Musical-Theatrical Performance
Objectives
By the end of this course students should/will be able to demonstrate:
a) to have a perspective of the major developments of the musical-theater production, re/mediation and performance practices of/in 20th and 21st centuries;
b) to know and understand the main conceptual, theorethical and methodological tools in the concerned area;
c) to know how to use these tools in the analysis and study of specific cases;
d) to be aware of the state of the art developments of the mentioned domains;
e) to be able to develop a research project in the study domain
f) to be able to synthesize, document and communicate ideas and information in the specific domain.
General characterization
Code
722011130
Credits
10.0
Responsible teacher
Luís Pedro Henrique Mendes Soldado
Hours
Weekly - 3
Total - 280
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- Auslander, Philip (2008 [1999]). *Liveness: Performance in a Mediatized Culture*, 2nd ed. London: Routledge.
- Citron, Marcia (2000). *Opera on Screen*. New Haven & London: Yale University Press.
- Cooke, Mervyn (2005). *The Cambridge Companion to 20th Century Opera*. Cambridge: Cambridge University Press.
- Dixon, Steve (2007). *Digital Performance: A History of New Media, Theater, Dance, Performance Art, and Installation*. Cambridge, MA & London: The MIT Press.
- Dolar, Mladen (2006). A Voice and Nothing More, London: The MIT Press, 2006.
- Levin, David (2007). *Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky*. Chicago: The University of Chicago Press.
- Novak, Jelena, Postopera: Reinventing the Voice-Body, London, Routledge, 2015.
- Smith, Matthew Wilson (2007). *The Total Work of Art: From Bayreuth to Cyberspace*. New York & London: Routledge.
- Vieira de Carvalho, Mário (2005). *"Por lo impossible andamos": A ópera como teatro de Gil Vicente a Stockhausen*. Porto: Ambar.
Teaching method
As the course aims to provide an introduction to theoretical and methodological frames in the domain of the contemporary (re/mediatized) musical-theatrical performance, the three modules of the syllabus will occupy an important part of the academic semester. The establishment of state of the art will ensure and ground the discussion of theoretical and conceptual frameworks in the study domain. To ensure a dialogue between the students cultural background and the programme units, the teaching-learning process is generally based in the active learning model.
Exposition and demonstration moments will be complemented by topic discussion, collaborative learning, problem solving, case learning, musical and audiovisual examples viewing/listening and interpretation, literature reviews, among other.
Evaluation:
- Written assignement
- Oral presentation
- Participation and involvement during the lessons
Evaluation method
Continuous Assessment - Written assignement; Oral presentation; Participation and involvement during the lessons(100%)
Subject matter
The course will consist of three modules:
Module 1 – Interpretative Challenges: Between Staging and Filming
The purpose of this module is to discuss the relationship between staging and filming as interpretation. We will examine and compare different versions of the same operas (stage productions, opera films, and cinematographic adaptations).
Module 2 - Beyond Opera
It will be shown how since the mid of seventies of the 20th century opera went 'beyond itself' by reinventing its world in the age of media. Opera continued to exist in the expanded field: beyond opera house, beyond the city, beyond composer, beyond human and eventually beyond operatic.
Module 3 - Vocal Horizons: Singing and Beyond
In this module the main operatic instrument - the singing voice will be discussed and examined in different contexts.
Questions of voice and identity will be raised including extended vocality, singing machines, and the existence of the voice between the human and the animal.