Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 5

Year | Type of course unit | Language

1 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

125 | 90

Code

ULP1977-15441

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

1-Introduce an awareness of the body: - Exercises that enhance individual and collective motor coordination - Semantic analysis of body posture and behaviors - Concentration exercises - Disinhibition exercises - Text-embodying exercises 2-Addressing awareness through movement: Exercises to improve posture, vision, imagination and self-perception - Respiratory rhythm during exercises - Speed of movements - Thinking during acting 3- Consciousness of the amplification of the poetic universe of the interpreter: Perception, Space, Time; Impulse and Decision; Concentration and availability 4-Improvisation 5- The space: directions, levels, forms, distance and size 6- Relationships: attention to, close to, touch, endure and surround. 7- Interpretive autonomy and mastery of scenic poetics: Scenic individuality and creative imagination; Application of the gesture as a dramaturgical sign. 8-The interaction between interpretive individuality and scenic collective.

Objectives

a) It is intended to introduce an awareness of the body. b) To approach the movement as visual language, the sense of observation and the processes of memorization. c) Enable speculation, dialogue and discussion around issues of objectivity and subjectivity linked to the creation process. d) Provide the experience of the different technical and stylistic approaches of the contemporary movement. e) To develop and deepen the motor and interpretative competences, as well as to develop collaborative creation methodologies stimulating attitudes of responsibility and self-discipline before work. f) Develop tools for creating a final creative process.

Knowledge, abilities and skills to be acquired

1-It is intended that the student be endowed with an individualized body expression and an understanding of the vocabulary of movement. 2-The student should demonstrate a clear mastery of the components of the movement, integrated in a context of scenic composition according to the requirements introduced in the classes. Understanding of the body on the scene from its dramaturgical analysis. 3-Consciousness of the expansion of the poetic universe of the interpreter

Teaching methodologies and assessment

The teaching is practical.From the autonomy of each student, through individual work and collaborative group learning: (1) Laboratory classes; (2) Practical practical and expressive activities of the movement domain; (3) Laboratory classes for the application of the techniques; (4) Individual works; collective work; presentations. The evaluation is continuous, in face-to-face, and takes into account the following parameters: a) Attendance, quality participation in class, and timely fulfillment of the proposed tasks; 25% b) Application in practical context of the techniques developed in class context; 30% c) Presentation of practical work, 45%

References

Bartenieff, Irmgard e Dori Lewis. (1980). Body Movement ;Coping with the environment. Nova Iorque: Gordon and Breach Science Publishers.
Donnelan, D. (2002). The actor and the target. London: Nick Hern Books.
Feldenkrais, Moshe (1977)- Consciência Pelo Movimento- Editor Summus
Gil. José (2001)-Movimento Total- O corpo e a Dança;tradução de Miguel Serras Pereira; Relógio D´Água Editores.
Newlove, Jean (1993). Laban for Actors and Dancers. London: Nick Hern Books