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

ULP1977-15459

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

The. The future of illusion as a modernist issue. Reading of 1. Frank Wedekind, The Awakening of Spring (1890) 2. Federico Garcia Lorca, Las Bodas de Sangre (1931) 3. Luigi Pirandello, Six Characters in Search of Author (1921) 4. Raul Brandão, ) B. Fullness of the present and annulment of the past. Reading of 5. Alfred Jarry, King Ubu (1891) 6. Tristan Tzara, Dada Manifesto on Weak Love and Bitter Love (1924) Filippo Marinetti, Manifesto of the Futurist Theater (1915) Antonin Artaud, Basta of masterpieces ) W. New Theater: Epic and Politics 7. Bertolt Brecht, The Threepenny Opera (1928)

Objectives

In view of the general objectives of the Dramatic Reading Ateliers as a whole, the direct and informed reading of the founding texts of the Western dramatic tradition, the constitution of lines of interpretation that return these texts to a unity of meaning, not only indebted to their interrelation in reading , but with problematic and epochal meaning, the objectives of Atelier V, dedicated to the modernist period, are specified: - to place each text in the period and in the whole of the author's work; - recognize the underlying aesthetic primacy from the notions of continuity and rupture; - analyze the texts in terms of construction, distinguishing the factual, social and metaphysical dimension; - to interrogate textual phenomenologies, character construction and dramaturgical mode of production as a pragmatics specific to the modernist - to foster critical capacities for the reception of contemporary textual tradition.

Teaching methodologies and assessment

Participation in the workshop is carried out in partial or complete, autonomous or intertextual readings of the texts indicated, which suppose analysis and interpretation corresponding to the competences considered elementary for a problematizing reading of the text, in particular theatrical; it is also a moment of research that should not only situate the playwright in his political, social, cultural and religious circumstances, but insofar as this serves to establish scenic modernism in its aesthetic and pragmatic principles. The evaluation expresses the quality of the work carried out by the student in these parameters, in a participatory way (20%); also assures attendance and quality of reading participation (30%); and, finally, requires the delivery of an individual final analytical reading of one of the dramatic works representative of the period (50%).

References

ARTAUD, Antonin, (1989), O teatro e o seu duplo. Lisboa: Fenda.
BRANDÃO, Raul, (1986) [1929], ¿O Avejão¿ in Teatro. Lisboa: Editorial Comunicação,
BRECHT, Bertolt, (2004) [1924], "A Ópera de Três Vinténs, (2005) [1928], in Teatro 2, Lisboa: Livros Cotovia.
JARRY, Alfred, (2005) Rei Ubu, Ubu Agrilhoado, Ubu Cornudo, Ubu no Outeiro, Porto: Campo das Letras
LORCA. Federico Garcia, (2004) [1931] Las Bodas de Sangre, Madrid: Catedra
MARINETTI, (1964) [1915], ¿Manifesto do Teatro Futurista¿. In Luiz Francisco Rebello (dir.), Teatro Moderno.
Lisboa: Prelo.
PIRANDELLO, Luigi, (2009) [1921], Seis personagens à procura de autor, Lisboa: Cotovia.
TZARA, Tristan, (1987) [1924], Dada Manifesto sobre o Amor Débil e o Amor Amargo, in Sete Manifestos Dada,
Lisboa: Hiena Editora.
WEDEKIND, Frank, (1973) [1890], O despertar da Primavera. Lisboa: Editorial Estampa.