Disclaimer:
Because the bridge holiday, the start of the course
postponed to next week.
THEATRE AND CINEMATOGRAPHY: DRAMATIC ANALYSIS PRINCIPLES APPLIED IN THE EVALUATION OF SPEECH FILM. An approximation.
OFFERED: MIRANDA ESTEBAN MONTES.
Course is an alternative approach to the relationship between the operating principles of the drama and the mechanisms and means of structuring the language of cinema.
Objective: The student assimilate the whole of theoretical and aesthetic concepts that allow the study of drama from its intrinsic qualities and apply them as means for assessing the dramatic qualities of the cinematic discourse.
Target audience: Professionals theater, literature, and film as well as students of these and related areas and the general public interested in the study of cinema.
Duration: 12 sessions of two hours
Hours: Monday 19:30 to 21:30 hrs.
Cost: $ 1,800.00
Home: September 20, 2010. / * New start date: September 27
AGENDA: I.
INTRODUCTION TO THE THEORY OF DRAMA
1. Approaches to study drama.
2. The focus of theoretical study of the play aesthetic.
3. Notion of reality and mechanism conception of the world.
II. AESTHETIC ELEMENTS OF THEORETICAL-ANALYSIS OF THE DRAMATIC WORKS.
1. Understanding the characteristics and constitution of Drama: the creative process (on) the process of reading and interpretation.
2. Outlook and dramatic construction: mimesis.
3. The universal and the relative: from myth to reality.
4. Style: definition, elements and levels of stylistic analysis.
A) The stylistic analysis of the play, mimetic process: selection of reality and reality.
B) The trial rational mimetic recognition and measurement of reality to build the drama: the ethics and morals.
C) The trial irrational, attention to emotion and emotion understanding: tone system - effect.
D) Design, evaluation and goal of dramatic construction: no selection no purpose, no trial without a position, there is no emotion without understanding: Theme and tone of the play.
5. The dramatic style, design and impact of the selection mechanisms: the probable and possible.
6. The realistic style: design ethics of the world.
7. The style idealistic moral conception of the world.
8. Conception the structure, the universal level of drama: genres.
9. And structuring mechanisms: sexual division of the play.
10. Performance features of the realistic genre. From conception and its consequences
: causality, character, story.
11. Performance characteristics of the genera idealists.
From conception and its consequences: the idealism. Chance, anecdotal complexity as a means of concealment causal. Ideally, the engine of dramatic action: fate, luck, chance, biological and social determinism. The simple character: the victim and hero. Idealization theme, the overall effect of the style. The sub-styles of idealism. Forms of idealization in accordance with the action-description (romance), analysis (naturalism); exteriorization (expressionism)
12. The grotesque and the selection mechanism of farce: the impossible. Substitution mechanism. Reality and myth: the tone and the effect of farce. The structure of farce: the sub genres.
III. Cinematic discourse.
1. Image and fiction. Sources and means of expression of film language, narrative, drama and visual speech.
2. Image and dramatic structure.
3. Review copies of the film works.
Reports: in apeironteatro@gmail.com
or Pilar Villanueva 0445514910837 or 0445529391792
with Esteban Montes.
MIRANDA ESTEBAN MONTES
(Cd de Mexico, March 23, 1971)
studied at the Center for Theatre Studies, Career Training for Beginners Actor (1989-1991), with a degree in Dramatic Literature and Theatre of the Faculty of Arts / UNAM, and the Diploma in Acting from the Centro Universitario de Teatro de la UNAM, Generation 2003-2007. Founding member of Apeiron Theatre Company directed by Fernando Martinez Monroy.
As an actor, he has participated, among others, in the staging: Where are you going Jeremiah? Minyana Phillippe, directed by Alberto Lomnitz and panding Villanueva (CUT Black Box, 2006); Equinox Luisa Josefina Hernández, Fernando Martínez Monroy address (CENART, 2008 / Do With You ... America, 2009); The strongest and most weak. Two chronic delusions, directed by Fernando Martinez Monroy (Do you ... America), and the treasure that no one has seen ... but everyone longs to Jorge A. Caballero Vega, directed by Fernando Martinez Monroy (CENART, 2009 / Do With You ... America, 2010).
As a director, include the following staging: My fate. Farce full of black humor, Ximena Lima Payan. (2004. Teatro Santa Fe IMSS) Cassander hell Cabaret presents: Pierrot Lunaire Op 21, Arnold Schönberg. A scenic journey, and La Voz schizophrenic. Contemporary music concert stage. (Teatro El Galeon Forest Cultural Center, 3rd. Festival Sound Mirrors, 2008.)
is a professor at the National School of Dramatic Arts, INBA. He has published film and theater critic and literary creation, the cultural supplement of the Saturday and Culture section of the newspaper Unomásuno (2005-2006), as well as publication apeironmagazine.com electronic
currently preparing the release of his debut: The thousand voices of the Dragon. A Japanese myth invented under his leadership (Teatro Salvador Novo, CENART).
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