Teaching Methodologies
5 texts will be given for:1. Invention of a context for the text2. simulation of a show-plan for the text, inventing human and production contexts, namely group constitution and characterization, expectations, material conditions, timing, major choices of scenic space, costumes, sound, etc. 3. Realization of a scene, according to the defined aspects of 1. and 2., and following the theatrical concepts of: letter of the text, game, conflict, climax, character relationship, fictional space, acting, directing.
Continuous Evaluation (100%) in acord with Arts. 2.2, 13.3 and 13.8 of RAESEC)
– Rigor in reasoning and agility in the practice of points 1, 2 and 3 of the Teaching / Learning methodologies – 50.0%
– Attendance and quality of presence and participation in discussing the work of others – 30.0%
– Quality, rigor of reasoning and correspondence with the practice of the plans presented – 20.0%
Learning Results
1. Develop theatrical intervention projects that encourage community participation;
2. Conceive the theatrical artistic practice as an axis of community life and public space;
3. Draw lines of articulation and synergistic dialogue with local agents and resources in the territories towards amplifying the range of participative practices of the theatre;
4. Acquire technical skills that enable the planning of practices in different contexts.
Program
1. The theatre and its assembly: its transforming dimensions, of aggregation and community strengthening;
2. The circumstantial framework: lever of theatrical practice towards intervention;
3. Contexts, frameworks, opportunities and common constraints of and in the operationalization to be taken into account in the design of theatrical intervention projects;
4. Action vectors in the direction of projects;
5. Study and/or monitoring of reference theatrical practices in the field of theatrical intervention.
Curricular Unit Teachers
Grading Methods
- - - Quality, rigor of reasoning and correspondence with the practice of the plans presented - 20.0%
- - - Rigor in reasoning and agility in the practice of points 1, 2 and 3 of the Teaching / Learning methodologies - 50.0%
- - - Attendance and quality of presence and participation in discussing the work of others - 30.0%
Internship(s)
NAO
Bibliography
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BOAL, A. (2009). A estética do oprimido. FUNARTE/Garamond.
BOGART, A. (2011). A preparação do diretor – sete ensaios sobre arte e teatro. Martins Fontes.
BENJAMIN, W. (2012). Magia e técnica, arte e política. Ed. Brasiliense.
BROOK, P. (2011). A porta aberta: reflexões sobre a interpretação e o teatro (A. Mercado, Trad.). Civilização Brasileira
________.(1994). Ponto de mudança: 40 anos de experiências teatrais (A. Mercado, Trad.). Civilização Brasileira
________.(2016). O espaço vazio. Orfeu Negro
COURTNEY, R. (2010). Jogo, teatro & pensamento. Perspectiva
CRUZ, H. (2015). Arte e comunidade. Fundação Calouste Gulbenkian.
GUÉNOUN, D. (2003). A exibição das palavras: uma idéia (política do teatro). Teatro do Pequeno Gesto.
HODGE, F. (1994). Play directing: Analysis, communication, and style. Prentice-Hall
KOUDELA, I. (1999). Texto e Jogo. Perspectiva