Class Body and Movement II

1- Introduce a body awareness: - Exercises that enhance motor coordination, individual and collective; - Semantic analysis of posture and body behaviors; - Concentration exercises; - Disinhibition exercises; - Text embodiment exercises. 2- Approaching Consciousness through Movement: - Exercises to Improve Posture, Vision, Imagination, and Self-Awareness; - Breathing rhythm during exercises - speed of movements; - Think while acting. 3- Awareness of the extension of the interpreter's poetic universe: Perception, Space, Time; Impulse and Decision; Concentration and availability. 4- Improvisation. 5- The space: directions, levels, shapes, distance and size. 6- Relations: attention to, close to, touching, supporting and surrounding. 7- Interpretive autonomy and mastery of scenic poetics: Scenic individuality and creative imagination; Application of gesture as a dramaturgical sign. 8- The interaction between interpretive and scenic collective individuality.

Not applicable

1. Body: Body awareness; Alignment; Uprightness; Force; Flexibility; Body axis coordination. 2. Space: Plans; Directions; Levels; Trajectories; Floor work. 3. Time: Timing; Duration; Velocity; Attack; Phrasing; Short and long. 4. Dynamics: Accentuation; Energy switching. 5. Actions: Locomotives: Displacements, jumps, falls and turns; Non-locomotor: Flex, Stretch, Shake, Balance, Twist. Oscillate. 6. Contact Improvisation: Weight transfer; Awareness of our weight and each other; Development of our perception; Development of organic movement: intuitive and reflective. 7. Improvisation: Exploration of a theme and interpretation; Improvisation from various stimulus. 8. Composition and Interpretation: Work on the technical and emotional side of each one, from the construction of a sequence of movements.

Teaching is practical. Fostering the autonomy of each student through individual work and collaborative group learning: (1) laboratory classes; (2) Practical technical and expressive activities to grasp the domain of movement; (3) Laboratory classes for the application of the worked techniques; (4) Individual works; collective works; public presentations. The evaluation is continuous, in attendance, and takes into account the following parameters: a) Assiduity, quality class participation, and timely completion of the proposed assignments; 50% b) Application in practical context of the techniques developed in the classroom context; 25% c) Presentation of practical work; 25%

Bartenieff, Irmgard e Dori Lewis. (1980). Body Movement ; Coping with the environment. Nova Iorque: Gordon and Breach Science Publishers. Donnelan, D. (2002). The actor and the target. London: Nick Hern Books. Feldenkrais, Moshe (1977)- Consciência Pelo Movimento- Editor Summus. Gil. José (2001)-Movimento Total - O corpo e a Dança; tradução de Miguel Serras Pereira; Relógio D´Água Editores. Newlove, Jean (1993). Laban for Actors and Dancers. London: Nick Hern Books.