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保加利亚戏剧专家及法国戏剧专家讲座通知

Prof. Dr. Kalina Stefanova(保加利亚戏剧专家)
ZOOMING IN ON THE NEW THEATRE MAP OF EASTERN EUROPE
东欧戏剧专题讲座
1
11/27 (周二) 900—1200 匈牙利、波兰和拉脱维亚政治新戏剧
2
11/29 (周四) 1400—1700 东欧舞台上的《哈姆雷特》:象征、文本与次文本
3
11/30(周五) 1400—1700 塞尔维亚、斯洛文尼亚和波兰戏剧

Prof. BLANC, André
安德烈·布朗(法国戏剧专家)
莫里哀专题讲座
1
12/4(周二) 900—1200 莫里哀其人
2
12/6(周四) 1400—1700 莫里哀与芭蕾喜剧
3
12/7(周五) 1400—1700 莫里哀社会喜剧代表作:从《太太学堂》到《女才子》
4
12/10(周一)1400—1700 如何上演莫里哀:当今的导演作品
5
12/11(周二)900—1200 莫里哀的喜剧手段

讲座地点:紫藤庐
主办:研究生部

附:

保加利亚专家东欧戏剧专题讲座内容:

ZOOMING IN ON THE NEW THEATRE MAP OF EASTERN EUROPE
1. Three Faces of the New Political Theatre of Eastern Europe
匈牙利、波兰和拉脱维亚政治新戏剧
(Close-ups from the stages of Hungary, Poland, and Latvia)
2
In the Mirror of Hamlet: Symbols, Text and Subtext on Eastern东欧舞台上的《哈姆雷特》:象征、文本与次文本
European Stages
(Close-ups from Poland and Lithuania)
3
Sensuousness and Sensibility: a Trademark of Eastern European Theatre塞尔维亚、斯洛文尼亚和波兰戏剧
(Close-ups from the stages of Serbia, Slovenia, and Poland)

The three lectures will be an introduction to some of the most extraordinary players (theatre-makers and companies) and tendencies on Eastern European stages.

A pile of facts and figures should not be expected from these mini-series, though! They are about great theatre, and great theatre, as a vertical and live three-dimensional experience, is naturally an outcry against superficiality—the current mode of living (which is horizontal and so devoid of depth that it becomes close to the two-dimensional). Today’s fast pace of life (i.e. jumping from one thing to another) coupled with the obsession with information is an epitome of this superficiality: information and pace overwhelm and devours us, and, worst of all, channel our thinking on the surface of things.

So, rather than offering information (which anyway could easily be found on the NET), the aim of the three lectures is to create a palpable feeling of the flesh-and-blood of the nowadays Eastern European theatre.

Therefore the phrase “close-ups” in the subtitles is not used just for effect and only metaphorically. First, there will be literal close-ups (original DVD recordings of shows will be projected) and, most important, the lectures are not recycled thoughts and theories; they are based exclusively on personal experience of and contemplation on the shows in question and contemporary Eastern European theatre on the whole. They offer the viewpoint of a critic who considers every piece of great theatre as a live and very mysterious creature dwelling in the territory of the irrational and sneering at every attempt of theory to explain and put order in the realm of beauty and magic.

The first lecture will zoom in on three shows of a very different style, yet on the same view-point wave—BlackLand of Arpad Schilling (Hungary), Oresteia of Ian Klata (Poland) and Long Life of Alvis Hermanis (Latvia)—three shows which are a great example of the extraordinary diverse face of Eastern Europe’s new political theatre.

The second lecture will have as its spring-board two texts on Hamlet and theatre by two Polish theatre critics and will present then two Hamlets, as read/felt/seen by of Oskaras Korsonovas and Eimuntas Nekrosius (Lithuania).

The third lecture will focus on two shows representing the Eastern European theatre trademark of sensuousness in two entirely different type of shows—one epic and one chamber-like: Simeon the Foundling of Tomi Janejic (Serbia/Slovenia) and Macbeth of The Song of the Goat (Poland).
Kalina Stefanova Ph.D. is the author/editor of 14 books. 12 of them are on theatre, three of which (in English) have been launched in New York and London. Her theatre books have received critical acclaim in 15 countries. Her articles have been published in 23 languages in 25 countries. She has been a Fulbright Visiting Scholar at New York University, USA, and a Visiting Scholar at the University of Cape Town, South Africa, and Meiji University, Japan. She has delivered lectures and led seminars in many other countries as well: China, Russia, Chile, Canada, South Korea, Singapore etc. She has been on the jury of a number of international theatre and arts events and festivals, and has served several times as a theatre expert for the EC. In 2007 she was dramaturge of the highly acclaimed production of Pentecost at the Stratford Festival of Canada. She served as Vice President of the International Association of Theatre Critics (IATC) for two mandates and as its Director Symposia for two mandates as well. Currently she is Full Professor of Theatre Studies and Arts at the National Academy of Theatre and Film Arts, Sofia.

Dr. Stefanova is the author of two fiction books as well. The first one of them, Ann’s Dwarves, which brought her comparisons with Exupery, has been published in Bulgaria, Macedonia, South Korea, Portugal, Brazil, Spain, Japan, and Vietnam, and has just come out in China.