Conception of Theatre Projects

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%

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.

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.

• - - 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%

NAO

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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