Le Grand Syllabus 2016/2017
- The ﬁrst six sessions are dedicated to writing activities ; - The second six sessions to acting and performances. We will work in group or individually to write short plays and monologues. In class, we ﬁrst read and discuss some texts and topics about Asian dramatic literature, related to our own researches. Then, the creative writing workshop starts, with some practical exercices and discussions with the whole group. Every student are really encouraged to participate. Regardless the work we've done after the ﬁrst six sessions, we will directly experiment them on stage. The creative writing workshop becomes a drama workshop. There is no exposé or academic work. The goal is to write plays together. Students will be asked to write dramatic texts, short plays and monologues. The workload is not overwhelming but consistent and regular. Students will be encouraged to keep on writing every weeks, as a normal writer does. Course Description : "At dead of night, the sun shines brilliantly in Shinra" Reported by Zeami in The Secret tradition of Noh "I'm nothing. I will never be anything. I could not want to be something. Apart from that, I have in me all the dreams in the world." Fernando Pessoa, The Tobacconist's "Writing your own world" is a guiding line for an author, who has to question Language, Reality and Society to write. The author and the actor of theatre share in common the mission to create a brand new world for the audience. They have in them "all the dreams in the world". By deﬁnition, dramatic writing and arts have no cultural boundaries as well. It deals with creating a world, where everything is deﬁned once again. This workshop is built around a "write-andplay" dynamic. The ﬁrst part is a creative writing workshop, where students are asked to write their stories. The second part consists in experiments where students are lead to discover their own texts by performing them directly on stage, after a short but solid initiation to performing arts. The two questions tackled : What is writing for theatre ? What is acting, through an engaged and physical perspective ? 158
This workshop has a multicultural dimension. A main theme will guide the semester, this year being "Splendour and Misery". We will read and analyse texts from Chinese and Japanese literature to take inspiration. The goal is not to mimic ancient or foreign forms but to take them as actual sources for our own creations. We will work in group, will share what we write and will try to create something presentable to an audience by the end of the semester. Main objectives : · Initiation to dramatic writing and dramatic poetry ; · Direct performance on stage of what we will write together ; · Initiation to ﬁnd one's personal way to write within a group of other writers ; · Comparative perspective with texts and traditions from Asian dramatic literature and performing arts. Required reading : Lao She, Beijing People, Five Generations Under One Roof.
RUSSIA FROM WEST TO EAST ? RUSSIA'S FOREIGN POLICY IN THE 21ST CENTURY
Semester : Autumn Number of hours : 24 Language of tuition : English
Teachers : Chemsa TORTCHINSKI (PhD. Lecturer). Pedagogical format : Elective Course validation : ORAL PARTICIPATION : 25% ; WEEKLY READINGS : 25% ; FINAL EXAM : 50% (paper, 2,500 words). Assignments This year I will not ask for oral presentations. Instead, we will focus on reading some fundamental texts, which will be commented by one or more students each week. At times, students will be assigned little exercises to add some ﬂesh to the methodological aspect of the seminar (a bibliography or some minor research on a particular topic).