Base Knowledge
Interpretation 1
Teaching Methodologies
The student should be able to: -Develop an acute awareness of the requirements of the work within a
collective. -Develop the ability of self-motivation and be able to encourage the work of the group. -Develop
not only a keen critical sense, but also a sense of humor about his work and the work of the group. -Identify
and gradually overcome his difficulties as an actor. Learn how to deal with the dramatic text creatively,
always betting on the discovery of its scenic possibilities -Develop the ability to create scenes between
groups of work.
Learning Results
The student should be able to:
- Develop awareness of the demands of a creator's work in a collaborative space, which puts the collective and the singular in tension;
-Expand the dimensions of the work of an actor/actress as a creator;
- Identify and progressively overcome your difficulties as a breeder;
- Develop work of dramatic analysis on the dramatic text (Stanislavski by Actioning/ Max Stafford-Clark and active analysis);
- Develop forms of appropriation (dramatic rewriting / Bertolt Brecht ; Space / Tension levels / Jacques Lecoq; Composition/ Points of view / Anne Bogart);
- Develop a creation exercise from a dramatic text.
Program
The student should be able to:
I work of dramaturgical analysis; the Universe of the author, the dramatic action, the events, the
circumstance, the transitions, language, characters; the foundation of the dramatic choices. II Passage of the
texto to scene: space-body-text; 3 perform and present of small scenes of collaborative work
Grading Methods
The assessment is exclusively continuous (100%) as stated in Art 13.5 – Academic Regulation of the 1st Cycle of Studies at ESEC and will be carried out throughout the sessions, based on the following criteria:
1) Technical domain, application of theoretical knowledge and artistic creation, based on the exercises presented in class - 25%
2) Punctuality, integration in the work group and active and stimulating participation – 30%.
3) Elaboration and presentation of a dramatic exercise - 45%
SPECIFIC CONDITIONS OF ACCESS TO ASSESSMENT BY EXAMINATION OR RESOURCE
1. In order to access the final exam or the recourse exam, the student must have actively participated in 70% of the total number of classes and have obtained a classification of not less than 45% in the assessment by frequency.
2. Having fulfilled the requirement provided for in the previous number, the student must inform the UC professor, in writing (email) and at least one week in advance, of his intention to enroll for the final exam.
3. The teacher will then define with the student the scene(s) to present, chosen from the text or themes worked in the class during the school year in which the test takes place.
4. It is the responsibility of the student to attend the date and time set by the academic services for the performance of the exam, accompanying the elements of the Class of Interpretation I, of the year in which the test is held, necessary for the representation of the scene or scenes previously defined by the teacher.
Internship(s)
NAO
Bibliography
Bartow, A. (2008). The handbook of acting techiniques. London: Nick Hern Books.
Bogart, A. and Landau, T. (2005). The Viewpoint Book. New York:Theatre communication group.
CALDARONE, M.; LLOYD-WILLIAMS, M. (2004) – Actions – The Actor’s Theasaurus. London: Nick Hern Books.
GROCHALA, S. (2017). The Contemporary Political Play- Rethinking Dramaturgical Structure.Londres: Bloomsburry Methuen Drama.
Hodge, A. (2000).Twentieth Century actor training. Routlege.
Lecoq, J. & Bradby,D. (2006). Theatre of movement and Gesture. Londres e Nova Iorque: Routledge.
Jacques et all (2002).The Moving Body. Londres: Methuen Drama.
Merlin, B. (2007). The Complete Stanislavski toolkit. London. Nick Hern Books.
Mitchell, K. (2009). The directors craft -a handbook for the theatre. London: Routledge.
Murray, Simon (2003).Jaques Lecoq. London /New York: Routledge.
Oddey, A. (2000). Devising Theatre: a pratical and theorical handbook. Londres e Nova Iorque: Routledge.
Romano, L. (2005) O Teatro do corpo manifesto: Teatro Fìsico. São Paulo. Editores Perspetiva S.A.
Unwin, S. & Jones, J. (2914). The Complete Brecht Toolkit. London. Nick Hern Books.