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 | 60

Code

ULP1977-15465

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

I Transverse structures: 1. Historical notions of the performance concept; 2. Hybridism and "anti-disciplinarity" as a theatrical and performative paradigm 3. Notions about the concept of Post-Dramatic Theater; 4. Perception policies. 5. Performative transversality languages: from Butô to Stelarc. II - Performance practices and problematizations from the point of view of the Dramatic Post: 1. What is considered post? 2. The Post-Dramatic Theory Drawn from Szondi and Hegel 3. The Various Prehistories of Post-Dramatic Theater: From Historical Vanguards to Digital Practices III - Potentiation or Dispossession of the Body 1. The performative and its semantic contamination: dramatization of the self ", territory, ecstasy 2. Community, ritual, narrative: the performative crisis 3. The performative circle: subjectivization of the artist by the work or objectification of the work by the body IV - Practices of interaction: experimentation around a concept.

Objectives

Provide the students with theoretical knowledge and references on the subject matter, as well as instrumental skills that promote the development and the autonomous and continuous apprehension of renewed perspectives in these domains (new media, digital performance, performance art, theater, dance), highlighting transversality of languages and creative behaviors. Transversal to this learning, it is proposed the development of the capacities of critical self-evaluation, the problematization and the artistic questioning of themes and concepts that mark the territories of the contemporaneity.

Teaching methodologies and assessment

1. Expositive. 2. Dialogue: the exercise of dialogue as a way of constructing and evaluating situations; it is intended, through the practices of the dialogue to be carried out, to develop the apprehension of instruments of self-analysis and communication in a synthetic and creative way; 3. Performative practices: the performance of performative exercises, their implications and critical analysis form an axis of work with which one intends to develop the individual qualities and capacities of each student; the relations between the inner world and objectivity, between subject and object analyzed, are some of the perspectives to be increased; 4. Instrumental practices: encourage thinking together; (40%) perfomance exercises: 40% participation in class: 40% participation in lectures: 40% participation in lectures: 40% participation in lectures: 40% participation in lectures: 20%

References

AAVV, Stelarc: The Monograph, Cambridge (Ma): MIT Press, 2007
AAVV, Refiguring The Posthuman, Comparative Literature Studies, Vol. 41, No. 3, 2004. The Penn. State University
ARTAUD, A., O Teatro e o seu Duplo, Lisboa: Fenda, 1996
CARLSON, M., Performance: a critical introduction, New York: Routledge, 2004.
COHEN, R., Performance Como Linguagem, São Paulo: Perspectiva, 2002.
DÉBORD, G., A Sociedade do Espectáculo, Lisboa: Afrodite, s.d.
DIXON, S., Digital Performance, A History of New Media in Theater, Dance, Performance Art, and Installation, Cambridge (MA): MIT Press, 2007
FISCHER_LICHTE, E., The Transformative Power of Performance. A new aesthetics, London: Routledge, 2008.
GOLDBERG, R., A Arte da Performance: Do Futurismo ao Presente, Lisboa: Orfeu Negro, 2007.
MADEIRA, C., Híbrido. Do Mito ao Paradigma Invasor, Lisboa: Mundos Sociais, 2010
LHEMAN, H.-T., Postdramatic Theatre, London: Routledge, 2006.