Interpretation IV

Base Knowledge

N/A

Teaching Methodologies

Students will be confronted with a wide range of theater texts, classic and contemporary, from which they will choose scenes to work in groups that are constituted according to aesthetic affinities that arise in the meantime. In order to ensure the unity of the work of the class, the choice of these texts should be thematic. After scenes have been chosen, students should organize autonomous work sessions and begin to present the result of this work in different stadiums, in order to receive guidance from the teacher.
Exclusively continuous evaluation
Mandatory participation in class 
Criteria:
Technical domain, application of theoretical knowledge and artistic creation – 80%
Punctuality, integration in the working group and active and stimulating participation – 20%
CONDITIONS OF ACESSEMENT TO APPEAL or IMPROVEMENT EXAM 
– Attendance in 50% of scheduled classes
– 8 val. in frequency evaluation

Learning Results

Students should be able to:
– develop, as actors, autonomous work on previously defined scenes, presenting consequential and well-founded game proposals that will serve as the basis for the work in the class.
– develop an acute awareness of their aesthetic choices and motivations as creators, while exploring, testing and investigating instruments that open ways of creation to put them into practice.
– to be aware that no predetermined method of the actor’s work exhausts the possibilities of addressing a text in its singularity.

Program

The curricular unit of Interpretation IV corresponds to a decisive step in the formation of the actor, consolidating acquired skills that will serve as a ballast to the work to be carried out in the Intervention Project and internship.
On the other hand, this curricular unit, which appears immediately after theatrical aesthetics, should help the student to be as a creator, exploring its expressive limits and becoming aware of its motivations.
The concept of scenic writing will be central in the work to be developed in Interpretation IV because it makes the student aware and responsible for his choices, for his “poetry in space” as Antonin Artaud would say.

Curricular Unit Teachers

Grading Methods

Continuing Evaluation
  • - Technical Domain and Artitstic Creation - 80.0%
  • - Punctuality and Work Group Integration - 20.0%

Internship(s)

NAO

Bibliography

ARTAUD, Antonin, O teatro e o seu duplo. Lisboa: Minotauro, sd.
BRECHT, Bertolt, Estudos sobre teatro; para uma arte dramática não aristotélica. Lisboa: Arcádia,sd.
DIDEROT, Denis, Paradoxo sobre o comediante. Lisboa: Guimarães Ed., 2010
GROTOWSKI, Jerzy, Para um teatro pobre. Lisboa: Forja, 1975
KNAPP, Alain, Une école de la création théâtrale. Paris: Actes Sud, 1993
LASSALLE, Jacques; RIVIÈRE, J-L. Conversations sur la formation de l’acteur. Paris: Actes sud, 2004
RÉGY, Claude, La brûlure du monde. Paris : Les solitaires intempestifs, 2011