Techniques of Interpretation I

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

Bachelor | Semestral | 3

Year | Type of course unit | Language

2 |Mandatory |Português

Total of Working Hours | Duration of Contact (hours)

75 | 45

Code

ULP1977-7488

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

(a) The preparation of the lesson (placement of socks, chairs and soar of the gongue); (b) basic rules of representation (frontal look, 3 seconds, accidents); (c) ethical rules of representation (punctuality, assiduity, volunteerism, work space, imitation, error and impermanence); (d) neutrality: choir exercises; (and) the chorus ritual exercise (with guides and silent); (f) improvisation: structure, demonstration and exercises; (g) creation with neutral mask (individual and collective); (h) expressiveness: the creation of characters (posture, stylization of movements, speed, rhythm, projection); (i) improvisation of scripts with masks of Commedia dell'Arte; (j) theoretical contextualization: the return to the mask in the twentieth century: from Copeau to Gonzalez.

Objectives

(a) Understand through the play of masked representation the concomitant "see-do" relation inherent in the very idea of theater; (b) to develop a behavior, based on rules of representation and ethical rules, called "mask"; (c) to find, by rigorous observation of these rules, a "collective neutral point", basis for the subsequent neutrality that will lead to the opposite end of that axis: expressiveness; (d) to construct, in its most diverse possibilities, the choir-ritual exercise inspired by the choirs of Greek tragedy, first with a neutral mask and finally with an expressive mask; (e) from the perspective of total representation and improvisation, dominate the dramaturgical activity around the objective, the conflict, as well as the use of the actantial model.

Teaching methodologies and assessment

(a) The preparation of the lesson, based on a set of rules where non-verbalization reveals practices that impose themselves as a communication system. (b) The rigorous observation of rules of representation and ethical rules that create an awareness and a school that can finally house the use of masks (but does not depend on them, preparing the actor for other forms, genres, needs of representation) . (c) The transition from neutrality to expressiveness, with the game of the Choir as the boundary, which develops in the actor his concentration and the type of decisions he has made in real situation and with the pressure of observation. (d) The construction "from the outside in" of a character, not dissociating it from "objective" and "conflict", in the perspective of an autonomy for the work of improvisation. Continuous evaluation with parameterization of: assiduity and punctuality (10%); quality of the service in process and in the various steps indicated (45%); individual practical exercises with statement (45%

References

APPIA, Adolphe, 1963, A obra de arte viva. Lisboa: Arcádia.
ARTAUD, Antonin, 1989, O teatro e o seu duplo. Lisboa: Fenda.
CRAIG, Edward Gordon, 2004, De l'art du théâtre. Paris: Circé.
DASTÉ, Jean, 1987, Qui êtes-vous? Lyon: La manufacture.
DULLIN, Charles, 2011, Charles Dullin. Arles: Actes Sud.
LECOQ, Jacques, 2000, The moving body: teaching creative Théâtre. Londres: Methuen Drama.
SAINT-DENIS, Michel, 2009, Theatre: the rediscovery of style. Londres, Nova Iorque: Routledge