Stage Practices
Objectives
- By means of practical work, to develop a direct knowledge of the virtualities and challenges of performing arts;
- to aplly, test and pass on to the body the issues studied in other seminars;
- to improve specific skills in body, voice, directing and coreography.
General characterization
Code
722011132
Credits
10.0
Responsible teacher
Beatriz da Silveira Moreno Batarda Fernandes
Hours
Weekly - 3
Total - 280
Teaching language
Portuguese
Prerequisites
N/A
Bibliography
- BARBA, Eugénio; SAVARESE, Nicola (1985) Anatomie de l'acteur, Cazilhac, Bouffonneries Contrastes
- BOGART, Anne (2004), A Director Prepares: Seven Essays on Art and Theatre, London, Routledge
- BROOK, Peter (1982) The Empty Space, London, Penguin
- CHEKHOV, Michael (1984) To the Director and Playwright, New York, Limelight
- CLURMAN, Harold (1997) On Directing, New York, Fireside
- FERRACINI, Renato (2013) Ensaios de Atuação, S. Paulo, Perspectiva
- MEYERHOLD, Vzevolod (1980) O Teatro Teatral, Lisboa, Arcádia
- MITTER, Shomit (1992) Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook, London, Routledge
- OIDA, Yoshi (2001) O ator invisível, São Paulo, Beca Produção culturais
- SMITH-AUTARD, Jacqueline M. (2005) Dance composition, London. A & C Black
- STANISLAVSKI, Konstantin (1979) A Preparação do Actor, Lisboa, Arcádia
- STRASBERG, Lee (1988) A Dream of Passion: the development of the method, London, Bloomsbury
- STREHLER, Giorgio (1980) Un théâtre pour la vie, Paris, Fayard
Teaching method
This seminar requires that students attend a minimum of 70% of the classes, and will have into account:
- that assiduity (20%)
- the performing skills and their evolution throughout the seminar (60%)
- a final written report on personal and group work (20%)
Evaluation method
Continuous Assessment - Assiduity(20%), Final written report on personal and group work(20%), Performing skills and their evolution throughout the seminar(60%)
Subject matter
1) posture, relaxation, sensorial work and body freedom;
2) contact improvisation;
3) integration of voice and body, breathing, voice placement and projection;
4) option when transposing a dramatic text on stage;
5) options in character composition;
6) methods for the actors and performers acting;
7) blocking, mise en place, composition;
8) experimental presentation of a stage project.