2025
Theory of the Actor
Name: Theory of the Actor
Code: ARC12593L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Teatro
Teaching languages: Portuguese
Languages of tutoring support: Portuguese
Regime de Frequência: Presencial
Presentation
Ensuring quality, inclusive and equitable education, and promoting lifelong learning opportunities for all citizens and performing arts specialists.
Sustainable Development Goals
Learning Goals
1. To develop the analytical, critical and observational spirit in students in relation to the different theatrical tendencies regarding the role of the actor as a fundamental element of the theatrical process.
2. Diachronic and synchronous analysis of the role of the actor in function of the main aesthetic trends that mark the Theater in the 20th and 21st centuries.
3. Encourage students to apply the knowledge gained from the study of the major Western models of the art of the actor, thus contributing to an increase in their professional and practical skills.
4. Encourage in students the ability to organize and systematize the information gathered in the different analytical processes, thus developing their specific abilities so that they know in a methodical, summary and critical way to present the results of their individual and / or team work.
2. Diachronic and synchronous analysis of the role of the actor in function of the main aesthetic trends that mark the Theater in the 20th and 21st centuries.
3. Encourage students to apply the knowledge gained from the study of the major Western models of the art of the actor, thus contributing to an increase in their professional and practical skills.
4. Encourage in students the ability to organize and systematize the information gathered in the different analytical processes, thus developing their specific abilities so that they know in a methodical, summary and critical way to present the results of their individual and / or team work.
Contents
Stanislavski - the System and the Method.
Some distinct paths in method development:a) The emphasis of the role of the subconscious in the method, seen by Strassberg; b) The method and critical examination performed by Mikhail Chekhov.
The Constructivism and Theater of Biomechanics of Meyerhold, in antagonism to Tairov's aestheticism.
Characteristics of the Epic Theater and the work of the Actor in the Brechtian method.
The involvement of the viewer: Living Theater and the "cruelty" of Artaud.
The training of the actor with Grotowski and Barba: the rite and the relationship with the spectator.
The Actor and the empty space: Brook, Luca Ronconi, Ariane Mnouchkine.
The View Point: Anne Bogart and Western Appropriation of the Tadashi Suzuki Method.
Katie Mitchell and the virtuous use of videodesign in theatrical work.
Gerald Thomas: Thought as Process, and Process as Time and Space of scene.
Some distinct paths in method development:a) The emphasis of the role of the subconscious in the method, seen by Strassberg; b) The method and critical examination performed by Mikhail Chekhov.
The Constructivism and Theater of Biomechanics of Meyerhold, in antagonism to Tairov's aestheticism.
Characteristics of the Epic Theater and the work of the Actor in the Brechtian method.
The involvement of the viewer: Living Theater and the "cruelty" of Artaud.
The training of the actor with Grotowski and Barba: the rite and the relationship with the spectator.
The Actor and the empty space: Brook, Luca Ronconi, Ariane Mnouchkine.
The View Point: Anne Bogart and Western Appropriation of the Tadashi Suzuki Method.
Katie Mitchell and the virtuous use of videodesign in theatrical work.
Gerald Thomas: Thought as Process, and Process as Time and Space of scene.
Teaching Methods
The proposed teaching-learning process is based on the critical reading and debate of the main theories and contemporary models of the art of theatrical performance. In addition to the readings provided, the discipline includes the comparison of texts with case studies that promote a conscious approximation between theory and practice.
It is therefore desirable that the classes contribute so that each student, in articulation with his peers, can relate the theoretical arsenal of the discipline with their own creative practice in the theatrical and performative sphere.
It is foreseen, for this purpose, a tutorial accompaniment of the suggested readings, the attendance/ audience of theatrical shows, the presentation of seminars and the realization of a test review of the main concepts worked throughout the semester.
It is therefore desirable that the classes contribute so that each student, in articulation with his peers, can relate the theoretical arsenal of the discipline with their own creative practice in the theatrical and performative sphere.
It is foreseen, for this purpose, a tutorial accompaniment of the suggested readings, the attendance/ audience of theatrical shows, the presentation of seminars and the realization of a test review of the main concepts worked throughout the semester.
Assessment
Student can choose between the continuous assessment (1) or a final examination (2).
(1) Continuous evaluation:
a) research and presentation of a group seminar and other planned tasks (reviews of performances, case studies, etc.) [50%].
b) Proof of review of the contents (frequencies) [50%].
(2) Final examination: a single examination focused on critical reflection on the contents of the subject [100%].
(1) Continuous evaluation:
a) research and presentation of a group seminar and other planned tasks (reviews of performances, case studies, etc.) [50%].
b) Proof of review of the contents (frequencies) [50%].
(2) Final examination: a single examination focused on critical reflection on the contents of the subject [100%].
Teaching Staff
- Cláudio de Souza Castro Filho [responsible]
Accreditations and Certifications
