2023
Acting and Directing Theories
Name: Acting and Directing Theories
Code: ARC14629M
6 ECTS
Duration: 15 weeks/156 hours
Scientific Area:
Teatro
Teaching languages: Portuguese
Languages of tutoring support: Portuguese, English
Regime de Frequência: B-learning
Presentation
The Course seeks to carry out a comparative approach to the strategies and models of preparation and training of the actor, as well as the aesthetic-philosophical options and lines of theater directing, proposed by the main currents of theatrical thought of the 20th century. XX and XXI in the West
Sustainable Development Goals
Learning Goals
1. a) Diachronically and synchronically analyze the role of the director and the actor, taking as a reference some of the theatrical models developed during the 20th century. XX and XXI.
b) Deepen the knowledge acquired about the action of the director and the actor, depending on the main aesthetic currents, perceiving the dialectical interaction between the director and the actor and vice versa for the contemporary theatrical work.
2. a) To sharpen the observation, analytical and critical spirit in students regarding the different theatrical trends depending on both the director's and the actor's perspective.
b) Encouraging skills in organizing the information collected in the different analytical processes, enabling students to prepare conceptual theses in the scope of the arts of the actor and the director.
3. Know how to apply knowledge about the arts of staging and acting, as well as theaterlogy in general, in the investigation of theater development processes.
b) Deepen the knowledge acquired about the action of the director and the actor, depending on the main aesthetic currents, perceiving the dialectical interaction between the director and the actor and vice versa for the contemporary theatrical work.
2. a) To sharpen the observation, analytical and critical spirit in students regarding the different theatrical trends depending on both the director's and the actor's perspective.
b) Encouraging skills in organizing the information collected in the different analytical processes, enabling students to prepare conceptual theses in the scope of the arts of the actor and the director.
3. Know how to apply knowledge about the arts of staging and acting, as well as theaterlogy in general, in the investigation of theater development processes.
Contents
1. Stanislavski and the system: from the character's interiority to the action and the inverse path and identification strategies.
2. Reactions against naturalism and the role of text in theater.
3. The break with the theater of interiority: Biomechanics, Stylization and Constructivism.
4. Developments and deviations from the teachings of Stanislavski: the role of the subconscious in Strasberg and the Psychological Gesture of Chekhov.
5. Brecht's epic-narrative theater and the interaction between identification and estrangement.
6. Artaud's 'cruelty' and a theater beyond the text.
7. The Living Theater and the art of daring.
8. A theater in search of a scenic truth in inter-/transculturality: Brook, Ronconi and Mnouchkine.
9. The perception of theater as a ritual and its relationship with the spectator.
10. Theatrical deconstruction: Modernity and Postmodernity in Heiner Müller and Gerald Thomas.
11. Robert Wilson's Gesamtkunstwerk and the dramatic potential of static theater
2. Reactions against naturalism and the role of text in theater.
3. The break with the theater of interiority: Biomechanics, Stylization and Constructivism.
4. Developments and deviations from the teachings of Stanislavski: the role of the subconscious in Strasberg and the Psychological Gesture of Chekhov.
5. Brecht's epic-narrative theater and the interaction between identification and estrangement.
6. Artaud's 'cruelty' and a theater beyond the text.
7. The Living Theater and the art of daring.
8. A theater in search of a scenic truth in inter-/transculturality: Brook, Ronconi and Mnouchkine.
9. The perception of theater as a ritual and its relationship with the spectator.
10. Theatrical deconstruction: Modernity and Postmodernity in Heiner Müller and Gerald Thomas.
11. Robert Wilson's Gesamtkunstwerk and the dramatic potential of static theater
Teaching Methods
Classes are organized in two parts: the first, filled with an exposition of the subject, followed by a debate.
As support for reflection and analysis, in addition to the relevant bibliography, other materials can be found in Moodle. In addition, for each of the UC modules there is an introductory text, which ends with a questionnaire on the subject matter of the topic.
Evaluation
The student must be assiduous in at least 80% of the scheduled classes.
1. Continuous assessment
a) Respond at the end of each module to a brief questionnaire (50%).
b) Frequency (30%).
c) Participation in debates during classes (20%).
2. Final exam
The student can also take the UC through an exam within the deadlines and rules in force at the University of Évora and in its evaluation Regulation.
As support for reflection and analysis, in addition to the relevant bibliography, other materials can be found in Moodle. In addition, for each of the UC modules there is an introductory text, which ends with a questionnaire on the subject matter of the topic.
Evaluation
The student must be assiduous in at least 80% of the scheduled classes.
1. Continuous assessment
a) Respond at the end of each module to a brief questionnaire (50%).
b) Frequency (30%).
c) Participation in debates during classes (20%).
2. Final exam
The student can also take the UC through an exam within the deadlines and rules in force at the University of Évora and in its evaluation Regulation.
Teaching Staff
- Pedro Paulo Alves Pereira [responsible]
Certificações
