Theatrical Intervention Methodologies

N/A

1. Invention of a context for chosen texts
2. Simulation of a show-plan for the text
3. Realization of a scene, according to the defined aspects of 1. and 2.
Continuous Evaluation
– Mandatory attendance
– 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%
Evaluation by final exam
– Practical exam – 100%
SPECIFIC ACCESS CONDITIONS FOR EVALUATION BY FINAL OR APPEAL EXAM:
– 45% of attendance
– Assessment no lower than 8 on Continuous Evaluation

1. Gain awareness of the broader contexts in which artistic practices, namely the theatre’s, intervene: art’s social role, it’s assumptions and policies; society and the ways in which such practices take place or could/should be taking place; the know-how of observing and understanding the people with whom wthey will work.
2. Learn to enhance different aspects involved in artistic creation.
3. Establishing criteria for the choice of repertoire
4. Acquire technical skills enabling practices in different contexts
5. Organize a work session: attitudes, leadership, management of inter subjectivities.
6. Approach of the texts from the letter and the nature, sensitivity and contexts of the participants.
7. The know-how of diversifying work strategies

1. The letter of the text and its dramatic and scenic transposition to the context of the implementation
2. Contexts of the theatrical practice to be developped, namely: social, psychological and cultural and their consequences in the defining of work methodologies.
3. The material conditions of theatrical practice, such as of spatial, technical, and economic conditions, etc., and strategies for their artistic potentiation
4. Intersubjective relations management and leadership in the work processes.
5. Guidelines for the elaboration of theatrical projects in comunitarian contexts.

• - Practical Component - 100.0%

• - Attendance and Participation - 30.0%
• - 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%

NAO

ADLER, Stella (2015). Técnica da representação teatral. RJ: Civilização Brasileira.
BENJAMIN, Walter (2012). Magia e técnica, arte e política. SP: Ed. Brasiliense.
BOAL, Augusto (2009). A estética do oprimido. RJ: FUNARTE/Garamond.
BROOK, Peter (2016). O espaço vazio. Lisboa: Orfeu Negro.
COURTNEY, Richard (2010). Jogo, teatro & pensamento. SP: Perspectiva.
CRUZ, Hugo (2015). Arte e comunidade. Porto: Fundação Calouste Gulbenkian.
DAW, Kurt (2004) Acting: Thought into action. NH: Heinemann Drama.
ESSLIN, Martin (1986). Uma anatomia do drama. RJ: Zahar Editores.
HODGE, Francis (1994). Play directing: Analysis, communication, and style. NJ: Prentice-Hall.
KOUDELA, Ingrid Dormien (1999). Texto e Jogo. SP: Perspectiva
LEWIS, Robert (1980). Advice to the players. NY: Harper & Row.
READ, Herbert (2013). A educação pela arte. Lisboa: Edições 70