Checking date: 19/05/2022

Course: 2022/2023

Analysis of performative discourse
Study: Bachelor in Cultural Studies (364)

Coordinating teacher: CONTE IMBERT, DAVID

Department assigned to the subject: Department of Humanities: Philosophy, Language, Literature Theory

Type: Compulsory
ECTS Credits: 6.0 ECTS


Skills and learning outcomes
Description of contents: programme
In this course, the bases of critical analysis of most relevant present performances will be studied attending the paridigm of Erika Fischer Lichte ¿aesthetics of performative¿ that includes Lehman¿s postdramatical theories of drama or Abuín¿s stages of chaos and nonlineal performing dynamics. The methodological proposal of P. Pavis for analysing performances will be studied as well. On top of this, not only the use of non convetional spaces but also the new value of body as discourse and the creation of rizomatic proposals turn the performative discourse into a valuable practice to analyse a series of important aspects that include the political meaning of performance, the problem of representation: mechanisms of sustitution and restitution against mechanisms of significance; the specifity of scenic arts; the relations betwen ethics and aesthetic; reality in contemporary scenery; tension between reality and fiction, the person and the character or the performativity, intermediality and lively arts for constructing memory and identity. Therefore, it should be highlight that proposals such as Street Theater, Selfdrama, political theater (verbatim theatre or in yer face), as well as hibrid artistic practices or artists who are interested in hibrid spaces will be studied; from Joseph Beuys to Guillermo Gómez-Peña including Marina Abramovic, Cindy Sherman or La Ribot among others. The program may include: 1. The history of Performance art: dramatic practices of the beginning of the Twentieth Century. Modern Dance and the Avant-gardes. 2. Presence and use of body language. 3. Tension betweeen the body and the word. The silence. 4. Hierarchy of performative languages. Subversive practices. 5. Relationship between music, space and movement. 6. Plastic elements and performance. 7. Using and creating non coventional theatre spaces. 8. From inidividual to collective creation. The spectator as performer.
Assessment System
  • % end-of-term-examination 60
  • % of continuous assessment (assigments, laboratory, practicals...) 40

The course syllabus may change due academic events or other reasons.