To know the principles, processes, and products of some current creators on the Portuguese and international scene.
To experience a wide variety of situations that promote the experience and reflection on the phenomenon of artistic creation in general and dance in particular, in different processes of choreographic composition.
To acquire and apply a set of tools necessary to start a creative process in the context of dance.
To master and use a set of procedures related to collaborative creation.
The discipline is organized around 3 basic concepts: Challenge, Diversity, Discomfort, as fundamental concepts for the development of the creative capacity that is intended to be developed in students. It addresses 6 parameters interconnected:
1. The creative process – Concept: idea, knowledge and thought. Improvisation: games, simulations, imagery, memory, rhythm, emotion, sensations, perception, voice and words. Narrative characters as facilitators of choreographic construction;
2. Choreographic research – Exploration of an artistic voice of its own, a signature of the movement, and its contextualization in a contemporary aesthetic;
3. Methods of choreographic construction – Individual and group structures and combinations: stimuli, meanings, identity, the collective. The organization of the form: development, repetitions, variations, motive/s, contrasts, climax/highlights, proportion, balance, transitions, logical development, unity;
4. The explorations of movement and body – Space, rhythm, qualities of movement and relationships. The theory of affordance and constraints – as generative strategies of versatility in the creative process;
5. The presence – Focus, attention, intention and exploration of different contexts of interpretation;
6. Reflection – Methods and processes of choreographic composition, as well as its relation with the context of a contemporary social artistic practice. The phases of the creative process in choreographic composition and its relationship with knowledge, skills and inputs.
Continuous Evaluation implies 80% attendance. Students must comply with all assessment moments, and have at least 9.5 grade rating, to successfully complete the course, otherwise they will be excluded from the continuous assessment and may take the 2nd period exam.
(PA) Participation – 10%
(As) Attendance – 10%
(Pf) Individual Portfolio – 30%
(CCo) Final Collaborative Choreographic Creation – 30%
(DT-a) Technical-Artistic Performance – 20%
Formula = 0.1 (PA) + 0.1 (As) + 0.3 (Pf) + 0.3 (CCo) + 0.2 (DT-a) ? 9.5
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Brook, P. (2008). O Espaço Vazio. Lisboa: Orfeu Negro.
Burrows, Jonathan (2010). A Choreographer´s Handbook. New York: Routledge
Henley, M. K. (2013): Is perception of a dance phrase affected by physical movement training and experience? Research in Dance Education.
Keersmaeker De, A. T. e Cvejic, B. (2013) “En Atendant & Cesena - A Choreographers´s Score”, Brussels: Mercatorfonds publication.
Louppe, Laurence (2012). Poética da Dança Contemporânea, Lisboa: Orfeu Negro
MacGregor, W et al. (2013). Mind and Movement: Choreographic Thinking Tools. London: Wayne MacGregor/ Random Dance
Manning M. (2009). Teaching Improvisation in the Context of a Professional Contemporary Dance Education. Research Seminar, TEAK MA Dance Pedagogy.
Marshall, L. (2008). The Body Speaks – Performance and Physical Expression. London: Methuen Drama. 2nd ed
Reeve, J. (2011). Dance Improvisation: Warm-ups, Games and Choreographic Tasks. Human Kinetics edition.
Smith-Autard, J. M. (2010). Dance composition Sixth Edition. Methuen Drama editions. 6th ed.
Ulmer, J. B. (2015) Embodied writing: choreographic composition as methodology, Research in Dance Education, 16:1, 33-50.