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Dramatic Expression

Scholar Year: 2021/2022 - 2S

Code: LGP20003    Acronym: ED
Scientific Fields: Artes
Section/Department: Arts

Courses

Acronym N. of students Study Plan Curricular year ECTS Contact hours Total Time
LGP 15 Study Plan 5,0 60 135,0

Teaching weeks: 15

Head

TeacherResponsability
José Amilcar Capinha GilHead

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 4,00
José Gil   4,00

Teaching language

Portuguese

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

UC of initiation to dramatic expression essentially pratical (Workshop and Laboratory Work) whith a small theorical componente understanding the concept of dramatic expression according to Gisèle Barret in process work of art total.
Expression, Perfomance,movement,voice and theatre research progressively affirming itself as a key area in the scope of comunication techniques and expression common to diferente Courses and Schools, Universities.
Games and Improvisation with na importante compunent of individual and groupe training

Syllabus

UC of Initiation to Dramatic Expression essentially practical (workshop and laboratory work) with a small theoretical component. Understand the concept of dramatic expression according to Gisèle Barret of in process work of art and total work of art. Understanding concepts such as performance, dramatic expression, movement, voice, theater research and theater show, progressively affirming itself as a key area within the communication techniques and artistic expressions common to different Courses and Schools. Games and Improvisations with An important component of individual and group training.
The workshop aims to provide students with basic tools of initiation to dramatic expression and basic listening comprehension of the basic elements of the arts.
To write, to describe, to invent characters, to improvise real and absurd situations (the fair, the circus, the market, the marriage, the bullfight, for example) in order to give a notion of spatiality and detail, of differentiation and complement, to the diverse interactions About an imaginary "stage".
It's through Make-believe that we feel the situations, we incorporate the characters and it becomes easier the creative writing, the narratives and the scripts. Because it is not always easy to write: considering some of the "blockers" of bodily work, improvisation and writing ":
1. Perfectionism;
2. Fear;
3. Arrogance.
4. The shame
5. Blame.
To motivate creativity, our main goal, Block-busting can be summed up as a regular workout of training and rehearsal.
Our objective of critical education of the passive spectators of the Media assumes the transversal and practical form in all the degrees of education, and approaches us of a theoretical foundation of the dramatic expression from the Didactic Compass ("Cadran Didactique"), model of Gisèle Barrett, with a reflection extended by the works of Courtney (1987), Ryngaert, (1992), Brook (2003), Deldine (2004) and Ubersfeld (1982).
We present a central question, the objectives and the problem, organizing the planning into three main parts. In the first part we present the theoretical foundations, the creative writing of scripts while the second part is destined to the functional issues of the artistic education of the student / spectator. Everything for the practice of Drama / Theatrical Game, the 3rd part - Design Methodologies in Dramatic Expression - Game Inductors by Gisèle Barret.


2. Learning objectives (knowledge, skills and competences to be developed by students)
(A) Develop skills in the area of ​​aesthetic sensibility and critical mass.
As well as express themselves with the body and play in a dramatic and improvisational process.
(B) Know and use properly the techniques of voice and mime, verbal and non-verbal language.
(C) To know the characteristics of puppet and shadow theater.
(D) master breathing techniques; Abdominal, thoracic and total.
(E) To know the techniques of projection of the voice.
(F) Mastering the techniques of telling a story, a story a lengalenga. To invent and to reproduce the verbal and gestural speech of the translation with harmonious movements.
(G) Make a little theatrical show. Performative based on the theater of the absurd
(H) Theater of Shadows and Puppets


Demonstration of the syllabus coherence with the UC intended learning outcomes

The objectives of the UC are articulated with the content not only taking into consideration that it is an education course, but an initial formation in languages of mime, pantomime.
Taking into consideration the specific course for this program, articulate the questions of body posture (3.9) with the voice techniques of the future teacher of LGP or translator.
To make known and train the forms of free gestural communication, in a connection between thought and action. Connect the training of the voice projection with the content of the breathing techniques (3.2.3.3). Point (F) is conjugated with the contents (3.9) (3.12)

Teaching methodologies

The different themes to be addressed will be organized around the body, sessions will be centered on the levels and platforms of artistic education of the "player" and the viewer. Sessions will focus on improvisation in a large group and / or small groups from boosters or booster springs provided directly by the teacher or students or using the use of materials and texts and others. The process will comprise: (a) Game and reflection and again game; (B) Written and / or oral review of Diaries; (C) Elaboration of small critical comments; (D) Elaboration of creative and dramatic writing works - the argument according to point 4; (E) Presentation and discussion of the works; (F) presentation to the group and the school of certain improvisations and exercises; (G) Elaboration, discussion and analysis, in group, of small works; (H) Preparation, testing and presentation of practical work; (I) discussion through a newsgroup to be created for the purpose.

Entertainment assistance, study visits, organization of events

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, namely the games, the practice of creative writing, the experiences of reflection on improvisations and the language of the total body.

Assessment methodologies and evidences

Articulation of teaching methodologies with the learning objectives of the curricular unit.

1st and 2nd Part

At the end of the work, the expected learning is centered around three major domains: (a) knowledge of verbal and non-verbal verbal and verbal language skills (b) production of small (spectacles) of dimensions and problems Variables; (C) public presentation of works from the "cadran didactique", the compass of the pedagogy of the situation of Giséle Barret on the oldest concept of EXDRA.

3rd Part
Design Methodologies in Dramatic Expression
Game Inductors by Gisèle Barret
1. Object
2.Picture picture
3.Musica
4.Personagem

Attendance system

The work developed in the CU will be object of: two evaluations:

1st and 2nd Part

1.-Continuous evaluation
Active participation, participation, performance of the exercises - and
Reports / Reflection Chips of the classes. Dossier in PowerPoint chips.
2.2. Creation of performative spectacle based on texts from the theater of the absurd
3rd Part
Self-Assessment at the end of the Semester

Exam

1.Performance of 15 minutes and portfolio in Power Point of its creation and accomplishment (1st and 2nd part) 5 minutes.
  2.Exercise from one of the Dramatic Expression Inducers, (3rd part).

Bibliography

ABC da Maquilhagem (O) Editorial Presença 2013
ÀVILA, Norberto, Algum Teatro II,INCM, 2009,
Nota inclui as peças:
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.
ACKROYD, Peter, Shakespeare, a biografia, Teorema, 2005, 30,9 euros,
ACKROYD, Peter, Chaplin, Teodolito, 2014, 14 Euros,
ADORNO, Theodor W., Teoria da Estética, Ed. 70, 2012,25 euros,
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. A. Encontros 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,

Observations

WEB BIBLIOGRAFIA

BAUSH,Pina, “Orfeu e Euridice”, consulta 5,12,2016
https://www.youtube.com/watch?v=lDJFMvU2ZqY
ABRAMOVIC, Marina ,Charles Atlas, Marina Abramovic:Biography,
ABRAMOVIC, Body of Art:Meet Perfomance artiste: You Tube, consulta 27-6-2016,
ABRAMOVIC , Marina,( Serbian-American Artist),
www.theatstory.org/artist-abramovic-marina.htm
consulta 27-6-2016
ABRAMOVIC ,Marina ,On Rythm 0 (1974) Vimeo.com, Milica Zeck, consulta 26-6-2016,
ABRAMOVIC, Marina On MAI and Intergenerational Collaboration, Institute, Comunity Theatre

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Página gerada em: 2022-06-25 às 21:43:24