Techniques of Interpretation II

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

ULP1977-7498

Recommended complementary curricular units

n/a

Mode of study

Face-to-face

Precedences

Não

Professional Internship

Não

Syllabus

1 - From the XVII century Naturalism to the avant-garde movements of the XX century -"Real reproduction of life in art" to the notion of "actor-creator ":
. Appia, Stanislavski, Meyerhold Lee Strasberg and Mickael Thèckhov: reorganization of the scenic creation;
. a new relational practice between playwrights, directors, actors and spectators.
2 - Awareness of actor in scene - body-voice-emotion-mind:
. the actor's body made the vehicle of thought, intermediary of the universe of understanding and expression;
. sheet music of communication with the audience - the composition of the actor (or his game in space and time)
3 - The show as living organism:
. displacement of the center of gravity of the composition of the text for its representation;
. the dramaturgy of the actor: work on the text as an act of creation and co-creation in a balance between the effects of meaning and presence;
4- Sound and Dubbing Studio training:
. technical and artistic specificities involving the work of l

Objectives

-Promote the awareness of the changes in the role of the actor in the show since the 17th century until our day;
-Develop a work ethic: the actor as creator, technically prepared, creative and attentive to his craft;
-Consolidate the foundations of the scenic interpretation and the central role of the actor in the whole creative process: to raise awareness of the necessary "dramaturgy of the actor" operated through the movements and sounds of his body-voice-emotion-mind, uniting time (text and music) and space (scenery, light and staging) always based on the intention of communicating with the audience;
-The formation in locution and dubbing intends to open the universe of students to the multiplicity of areas where their skills are put to the test.
It is a fundamental experience, not only in the formative course of the students, but also as a possibility of professional exit after the formation at the university.

Knowledge, abilities and skills to be acquired

-The notion that the actor is not only "the one who says a text", but a creative three-dimensional plastic entity - consolidation of the technical sills necessary to the composition of the actor in time and space: the rhythms, the difference of tones, the intensities in verbal language, gestures, posture, gaze and bodily movements that favor kinesthetic communication with the spectator.
-progression of an actor tied to the imitation of reality, undisciplined, incapable of controlling emotions, for a creative and disciplined actor, technically prepared, freed from the whims and accidents that emotion imposes;
-enhancing imagination and creative autonomy and engaging in scenic dramaturgy through physical, vocal, mental and emotional actions.
-sense of discipline, critical analysis, dialogue, individual and group responsibility.

Teaching methodologies and assessment

-The practice in the classroom articulates the research with exercises of interpretation from various dramaturgic supports: it promotes the opening of the imaginary, subjectivity and creativity and consolidates the technical skills of interpretation.
-To instill in the group the notion of importance, for their formation, in being frequent spectators in the shows presented in the stages of the city throughout the year; the subsequent criticism in a written report obliges the reasoning of the opinions.
-Presentations to the community: practical exercises to be developed in groups on poetic texts, in prose or dramatic, which, by confrontation with the public, allow to reflect the evolution of individual work and collective acquisition of analytical skills, interpretation and creation.

-Attendance and punctuality ¿ 10%
-Individual exercises and reports- 15%
-Commitment, quality of participation and evolution-35%
-Practical group work-40%
-No final exam. Attendance of 75% of the classes

References

Edward Gordon Craig, On The Art Of The Theatre
Konstantin Stanislavski, My life in art
Konstantin Stanislavski, The preparation of the Actor
Michael Thèckov, To the Actor: On The Technique Of Acting
Cicely Berry, Voice and The Actor
Peter Brook, The empty space
Declan Donnellan, The Actor and The Target
David Mamet, True and False: Heresy and Common Sense for The Actor