Globalization of Expressions

Scholar Year: 2018/2019 - 1S

Courses

Head Teacher Responsability José Carlos David Nunes Godinho 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 9,60 Ana de Fátima Costa Pereira   2,40 Fernando Pinho   2,40 José Gil   2,40 José Carlos Godinho   2,40

Teaching language

Portuguese

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

A – To reveal basic knowledge in the field of literacies and terminology in artistic and motor areas, appropriating nuclear concepts and enlist them in the identification, critical analysis and understanding of these phenomena, downloading them with correctness and suitability for the speech and acting professionals.
B – To demonstrate knowledge and understanding of the assumptions and theoretical foundations of speech relating to the fields of artistic expressions and motor expression.
C – To present publicly to the educational community the projects undertaken.
D – To plan and implement actions according to the available time and resources.
E – To recognize the value and implications of teamwork.

Syllabus

1. Artistic and motor expressions in a globalizing education perspective.
2. Languages and specific techniques to each area depending on the selected theme.

Demonstration of the syllabus coherence with the UC intended learning outcomes

The Curriculum Unit (UC) Globalization of the expressions follows the learning undertaken in previous semesters by students, and aims essentially to promote a global and inclusive training in the field of artistic and motor expressions.
The intentionality and educational activity involved are assumed as support for the development of personal skills that might promote articulated actions and processes of creation and management.
It is wished that students understand and are able to mobilize and coordinate the different languages of non-verbal and verbal expressions, in a performing project of an integrated character.

Teaching methodologies

Students conceive an interdisciplinary project to run throughout the semester, subordinate to a pre-defined theme. Teachers accompany the progression of the process. The products include:
- A digital format portfolio, made by the group, including a detailed description of the actions taken;
- Specific tasks according to the development of the project.
- Public presentation of a performance

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

At the end of the work the expected skills lie around the following areas: (a) Organization and management of information, giving evidence of the ownership and use of differentiated and fundamental concepts; (b) Grounds and interrelation between the different concepts and knowledge under different expressions; c) Application of the acquired knowledge to the analysis of specific situations of behavioural and performing nature; (d) Public performance of the work; (e) Document research (literature, audio-visual, among others) in works written and/or oral presentations.

Assessment methodologies and evidences

The assessment will include:
- Presence and participation in the tasks – 25%
- Portfolio – 25%
- Performance – 50%

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

Almeida, J. C. R. (1998). Um olhar musical pelos resíduos. Lisboa: Instituto dos Resíduos.
Ball, D. (1999). Para frente para trás: um guia para leitura de peças teatrais. São Paulo: Perspectiva.
Boal, A. (1998). Jogos para Actores e não Actores. Rio de Janeiro: Civilização Brasileira.
Brook, P. (2008). O Espaço Vazio. Lisboa: Orfeu Negro.
Costa, I. A. (2003). O desejo do teatro. Lisboa: Fundação Calouste Gulbenkian.
Costa, I. A. & Baganha, F. (1989). O Fantoche Que Ajuda A Crescer. Porto: ASA.
Craft. A. et al. (2004). Criatividade e educação. Lisboa: Associação Educativa para o Desenvolvimento da Criatividade.
Davis, T. (2002). Escenógrafos. Artes Escénicas. Barcelona: Editorial Océano.
Monteiro. G. (2003). O professor, o corpo e a voz. Porto: Edições Asa.
Pavis, P. (2007). Dicionário de teatro. São Paulo: Perspectiva.
Prina, F. C. & Padovan, M. (2000). A Dança no Ensino Obrigatório. Lisboa: Fundação Calouste Gulbenkian.
Ryngaert, J.-P. (1981). O Jogo Dramático no Meio Escolar. Coimbra: Centelha.
Sarrazac, J.-P. (2002). O Futuro do Drama. Porto: Campo das Letras.
Trias, N., Pérez, S. & Filella, L. (2002). Jogos de Música e de Expressão Corporal. Lisboa: Âncora Editores.
Valente, L. (2000). Da Educação pela Arte às Expressões Artísticas Integradas: Contributos de uma Formação Holística de Professores.
Em Vários, Educação pela Arte. Lisboa: Livros Horizonte, pp. 143-150.
Vieira, M. M. (1996). Voz e relação educativa. Porto: Edições Afrontamento.


Plano Nacional de Leitura
http://www.planonacionaldeleitura.gov.pt/data/listas/58_Todas%20as%20listas_2017.pdf