Techniques of Interpretation I

Presentation

To understand the theater as a living organism, as an expression of energy in vibration of all its sensitive elements and awareness for the actor´s role as a fundamental element of this organism, as a creator who shares fictional time and space in equilibrium with the other "partners" - the dramatic text, the staging, the scenery, the music, the light -, whose contribution constitutes itself as one of the parts of the richness of the theatrical fabric, is the main focus of this Curricular unit. Oriented to the transmission of a pedagogy whose purpose is not only the physical preparation of the students of dramatic arts, but rather an integral education that encompasses the body, the voice, the reason and the emotion, as well as the acquisition of a culture of indispensable references to the formation of a complete, technically prepared and cultured actor. A kind of "Research Center" where the fundamental questions of the nature of the interpretation are explored.

Programme

Performing Arts - Actors Training

Level of Qualification|Semesters|ECTS

| Semestral | 3

Year | Type of course unit | Language

2 |Mandatory |Português

Code

ULP1977-7488

Recommended complementary curricular units

It draws attention to the importance of acquiring cultural references ¿ an absolutely fundamental aspect in the formation of actors ¿ by the presence of live shows presented on stage throughout the year, whether of theater, music, dance or other Performing arts, as well as in various exhibitions of Portuguese and foreign film sessions.

Professional Internship

Não

Syllabus

1. Methods, disciplines, techniques and competences in the formation of the actor:
-The body, the voice and the elocution - fundamental elements;
-Physical availability and scenic presence.
2. Structuring notions of theatrical improvisation processes and the meaning of "game":
-The individual in the game - attitude, action, inertia, movement, gesture;
-Psychophysical action: The "inhabited" gesture-relationship between sensation, perception, memory and
imaginary;
-Relational aspects: The listening and attention addressed to the/s partner/s of play; Importance of the
interaction between the intention, the context and the implementation of the action;
-From improvisation to scenic composition-application.
3. The actor-creator: notion of the importance and responsibility of the individual initiative of the actor and
awareness of his fundamental role in the whole creative process:
-Conception and realization of performative projects

Objectives

-Develop technical skills and integrate theoretical knowledge.
-Develop a daily routine of technical preparation for the game of the actor, through breathing exercises
and physical and vocal warming.
-Explore and enjoy the enormous diversity research sources in the construction of characters, scenes
and performative projects.
-Understand the importance of the text in the performative process: develop the capabilities of literary
analysis of the dramatic and non-dramatic text
-Develop the capacity for dialogue and discussion among the different participants.
-Develop the sense of discipline, responsibility and autonomy.
-Develop the capacity for critical analysis of the practical works that are being done and presented to the
public.

Teaching methodologies and assessment

-The practice in the classroom articulates the research with exercises of interpretation from various dramaturgic supports: promotes the opening of the imaginary, subjectivity and creativity and consolides the technical skills of interpretation.

-The notion of the importance in the group, for their formation, in being spectators informed in the shows presented in the stages of the city during 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 and collective work of acquiring skills of analysis, 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

Konstantin Stanislavski, "A Minha Vida na Arte"

Konstantin Stanislavski, "A Preparação do Actor"

Michael Théckov, "To the Actor - on the technique of acting"

Cicely Berry, "Voice and the Actor"

Peter Brook, "O Espaço vazio"

Declan Donnellan, "The Actor and the target"

David Mamet, "True and False: Heresy and Common Sense for the Actor"

Office Hours