Class Techniques of Interpretation II

From the naturalism of the 17th century to the avant-garde movements of the 20th century - from real reproduction of life in art to the notion of the creator-actor. Notion that the actor is not only the one who says a text, but a creative three-dimensional plastic entity. It is exposed as an unquestionable evidence the importance of consolidating the technical skills necessary for the composition of the actor in time and space: rhythms, the difference of timbres, intensities in verbal language, gestures, posture, look and body movements that favor kinesthetic communication with the viewer. By strengthening imagination, creative autonomy and engaging in scenic dramaturgy, as well as by valuing the sense of individual and group responsibility, we progress from an actor tied to the imitation of reality, for a disciplined actor, technically prepared, freed from the whims and accidents that emotion imposes, with an inventive and creative trust more sustained and reasoned.

Not applicable

1 – The avant-garde movements of the 20 th century:  Appia, Stanislavski, Meyerhold, Lee Strasberg and Mickael Tchékhov . reorganization of scenic creation - a new relational practice between playwrights, directors, actors and spectators. 2 - Awareness of the actor on stage - body-voice-emotion-reason: . the body of the actor made vehicle of thought, intermediate of the universe of understanding and expression; . communication score with the audience - the actor’s composition (or the truth of his game in space and time) 3 – The show as a living organism: . movement of the gravity center of the text composition to its representation; . the actor’s dramaturgy: work on the text as an act of creation and co-creation in a balance between the effects of meaning and presence; 4- Sound and Dubbing Studio training: . the technical and artistic specificities that involve voiceover and dubbing works.

- 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. -Attendance and punctuality-10% -Individual exercises and reports-15% -Commitment, quality of participation and evolution-35% -Practical group work-40% -No final exam. Attendance of 75% of the classes

Edward Gordon Craig, On the art of the theatre Konstantin Stanislavski, A Minha Vida na Arte Konstantin Stanislavski, A Preparação do Actor Michael Thèckov, To the Actor – on the technique of acting Cicely Berry, Voice and the Actor Peter Brook, O Espaço vazio Declan Donnellan, The Actor and the target David Mamet, True and False: Heresy and Common Sense for the Actor