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Presentation
Presentation
The first semesters of Professional Practice are understood as the basis for an enthusiastic, conscious and intelligent relationship between the interpreter and theatrical experimentation, the development of interpretive capacities in various domains, as well as the critical analysis of different interpretation methods and theories.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
1 | Mandatory | Português
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Code
Code
ULP1977-15448
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
- Attention vs Concentration - The improvisation - The opposite - The dramaturgical work on the text - Technical work on the text - Creation of small individual exercises using different supports - Creation of a final group work
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Objectives
Objectives
It is the objective that each student: - acquire a knowledge of your abilities, your physical|emotive identity and develop an applied work in the intelligent use of that investigation; - develop instruments of progressive scenic self-confidence (physical|emotional); - progressively become a centered, multifaceted and creative performer; - start or consolidate a relationship with dramatic material as an essential daily work tool; - create a base of individual work of quality and great openness (from a technical point of view), so that you can practice in different artistic languages.
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Teaching methodologies and assessment
Teaching methodologies and assessment
- The practice in the class articulates the research with interpretation exercises based on various dramaturgical supports: it promotes the opening of the imaginary, subjectivity and creativity and consolidates the technical skills of interpretation. - The notion of the importance, for their formation, in being assiduous spectators in the shows presented on the stages of the city throughout the year is instilled in the group; subsequent criticism in a written report obliges the reasoning of opinions. - Presentations to the community: practical exercises to be developed in groups on poetic, prose or dramatic texts, which, by confrontation with the public, make it possible to reflect the evolution of individual and collective work to acquire analysis, interpretation and creation skills.
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References
References
- BROOK, Peter, O Espac¿o Vazio, traduc¿a¿o de Rui Lopes. Lisboa: Orfeu Negro, 2011. - SPOLIN, Viola, Improvisations for the Theater, Illinois,Northwestern University Press, 1963 - JOHNSTONE, Keith, Impro, London, Methuen Drama, 1989 - OIDA, Yoshi, MARSHALL, Lorna, The Invisible Actor, New York, London, Routledge, 1997 - RODENBURG, Patsy, The Actors Speak:Voice and the Performer, London, Methuen Drama, 1998 - MULLER, Carol, Le Training the l’Acteur, Paris, Actes Sud-Papiers/CNSAD, 2000 - COMEY, Jeremiah, Art Of Film Acting, New York, Focal Press, 2002 - FUCHS, Elianor, The Death of Character, London & New York, Routledge, 2006 - GOODALL, Jane, Stage Presence, New York, London, Routledge, 2008 - SOTO-MORETTINI, Dona, The Philosophical Actor, Bristol, Intellect, 2010
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Office Hours
Office Hours
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Mobility
Mobility
No
