Staging Introduction

N/A

Methodology:
1. Exhibition classes.
2. Analysis and discussion of theoretical texts previously distributed to students.
3. Analysis of theatrical iconography.
4. Analysis of shows or video recordings of outstanding scenarios.
5. Viewing of shows and discussion with your director.
6. Follow-up of the stagings of the 3rd year students.

Periodic evaluation (100%)
– Project/work – implementation of a work proposal with technical content, about a director with oral presentation in class (50%).
– Active participation in the activities of contact hours (25%)
– Follow-up report of the 3rd year staging workshops (25%)
or
Exam (100%)

The student should be able to:
1. Define the guidelines of the phenomenon of the modern and contemporary staging, since the emergence of the figure of the director in the second half of the 19th century till today.
2. Identify the basic elements of the language of staging as well as their fields of action.
3. Know and master the steps in the transition process from the text to the stage and scenic creation.

1. Birth of the staging and its discourse:
1.1 The appearance of the modern director, a question of authorship
1.2 From the beginnings of the staging in Portugal to contemporary creators.
2. The language of theatrical staging:
2.1.The text (from textcentrism to the crisis of drama; Political Theatre: Piscator and Brecht, New Writting, Theatre of the Real.)
2.2 Textual analysis exercises from Stanislavsky and Katie Mitchell.
2.3 3. The space (relationship of the director with the set designer; conventional spaces to sitespecifics.)
3. Other creative elements (Space, Light, Sound, Video, etc.)
4. Analysis of scenarios (e.g. Peter Brook, Bob Wilson, Robert Lepage, Cris Jahaty, Thomas Ostermeier, among others
5. Monitoring of Staging Workshop projects as assistants

• - Exam - 100.0%

• - Synthesis work - 25.0%
• - Attendance and Participation - 25.0%
• - Research work - 50.0%

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.