2025
Theatre Aesthetics
Name: Theatre Aesthetics
Code: ARC12578L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Teatro
Teaching languages: Portuguese, English
Languages of tutoring support: Portuguese, English
Regime de Frequência: Presencial
Sustainable Development Goals
Learning Goals
a) promote informed reflection on the disciplinary and historical corpus of aesthetics;
b) to stimulate the orientation of the reflection to the domain of the practices;
c) to promote the deepening of concepts, theories and texts of contemporary thought
d) to promote the mapping and recognition of contemporary artists, projects and artistic practices;
e) value the experience as a way of building knowledge;
f) stimulate critical inquiry and the ability to enunciate and solve problems through oral presentations, essays and reviews, as well as the exploration of IT (blog, moodle)
b) to stimulate the orientation of the reflection to the domain of the practices;
c) to promote the deepening of concepts, theories and texts of contemporary thought
d) to promote the mapping and recognition of contemporary artists, projects and artistic practices;
e) value the experience as a way of building knowledge;
f) stimulate critical inquiry and the ability to enunciate and solve problems through oral presentations, essays and reviews, as well as the exploration of IT (blog, moodle)
Contents
1. Elements for a theatrical aesthetic, between poiesis, mimesis and kinesis.
2. A historical perspective: mimesis as an element of artistic creation between Classical Antiquity and the Contemporary Age.
2.1. Plato, Artistóteles, Horácio: the dominant mimetic poetics of Western culture and mimesis.
2.2. Modernity, representation and crisis of representation. Contemporary readings.
3. For an aesthetic of creation: methodologies, inquiries, explorations. Mapping concepts for contemporary creation.
3.1. Aesthetics and politics. The sharing of the sensitive.
3.2. Semiotize or dessemiotize?
3.3. Participation, interactivity, interpassivity.
3.4. Transgression and limit.
3.5. Repetition and exhaustion.
3.6. Space and spatialities.
4. The theater and some of its 'others'.
4.1. Mediatization.
4.2. Inhabited installation.
4.3. Participation: eating, drinking, talking.
4.4. Ecology, activism, citizenship.
4.5. Landscape and heritage.
4.6. Investigate, create, invent, (re) produce
2. A historical perspective: mimesis as an element of artistic creation between Classical Antiquity and the Contemporary Age.
2.1. Plato, Artistóteles, Horácio: the dominant mimetic poetics of Western culture and mimesis.
2.2. Modernity, representation and crisis of representation. Contemporary readings.
3. For an aesthetic of creation: methodologies, inquiries, explorations. Mapping concepts for contemporary creation.
3.1. Aesthetics and politics. The sharing of the sensitive.
3.2. Semiotize or dessemiotize?
3.3. Participation, interactivity, interpassivity.
3.4. Transgression and limit.
3.5. Repetition and exhaustion.
3.6. Space and spatialities.
4. The theater and some of its 'others'.
4.1. Mediatization.
4.2. Inhabited installation.
4.3. Participation: eating, drinking, talking.
4.4. Ecology, activism, citizenship.
4.5. Landscape and heritage.
4.6. Investigate, create, invent, (re) produce
Teaching Methods
The dominant methodology is marked by debate, analysis and approach to critical texts and materials of contemporary artistic creation. Participation is the tool that generates problematizations, appropriations and re-uses of concepts, texts or case studies. In parallel, the students develop an autonomous research or creative work, which will also be the subject of debate in class. Here, research is always understood as a knowledge-generating process. Tutorial guidance is also a key process, which the student can and should resort to whenever necessary, to equalize their work in and out of class.
Assessment
In the continuous assessment, critical reading of shared materials, participation in debates and research or creative work will have a weight of 50% on the grade of the discipline. At the end of the semester, we will take an exercise to review the contents that will cover the other 50%.
Students who do not fit or fail the continuous assessment will have access to the final exam, according to the deadlines stipulated in the schedule of assessments.
Students who do not fit or fail the continuous assessment will have access to the final exam, according to the deadlines stipulated in the schedule of assessments.
Teaching Staff
- Cláudio de Souza Castro Filho [responsible]
Accreditations and Certifications
