Class Acting in context

Interpretation, the actor's work of representation, is indelibly linked to the contexts of expression, in particular to the differences in the medium in which it takes place. This curricular unit seeks to address the ontological and phenomenological differences between the art forms that call for representation, and which are simultaneously related and irreducible to each other: theatre-dance-cinema.  It also tries to address the specificities of audiovisual contexts (cinema, television, others), which are constantly changing, in their difference from the primary context of interpretation - the stage or theatre scene. We have to take into account not only the basic transversal forms, filmic and theatrical - the formal territories and, within these, the genres - but also the distinct technical and socio-technical characteristics: both in terms of recording and viewing. Forms and technical characteristics will be seen as figurative invention (Nicole Brenez).

Not applicable

1 Introduction:  From the contexts of interpretation to interpretation in context 1.1 Theatre heritage: scene and word 1.2 Theatre and philosophy 1.3 Between dance and cinema 1.4 Staging and directing actors 1.5 The context and the author 2. Invention and formal determinations 2.1 The major forms 2.1.1 From the documentary to the fictional 2.1.2 From drama to comedy 2.2 Genre and interpretation 3. Figurative invention 3.1 Cinema and the body 3.2 Symptom, ghost and anguish 3.3 The contemporary character  4. The actor's figures 4.1 The x-rayed being 4.2 The model 4.3 Ways of being and working  5. Choice of theatrical texts to reflect on theatre 6. Theatrical hermeneutics as practical dramaturgy 7. Research work: great modern directors

The lessons will consist of: a) the first half of the sessions: expository methodology combined with active methodologies through the presentation of the contents, readings and discussion; b) the second half of the sessions: 1. the viewing of short film extracts, with discussion related to the contents; 2. the analysis of relevant cases, highlighted in the bibliography presented - and also through research, by definition constantly renewed. This is a theoretical-practical curricular unit: the raising of problems, their delimitation and explanation are correlated with the viewing and processing of detailed analyses, which the students will also be asked to carry out.

AUMONT, Jacques (2006). Le Cinéma Et La Mise En Scène. Paris: Armand Colin AUMONT, Jacques (dir.) (1995). L’Invention De La Figure Humaine. Paris: Cinémathèque Française BORDWELL, David (2005). Figures Traced In Light. On Cinematic Staging. U.S.A.: University of California Press BRENEZ, Nicole (1998). De La Figure En Général Et Du Corps En Particulier. L’Invention Figurative Au Cinéma. Bruxelas: De Boeck Supérieur BRESSON, Robert (1975). Notas Sobre O Cinematógrafo.  Porto: Porto Editora, 2003