Improvisation

N/A

Work sessions will always observe the following scheme:
Physical warm-up and concentration;
Verbal presentation of one or several syllabus items to be worked out in the form of a game proposal with well-defined rules;
Proposal realization;
Verbalization of execution awareness;
Criticism of the outcome according to objectives and rules;
Redo of the proposal, either the same or modified towards working out the same issue.
Evaluation exclusively ongoing
Evaluation Criteria:
Attendance and Observed progression level 45%
Attitude and concentration of attention during sessions 30%
Ability to assimilate, develop and resolve proposed tasks 10%
Quantity and suitability to the proposed objectives of work done between sessions 15%
Evaluation by appeal 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

Setting the basic grounds for methodical work on the Self, regarding:
1. Body as an instrument of expression: availability and relaxation, centrality, physical activation processes
2. Immediate sources of sensory perception: the senses
3. The material (physical) imagination’s engagement with both real and memory-based data
4. Concentration ability and physical demands of its induction
5. The removing/handling of blocking mechanisms – shame, self-image, fear
6. The mastering of both technical and conceptual skills
7. The body’s relationship with both space and others
8. Fictional notions of space, and its consequences towards acting
9. In-work integration of space, objects and Others feed: interaction, reaction, contemplation,
cooperation
10. The physicalization of objects, emotions and verbal/sonorous communication
11. Notions of physical actions and the chaining of simple actions in the structuring of fictional content;
12. Organize and Improvise from the trinomial: Who? Where? What?

1. Proprioception:
Self-awareness: muscles, gestures, breathing, impulses, on-the-body correlation of images of the Self;
2. The Self:
Relating with concrete spatial circumstances;
Relating with fictionalized spatial circumstances.
3. Perception:
Awareness of the material physical world – the accuracy of looking, touching, hearing, smelling, tasting and
its implications in the arrangement of communicational contents and psychophysical correspondences;
4. The transition from a material physical world to an abstratc one – the role of memory and abstraction.
5. The relation with others in both real and fictional situations
6. Practice concepts and theatrical language.

• - Componente Prática - 100.0%

• - Quantity and Suitability to the Proposed Objectives - 15.0%
• - Attitudes and Concentration - 30.0%
• - Attendance and Participation - 10.0%
• - Attendance and Observation Progression - 45.0%

NAO

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