Dramaturgical Analysis II

N/A

Methodologies:
– Exhibition and discussion of the syllabus;
– Examples of content exposed through the analysis of texts previously chosen.
– Practical exercises of script or theatrical analysis

Exclusively continuous evaluation (Art. 13.5 of the Academic Regulation of the 1st Cycle of Studies at ESEC)
Presencial participation in class is mandatory ((Art. 2.2 of the Academic Regulation of the 1st Cycle of Studies at ESEC)
Criteria:
Group works developped in class – 20%
Individual works – 80%

Conditions of access to the appeal or improvement exam
(Art. 13.8 – Acad. Regul. of the 1st Cycle of Studies at ESEC)
– Attendance in 50% of scheduled classes
– 8 Val. in the frequency evaluation

The student should be able to:
1. Place the dramatic text in the universe of the science fiction literature, highlighting their nature and their specificity.
2. Establish relation between the dramatic and scenic writing.
3. Apply the main categories of script analisys developed by Michel Vinaver.
4. Develop the capacity for analysis and interpretation of parts of various genres, periods and styles.
5. Exercise the main techniques of analysis in pieces previously determined, in order to investigate and reveal their scenic potential being exercised.
6. Develop the ability to make reasoned arguments and learn productively integrate the views of others.
7. To present propositions that correspond to concret and reasoned arguments.

I – Main Cathegories of script analysis develloped by Michel Vinaver.
– Textual figures:
1.Textual figures that apply to a replica or replica piece (attack, defense, strike back, dodging, approach.
2. textual relational Figures apply to a replica set (Duel; Duo; Interrogation; Chorus or Narrative; Argumentation; Profession of faith; Annoucement, Quote, Soliloquy; Talk to the public; composite speech.
3. Textual relational figures apply to a replica in its relationship with the textual material that precedes (or socket Thread; Effect of mirror or echo; Repetition-variation)
-Dramaturgic axis:
Status of the word; The character set; The carachter of action; Situation; Information; Events; Function of themes; Status of ideas; Characters; Statute of the Spectator; Misunderstanding and trap; Surprise; Rithm.
II –THE DRAMATURGICAL WORK
1. Between text and stage
2.Dramatic writing/scenic writing
3. The status of the text
4. Polysemy of scenic writing

• - Exam - 100.0%

• - Attendance and Participation - 20.0%
• - Individual and/or Group Work - 80.0%

NAO

DANAN, Joseph, O que é a dramaturgia?. Évora: Licorne, 2010
PAVIS, Patrice, Análise dos espetáculos. São Paulo: Perspetiva, 2010
ROUBINE, Jean-Jacques, A linguagem da encenação teatral 1880-1980. Rio de Janeiro: Zahar editores, 2006
RYNGAERT, Jean-Pierre, Introdução à análise do teatro. Lisboa: Edições Asa, 1992
SARRAZAC, Jean-Pierre, A Invenção da Teatralidade. Porto: Deriva, 2009
UBERSFELD, Anne, Os termos-chave da análise textual. Évora: Licorne, 2010
VINAVER, Michel, Écritures Dramatiques. Arles: Actes Sud, 1993