Base Knowledge
N/A
Teaching Methodologies
Individual and collective works shall be carried out, using reference texts from Portuguese and world dramaturgy. Initially, the student will learn to value the dramaturgical work and integrate it with advantage in his creative process. In a second phase, will be guided in the creation of characters and inthe relentless development of its expressive limits.
Exclusively continuous evaluation
Presencial participation in class is mandatory.
Criteria:
Technical capability, artistic creation, on the basis of the work presented in the classroom – 80%.
Punctuality, integration in the working group, active and stimulant participation in the working group in class – 20%
CONDITIONS OF ACCESS TO APPEAL OR IMPROVEMENT EXAMINATION
-attendence in 50% of scheduled classes
-8 values in the frequency evaluation
Learning Results
The student should be able to:
1. Creatively approach the great texts of the theatrical tradition, discovering its scenic possibilities.
2. Overcome any difficulties, notably linguistic, stylistic, rhythmic that they can raise.
3. To contribute to the creation, within the working group, a true dramaturgical ‘ State of mind ‘, as Bernard Dort proposed.
4. Develop the ability to make reasoned arguments and learn to productively integrate the views of other elements of the class.
5. Create characters from the dramaturgic well-based options.
6. Recognize and learn to apply techniques of representation from Stanislavsky school, to Brechtian tradition.
Program
1. Dramaturgical Work on one or more texts of theatrical tradition. The choice should, as much as possible, fall on texts by the same author, so the whole gang can have a better understanding of the playwright’s universe under study.
2. The work of the table will be a decisive step in the consolidation of a creative collective both in the process of defining common objectives, broadening the range of options and the dramaturgic basing future choices.
3. The dramaturgical work should promote the part of weightlessness that is characteristic of the entire creative process, an exercise in listening and waiting.
4. From the theoretical point of view, the student must still be confronted with different theories of representation such as those of Stanislavski or Brecht
Curricular Unit Teachers
Pedro Miguel Gonçalves de Lamas e SousaGrading Methods
- - Punctuality and Work Group Integration - 20.0%
- - Technical Domain and Artitstic Creation - 80.0%
Internship(s)
NAO
Bibliography
ADLER, Stella. (2015). Técnica da representação teatral. Rio de Janeiro: Civilização Brasileira.
BENEDETTI, Jean. (2008). Stanislavski and the actor: the final acting lessons. London: Bloomsbury Methuen Drama.
BRECHT, Bertolt. (2005). Escritos sobre teatro. Rio de Janeiro: Nova Fronteira.
BROOK, Peter. (2011). A porta aberta: reflexões sobre a interpretação e o teatro (A. Mercado, Trad.). Rio de Janeiro: Civilização Brasileira.
HAGEN, Uta & FRANKEL, Haskel. (2007). Técnica para o ator: a arte da interpretação ética. São Paulo: Martins Fontes.
HODGE, Francis. (1994). Play directing: analysis, communication, and style. New Jersey: Prentice-Hall.
KNEBEL, Maria. (2020). Análise-ação. São Paulo: Editora 34.
STANISLAVSKI, Constantin. (2017). O trabalho do ator: diário de um aluno. São Paulo: Martins Fontes.
____________________________(1967). On the art of the stage. (2.ª ed). Londres: Faber and Faber.
TOPORKOV, Vassíli (2016). Stanislávski ensaia: memórias. São Paulo: É Realizações.
WAXBERG, Charles. (1998). The actor’s script: script analysis for performers. New Hampshire: Heinemann.