Class Contemporary Performative Practice

-Place students in a workshop setting for the relationship with contemporary performative practices. -Practice reading and interpreting texts related to contemporary performative practices. -Watching performances and live shows. -To encourage discussion and writing about live experiences (as a witness, as an audience or as a performer). -Physically rehearse the roles of witness, audience and performer (or center of action). Switch roles, discuss them. -Watching films with and/or about performing activities. -To encourage discussion and writing about films with and/or about performing activities. - Sediment notions of: improvisation, composition, performance, presence, technique/strategies, statement, program, performative act, ethics and aesthetics of performative proposals, in different contexts. -Rehearse a practical composition work for the scene and/or camera.

Not applicable

Throughout the classes, the discussion makes its contribution to dismantling and making complex the naturalized preconceptions of performance, dance and choreographic practices. Trying to develop practical strategies for the work issues as we go through themes of performance studies, dance, performance anthropology, dance history, communication and philosophy. Namely, approaching paradigmatic texts and plays that relate themes such as: to affect/be affected, to see and to be seen, movement versus dance versus performance versus theatre, ethics and aesthetics, political implications. Analyzing choreographic pieces and articulating them with key moments in history and stories. For example, the paradigmatic and poetic movement initiated by contact improvisation in the context of the sixties. The seminar works as a workshop, allowing each student to prepare in advance the text of the bibliography for the class.

xxxxxxx

DELEUZE, Gilles (2004 [1966]) «A Intuic?a?o Como Me?todo» in O Bergsonismo, Sa?o Paulo, Brasil, Editora 34. GOLDBERG, Roselee (2012), A Arte da Performance, Lisboa, Orfeu Negro. MANNING, Erin (2009), Relationscapes: Movement, Art, Philosophy. (“Brian Massumi and Erin Manning, editors”) London, England: MIT Press. NEUPARTH, Sofia/ GREINER, Christine, org. (2011). Arte e Agora: Pensamentos Enraizados na Experie?ncia. Sa?o Paulo, Brazil. ANNABLUME do Corpo. RANCIE?RE, Jacques (2010). Este?tica e Poli?tica, a Partilha do Sensi?vel. Porto, Dafne Editora. --- (2010 a). O Espectador Emancipado. Lisboa, Orfeu Negro. SCHECHNER, Richard (2002) Performance Studies – An Introduction, London and New York: Routledge. SILVA, Paulo Cunha e (1999). O Lugar do Corpo, Elementos para Uma Cartografia Fractal, Lisboa, Instituto Piaget.