Interpretation II

N/A

The learning process is developed through integration into a working group; in the development of the expressive abilities of the actor, as well as in the exploration and investigation of his language in confrontation with others in the collaborative creation of work scenes.
The culmination of this process will be the creation of an exercise from a text or theme using other scene elements such as light, scenography, costumes, sound, and video.

The assessment is exclusively continuous (100%) as stated in Art 13.5 – Academic Regulation of the 1st Cycle of Studies at ESEC and will be carried out throughout the sessions, based on the following criteria:

1) Technical domain, application of theoretical knowledge and artistic creation, based on the exercises presented in class – 25%
2) Punctuality, integration in the work group and active and stimulating participation – 30%.
3) Elaboration and presentation of a dramatic exercise inan colaborative work – 45%

The student should be able to:
1. Develop awareness of the demands of a creator’s work in a collaborative space, which puts the collective and the singular in tension;
2. Expand the dimensions of the work of an actor/actress as a creator;
3. Identify and progressively overcome your difficulties as a breeder;
4. Develop work of dramatic creation (Actioning/ Max Stafford-Clark, active analysis/ Stanislavski; Devising/Jacques Lecoq);
5. Develop forms of appropriation in creation (dramatic rewriting / Bertolt Brecht ; Space / Tension levels /Jacques Lecoq; Composition/ Points of view / Anne Bogart);
6. Develop a creation exercise in group from a dramatic text, or narrative, or a theme.

The student should be able to:
1. Development the capacity of play and cumplicity in the creation of a colective;
2. Work of dramaturgical analysis; the Universe of the author/theme, the dramatic action, the events, the circumstance, the transitions, language, characters; the foundation of the dramatic choices;
3. Passage of the text/script to scene: space-body-text; other components of scene (scenography, costumes, sound, light, video);
4. Perform and present of small scenes of collaborative work.

• - Ponctuality and Work Group Integration - 30.0%
• - Dramatic Exercise - 45.0%
• - Technical Domain and Artitstic Creation - 25.0%

NAO

Bogart, A. and Landau, T. (2005). The Viewpoint Book. New York:Theatre communication group.
Calderone, M.; Llyod-WilliamsI, M. (2004) – Actions – The Actor’s Theasaurus. London: Nick Hern Books.
Grochala, S. (2017). The Contemporary Political Play- Rethinking Dramaturgical Structure.Londres: Bloomsburry Methuen Drama.
Hodge, A. (2000).Twentieth Century actor training. Routlege.
Jacques et all (2002).The Moving Body. Londres: Methuen Drama.
Merlin, B. (2007). The Complete Stanislavski toolkit. London. Nick Hern Books.
Mitchell, K. (2009). The directors craft -a handbook for the theatre. London: Routledge.
Oddey, A. (2000). Devising Theatre: a pratical and theorical handbook. Londres e Nova Iorque: Routledge.
Unwin, S. & Jones, J. (2914). The Complete Brecht Toolkit. London. Nick Hern Books.