Techniques and Processes in Dramatic and Musical Expression

Scholar Year: 2023/2024 - 2S

Courses

Head Teacher Responsability Carlos Rozendo Barreto Xavier Head

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 12,00 Carlos Barreto Xavier   1,06 Gilberto Costa   4,93 Mário Caeiro   4,93

Teaching language

Portuguese/English

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

A - Develop knowledge in the fields of musical and dramatic literacy and terminology, with appropriation of the core concepts.
B - Experience sound-musical and dramatic activities and understand their objectives, structure and procedures.
C - Develop specific skills and techniques in the fields of theater and music.

Syllabus

1. Basic concepts in the techniques and practices of dramatic and musical expression:
- Timbre; Dynamics; Height; Rhythm; Form;
- Sound materials (reading and writing);
- Organology.

2. Processes of Creation, Audition and Interpretation:
- Means and resources available in musical and dramatic languages.
- Theatrical and musical repertoires.

3. Specific dramatic and musical techniques:
- Vocal and body technique (gesture, mime, movement...); elementary staging and acting techniques; body performance in a theatrical space.
- Vocal and instrumental technique; use of body sounds and non-conventional instruments; elementary tuning, execution and interpretation techniques, digital recording tools, sound design.

Demonstration of the syllabus coherence with the UC intended learning outcomes

The themes to be developed in this Curricular Unit aim to provide students with the fundamental concepts linked to the arts and cultural heritage, as well as tools that will enable them to put into practice actions linked to the organization and educational and cultural promotion of diverse audiences. The syllabus is based on two fundamental axes: the theoretical component and practical implementation, in order to facilitate the consolidation of learning.
The link between the contents and the objectives is as follows: A with 1; B with 2; C with 3.

Teaching methodologies

The sessions will include exposition and debate around the program themes and practical experimentation, individually and in groups, with performative artistic processes. This theoretical and practical work in the classroom will be complemented by research and reading of documents and the production and presentation of work.

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

Participation in processes of research, reading, oral exposition, debate, practical experimentation, production and performance allow for the integrated knowledge that is announced in the objectives and which includes multimodal knowledge, comprehension, appropriation and creation.

Assessment methodologies and evidences

Assessment will be continuous and punctual.

Continuous assessment
- Attendance - 10%
- Presentation (1) of each group's work - 30%

One-off assessment
- Production and presentation (2) of a performance (dramatic and musical) in groups of 7/8 people (approximately 45 minutes). The performance should consist of 5 scenes. Each working group will be responsible for one of the scenes. The 5th scene will be developed by all the groups. 40%.
- Production and group presentation (all elements) of a digital portfolio (PowerPoint) on all the work developed in the course - 20%.

In exam situations, the assessment will focus on the individual production and presentation of a performance (weight 60%) and a digital portfolio (weight 40%), according to the syllabus.
(Full consultation of the original document is not required)

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.
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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
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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.