Presentation

The first semesters of Professional Practice are understood as the basis of an enthusiastic, conscious and intelligent relationship between the interpreter and the theatrical experimentation. The work on the work of several authors and renowned works allows the development of interpretive skills in several domains, as well as the critical analysis of different methods and theories of interpretation.

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

| Semestral | 8

Year | Type of course unit | Language

1 |Mandatory |Português

Code

ULP1977-15447

Recommended complementary curricular units

Dramatic Reading Workshop

Cultural history of theater

Body and movement

Voice and singing

Professional Internship

Não

Syllabus

The theater of David Mamet. The theatrical thought of Mamet and his diversified activity as
playwriter, theatre director, movie director, pedagogue. Mamet and the work of the actors:
analysis of the book True & False.
Analysis and interpretation of excerpts of: Edmond, Glengarry Glen Ross; The Duck Variations;
American Bufallo; Olleana. Production of a small film with interpretation of excerpts of the
pieces under analysis.

Objectives

It is objective that each student: - acquire a knowledge of their capacities, of their physical identity and develop a work applied in the intelligent use of this research; 

- develop instruments of progressive scenic self-confidence (physical / emotional); 

- to become, progressively, a centered, multifaceted and creative interpreter; 

- initiate or consolidate a relationship with dramatic material as an essential daily work tool; 

- create an individual work base of quality and great openness (from the technical point of view), so that he can exercise in different artistic languages.

Teaching methodologies and assessment

The work will be progressively professionalizing: listening times and pedagogic reception will be
completed with the call for autonomy at work, in an eminently practical approach. 1. Text
analysis 2. Improvisation 3. Application of the text to improvisation records. 4. Scenic
application. 5. Presentation of final work. 6. Discussion of results. The evaluation, in its entirety,
collects the quality of performance (evolution and integration of the learned, diversification of
scenic and analytical response) in the process of each student in the indicated points.

References

ruce Barton. How Good Is David Mamet, Anyway? Writings on Theatre: And Why It Matters. New York: Routledge. 2000.

Christopher Bigsby. The Cambridge Companion to David Mamet. Cambridge University Press. 2004. 266pp.

Gay Brewer. David Mamet and Film: Illusion/Disillusion in a Wounded Land. Jefferson, NC: McFarland & Company. 1993. 211pp.

Dennis Carroll. David Mamet. Palgrave Macmillan. 1987.

Anne Dean. David Mamet: Language as Dramatic Action. Fairleigh Dickinson University Press. 1990. 248pp.

Leslie Kane. Weasels and Wisemen: Ethics and Ethnicity in the Work of David Mamet. Gordonsville, VA: Palgrave Macmillan. 1999.

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