Body and Voice Articulation

N/A

Class / type:
1. Breathing exercises, relaxation, breathing and resonators. Articulation and awareness of the anatomical parts involved
in these processes;
2. Control of the work done at home on the texts, based on the contents listed above,
with criticism of each one work.
3. Systemization of operating concepts.
4. Each student will work at least: A lyrical text. A narrative text. An argumentative text.
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) Punctuality, integration in the work group and active and stimulating participation – 25%.
2) Elaboration and presentation of three exercises on texts (lyrical, epic and argumentative) -75%

1. Corporality / Orality / Interiority Work:
Identify and involve the whole body in the orality process regarding the following aspects: Availability, relaxing, breathing, resonators; Word articulation and emotional vibration; centers of imagination, Levels of tension;
2. What does the letter of the text say – Translate the stylistic processes of writing into orality in terms of the following aspects:
2.1 Grammar analysis; meaning of words; syntax and linking of words and meanings from the physicality of words and mastery of grammatical processes; Identification and chaining of senses; actioning

2.2 – Analysis of the author’s imagination
3. Appropriation – Summarize points 1. and 2. in an individual, creative and performative orality, through focus, grammar, breathing, pauses, rhythms, articulation.
4. Communication – Message relationship between sender and receiver and its modifications in real time action

1. Articulation between orality, corporeality and interiority;
2. The written text, what it says and how it says – fable and speech;
3. Style and grammar;
4. Appropriation – saying the text as I say it;
5. The act of oral communication and the contamination of its nature as a result of the receiver’s feedback.

• - Attendance and Participation - 25.0%
• - Individual and/or Group Work - 75.0%

NAO

ADRIAN, B. (2008). Actor training: The Laban way, an integrated approach to voive, speech, and movement. NY: Allworth Press

BERRY, C. (1992). The actor and the text. NY: Applause Books.

__________ (1993). Voice and the actor. London: Virgin Books.

CALDARONE, M. & LLOYD-WILLIAMS, M. (2011). Actions, the actor’s thesaurus. London: Nick Hern Books.

GAYOTTO, L. (1997). Voz, Partitura da Ação. São Paulo, Summus Editorial.

QUINTEIRO, E. (1989). Estética da Voz: uma voz para o ator. São Paulo: Summus Editorial.

SCHAFFER, M. (1992). O Ouvido Pensante. São Paulo: Editora Unesp.

VIEIRA, M. (1996). Voz e Relação Educativa. Porto: Edições Afrontamento.

VIEIRA, P. (1984) Sermões escolhidos. Lisboa: Ulisseia.