B3 Comunicar-se de manera efectiva, oralment i per escrit. B4 Analitzar situacions complexes i dissenyar estratègies per resoldre-les, individualment i en equip. B5 Treballar en equip i establir aquelles relacions que permetin aflorar potencialitats de cooperació i mantenir-les de manera continuada. B6 Seleccionar i utilitzar les tecnologies de la informació i la comunicació més adequades a cada situació, en els àmbits personal i professional. B7 Expressar-se en anglès oralment i per escrit a nivell equivalent del B2.1 d'acord amb els estàndards del marc europeu de referència. B8 Avaluar la pròpia activitat i el propi aprenentatge i elaborar estratègies per millorar-los. B9 Utilitzar l'enginy i la creativitat per trobar solucions adequades a problemes inèdits. E1 Dominar aquelles tècniques que permeten reproduir el comportament humà. E2 Dominar les retòriques de l'emoció. E3 Usar les tècniques de la veu parlada i cantada. E4 Dominar les tècniques expressives del cos en moviment. E6 Identificar, reconèixer i aplicar les tecnologies associades al fet escènic. E8 Aplicar i analitzar les reflexions teòriques sobre el fet escènic. E9 Llegir, analitzar i contextualitzar la literatura dramàtica. E11 Articular el temps escènic i articular-se entorn d'ell. E12 Articular l'espai escènic i articular-se entorn d'ell. E14 Analitzar amb criteri propi, capacitat d'argumentació i actitud crítica les expressions de la cultura contemporània.
1. Characteristics of Musical Theatre: origins and history, current references, and analysis of musical theatre productions. Acting 2.1. Approach to and specification of the technical and interpretative requirements of the chosen text, and its musical and choreographic particularities 2.2. Specialization in vocal and singing performance in Musical Theatre Dramaturgy 3.1. Special characteristics of musical dramaturgy 3.2. Ideological reading of the chosen theatrical text and its dramatic function Direction 4.1. Justification of the aesthetic and ideological processes applied by the professor in staging the chosen Musical Theatre text 4.2. Specificities of directing Musical Theatre Stage Technology 5.1. Scenographic, acoustic, and visual applications and specifications in the staging process of the chosen text 5.2. Characteristics and examples of scenographic productions in Musical Theatre Theatre Production 6.1. Specificities of planning in Musical Theatre 6.2. Planning of the chosen project: costume, lighting, sound, audiovisuals, multimedia, acoustic creation, and scenography
Activity type Hours with a teacher Hours without a teacher Virtual hours with a teacher Total Collaborative activity 90,00 0 0 90,00 Others 125,00 0 0 125,00 Analysis / case study 10,00 150,00 0 160,00 Total 225,00 150,00 0 375
Chéjov, Michael (2006). Lecciones para el actor profesional. Alba. Chekhov, Michael (1985). Lessons for the Professional Actor. Performing Arts Journal Publications. Pavis, Patrice (1998). Dictionary of the Theatre: Terms, Concepts, and Analysis. . University of Toronto Press. Pavis, Patrice (2000). Diccionario del teatro (Dramaturgia, estética, semiología). . Barcelona: : Paidós.. Deleuze, Gilles ( (2005). Lógica del sentido. . Paidós. Deleuze, Gilles (2015). The Logic of Sense. London: : Bloomsbury Academic.. Sanchez, Jose Antonio (2014). Practising the Real on the Contemporary Stage. . Bristol: : Intellect Books.. Duncan, Isadora, y Sánchez, J.A. (2003). El arte de la danza y otros escritos. . Madrid:: Akal.. Bogart Anne, Landau Tina (2005). The Viewpoints Book: A practical Guide to Viewpoints and Composition. Theatre Comunications Group. Alcázar, Josefina (1998). La cuarta dimensión del teatro. Tiempo, espacio y vídeo en la escena moderna. INBA. Berry, Cicely (2000). Voice and the Actor. Virgin Books. Berry, Cicely (2000). The Actor and the Text. Virgin Books. Lehmann, Hans-Thies (2006). Postdramatic Theatre. London: Routledge.
Assessment activities: Description of the activity Assessment Activity % Remediable subject Case Analysis/Study Composition, languages and strategies, overall stage conception of the production. Theory and analysis of the various exercises presented throughout the course. Completion, development, and ongoing tracking of the logbook. 35 No Group Work and Working Committees Teamwork in groups (stage space, costume design, music, dramaturgy, etc.). Group attitude/engagement with the group 15 No Stage Practice and Musical and Vocal Work Participation as performers in a Musical Theatre production. Progress, commitment, attendance, and development of the assigned vocal material, as well as engagement with the group musical sections or musical accompaniment work. 15 No Personal Development Personal development in both practical and theoretical aspects. Challenges, capacity for adaptation and reaction throughout the process, and artistic risk-taking experienced over the course of the entire cycle. 25 No Attendance and attitude during the performance week. Last theatre week: attitude, final rehearsals, ensemble work, and performances (gigs). 10 No
Grading will be based on the following aspects: -Active participation by the student in sessions and individual research. -Analysis, maturity, engagement in reflection, and personal point of view. -Personal research on the text and participation in sessions. -Ability to successfully approach the process of embodying the character. -Mastery of spoken and singing voice techniques. -Mastery of expressive techniques of the body in movement. -Attitude in rehearsal, willingness to work as a team. -Premiere of the production. Specific criteria for the "No show" grade: To pass this course, attendance at 90% of classes is mandatory. As this is an experiential subject based on group work, repeated lack of punctuality (maximum 3 sessions) or failure to keep up with assigned work (songs, choreography, or learned texts) will also be considered equivalent to Not Submitted (always preceded by a warning/notice from the teaching staff). Single Assessment: This course does not offer a single-assessment option. Its experiential and cumulative nature makes it a learning space that must be experienced and assessed on a continuous basis. As in a professional stage production, this subject requires participation grounded in commitment and dialogue with the teaching team responsible for it, both in the feedback given before and after each preparatory exercise, and in the final phase of rehearsals and performance of a production. Minimum requirements to pass: In order to pass the course, a minimum grade of 5.0 must be obtained.
As far as possible, tutorials will be held in person. Tutorials can be requested either by email to the lecturer or through the ERAM intranet, in the Tutorial Request section.
The usual communication channels with students will be in class, by email, and through Moodle. In the event that teaching needs to move to a blended or fully online format, communication and interaction will be intensified through virtual classrooms, Moodle, and notifications via the ERAM intranet.