There is little research on scenic languages in Portuguese universities (understood as live performances, as in theatre, dance, opera, circus or performance), which are as important and live artistic manifestations as literature or painting, for instances. This seminar may help to fulfil that gap. Our students are expected to:
1. Acquire the main conceptual and theoretical tools to the study of scenic languages;
2. Get to know some of the main creators and works in the history of the stage, including contemporaneity;
3. Be able to discuss critically, and with good arguments, some of the works he will watch, live or on DVD;
4. Be able to develop a personal and autonomous research on a subject, an author or a work, with critical and sustained perspective, and to present it, both orally and in written, in a clear and well argued form.
Paulo Filipe Gouveia Monteiro
Weekly - 3
Total - 280
APPIA, Adolphe (sem data), A Obra de Arte Viva, Lisboa, Arcádia;
ARTAUD, Antonin (1996), O Teatro e o seu Duplo, Coimbra, Fenda;
BRECHT, Bertold (1964), Estudos sobre Teatro, Lisboa, Portugália;
BROOK, Peter (1982), The Empty Space, London, Penguin;
CRAIG, E. Gordon (2005), Da Arte do Teatro, Lisboa, Escola Superior de Teatro e Cinema, cd-rom ;
GROTOVSKI, Jerzi (1975)Para um Teatro Pobre, Lisboa, Forja ;
LEHMANN, Hans-Thies, (2002), Le théâtre postdramatique, Paris, LArche,
LISTA, Giovanni (1973), Futurisme: manifestes, documents, proclamations, Lausanne, LÂge dHomme ;
MEYERHOLD, Vzevolod (1980), O Teatro Teatral, Lisboa, Arcádia;
MONTEIRO, Paulo Filipe (2010), Drama e Comunicação, Coimbra, Imprensa da Universidade de Coimbra;
MONTEIRO, Paulo Filipe (org.),Revista de Comunicação e Linguagens, nº 24, com o título Dramas, 1998;
SCHECHNER, Richard (2006)Performance Studies: an introduction, New York and London.
At graduate level, teacher´s presentations must be supported by readings of texts, in order to promote good critical discussion. Students must also present their research, including preparation of audiovisual materials, introducing diverse cases and different perspectives on themes, authors and films of one or more performing art.
Reading and theoretical research(20%), Study Visits(10%), Written paper (40%) & Oral presentation of original research (30%)(70%)
This seminar address drama as a genre of aesthetics, and its subgenres, such as tragedy, comedy and tragicomedy.
The major theories of drama and performance are treated with their various stages, divisions and revolutions, from Aristotle to the present day, as well as the key elements of performance: from text to scene, space, dramatic time, character, acting, direction and reception.