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Techniques and Processes in Dramatic and Musical Expression

Scholar Year: 2018/2019 - 2S

Code: EDB20039    Acronym: TPEDM
Scientific Fields: Formação na Área da Docência
Section/Department: Arts

Courses

Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
LEB 49 Study Plan 5,0 60 135,0

Teaching weeks: 15

Head

TeacherResponsability
José Carlos David Nunes GodinhoHead

Weekly workload

Hours/week T TP P PL L TC E OT OT/PL TPL O S
Type of classes

Lectures

Type Teacher Classes Hours
Contact hours Totals 2 8,00
José Gil   4,00
José Carlos Godinho   4,00

Teaching language

Portuguese/English

Intended learning outcomes (Knowledges, skills and competencies to be developed by the students)

A – To develop knowledge in the domains of drama and music literacy and terminology and to acquire fundamental concepts.
B – To experience musical and dramatic activities and to understand their aims, structure and procedures.
C – To develop specific skills and techniques in the domains of Theatre and Music.

Syllabus

1- Basic concepts on technique and practice of dramatic and musical expression:
- Timbre; Dynamics; Pitch; Rhythm; Form.
- Sonorous materials (reading and writing); Expression, Structural play; Value.
2. Processes of Creation, Appreciation and Performance:
- Media and resources in music and drama domains.
- Classical, popular and traditional music repertoires (e.g. Cante Alentejano)
3. Specific drama and music techniques:
- Vocal, instrumental (Orff, cavaquinho, recorder…) and bodily (gesture, mime, movement…) techniques; Basic techniques on staging and acting; bodily performance in theatrical space; facial mask.


Demonstration of the syllabus coherence with the UC intended learning outcomes

The topics to be developed within this curricular unit aim to develop fundamental concepts in relation to art and cultural heritage, as well as to experience specific tools that might help students to implement actions of educational and cultural development of diverse publics. The syllabus is articulated around two main pillars: the theoretical component and the practical implementation, in order to facilitate the effectiveness of learning.
The articulation between syllabus and objectives is as follows: A with 1; B with 2; C with 3.

Teaching methodologies

The sessions will include the presentation and debate around the themes of the program and the practical experimentation of performing arts processes, individually and in groups. This theoretical and practical work in the classroom will be complemented with literature review and research, and the production and presentation of course works.

Demonstration of the teaching methodologies coherence with the curricular unit's intended learning outcomes

The participation in processes of oral presentation, debate, practical experimentation, research, reading and production enables students to develop the integrated knowledge that is announced in the objectives and which includes multimodal knowledge, understanding, integrating and creating.

Assessment methodologies and evidences

The assessment will include:
- Presence and participation in sessions – 45%
- Production and presentation (5/7 minutes) in trios of a digital portfolio of materials (educational resources) in the areas of music and drama. – 15%
- Production and presentation of a performance (music and drama) in trios (5/7 minutes), around an example of popular/traditional Portuguese music – 30%
- Significance – 10%
The exam version will consist on the individual production and presentation of a portfolio of materials (40%) and on an individual performance (60%), such as described above.

Attendance system

The attendance system establishes a minimum of 50% of attendance for working students and of 75% for the rest of the students.

Bibliography

Barret, G. & Landlier, J. (1994). Expressão Dramática e Teatro. Lisboa: Edições ASA.
Bonfitta, M. (2009). A cinética do invisivel - Processos de Actuação no Teatro de Peter Brook. S. Paulo: Editora Perspectiva.
Brook , P. (2011). O espaço vazio. Tradução de Rui Lopes. Lisboa: Editora Orfeu Negro.
Brook, P. (2009). Avec Grotowski. Actes Sud. Papiers Paris.
Brook, P. (2010). Climat de Confiance. Quebec: L’instant même.
Cabral, C. (2004). Manual de Técnicas de Palco. Lisboa: INATEL.
Costa, I. A. & Baganha, F. (1989). O Fantoche Que Ajuda A Crescer. Porto: ASA.
Gardner, H. (1999). Intelligence Reframed. New York: Basic Books.
Godinho, J. C. (2010). Era uma vez a música 1.º, 2.º, 3.º e 4.º anos. [Manuais escolares]. Lisboa: Santillana.
Godinho, J. C. (2016). Música Cinco 5.º ano. [Manual escolar]. Lisboa: Santillana.
Godinho, J. C. e Brito, M. J. N. (2010). As Artes no Jardim de Infância. Lisboa: DGIDC.
Ilari, B. S. (org.) (2006). Em busca da mente musical : ensaios sobre os processos cognitivos em música : da percepção à produção Curitiba : UFPR.
Landier, J. C. & Barret, G. (1994). Expressão Dramática e Teatro. Porto: ASA
Oliveira, E. V. (1982). Instrumentos Musicais Populares Portugueses, Lisboa: Fundação Calouste Gulbenkian.
Pavis, P. (2009). Dicionário do Teatro. S.Paulo: Editorial Perspectiva.
Silva , A. S. (coord.) (2000). A educação artística e a promoção das artes, na perspectiva das políticas públicas : relatório do Grupo de Contacto entre os Ministérios da Educação e da Cultura Lisboa : Ministério da Educação.
Trias, N., Pérez, S. & Filella, L. (2002). Jogos de Música e de Expressão Corporal. Lisboa: Âncora Editores.
Ulrichs, M. (2003). Atlas de Música. Lisboa: Gradiva.
Vários, Educação pela Arte. Lisboa: Livros Horizonte, pp. 119-126.

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Página gerada em: 2024-03-29 às 11:47:55