Class Techniques of Interpretation I

To understand the theater as a living organism, as an expression of energy in vibration of all its sensitive elements and awareness for the actor´s role as a fundamental element of this organism, as a creator who shares fictional time and space in equilibrium with the other "partners" - the dramatic text, the staging, the scenery, the music, the light -, whose contribution constitutes itself as one of the parts of the richness of the theatrical fabric, is the main focus of this Curricular unit. Oriented to the transmission of a pedagogy whose purpose is not only the physical preparation of the students of dramatic arts, but rather an integral education that encompasses the body, the voice, the reason and the emotion, as well as the acquisition of a culture of indispensable references to the formation of a complete, technically prepared and cultured actor. A kind of "Research Center" where the fundamental questions of the nature of the interpretation are explored.

Not applicable

1 - Methods, disciplines, techniques and competences in the formation of the actor: -The body, the voice and the elocution - fundamental elements; -Physical availability and scenic presence. 2 - Structuring notions of theatrical improvisation processes and the meaning of "game": -The individual in the game - attitude, action, inertia, movement, gesture; -Psychophysical action: The "inhabited" gesture-relationship between sensation, perception, memory and imaginary; -Relational aspects: The listening and attention addressed to the/s partner/s of play; Importance of the interaction between the intention, the context and the implementation of the action; -From improvisation to scenic composition-application. 3 - The actor-creator: notion of the importance and responsibility of the individual initiative of the actor and awareness of his fundamental role in the whole creative process: -Conception and realization of performative projects  

- 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

Konstantin Stanislavski, "A Minha Vida na Arte" Konstantin Stanislavski, "A Preparação do Actor" Michael Théckov, "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" Mark Crossely and James Yarker, "Devising Theatre with Stan's Cafe"