Workshop on Musical and Dramatic Animation

Scholar Year: 2017/2018 - 1S

Courses

Head Teacher Responsability José Amilcar Capinha Gil 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 1 3,87 Carlos Barreto Xavier   2,00 José Gil   2,00

Teaching language

Portuguese

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

1. Introduction
The UC of Musical and Dramatic Animation Workshop includes the specialized work areas, developed by professionals who bring to their interventions a thorough knowledge of their core areas (Music and Theater). In this sense, this Workshop aims to provide students with vocabulary that will facilitate the contact with these professionals, an intrinsic knowledge of available resources and, consequently, a better integration in the design and development of social intervention projects that cross the diverse cultural areas .

2. Learning objectives (knowledge, skills and competences to be developed by students)
A. To develop skills and competences in the fields of theater and music taking into account different stages of development, such as childhood and the elderly.
B. Use the body expressively in their interpersonal relationship and in the transmission of messages.
C. Understand the musical structures and recognize genres contextualized in the various currents and epochs of the history of music and theater.
D. To seize and use basic knowledge related to the Theater and Music, mobilizing them in projects of socio-cultural intervention.

Syllabus

. Program Contents
Based on the themes of "refugees", "homelessness" and "frailties of the elderly", the contents of the CU are:
1. Body unlocking techniques. Techniques of corporal and verbal expression, games.
2. Musical hearing techniques: understanding of structures and forms;
3. Music as a soundtrack;
4. Construction of scripts; From the improvisation to the theatrical text. Creative Writing, Theater Practices; Testimony for the construction of the characters of the script, theatrical adaptation of stories and traditional fables.
5. Interpersonal development;
6. Cultural intervention projects.

Demonstration of the syllabus coherence with the UC intended learning outcomes

4. Articulation of the syllabus contents with the objectives of the curricular unit
The contents (5) are connected with the objective (A); The content (1) with the objective (B); The content (2 and 3) with the objective (C); The contents (4 and 6) with the objective (D).

Teaching methodologies

5. Teaching methodologies
The sessions will include the presentation of content by the teachers as well as the discussion in small and large group of the topics involved. Sessions will also include practical experiments. Workshop or laboratory work. The tutorial sessions will be mainly aimed at monitoring projects

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

The objectives are articulated in the aspects of creation, communication and enjoyment / consumption of shows with the practical methodologies of Artistic Workshop (Theater - Music), namely the games, the practice of creative writing applied to the Guide, the experiences of reflection on improvisations And the language of the total body.

Assessment methodologies and evidences

6. Articulation of teaching methodologies with the learning objectives of the curricular unit.
Objectives (A), (B) and (C) relate directly to the practical work of the sessions; The objective (D) relates to the moments of construction of the projects

Attendance system

7. Evaluation and classification
Continuous Assessment 55%
Assiduity, 15%
Elaboration of the Script of an original product, 20%
Individual and cooperative work, 20%

On-Site Evaluation 45%
Reflective Power Point on the chosen theme, individual, (7th Session) (5m), 15%
Group presentation of the original Social Intervention product, 25%
Digital portfolio (Final guide with reflection in group), 5%.
The final classification is obtained by weighted average of the various items.

Exam
The exam includes the individual performance of the original Social Intervention product (to be carried out by the student / subject provided in advance by the teachers) and the Power-Point on the process of construction of the same (15m).

Bibliography

Barret, G., & Landier J., C. (1991). Expression - Dramatique-Théâtre. Paris: Hatier.
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Beaudot, A. (1976). Vers une pédagogie de la créativité. Paris: Les Editions E.S.F.
Beja, Francisco, Drama Pois, Porto Editora, 1999
Boal, A. Teatro para actores e não actores Duzentos exercícios
Cabral, Carlos, Manual de Técnicas de Palco, Inatel, Lisboa, 2004.
Campos, Geir, Glossário de Termos Técnicos do Espetáculo, Edidouro, Brasil, 1985.
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Sadie, Stanley - The New Grove Dictionary of Music and Musicians.-London: Macmillan Publishers, 1980. - 20 vols.
Teatro do Oprimido – Congresso Internacional de Vila Nova de Cerveira,2014
Bibliografia complementar
ABC da Maquilhagem (O) Editorial Presença 2013
ÀVILA, Norberto, Algum Teatro II,INCM, 2009,
[Arlequim das Ruinas de Lisboa – Os Doze Mandamentos -Fortunato e Tv. Glória - O Café Centauro - Salomé ou a Cabeça do Profeta - Para além do Caso Maddie.]
Adorno, Theodor W. The Culture Industry. London: Routledge, 2001.
AGUILAR, L. F. (1989b, Setembro). Um cenário pedagógico para o jardim-de-infância centrado na prática do jogo dramático espontâneo. Percursos - Cadernos de Arte e Educação, 1,
AMORIM, T. AEncontros de Teatro na Escola - História de um Movimento. Porto: Porto Editora. . 1995
BARCA, Pedro Calderón, A Vida É Sonho, e O Alcaide de Zalamea, Livros Verbo RTP-56, 1971,
BANU, G. A., & BABLET, D. (1975). Les révolutions scéniques du XX siècle [as revoluções cênicas do século XX]. Paris: Société Internationale D'art - XX siècle.
BENTO, Avelino, Teatro e Animação, Edições Colibri, 2003,
BEST, D. (undated). Feeling and reason in the arts. London: Arts.
BARRET, Gisèle . & Landlier J.C. Expression Dramatique Théâtre,Paris
BROOK, P. (1993). O Diabo é o Aborrecimento. Porto: Edições ASA.
BROOK, Peter, O Espaço Vazio”Orfeu Negro,2011
BRECHT, Bertolt, Teatro II, A Vida de Eduardo de Inglaterra, Um Homem é um Homem, A Ópera dos Três Vintens, Ascenção e Queda da Cidade de Mahagonny, Ed. Cotovia 2004,
BRILHANTE, Maria João, Paula Magalhães e Filipe Figueiredo, Teatro em Imagens, Colibri, 2010,
RODRIGUES, Nelson, Teatro Desagradável, Cotovia, 2006,
ROSA, Antónia, Isabel Lindim, O Poder da Maquilhagem, Publicações D.Quixote,2006,
ROSTAND, Edmondo, Cyrano de Bergerac, Bichomato, Teatro Nacional D. Maria II, 2013,

Bibliografia Web
BAUSH,Pina, “Orfeu e Euridice”, consulta 5,12,2016
https://www.youtube.com/watch?v=lDJFMvU2ZqY
ABRAMOVIC, Marina ,Charles Atlas, Marina Abramovic:Biography,
www.theatstory.org/artist-abramovic-marina.htm
consulta 27-6-2016
ABRAMOVIC, Marina, Na Artis’s Life Moca, Gala 2011,
ABRAMOVIC, Marina, What is Perfomance Art? The Museum of Modern Art Mayo, 31/3/2010, consulta 9/6/2016,
ABREU Adélia Maria Nicolete, USP-ECA-Escola de Comunicação e Artes-2013,Biblioteca Digital USP,Consulta 19/7/2016,
ACT – American Conservatory Theatre – Cambridge Massachussetts, consulta 14/7/201