Class Techniques of Interpretation III

Born from the intersection with other arts the Theatre is, in its essence, communication. Based on a time and in a space simultaneously subjective and objective, the representation oscillates between effects of presence and meaning. The actor establishes a creation score that favors the imagination and rigor and dominates both the body and vocal work and the mental and emotional, in a unit of senses that shares with the audience. Thus, it is perceived that the development of a project is the culminating of the entire formation process. In a logic of approaching the professional practice of building a show, it reinforces the sense of an actor's work ethic and highlights the importance of group work, constructive dialogue, individual and collective responsibility, analysis and inventive and creative trust. Through constant monitoring, it is intended to give students the artistic and ethical responsibility on the project, with a view to the success of sharing with the public.

Not applicable

Conception and realization of a performative project. 1. Structuring notions of the stage composition process: . Presentation of creative proposals, justifying the choices, in significant coherence with the other parties, i.e. the sound, plastic, light and interpretation dimension . contextualization and analysis of the text, complementary readings and other iconographic and audiovisual material 2. Reinforcing the importance of group work, constructive dialogue, individual and collective responsibility, critical analysis and inventive and creative trust: . Mastery of creativity through conscious control of the actor's behavior and the mental and emotional state of the character, in order to be repeated . Awareness of the "moment-to-moment" interpretation of the character's life . Confer on the student the sense of artistic and ethical responsibility of the theatrical project at the time of its public presentation  

.The actor must be able to create not only the behavior but the mental and emotional state of the character being the physical action determined by this state of emotion. The practice in the classroom promotes the openness of the imagination and creativity and consolidates the technical skills of interpretation. . The bet on the capacity of dialogue and discussion among the different participants presupposes a freedom of responsible choice, valuing the final result over individual interests. . The presentation of the project to the community, a moment of confrontation between the ideas explored and its reception by the public, allows to reflect the evolution of individual and group work in creation. Attendance/punctuality: 10% Exercises and reports: 15% Commitment/Participation/evolution: 35% Final design: 40% No final exam.

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"