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Writing of Scenarios / Basics of the Drama
Study Course Description
Course Description Statuss:Approved
Course Description Version:6.00
Study Course Accepted:02.02.2024 12:25:30
| Study Course Information | |||||||||
| Course Code: | KSK_057 | LQF level: | Level 6 | ||||||
| Credit Points: | 2.00 | ECTS: | 3.00 | ||||||
| Branch of Science: | Communication Sciences | Target Audience: | Communication Science | ||||||
| Study Course Supervisor | |||||||||
| Course Supervisor: | Alnis Stakle | ||||||||
| Study Course Implementer | |||||||||
| Structural Unit: | Faculty of Social Sciences | ||||||||
| The Head of Structural Unit: | |||||||||
| Contacts: | Dzirciema street 16, Rīga, szf rsu[pnkts]lv | ||||||||
| Study Course Planning | |||||||||
| Full-Time - Semester No.1 | |||||||||
| Lectures (count) | 6 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 12 | ||||
| Classes (count) | 4 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 8 | ||||
| Total Contact Hours | 20 | ||||||||
| Part-Time - Semester No.1 | |||||||||
| Lectures (count) | 5 | Lecture Length (academic hours) | 2 | Total Contact Hours of Lectures | 10 | ||||
| Classes (count) | 3 | Class Length (academic hours) | 2 | Total Contact Hours of Classes | 6 | ||||
| Total Contact Hours | 16 | ||||||||
| Study course description | |||||||||
| Preliminary Knowledge: | None. | ||||||||
| Objective: | Within the scope of the course students should obtain regularities of the drama theory, their use in the overview of the drama material regardless of the genre, as well as review in detail peculiarities of the drama genre of scenarios, their types and forms. | ||||||||
| Topic Layout (Full-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Regularities of the drama – copy of life processes and logics. | Lectures | 1.00 | auditorium | |||||
| 2 | Foundations of a drama text – nature, regularities of its creation, techniques. | Lectures | 1.00 | auditorium | |||||
| 3 | Story – technological foundations of the drama material. Paradox. Message of the drama work. Topics, idea and overarching task. | Lectures | 1.00 | auditorium | |||||
| 4 | Task: principles of creations of ideas of scenarios. Home assignment: development of an individual scenario scene. | Classes | 1.00 | auditorium | |||||
| 5 | Structure of a drama work – peculiarities and use of a three-act structure, other structures. | Lectures | 1.00 | auditorium | |||||
| 6 | Task: creation of characters in class for further development. Home assignment: “logline” of a scenario. | Classes | 1.00 | auditorium | |||||
| 7 | Structure of specific drama work. Cinematographic adaptation, dramatizations, advertising, video art. | Lectures | 1.00 | auditorium | |||||
| 8 | Reading and analysis of individual works. | Classes | 1.00 | auditorium | |||||
| 9 | Forms, types of scenarios, their technical recording and specifics. | Lectures | 1.00 | auditorium | |||||
| 10 | Reading and analysis of individual works. Discussions. | Classes | 1.00 | auditorium | |||||
| Topic Layout (Part-Time) | |||||||||
| No. | Topic | Type of Implementation | Number | Venue | |||||
| 1 | Regularities of the drama – copy of life processes and logics. | Lectures | 0.50 | auditorium | |||||
| 2 | Foundations of a drama text – nature, regularities of its creation, techniques. | Lectures | 0.50 | auditorium | |||||
| 3 | Story – technological foundations of the drama material. Paradox. Message of the drama work. Topics, idea and overarching task. | Lectures | 1.00 | auditorium | |||||
| 4 | Task: principles of creations of ideas of scenarios. Home assignment: development of an individual scenario scene. | Classes | 1.00 | auditorium | |||||
| 5 | Structure of a drama work – peculiarities and use of a three-act structure, other structures. | Lectures | 1.00 | auditorium | |||||
| 6 | Task: creation of characters in class for further development. Home assignment: “logline” of a scenario. | Classes | 1.00 | auditorium | |||||
| 7 | Structure of specific drama work. Cinematographic adaptation, dramatizations, advertising, video art. | Lectures | 1.00 | auditorium | |||||
| 8 | Reading and analysis of individual works. | Classes | 0.50 | auditorium | |||||
| 9 | Forms, types of scenarios, their technical recording and specifics. | Lectures | 1.00 | auditorium | |||||
| 10 | Reading and analysis of individual works. Discussions. | Classes | 0.50 | auditorium | |||||
| Assessment | |||||||||
| Unaided Work: | During a semester the student reads mandatory readings and internet sources. Students should share existing and obtained knowledge among themselves during lectures, during discussions outside lectures, thus developing their own and joint knowledge about writing of scenarios and the drama. | ||||||||
| Assessment Criteria: | The final mark is the sum of all marks. Knowledge will be assessed using 10-point grading system. Attendance of lectures – 15%. Participation in lectures (activity and quality of answers) – 20%. Fulfilment of tasks – 40%. Course project/examination – 25%. | ||||||||
| Final Examination (Full-Time): | Exam (Written) | ||||||||
| Final Examination (Part-Time): | Exam (Written) | ||||||||
| Learning Outcomes | |||||||||
| Knowledge: | Students know regularities of drama and belonging to the communication process. | ||||||||
| Skills: | Students know how to use skills in the analysis of drama structures, their peculiarities depending on the genre. | ||||||||
| Competencies: | Students are able to autonomously use theoretical knowledge and practical skills about writing of scenarios and drama, creating new ideas and approaches to personal projects. Able to autonomously plan and drive their professional improvement, deepening their understanding of the drama. | ||||||||
| Bibliography | |||||||||
| No. | Reference | ||||||||
| Required Reading | |||||||||
| 1 | Aristotelis, Poētika, Jāņa Rozes apgāds, 2008 | ||||||||
| 2 | Mitta, „Kino mezdu adom i rajem” – Podkova, 1999. | ||||||||
| 3 | L. Gundars, Dramatika jeb Racionālā poētika. – Darbnīcas, Rīga, 2009. | ||||||||
| 4 | Blake Snyder, Save The Cat! The Last Book on Screenwriting You'll Ever Need,Michael Wiese Productions, 2005 | ||||||||
| 5 | V.Šekspīra luga „Hamlets” | ||||||||
| 6 | Christina Kallas un John Howard, Creative Screenwriting: Understanding Emotional Structure, Palgrave, 2010 | ||||||||
| 7 | David Trottier, The Screenwriter's Bible, 6th Edition: A Complete Guide to Writing, Formatting, and Selling Your Script (Expanded & Updated) 6th Edition, Silman-James Press, 2014 | ||||||||
| 8 | Erik Bork, The Idea: The Seven Elements of a Viable Story for Screen, Stage or Fiction, Overfall Press, 2018 | ||||||||
| 9 | Jessica Brody, Save the Cat! Writes a Novel: The Last Book On Novel Writing You'll Ever Need, Ten Speed Press, 2018 | ||||||||
| Other Information Sources | |||||||||
| 1 | Filma PUNCH-DRUNK LOVE (http://www.imdb.com/title/tt0272338/?ref_=nv_sr_1) 2002.gads, rež. P.T.Andersons. | ||||||||
