Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 5

Year | Type of course unit | Language

3 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

125 | 60

Code

ULP1977-15462

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

1. Performative arts and creative processes. 1.1 The crisis of representation and technique in the inheritance of vanguards; 1.2 The valorization of processes in performative creation: archaism and technological progress 2. Technical art and artistic institutions 3. Plasticity, visuality and "techno-aesthetics". The tensional relation and the contaminations between the body and the technology; 4. New processes, new media and experimentalism. 4.1. The video and the digital image: from narcissism to the values of communicational liquidity. 4.2. Platforms and interfaces in performative creation; 5. Participation and Interactivity: reversibility between author and viewer.

Objectives

Understand the artistic and technological metamorphoses in contemporary times; To locate the tension lines, affinities and confluences existing between the performing arts, technical procedures and devices; To deepen the reading and reflection of the theoretical texts produced in the field of the performing arts on the relations between creation and the technological world; To develop the capacity of analysis and criticism in relation to contemporary artistic production.

Teaching methodologies and assessment

The classes are of a theoretical nature, supported by the study of theoretical texts, texts of artists and the observation of works of art that testify to the great historical paradigms of Modernity and Post-Modernity with regard to the living arts with crosses with technology. The analysis of concrete works that have drawn a history of the relationship between performing and performing arts with technique and technological progress will allow us to retrace the great problems between theory, technical experiment and aesthetic experience. Whenever possible, historical and contemporary works in the field of moving image (cinema, video, 3D animation, holography) will be called as important contributions to concretize paradigmatic notions and processes of the last century. According to the shows on display, all classes will be completed with a trip to festivals, theaters, auditoriums or alternative spaces.

References

BATESON, Gregory, Natureza e Espírito (1979), Lisboa, Publicações Dom Quixote, 1987
BELTING, H. (2003), Art History After Modernism, Chicago: University of Chicago Press.
CHOMSKY, N., A Manipulação dos Media, Mem Martins: Inquérito, 2003
JONES, A. & STEPHENSON, A. (eds.), Performing the Body, Performing the Text, NY: Routledge, 1999
JONES, C., (ed.) Sensorium: embodied experience, technology, and contemporary art, Cambridge (MA):
MIT Press, 2006
KRAUSS, R. (2000), A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. London: Thames
& Hudson
MANOVICH, L. (2001), The Language of New Media, Cambridge: Mass, MIT Press
McKENZIE, J., Perform or Else: From Discipline to Performance, NY: Routledge, 2001
QUINZ ,E. (dir.), Digital Performance, anomos: Paris, 2002
PARKER, A. & SEDGWICK, E.K. (eds.), Performativity and performance, NY: Routledge, 1995
STOCKER, G. e SCHOPF, C. (Ed.) (2004), Timeshift .The World in Twenty-Five Years, Linz: Ars Electronica