Code: | THP500 | Acronym: | THP |
Keywords | |
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Classification | Keyword |
OFICIAL | Fine Arts |
Active? | Yes |
Responsible unit: | Fine Arts Department |
Course/CS Responsible: | Fine Arts |
Acronym | No. of Students | Study Plan | Curricular Years | Credits UCN | Credits ECTS | Contact hours | Total Time |
---|---|---|---|---|---|---|---|
AP | 16 | Official Study Plan 2011 | 4 | - | 3 | 34 | 81 |
Develop capabilities of study, analysis, taking a critical stand, defending it with arguments and to engage on a theoretical debate.
Understand the context of appearance of the performance art as well as the esthetical, creative and critical evolution of the performance art.
Acquire capacities for autonomous research.
Identify particularities of performance amongst other arts of the XX and XXI centuries.
Articulate different historical, economical, social, artistic and cultural contexts of a broad range of performative practices.
Analyse critically specific questions raised by the artistic performative practise, its presentation, documentation and relationship with its audiences.
At the end of the course students are expected to know the history of performance and its key debates, as well as recognizing important moments and authors of contemporary performance. Students should have a theoretical understanding of the historical, socio-political, and cultural contexts for a range of performative practices.
Students are equally expected to develop capabilities of autonomous research as well as to develop reflective and critical engagement with their own performative work and the work of others, be it historical or contemporary.
Concept(s) of Performance: Inclusions and confusions.
The origins of Performance: Alfred Jarri, Marinetti’s Futurism, Luigi Ruossolo, L’Arte dei Rumori, sound art and Noise. Manifests and actions. The Sinthetic Theatre and simultaneity.
Russian Futurism and Constructivism. Staging the body in Russian constructivist photography and film.
Cabaret Voltaire, Dada and dadaist performances. Surrealism on stage, the surrealist body in its images. Bauhaus and Oskar Schlemmer.
The Black Mountain College, John Cage, Merce Cunnigham and Robert Rauchenberg.
The Japanese Gutai Association of Art.
Three European performers of the 50’s: Yves Klein, Piero Manzoni, Joseph Beuys.
New York: “happenings” and “environments” by Allan Kaprow, Claes Oldenburgh and Lucas Samarras. The “Fluxus” and the performative work.
Dance, Anna Halprin and the Judson Church Group.
Violence, abjection and sexuality: Chris Burden, Vito Acconci, Carolee Schneemann. Feminist readings, debates and contrarieties.
Latin-American artists: Ana Mendieta’s oeuvre and her “Earth Body”, Lygia Clark, Hélio Oiticica - the concepts of “Crelazer” and “Supra-sensorial”.
Actions on the body, self mutilations and ruptures.
Collaborations and protocols. The durational performance and the endurance.
The media generation, new technologies, new supports, media and themes.
The body as matter, autobiography and agency. The extreme body and the obsolete body: challenges and strategies of visibility.
The body in space, routes, crossings, architectures, extensions.
Performativities: performance in and with other areas. Thematic extensions and stories that cross paths.
Documentation in Performance. Performance and photography, film and video. The Archives: physical and dematerialized. New audiences.
Classes are of 2 hours each, and are always both theoretical and practical. The theoretical component is expositive but always with emphasis on debate and the development of a critical stance.
Students are encouraged to bring questions and contemporary performance works to be divulged and discussed in class.
Guests will be invited to share to the class artistic, curatorial and research experiences taking place in the field of performance.
In accordance with the cultural offer of the semester - both alternative and institutional - and the partnerships developed with cultural institutions of the city (namely the São João National Theatre and the Serralves Foundation) workshops, lectures, readings, field trips, and theatrical, dance, fine art and sound performances can be attended as part of the class.
Designation | Weight (%) |
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Defesa pública de dissertação, de relatório de projeto ou estágio, ou de tese | 20,00 |
Trabalho escrito | 80,00 |
Total: | 100,00 |
The “Evaluation Components” section doesn’t allow the introduction of data referring to an optional system of evaluation (presented in alternative), therefore we opted for introducing percentages for just one of the options. Find bellow the full description of the evaluation component of this course.
Students may choose to present a practical performative project and a theoretical essay, or alternatively just the theoretical research.
The classes will include some allocated time to discuss the students’ practical and theoretical projects, including short presentations and group discussion.
Option 1: theoretical assessment only:
- Essay - 80%
- Public presentation - 20%
Option 2: assessment including practical project:
- Performative project - 50%
- Essay or written report - 50%
Option 1: theoretical assessment only:
- Essay - 80%
- Public presentation - 20%
Option 2: assessment including practical project:
- Performative project - 50%
- Essay or written report - 50%