimbre
OBJECTIVES:
• Turning theory into artistic experience through practical application of a number of fundamental concepts of stage direction.
• The student will recognize the need to establish a definite point of view as key to the development of artistic practice of stage direction through the acquisition of theoretical analysis tools aesthetic.
• The student will differentiate their expressive needs of the subject, structure and all elements involved in the design of a text.
• The student will solve stage a scene from a classic.
AGENDA:
A) dramatic theory.
1. The crucial idea of \u200b\u200bany vital process of human beings: the Conception of the world.
1.1. The universal conception of the world (ethics).
1.2. Particular conception of the world (morality.)
1.3. The particular design of the Theatre (history)
1.4. The universal design of the theater (Towards a Theory of Drama).
1.5. The concept as a mechanism capable of being recognized in the structure of drama. The Conception of the world as a criterion:
1.5.1. Selection.
1.5.2. Synthesis.
1.5.3. Structure.
II. Drama and theater.
2.1. Definition of drama (Construction of the Pitch)
2.2. Theater.
III. The style
3.1. The historical dimension of style: the current.
3.1.1. Different perspectives for staging.
3.2. Updated style of a classic text.
B) dramatic theory applied: early stage director.
IV. Textual analysis focused on the dramatic action and character to character.
4.1. The other elements of tone:
4.1.1. Implicit: 4.1.2
pace and intensity. Explicit: music, sets, costumes, atmosphere.
4.2. Minimal analysis of the action: the score of actions.
V. Staging.
5.1. Tools of plastic composition and spatial organization.
5.2. Action and style stylistic multiplicity and diversity of structure and stage dramatic text.
VI. Conclusion: The stage direction as a process of harmonization tonal and stylistic articulation of dramatic action on stage. ___________________________________________
DIPLOMA OF DRAMATIC ANALYSIS.
divided into 8 modules of three months each, one session a week, two hours, for a total of 192 hours of theoretical sessions and practical, which under the model of seminar, there will be reading classic works of dramatic literature. Diploma
that will expose the Theory of Drama as a means for recognizing the intellectual, emotional and spiritual structures that give rise to concrete and abstract of the play and result in mechanisms and systems that can be recognized in the drama, identifying a dramatic analysis model closely related to the reality of the texts themselves, allowing their use as a tool of understanding for practical application in the scene.
First Module: Introductory .
To: Professionals and students of theater, film, literature and related areas, as well as the general public interested in understanding the dramatic text.
Duration: 12 sessions of two hours.
Hours: Saturdays from 16:00 to 18:00 hrs.
Cost: $ 1,800.00 (first module)
Home: September 18, 2010. / * New start date: September 25
QUALIFIED GENERAL OBJECTIVES:
I. The student differentiates the concepts related to the drama from the definition of drama as the universal, generic and stylistic forms as particular and individual work itself as to have a clear view of the systematic nature of the self work is generated and that enable dramatic theory.
II. By reconstructing the creative process, students learn about the processes intellectual, emotional and spiritual issues that give rise to concrete and abstract structures of the play and result in mechanisms and systems (design, style, tone and effect, gender) that could be recognized in the drama.
III. The student will recognize text in the study of dramatic dramatic analysis model closely related to the reality of the texts themselves which allows you to use as a tool both for understanding the dialectical process of drama as for the practical application stage.
SPECIFIC OBJECTIVES:
AT THE END OF THE QUALIFIED:
I. The student will recognize in practice the structures analysis of realistic style and genre.
II. The student will recognize the practice of analyzing the structures idealistic style and genre.
QUALIFIED GENERAL AGENDA:
INTRODUCTION: The disciplines traditionally applied to the study of theater.
0. The general problem, the particular and individual
1. Differences between theory and history.
FIRST DRIVE: THE THEORY OF THE DRAMA.
I. THE FORMATION PROCESS mimicry and STYLE.
1.1. Mimesis and the process of construction of fiction.
1.1.1. Reality and perception reality.
1.1.2. Truth
1.1.3. The true
1.1.4. Verisimilitude
1.2. The crucial idea of \u200b\u200bany vital process of human beings: the Conception of the world.
1.2.1. The universal conception of the world (ethics).
1.2.2. Particular conception of the world (morality.)
1.1.3. The particular design of the Theatre (history)
1.1.4. The universal design of the theater (Towards a Theory of Drama).
1.1.5. The concept as a mechanism capable of being recognized in the structure of drama. The conception of the world as a criterion:
1.1.5.1. Selection.
1.1.5.2. Synthesis.
1.1.5.3. Structure.
1.3. Purpose of the theory:
1.3.1. The theory as a means of understanding the object of study.
1.3.1.1. Theories dramatic.
1.3.2. The theory and purpose:
1.3.2.1. Justification for theories beyond the object of study but applied to him by extension
1.3.2.1.1. The case of semiology.
1.4. The dynamic scheme (Synthesis morphological subject)
1.4.1. Inability to aggregate (total vision of reality).
1.4.2. Possibility of essentializing (synthesis)
1.5. The drama as a body (The organic conception of man and Reality: different levels-structural concept.)
II. DEFINITION OF DRAMA (Towards a definition of organic in a dynamic scheme)
2.1. Action (the process of action and its effect on the viewer)
2.1.1. Character and ethical-moral view
2.1.2. Intellectual character and judgment / emotional.
2.2. General levels of understanding.
2.2.1. Rational or intellectual level: Theme
2.2.2. Irrational or emotional level: Tone.
2.3. Dialectical structure of the drama:
2.3.1. Dramatic conflict.
2.3.2. Dramatic action.
2.3.3. Essentializing condition of drama.
III. THE process of stylization.
3.1. The formation Style:
3.1.1. The world view denotative and its potential in the actions of man.
3.1.2. Technical and selection of tools.
3.2. The meanings of the concept of Style:
3.2.1. General or universal style.
3.2.2. Particular style or historical (current).
3.2.3. Individual or personal style. (School).
3.3. General or Universal Styles:
3.1. Realism.
3.1.1. The material may
3.1.1.1. The mechanism of causation.
3.1.1.2. Responsibility and ethics (the Absolute).
3.1.1.3. The theme of realism
condition 3.1.2. The nature and causes generated effects.
3.1.3. The general theme of realism: man's responsibility for their actions:
3.1.3.1. Will conscious decision and action.
3.1.3.1. Will unconscious decision and action.
3.2. Idealism.
3.2.1. The material may
3.2.1.1. The mechanism of chance (the result uncaused).
3.2.1.2. The destination or the Western conception of life: Determinism.
3.2.1.3. Other factors: good or bad luck, biological or social factors, chance,
3.2.1.2. Impossibility of man's responsibility: the mythical dimension.
3.2.1.3. Anecdotal status of idealism.
3.2.2. Psychological simplicity.
3.2.3. The overall theme of idealism: Determinism and the victim.
3.1.3.1. Conception moral determinism (the Relative)
3.3. The generality of particular currents or particular styles:
3.3.1. Baroque.
3.3.2. Romanticism.
3.3.3. Neoclassical.
3.3.4. Naturalism.
3.3.5. Expressionism.
3.3.6. Magical realism.
3.3.7. Symbolism.
3.3. The Grotesque.
III. GENDER.
1. DEFINITION.
4.1. The concept of gender.
4.2. Gender as a synthetic model of harmony.
4.3. Gender as a result of style process.
4.4. Gender as a structural-thematic intent of the author.
4.5. The drama and drama theory.
4.6. The theoretical methods are not dramatic but applied by extension to the study of drama:
4.6.1. Semiology.
4.6.2. Structuralism.
4.6.3. Psychoanalysis.
4.6.4. History.
4.6.5. Anthropology.
4.6.6. Sociology.
2. And drama: TOWARDS A CRITICAL ANALYSIS MODEL.
4.2. Gender as abstraction synthetic organic nature of drama.
4.3. Gender as a general summary of a set of texts.
4.4. Gender as a proven model.
4.5. Gender as archetypal conception of reality (harmonic drive model):
Aristotelian unities.
Actual units.
4.6. Gender as a Conceptual expectation or emotional bias for the viewer.
4.7. The elements of the genre:
4.7.1. The trajectory of the protagonist as a reason structuring.
4.7.2. Conception-style system.
4.7.3. System-tone effect.
SECOND UNIT. GENDER OF REALISM.
V. GENDER REALISTIC.
5.1. The three planes of action of realism:
5.1.1. The ethical, divine or cosmic.
5.1.2. The individual human level (moral)
5.1.3. The dimension of reality: The unconscious mechanism as a generator of tragic actions.
5.1.4. The social or moral.
5.1.5. The dimension of myth.
VI. THE TRAGEDY.
6.1. Background.
6.2. Tragic conception of reality: Design issue.
6.2.1. Man and cosmos
6.3. The mechanism tragic theme and overall structure of the tragedy
6.3.1. Character.
6.3.2. Circumstances.
6.3.3. Passion.
6.3.4. Breach of ethics, or Harmati tragic failure.
6.3.5. Moral transgression.
6.3.6. Cosmos and chaos.
6.3.7. Destruction.
6.3.8. Tragic catharsis.
6.4. Species in the tragic:
6.4.1. 6.4.2
tragedy of destruction. Tragedy of sublimation:
6.4.2.1. Reflection and discernment, the tragic character.
6.5. The subspecies of the tragedy of destruction:
6.5.1. Tragedy of error.
6.6. The lessons of the tragedy of error:
6.6.1. 6.6.2
tragedy of despair. Tragedy of atonement.
6.7. Tragedy of character.
6.7.1. The concept of comparative figure as an element of balance in the destructive path of the protagonist.
VII. COMEDY.
7.1. Background
7.2. The action plans of Comedy.
7.3. Comic.
7.3.1. Vice.
7.3.2. Ridicule.
7.4. General topic.
7.5. General structure:
7.5.1. Individual service.
7.5.2. Social vice.
7.5.3. The core virtues.
7.6. The comic effect:
7.6.1. The moral.
7.6.2. Third-person identification.
7.7. The species of the comic.
7.7.1. Realistic and unrealistic Comedy (Comedy Happy ending: Comedy sitcom conflict)
VIII. The part
8.1. Background and creation of a single non-classical genre.
8.2. The action plans of the piece.
8.2.1. Internal action:
8.2.1.1. The complex portrait of the character.
8.2.1.2. The emotional containment, domestic action.
8.2.2. Physical action.
8.3. The formal conception of the piece.
8.3.1. Different types of structures:
8.3.1.1. Aristotelian structure.
8.3.1.2. Structural experiments.
8.4. The tone daily.
8.5. The overall theme of the piece.
8.6. The catharsis of the piece.
third unit. GENDER OF IDEALISM (PART)
IX. Idealist Gender
9.1. The two planes of action of idealism:
9.1.1. The individual human level (moral)
9.1.2. The social or moral.
9.2. The dimension of myth.
9.3. Deterministic vision and its impact on gender and style.
9.3.1. Several factors deterministic.
X. The Melodrama.
10.1. Background
10.2. The action plans of Melodrama.
10.3. The complexity Anecdotal
10.4. The typical or archetypal character.
10.5. Manichean structure: the clash of values.
10.6. Pathetic tone.
10.6.1. Anecdotal Resources: The suspense.
10.6.1.1. The suspense for knowledge of the future.
10.6.1.2. The suspense out of ignorance of the future.
10.7. The effect melodramatic
10.7.1. False identification: the idealization melodramatic.
10.7.2. Fun.
XI. Tragicomedy.
11.1. Background.
11.2. The action plans
Tragicomedia 11.3. Tragicomic structure:
11.3.1. Meta
11.3.2. Obstacle.
11.4. The tragicomic two-tone:
11.4.1. The serious tone.
11.4.2. The comic tone.
11.5. The two mechanisms tragicomic:
11.5.1. The size Probable human. The cause and effect in human actions.
11.5.2. Possible dimension: the individual. Personal history of individuals.
11.6. The figure of the hero.
11.7. The mythical background of tragicomedy.
11.8. The tragi-comedy and children's stories.
11.8.1. Proop Theory.
11.8.2. Tragicomedy and schema actantial.
11.9. The tragicomic effect.
third unit. GENDER OF IDEALISM (PART TWO).
XII. COMEDY COMEDY IDEALIST O HAPPY ENDING.
12.1. Background.
12.2. The action plans of the comedy Happy End.
12.3. The terms of commercial (or Machiavellian)
12.4. General structure.
12.5. General topic.
12.6. Funny tone.
12.7. Arbitrary consequences:
12.7.1. The mechanism of the Deux ex Machina.
12.7.1.1. As a physical machine.
12.7.1.2. As a technical resource to achieve the happy ending.
12.8. The effect of a hobby.
XIII .- THE EDUCATIONAL WORK.
13.1. Background.
13.2. The Action Plan of the Work Teaching.
13.3. The social conception:
13.3.1. Religious level.
13.3.2. Political level.
13.4. The design logic and dialectic structure: syllogism.
13.5. Informative tone.
13.6. The species of teaching.
14.6.1. The didactic work with comic material.
14.6.2. The didactic work with melodramatic material.
13.7. The alienation effect.
13.8. Didactic intent and effect.
14.8.1. Aesthetic resources of the didactic genre.
13.9. The subspecies of the Religious Teaching Work:
14.9.1. Auto Sacramental. Corpus Christie.
14.9.2. Mysteries: The pastorals and Easter crafts.
14.9.3. Moralities.
14.9.4. Milagros.
13.10. The effect on the viewer: acquisition of ideological stance, confirmation of ideological stance, change to the above ideological stance.
XIV. FARCE.
14.1. Background.
14.2. The farcical concept.
14.2.1. The mechanism of symbolization or replacement of reality.
14.3. The material impossible.
14.3.1. Sleep and its relationship with the grotesque as a direct reference to reality.
14.4. The tone grotesque.
14.5. The catharsis farcical.
15.6. The structure of the farce.
14.6.1. The subgenera of farce.
14.7. The farcical character. __________________________________________
Playwriting Workshop.
Workshop in which through recognition of the structural characteristics of Drama, will seek to identify and point out the thematic and structural elements of drama in general, their effective functioning and poor, as a principle of assimilation of the expressive means of drama for the subsequent development of consistent practice dramatic creation.
Target audience: Professionals theater, film, literature, radio and television, students from related fields and interested public.
Duration: First module 12 sessions of 3 hours.
Hours: Thursday from 19:00 to 22:00 hours.
Cost: $ 1,800.00 (first module)
Home: September 23, 2010 / * New start date: September 30
minimum contents offered:
THEORETICAL ASPECTS:
I. THE DRAMA.
1.2. Towards a dynamic definition of drama.
1.3. The complexity of the concept of drama.
II. THE DRAMA AS MIMESIS.
2.1. The conception of the world as an element capable of being recognized in the drama.
2.2. The conception of the world as a selection mechanism, synthesis and structure of reality: The theme.
2.3. The Vitality: The passionate love of life and synthetic
PRACTICAL ISSUES:
content for this subject refer to the practical work of the Drama exercises following an approach that follow a sequence of complexity.
The exercises will be designed in accordance with the suggested below:
- exercises through which students can distinguish in practice the conflict, action, character, history, story and plot development creation of a dramatic text.
- Development of dialogue from the conflict and dramatic action. Approach of character pace and intensity.
- Exercises to analyze the functions of space time in which the action unfolds, and the sequences that make up the text.
- exercises in which it is clear the use of stage directions or dimensions as referring to the shape of the plot.
- exercises in which to develop the role of tone and the elements that comprise it (rhythm and intensity). Rhythmic exercises and intensity to three characters from the given circumstances.
- practice exercises with which the logical construction of the dramatic text, mainstay of the likelihood principle.
Playwriting Workshop II
Objectives:
The student will perform several exercises that will gradually complexity from the creation of dialogues and dramatic conflict situation posed to the composition of a short work. The sense of the exercises will focus on the structural fitness, credibility, character building, emotion, intensity and rhythm.
proposed minimum Contents:
The one-act play. Structuring of the facts
From a story.
From character.
From a given tone.
From a structure.
From a theme. Structuring
of the facts. Making
action schemes prior to writing.
Playwriting Workshop III
The student will perform various exercises and extensive work to adapt and paraphrase. The sense of the exercises will focus on the structural fitness, credibility, character building, emotion, intensity and rhythm.
proposed minimum Contents: I.
Creating extensive work:
1.1. Works in action.
1.2. Works in paintings.
1.3. Free development works according to theme.
II. Adaptation.
2.1. The adaptation of a play another drama:
2.1.1. Changing gender and style.
2.1.2. Reduction and extension characters.
2.1.3. The adaptation of a dramatic narrative to
III. Paraphrase.
3.1. The concept of paraphrasing.
3.2. Making a paraphrase of a classic given according to needs. _________________________________________
PERMANENT SEMINAR
"FROM SHAKESPEARE SHAKESPEARE"
DRAMATIC READING OF HIS WORK
COMPLETE.
This week will be analyzed: Much Ado About Nothing.
Target audience: Professionals theater, film, literature, students of related fields and interested public .
Duration: permanent seminar.
Hours: Sundays from 20:00 to 22:00 hours.
Cost: Registration $ 1,000.00 / Monthly $ 250.00
* Open Enrollment
Reports: in apeironteatro@gmail.com
or Pilar Villanueva 0445514910837
or with Esteban Montes 0445529391792
MONROY FERNANDO MARTÍNEZ
a BA in Dramatic Literature and Theater by the National Autonomous University of Mexico, a Ph.D. candidate in Philosophy from the Universidad Complutense de Madrid. Fellow "Salvador Novo" of the Mexican Center of Writers in the Field of Drama two consecutive terms (1986-1987), (1987-1988). He received the National Fine Arts Fellowship, National Institute of Fine Arts, also in the area of \u200b\u200bdrama, (1989-1990).
was Associate Professor at the Department of Luisa Josefina Hernández since 1987, the Faculty of Philosophy and Letters, National Autonomous University of Mexico who replaced in the subjects: "Drama Theory" and "Dramatic Writing Workshop" Bachelor of Arts in Drama and Theatre / UNAM. He is also Professor at the National School of Dramatic Arts National Institute of Fine Arts and the Centro Universitario de Teatro (CUT)
has been Coordinator of the National Center for Documentation of Research, documentation and information "Rodolfo Usigli (CITRU).
has worked as a television writer, theater critic in newspapers and magazines (The Economist, Scenic Mail, Saturday and Culture Paso Unomásuno and cat) has given courses and lectures on "Theory dramatic," has published prefaces, trials, as well as drama, in anthologies and magazine Tramoya.
is founder and director of the Apeiron Theatre Company (1997). Since March 1997, is director of the Permanent Seminar Drama theory Apeiron Theatre Company
Has the work of dramaturgy and dramatic guidance for directors as Ludwik Margules, Martín Acosta, Ignacio Escarcega, Alejandro Velis, Claudia Rios, Miguel Flores and Raquel Araujo.
Author and director names ambition, (2000); ... and dwelt among us, (2001) concert stage for tubular bells, church bell, organ, piano, two actors and an actress. Original Music and Musical Director: Rafael Rivera. Five monologues and Route (2004) with which, Pilar Villanueva won the award for best actress for APT and AMCT. Murdered by his work life Frida was released in February 2008 in Tampico, Tamaulipas, took second place as "best work" in the free category State Theatre Competition "Rafael Solana" 2008, with Sandra Muñoz received her award for "Best Actress." In the month of May, "Murdered by the life Frida" was released in the city of Holguin, Cuba, during the "May Festival." His work Animas. Ghost Masquerade, was released in October 2008 in the Museo del Carmen. He is founder and director of the electronic journal Apeiron Magazine
As stage director has done: Electra, by Sophocles (2000), Via Dolorosa by David Hare (2000) was Director of The Little Theatre of pocket, (2002) integrated project by students in playwriting, acting and direction FFyL / UNAM, CUT and ENAT. He has directed, Luisa Josefina Hernández: Certain things are figurations, (Certain things and figurations, 2003), The Secret Friend (2005), The King's daughter (2005) and Equinox (2008); The strongest and the weakest. Two chronic delusions (show consists of texts of Strindberg and Chekhov). It has also been in charge during 2007-2008 Workshop V staging in Theatre Arts degree from the Faculty of Humanities UAEM for which directed the staging of Molière's The Misanthrope, released 2008.En in September 2009 led the treasure that no one has seen but everyone longs, Jorge A. Caballero. You are currently runs Pancho Villa, Alberto Ruiz, of the upcoming in November 2010.
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