O Espectáculo Músico-Teatral
Code
73202118
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
10
Weekly hours
2
Teaching language
Portuguese
Objectives
- To provide advanced training in theory and history of the musical-theatrical performance, investigating the
typologies of its communication systems (in terms of production, mediation, reception), their constitution and
their dynamics, in interaction with changing sociocultural, economic and political environments.
- To provide instruments of music-dramaturgical analysis, emphasizing the pivotal role of music: notably in
the construction of the characters and the characterization of situations, including its role as a comment,
counterpoint or an element of critical distance (Verfremdung) and also the possibilities offered by new
technologies.
- To offer a theoretical and practical knowledge of management, production and promotion of music-theatre,
paying special attention to the sustainability of local artistic employement and captation of new audiences.
- To develop teamwork skills.
Prerequisites
None
Subject matter
- Musical-theatrical (MT) genres in the history and present day. Focus on opera and related genres(\"Singspiel\", operetta, comic opera and, more recently, the \"Musical\").
- Music and sound universes at the theatre. Theatrical space and sound space. From the idea of
Gesamtkunstwerk to the processes of fragmentation and montage (calling into question the relationship
between \"seeing\" and \"listening\").
- Theory and praxis of interpretation or performance of MT. Distinction between \"work\" and \"score\". Study of
different trends in MT practice.
- The production of the performance: from the project to the premiere. Socio-cultural context and target
audiences, programming strategy, management of resources.
- The staging : from the dramaturgical research work and conceptual development to the final product.
- MT communication in the language of the public. MT and the scenic word sung in Portuguese. Problems of prosody and phonetics.
- Opening to community and the work with the media.
Bibliography
Agid, Phillipe / Tarondeau, J. (2010), The Management of Opera: An International Comparative Study, London,Palgrave Macmillan.
Adorno, Theodor W. (2006), Towards a Theory of Musical Reproduction, Cambridge:Polity Press.
Kaye, Deena / LeBrecht, J. (2009), Sound and Music for the Theatre: The Art & Technique of Design, 3d Ed.,
Amsterdam:Elsevier / Focal Press.
Kenrick, John (2008), Musical Theatre: a History, New York:Continuum.
Levin, D. J. (2010), Unsettling Opera: Staging Mozart, Verdi, Wagner, and Zemlinsky, Chicago:University of
Chicago Press.
Miller, J. (1986), Subsequent Performances, London:Faber and Faber.
Parker, R. (2006), Remaking the Song: Operatic Visions and Re-Visions from Handel to Berio, Berkeley: University of California Press.
Ribeiro, Paula (2002), Hystérie et Mise en Abîme: le drame lyrique au début du XXème siècle, Paris: LHarmattan.
Vieira de Carvalho, M. (2005), Por lo impossible andamos: A ópera como teatro de Gil Vicente a Stockhausen, Porto:Âmbar
Teaching method
Teaching will be based on the active learning of the students. Depending on the profile of each one and their expectations of specialization, different tasks will be distributed and assessed according to their specificity.
On the basis of theoretical lectures and the literature indicated by, research papers and critical thinking will
be developed and presented by students as a contribution to a collective discussion on the various topics
covered.
The connection between theory and practice will be ensured within the framework of the discipline, preferably
through workshops directed by invited experts. We will seek to ensure complementarity and cooperation of
the various components (management, programming, drama, acting, music composition and dramatic writing,etc.).
Evaluation method