Expressão Dramática e Movimento

Teacher Responsible: Margarida Maria da Mota Ferreira Machado
3º Ano | 1º Semestre
Learning objectives
Understand the importance of the Symbolic Game and the Dramatic Game to the increase of the creativity and further its growth Identify the several components of the creative process: Body, voice, action, expression Create dramatic texts from the narrative texts Adapt narrative texts to the dramatic form Recognize several stories-creation techniques on a Pre-Schooling and Basic Education level Create and make use of dramatic and cinematic resources Recognize the vocal tract potential and know how to use it Being able of performing dramatizations and small choreographies Master and try out manipulation techniques inherent to the dramatic and cinematic resources

The Dramatic Expression in the learning process:From the Symbolic Game to the Dramatic Game Characteristics and practices of the Symbolic Game Imitation,mimic,synchrony,observation and memory in space,time and action Resources enablers of creativity in the development of the Symbolic Game Dramatic Game and improvisation Improvisation and choreography The Body:Exercises in confidence, and individual and inter-relationships/Free, conditioned and group movements The Voice:Diaphragm breathing, expressive breathing and vocal technique Stories creation techniques:Exercises according to feelings and ideas/Movement/Choreography/Scenography/Staging Narrative text and dramatic text The narrator function The representation of characters and space Narrative sequences and the temporal representation Action:Nucleus and catalyses Adaptation of a narrative text into a dramatic one Dramatic and cinematic resources:Theater with objects and animation: puppets, silhouettes and masks

Teaching methodologies (including evalution)

Theoretical-Practical classes where the conjunction of the active and expositive methods is used by resorting to several strategies: Group-works, visits to exhibitions, debates, shows, documentaries visualization and debate, movies and video-grams. Used strategies and resources: Exhibitions, debates, documental analysis, individual and group-work, simulations, experiments and essays. The evaluation of the curricular unit is continuous and stems from the arithmetic consideration and individual practical works. The portfolios will integrate the individual research made by the students as well as their own critical reflections that will be constant throughout the learning process (17,5%+17,5%=35%). The group-works will consist (65% = 32.5%+32.5%) in the adaptation of a narrative to a dramatic text by creating and using the dramatic and cinematographic resources deemed necessary and also a choreograpic group-work.

Essential Bibliography (including ISBN)

CHEVALIER, Jean; GEERBRANT, Alain, Dicionário dos simbólos Mitos, Sonhos, Costumes, Gestos, Formas, Figuras, Cores, Números, Lisboa, Ed. Teorema, 1977 HENRIQUES, A. Christófides, Jogar e Compreender, Lisboa, Instituto Piaget, 1996 LEENHARDT, Pierre, A Criança e a Expressão Dramática, Lisboa, Estampa, 1974 LEQUEUX, Paulette, A criança criadora de Espectáculos, Col. Educadores e Educandos, Lisboa, Família 2000, 1977 MONTAGNER, Hubert, A criança actor do seu desenvolvimento, Lisboa, Instituto Piaget, 1996. ISBN 972-771-034-4 RODARI, Gianni, Gramática da fantasia - Introdução à arte de contar histórias, Lisboa, Ed. Caminho, 1993 : ISBN 972-21-0846-8 SOUSA, A. B. (2003) A Educação pela Arte e as Artes na Educação, 2º volume, Horizontes Pedagógicos, Lisboa, Edições Piaget. ISBN:972-771-616-4 VIADEL, Ricardo (coord.), (2003), Didáctica de la Educación Artística, Madrid: Pearsons Prentice Hall, ISBN:84-205-3457-9