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Direction of Actors

Objectives

To know and experience different paths, in the history and contemporaneity of theater, cinema, television and even dance, to lead the actors to the objectives, along the way incorporating the surprises of the processes themselves. At the same time, as some of the students will be directed while others will be directing, the aim is also to develop acting skills, with different approaches and tools.

General characterization

Code

02107621

Credits

10.0

Responsible teacher

Paulo Filipe Gouveia Monteiro

Hours

Weekly - 3

Total - 280

Teaching language

Portuguese

Prerequisites

Available soon

Bibliography

  • BENTIVOGLIO, Leonetta, O Teatro de Pina Bausch, Lisboa, F.C.Gulbenkian, 1994;
  • BOGART, Anne, A Director Prepares, London/New York, Routledge, 2004;
  • BORGES, Suzana (org.), Desavergonhadamente pessoal: o trabalho dos actores, Oficina do Livro, 2005;
  • CANIJO, João, A individualidade da representação: fundamentos de um processo de trabalho, Estaleiro de Curtas de Vila do Conde, Fevereiro de 2012;
  • DUSIGNE, Jean-François, La direction d'acteurs peut-elle s'apprendre? Solitaires Intempestifs, 2015;
  • DUSIGNE, Jean-François, Les passeurs d'expérience, ARTA, Editions Théâtrales, 2013;
  • FOREMAN, Richard, Unbalancing Acts, New York, Theatre Communication Group, 1992;
  • GALLAGHER, J. A., Film Directors on Directing, N. Y, Greenwood Press;
  • MITTER, Shomit, Systems of Rehearsal: Stanislavsky, Brecht, Grotovsky and Brook, London, Routledge, 1992;
  • RICHARDS & WOLFORD, The Grotowski Sourcebook, NY, Routledge, 1997;
  • STRASBERG, Lee, A Dream of Passion: the development of the method, London, Bloombsbury, 1988.

Teaching method

The seminar will base the learning of the various approaches to directing actors, not so much in historical and contextualizing lectures, as in laboratory experimentation. Each experimental phase will be filmed, followed by a work of deciphering and analysis. National and foreign specialists will be invited (in person or by videoconference).

Evaluation method

Continuous Assessment - A written descriptive memory of the process or processes that the student preferred, in which the theoretical framework and the argumentation of the personal learning process are balanced; or, alternatively, a theoretical study on a method of direction(50%), Attendance and quality of participation in classes(50%)

Subject matter

  1. Great theorists of direction: Stanislavsky, Michael Tchechov, Strasberg, Kazan, Grotovsky, Brook, Boal, Bergman, Anne Bogart. Their contexts and options;
  2. The practices of those who did not theorize (or even refused to theorize). Example: Pina Bausch;
  3. The interpreters' testimonies about how they were directed;
  4. Contributions from disciplines such as psychology, linguistics, anthropology or neuroscience to the conduct of interpreters;
  5. The importance and content of the different improvisation methods and their relationship with the leadership of the processes. Maieutics, manifestation and revelation;
  6. Obstacles and tensions that enrich the processes;
  7. And when the actor has to relate to the camera?