Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 4

Year | Type of course unit | Language

3 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

100 | 45

Code

ULP1977-15458

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

1. Concept unit in the oriental performing arts: theatrical identity; cosmography and devotionality; traditional inscription and scenic norm 2. Japanese tradition: The Nô: conceptual foundations and historical antecedents (Gigaku, Bugaku, Sarugaku); Relation to the native artistic forms: the monogatari, the haiku, the koan, the ukiyo-e; Relation to Buddhist ethics and aesthetics: the Dô and the Tzurezuregusa; Stylistic and performative foundations: the Monomane, Hana and Yugen; The Kabuki: the three historical styles. Butoh: crisis and reflection of tradition. 3. Narration with dolls 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: Update the sacred: the Kutiyattam. Dancing the pure power: the Kathakali. Dancing the absence of dance: the Bharata Natyam 5. Cutting arts: the Sanskrit Opera. the Robam Tep Apsara (Cambodia). the Chinese Opera.

Objectives

The learning objectives of UC - the acquisition of a panoramic view of the Asian scenic arts in the plurality of their representative manifestations. - the identification of a specific character of Eastern theatrical identities. - the acquisition of a conceptual perspective on some of its most representative forms. - the acquisition of a lexicon descriptive of some of its most representative forms. - the development of aesthetic appreciation skills and conceptual approach in some of these ways.

Teaching methodologies and assessment

The methodology followed in this UC presupposes the master moment: the teacher presents the theme / problem to be analyzed, referring to the relevant works and frameworks. The use of interpretive readings in class is naturally presupposed, in order to frame and request the argumentative discussion between the teacher and the students and between them autonomously. Equally important will be the iconographic, filmic or sonorous collections indispensable in the teaching of themes. The final evaluation includes the active participation in the class (20%), an oral presentation supported in text (30%) and the writing of an original essay to be delivered at the end of the semester (50%).

References

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
KUSANO, D., (1993) Os Teatros Bunraku e Kabuki. Uma visada barroca, São Paulo: Perspectiva
KENKO, Y. (1998) The Tsurezuregusa of Kenko, New York: Columbia University Press
ORR, I., (1974) "Puppet Theatre in Asia", Asian Folklore Studies, Vol. 33, No. 1 (1974), pp. 69-84, Nagoya: Nanzan
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
ZEAMI , Fushikaden (1999) Tratado Sobre la Práctica del Teatro Nô y Cuatro Dramas Nô, Madrid: Trotta,