2024
Movement and Composition
Name: Movement and Composition
Code: ARC12572L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Teatro
Teaching languages: Portuguese, English
Languages of tutoring support: Portuguese
Regime de Frequência: Presencial
Sustainable Development Goals
Learning Goals
It is intended that the students deepen their knowledge around body movement: articulations, impulses, muscles, intesities, textures. In parallel, a reflection on how to relate text and body, from the sound, to intentions and meanings. Also, the possible organic and geometric connections between body movement, space, music, sound and their interconnections.
An important aspect in this discipline is the awakening and development of the body as subject and object of the autobiography in self-expression, as well as in several directions wtthin the work as performers
An important aspect in this discipline is the awakening and development of the body as subject and object of the autobiography in self-expression, as well as in several directions wtthin the work as performers
Contents
1. The origin of movement in each individual body. Articulations, impulses and organic movement. Movement improvisation as na input to movement composition.
2. Laban technique: history and importance of Rudolf Laban in movement composition. The geometry, notation and construction of twenty seven points within a cube as a material for movement composition. Movement improvisation using Laban cube and technique.
3. The use of a loop station as a material to produce sound as na input for movement creation. Movement composition from sound layers produced by students.
4. Construction of choreographic phrases using autobiographies, from the choice of texts of others, several individual movements joined and shared and the conceptual reflections around results.
5. Contact-Improvisation as a generator of new movements and new ways of sharing.
6. Construction of a small performance of movement composition, where all the tools from points 1-5 must be somehow present
2. Laban technique: history and importance of Rudolf Laban in movement composition. The geometry, notation and construction of twenty seven points within a cube as a material for movement composition. Movement improvisation using Laban cube and technique.
3. The use of a loop station as a material to produce sound as na input for movement creation. Movement composition from sound layers produced by students.
4. Construction of choreographic phrases using autobiographies, from the choice of texts of others, several individual movements joined and shared and the conceptual reflections around results.
5. Contact-Improvisation as a generator of new movements and new ways of sharing.
6. Construction of a small performance of movement composition, where all the tools from points 1-5 must be somehow present
Teaching Methods
This discipline is composed by 2 hours a week.
1. The evaluation is continuous, taking into account all the classes, except when students work and cannot participate in classes.
2. The students with continuous evaluation should participate in a minimum of 70% of classes.
3. 30% of the final grade is based on attendance, ponctuality, iniciative and active participation in classes. Also, 50% of the final grade is based on a small final performance piece shared with a public audience. Also, 20% of the final grade is based on two rflective papers about themes proposed by the both teacher and each student (each paper corresponds to 10% of the final grade, Times New Roman, 12, spacing 1,5).
4. Students that work can do a theoretical/laboratorial work composed by a vídeo with at least 2 of the exercises done or discussed in and a small reflexive paper.
1. The evaluation is continuous, taking into account all the classes, except when students work and cannot participate in classes.
2. The students with continuous evaluation should participate in a minimum of 70% of classes.
3. 30% of the final grade is based on attendance, ponctuality, iniciative and active participation in classes. Also, 50% of the final grade is based on a small final performance piece shared with a public audience. Also, 20% of the final grade is based on two rflective papers about themes proposed by the both teacher and each student (each paper corresponds to 10% of the final grade, Times New Roman, 12, spacing 1,5).
4. Students that work can do a theoretical/laboratorial work composed by a vídeo with at least 2 of the exercises done or discussed in and a small reflexive paper.
Teaching Staff
Certificações
