Theatrical Dance Tecnique IV

Course: Theatrical Dance Tecnique IV
Year:

2

Semester:

2º Semestre

Curricular Unit:

Soc., Est. Cult. e Ges. das Act. Físicas e do Des.

ECTS:

6.5

Regent:

Maria João Fernandes do Nascimento Alves

Objectives:

The student should be able to:
- Dominate the contents of the theatrical dance techniques;
- Correctly perform the specific vocabulary of the theatrical dance techniques approached, at the level of the corporal, space, time and dynamic vectors;
- Reproduce with fluency, precision and movement amplitude, after demonstration, danced sequences in technician context;
- Characterize, describe and analyse motor skills, specific to the approached techniques of theatrical dance;
- Cooperate with colleagues in group tasks;
- Interact with the teacher and/or colleagues, actively participating in the tasks;
- Evaluate its performance and of the others, and its participation in group.

Contents:

Application and study of concepts and inherent movement principles to the theatrical dance techniques; Turn out/en dehors. Body alignment. Dynamic posture/stance. Transfer of weight. Opposition/counter pull. Squareness. Pull-up. Aplomb. Counterbalance. Rhythmic patterns. Movement dynamics. Coordination.
The fundamental base elements of modern and contemporary dance technique: postures and balances, torso gestures, inferior gestures and standard steps, superior gestures, head gestures, turns, jumps, displacements, standard steps, Turns, Jumps, Batterie, standard movements, falls and movement phrases.
Teaching-Learning of dance sequences, of long duration, constructed from video and/or created by the teacher. 

Evaluation:

The focus of practical lessons hare in the acquisition and improvement of dance motor skills based on specific technical tasks (classical and modern dance).
The development of a self- assessment through video recording benefits students by the connection between the visual external feedback and the critical components of the studied motor skills transmitted by teachers hosted in moodle (online system of FMH).
Concomitantly, we encourage the artistic performance, throughout the collaboration in dance exhibition at the end of the semester and driven to the school community.
Continuous assessment:
Students must have minimum 80% active attendance of the given classes.
A – Evolution of student’s performance (40%) – modern dance (20%) + contemporary dance 1 (10%) + contemporary dance 2 (10%)
B – Final practical evaluation (35%)
C – Final public presentation (20%)
D – Student’s self-assessment report – modern dance (5%)

Bibliography:

Erkert, J. (2003). Harnessing the wind: The art of teaching modern dance. Champaign, IL: Human Kinetics.
Fancher, G. (1982). Post Modern Dance and Expression. New York: Dance Horizons.
Horosko, M. (1991). Martha Graham: The evolution of her dance theory and training, 1926-1991. Chicago: A cappella Books.
Krasnow, D., & Wilmerding, M. V. (2015). Motor learning and control for dance: Principles and practices for performers and teachers. Champaign: Human Kinetics.
Kuypes, P. (1989). Une technique nouvelle: Le contact?improvisation. Sport, 32 (3), 166?167.
Kuypes, P. (1995). L'heritage du corps [The body's heritage]. Les nouvelles du patrimoine, 62, 8?9.
Lepkoff, D. (2011). Contact Improvisation: A Question. Contact Quarterly, Journal of Dance and Improvisation 36 (1), pp.38-40
Lilja, E. (2004). Dance: For better, for worse. Estocolmo: ELD.
Lord, M., & Bruneau, M. (1983). La parole est à la danse. Sainte?Foy: La Liberté.
Love, P., & King, E. (1997). Modern dance terminology. Princeton: Dance Horizons.
Maucouvert, A. (1979). Graham: La vitalité rebelle du movement. Revue EP&S, 155, 25-32; 156, 53-57, 157, 72-75; 159, 28-31; 161, 66-69; 162, 23-26.
Perces, M. B., Forsythe, A. M., & Bell, C. (1992). The dance technique of Lester Horton. Princeton: Dance Horizons.
Schwartz, P. (2000). Action Research: dance Improvisation as dance Technique, Journal of Physical education, Recreation and Dance, 71(5), 42-46.
Sherbon, E. (1982). On the count of one: Modern dance methods. New York: Mayfield Publishing Company.
Steinman, L. (1986). The knowing body: Elements of contemporary performance & dance. Boston: Shambhala.
Stodelle, E. (1978). The dance technique of Doris Humphrey and its creative potential. London: Dance Books.
Tufnell, M., & Crickmay, C. (1993). Body space image: Notes towards improvisation and performance. London: Dance Books.

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