Class Eastern Scenic Arts

Given the relevance of Asian Performing Arts to Western Arts, the unit acts in this field by providing the students acess to key texts and practices able to allow them the integration of Asian Performing Arts, in what differs and in what is common, in their education towards professional acting expertise. Through the influence exerted by Asian Performing Arts in Western performance practices within theatre, dance, and visual arts, both in aesthetics and in craft: Meyerhold, Artaud, Grotowsky, Barba, Zarrili, Hijikata, Judson Church and Beuys. Through the understanding of the influence exerted by Asian Performing Arts within western theatre and dance theory, as in literature whose focus is the mentioned cultural domains: Schechner, for example.      

Not applicable

1. Concept unit in the oriental performing arts: the theatrical identity; cosmography and devotionality; traditional inscription and scenic norm 2. Japanese Tradition: Nô: conceptual foundations and historical background (Gigaku, Bugaku, Sarugaku); Relation to native artistic forms: monogatari, haiku, koan, ukiyo-e; Relation to Buddhist ethics and aesthetics: Dô and Tzurezuregusa; Stylistic and performative foundations: Monomane, Hana and Yugen; Kabuki: the three historical styles. Butoh: crisis and reflection of tradition. 3. Narration with puppets and shadows: morphology and evolution: The Gonbeyata (India); Wayang (Bali); Mua Roi Nuoc (Vietnam); Nang Talung (Thailand); Piying (China); Bunraku (Japan) 4. The Indian tradition: Updating the sacred: the Kutiyattam. Dance pure potentiality: the Kathakali. Dance the absence of dance: the Bharata Natyam

75% Ongoing evaluation with final exercise: attendance and presence, active and proactive participation, demonstration of acquired knowledge in its performative and theoretical applications, evolution and progress in understanding the subjects matters during the course of the lessons. 25% Research article, historical framework of references and themes in an original research article.

ARTAUD, Antonin. (2006) O Teatro e o Seu Duplo, Lisboa: Fenda. BAIRD, B. (2012), Hijikata Tatsumi and Butoh: Dancing in a Pool of Gray Grits, Londres: Palgrave. BHARATA MUNI (1951) The Natyasastra, Calcutá: Asiatic Society of Bengal BRANDON, J. R., (1967) Theatre in Southeast Asia, Harvard: HUP KENKO, Y. (1998) The Tsurezuregusa of Kenko, New York: Columbia University Press KUSANO, D., (1993) Os Teatros Bunraku e Kabuki. Uma visada barroca, São Paulo: Perspectiva KUZI, M. ( 1992  ) The Sea Inside The Skin, Prague: TORST LUISI, E. e BOGÉA, I. (2002) Kazuo Ohno, São Paulo: Cosac &Naify Edições RICHMOND, F.P, SWANN, D.L., ZARRILLI, P.B, (2003) Indian Theatre. Traditions of Performance, Dehli: Motilal Banarsidass RUBIN, L., SEDANA, I. (2007) Performance in Bali, London & New York: Routledge SANTOS, João Soares (2000) Estudos sobre as Artes Cénicas Asiáticas, Lisboa: Fundação Oriente LUISI, E. e BOGÉA, I. (2002) Kazuo Ohno, São Paulo: Cosac & Naify Edições