Espaços Performativos (not translated) - 2nd semester


The student should be able to:
1. Obtain the main conceptual and theoretical tools for an approach to the specificity of the Performing Space;
2. Get to know the different types of Performing Spaces and their historical evolution;
3. Recognize and articulate specific approaches about different types of performance (dance, theatre, circus, installation/hapenning, etc);
4. Identify and analyse the main contemporary tendencies of the Performing Spaces;
5. Bring to context the attended performing pieces, in relation to the performing space that is used, being sensitive to the communicational process involved;
6. Develop a theoretical/Practical work to create a visual solution for a Performing Space/Act. This will be carried out by theoretically analysing the concept and its pertinence by means of autonomous research.

General characterization





Responsible teacher

João Garcia Miguel


Weekly - 3 letivas + 1 tutorial

Total - Available soon

Teaching language





BLOOM, Martin. Accommodating the Lively Arts, Smith and Kraus, s/local. 1997.
MACKINTOSH, Iain. Architecture, Actor & Audience, Routledge, Londres. 1993.
GOLDBERG, Roselee. A Arte da Performance, Lisboa, Orfeu Negro, 2007 .
KWON, Miwon. One Place after Another: Site-Specific Art and Locational Identity. Cambridge (EUA), the MIT Press, 2004.
KESTER, Grant H. Conversation Pieces: Community+Communication in modern Art. Berkeley, University California Press, 2004.
JONES, Amelia. Body Art/Performing the Subject. University of Minnesotta Press. (1998).

Teaching method

The lectures will be complemented by support reading, which should promote productive discussion in classroom about the subjects. Study visits to Venues and Events will contribute to improve technical knowledge and provide space for theoretical and critical training. The regular presentations that students will need to do for their work-in-progress (including the production of audiovisual displays, which are very relevant considering the nature of the subjects) will bring different perspectives together and stimulate the discussion about distinct scenic concepts.

Evaluation method

Evaluation Parameters:
Reading / General research / Assiduity 20%
Presentation / Discussion of work 30%
Practical + Theoretical Work 50%

Subject matter

I) Historical perspective over the relation between performance and theatre architecture: from Greek amphitheatres to modern multitasks.
II) Scenic visual languages. The evolution of the visual languages within performances: from the Theatre of the World to the Happenning.
III) Study of the Visual displays involved in the Scenic Arts: Sets, Scenic displays, Props, clothes, light, video, etc.
IV) The visual expression as an answer to Performance. Installation as a template to the performing action.
V) Space and object appropriation as a strategy towards a performing action.