2025
Physical Training
Name: Physical Training
Code: ARC12582L
3 ECTS
Duration: 15 weeks/78 hours
Scientific Area:
Teatro
Teaching languages: Portuguese
Languages of tutoring support: Portuguese, English
Regime de Frequência: Presencial
Sustainable Development Goals
Learning Goals
a) To develop a body training in the scope of psychosomatic preparation and movement and perception
b) To explore the relation of the body with voice, speech and text
c) To explore the relation with scenic elements such as objects, scenography, figurine, music, video, photography and site-specific
d) To develop exercises of improvisation and composition
e) To research, know and integrate different perspectives, influences and practices of body training for actors coming from testimonies of artists, researchers and pedagogues of dance, theatre and performing arts
f) To research and elaborate a personal body training
b) To explore the relation of the body with voice, speech and text
c) To explore the relation with scenic elements such as objects, scenography, figurine, music, video, photography and site-specific
d) To develop exercises of improvisation and composition
e) To research, know and integrate different perspectives, influences and practices of body training for actors coming from testimonies of artists, researchers and pedagogues of dance, theatre and performing arts
f) To research and elaborate a personal body training
Contents
a) Psychosomatic preparation
Psychosomatic practices around the senses, gravity (weight-lightness), muscular tonicity, groundness, centre, strength, resistance, precision, dexterity, breath, relaxation, concentration, spatial coordinates, awareness and presence of the body.
b) Movement and perception
Exercices of movement and perception around the emergence of gesture and its sustenance e of the relation with the body, energy, space and time
c) The relation of the body with voice, speech and text and other scenic elements
Tools for research for the integration of voice, speech and text and other scenic elements in the body training: objects, scenography, figurine, music, video, photography and site-specific
d) Improvisation and composition
Development of exercises of improvisation and composition, individually and in group, capable of integrating the syllabus described above: a), b) and c)
e) Archival and audiovisual documentation research
f) Body training, a work-in-progress
Psychosomatic practices around the senses, gravity (weight-lightness), muscular tonicity, groundness, centre, strength, resistance, precision, dexterity, breath, relaxation, concentration, spatial coordinates, awareness and presence of the body.
b) Movement and perception
Exercices of movement and perception around the emergence of gesture and its sustenance e of the relation with the body, energy, space and time
c) The relation of the body with voice, speech and text and other scenic elements
Tools for research for the integration of voice, speech and text and other scenic elements in the body training: objects, scenography, figurine, music, video, photography and site-specific
d) Improvisation and composition
Development of exercises of improvisation and composition, individually and in group, capable of integrating the syllabus described above: a), b) and c)
e) Archival and audiovisual documentation research
f) Body training, a work-in-progress
Teaching Methods
The teaching methodologies articulate its three components: practice (psychosomatic preparation, movement and perception, the relation of the body with voice, speech and text and other scenic elements, improvisation and composition), contextualization (archival and audiovisual documentation research) and individual research (elaboration of a body training).
The evaluation consists of:
- attendance, endeavour and quality of participation 30%
- apprehension of contents, acquired competences and verified evolution 40%
- practical work 20%
- written work10%
- mid-term evaluation, non quantified, undertaken with the presence of the CU juri
To be evaluated, the student must attend 75% of the classes, that is, the limit of unjustified absences is fixed into 25% of the total of classes of the semester (except for those who are worker students), as defined in the rules of attendance and evaluation of the performing arts department.
The evaluation consists of:
- attendance, endeavour and quality of participation 30%
- apprehension of contents, acquired competences and verified evolution 40%
- practical work 20%
- written work10%
- mid-term evaluation, non quantified, undertaken with the presence of the CU juri
To be evaluated, the student must attend 75% of the classes, that is, the limit of unjustified absences is fixed into 25% of the total of classes of the semester (except for those who are worker students), as defined in the rules of attendance and evaluation of the performing arts department.
Teaching Staff
- Sónia Alexandra Ramos Baptista [responsible]
Certificações
