Theater in Portuguese Language
| Code: | LEI017 | Acronym: | TLP |
| Keywords | |
|---|---|
| Classification | Keyword |
| OFICIAL | Portuguese Literature |
Instance: 2024/2025 - 2S 
| Active? | Yes |
| E-learning page: | https://moodle.up.pt/ |
| Responsible unit: | Department of Portuguese and Romance Studies |
| Course/CS Responsible: | Bachelor in Literature and Interart Studies |
Cycles of Study/Courses
| Acronym | No. of Students | Study Plan | Curricular Years | Credits UCN | Credits ECTS | Contact hours | Total Time |
|---|---|---|---|---|---|---|---|
| LEI | 37 | Study plan | 2 | - | 6 | 41 | 162 |
Teaching Staff - Responsibilities
| Teacher | Responsibility |
|---|---|
| Maria Luísa Malato da Rosa Borralho Ferreira da Cunha |
Teaching - Hours
| Theoretical and practical : | 2,50 |
| Tutorial Supervision: | 0,50 |
| Type | Teacher | Classes | Hour |
|---|---|---|---|
| Theoretical and practical | Totals | 1 | 2,50 |
| Maria Luísa Malato da Rosa Borralho Ferreira da Cunha | 2,50 | ||
| Tutorial Supervision | Totals | 1 | 0,50 |
| Maria Luísa Malato da Rosa Borralho Ferreira da Cunha | 0,50 |
Teaching language
PortugueseObjectives
|
ENG |
This course aims to acquire a panoramic view of the history of theatre in Portuguese, from its emergence to the present times. It is intended that the student can: identify the most significant moments of this multifaceted History; understand and integrate its determining stages in the various contexts (social, historical, geographical, aesthetic and political ones) in which the texts emerge; acquire skills to understand some works representative of this path, in its dialogue with over time and space codes and, above all, with regard to contemporary theatre, with other artistic traditions. It is sought that the student develops a solid knowledge, supported by authors and authorities, enabling him to produce a critical discourse on theatre and dramatization in Portuguese language. |
Learning outcomes and competences
This UC must familiarize the student with theatre concepts inserted in cultural systems (in different times and spaces of Portuguese language).Consequently, this course presents a wide chronological space to be covered by students, which implies, for each point of the Program, the building of a “network”, which may sustain and contextualize the emergence of the various authors, works and trends, as well as the close dialogue between art and social, political, religious and artistic contexts. But also the geographical scope implies necessarily the use of fundamental texts from the Western matrix.
Given that the dramatic text only reaches its completeness when it is staged, students are encouraged to attend the theater whenever stagings that exemplify the chronological and thematic arc of the program are accessible to them, to allow the development of a critical spirit. Complementing this goal, the projection of recordings of performances will also be an alternative pedagogical strategy.
As far as possible, it is sought that students will produce and present works in these areas (even if they are not included in the program), covering other authors, interartistic practices and cultures that reinforce the consistency of their knowlodge and skills.
Working method
PresencialPre-requirements (prior knowledge) and co-requirements (common knowledge)
...................Program
|
ENG |
I –THE DEFINITION OF A THEATER IN PORTUGUESE 1. The origins of Theatre: facts or myths? 2. “Homo sapiens” and “Homo ludens”. 3. The concept of “Theatricality”. 4. Theater vs. Literature?
Barata, J. O. (1998).História do Teatro em Portugal. Lisboa:Difel. Barbosa, C. (2009).A identidade caboverdiana na dramaturgia (Tese de Mestrado,Univ. Porto, Portugal). Costa Filho, J. (2009).Teatro contemporâneo no Brasil: criações partilhadas e presença diferida.Rio de Janeiro: 7Letras. Ferreira, A. (1984 [1598]).Castro.Porto: Domingos Barreira. Malato, M. L. (1995).Uma perspectiva do Neoclassicismo português (…).Lisboa: IN-CM. Morujão, I. (2018)."Meu espelho, eu não te tolho”:Possibilidades para o corpo em cena (…).Em Vilas Boas, G. & Morujão. I. (Eds). Figurinus: o corpo em cena, Porto: Afrontamento, 93-114. Rebello, L. F. (1980).O teatro romântico (1838-1869).Lisboa:ICLP. Reynaud, M. J. (2018).Raul Brandão e o Teatro (…). CEM 9, 301-307. Rodrigues, M. I. R. (2006).De Gil Vicente a "Um auto de Gil Vicente",Lisboa: IN-CM. Vicente, G. (1983 [1562]).Copilaçam de tôdalas obras de Gil Vicente. Lisboa: IN-CM. |
Mandatory literature
José Oliveira Barata; História do Teatro em Portugal, Lisboa: Difel, 1998Rebello, L. F. ; O Teatro Simbolista e Modernista em Portugal, Lisboa: Imprensa Nacional-Casa da Moeda, 1979
Rebello, L. F. ; O teatro romântico (1838-1869)., Lisboa: ICLP, 1980
Malato, M. L. ; Uma perspectiva do Neoclassicismo português , Lisboa: IN-CM, 1995
Morujão, I. ; "Meu espelho, eu não te tolho”:Possibilidades para o corpo em cena (…).Em Vilas Boas, G. & Morujão, I - Figurinus: o corpo em Cena, Afrontamento, 2018
Rodrigues, M.I.R.; De Gil Vicente a "Um auto de Gil Vicente, Lisboa: Imprensa Nacional - Casa da Moeda, 2006
Vicente, Gil; Copilaçam de tôdalas obras de Gil Vicente, Lisboa: Imprensa Nacional- Casa da Moeda, 1983
Ferreira, António; Castro, Domingos Barreira, 1984
Complementary Bibliography
Costa Filho, J. ; Teatro contemporâneo no Brasil: criações partilhadas e presença diferida, Rio de janeiro: 7Letras, 2009Reynaud, Maria João; Raul Brandão e o Teatro (…). , CITCEM/Afrontamento, 2018
Morujão, I e Vilas Boas, G. (Edits); Figurinus: o corpo em cena, Afrontamento, 2018
Teaching methods and learning activities
|
ENG |
The teaching methodology is based on theoretical-practical classes and thus it oscillates between more expository classes (construction of the cultural framework of the theatre in Portuguese) and more practical classes (analysis of dramatic texts), complemented by tutorial guidance classes (where students respond to interpretative challenges of texts, aesthetics, authors and trends). By attending theatre performances and by the visualization of performances in digital support the students will understand the scenic mechanisms of the early centuries, as well as the trends and challenges faced by present staging, mainly of the classic authors.
|
Evaluation Type
Distributed evaluation with final examAssessment Components
| Designation | Weight (%) |
|---|---|
| Exame | 50,00 |
| Trabalho prático ou de projeto | 50,00 |
| Total: | 100,00 |
Amount of time allocated to each course unit
| Designation | Time (hours) |
|---|---|
| Estudo autónomo | 70,00 |
| Frequência das aulas | 42,00 |
| Elaboração de projeto | 50,00 |
| Total: | 162,00 |
Eligibility for exams
Mandatory attendance of at least 75% of classes.Students with a special status, namely those covered by the status of Association Manager, Student Athlete, Student Firefighter, Military Student, National Team Athlete, High Performance Sports Practitioner or Student Worker" (Art. 14, point 1 of the Assessment Regulations), with regard to the participation component, cannot ensure face-to-face participation, but must ensure their regular participation in the tasks proposed on the Moodle platform.
Calculation formula of final grade
Portfolio: 50%Exam: 50%
Examinations or Special Assignments
See Elements of evaluation.Internship work/project
------------------------------Special assessment (TE, DA, ...)
Students with a special status, namely those covered by the status of Association Manager, Student Athlete, Student Firefighter, Military Student, National Team Athlete, High Performance Sports Practitioner or Student Worker" (Art. 14, point 1 of the Assessment Regulations), with regard to the participation component, cannot ensure face-to-face participation, but must ensure their regular participation in the tasks proposed on the Moodle platform.Classification improvement
Only the exam classification (Normal Season) is subject to improvement (Appeal Season).
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