Music Dramaturgy and Staging
Code
73202119
Academic unit
Faculdade de Ciências Sociais e Humanas
Department
Ciências Musicais
Credits
10
Weekly hours
2
Teaching language
Portuguese
Objectives
- To provide advanced training, the connection between theory and practice in management, production,
performance and divulgation of music-theatre, paying special attention to the sustainability of local artistic
employement and attraction of new audiences.
- To test the instruments of music-dramaturgical analysis and the strategies by means of which the structuring
role of music will be manifested
- To test and to experiment, according to a research and innovative perceptive, the possibilities offered by new
technologies.
- To test and develop teamworking skills.
Prerequisites
None
Subject matter
- Participation in the production of performances, preferably in cooperation with pofessional entities of artistic
production. Particular focus on opera and related genres (\"Singspiel,\" operetta, comic opera and \"Musical\").
- Assignment of tasks to students: production, performance, staging, music-theatre writing (text and / or
music, sound components), dissemination, evaluation of socio-cultural and public- target programming
strategy, management of resources.
- Practical training in dramaturgical research and and conceptual drafting.
- Methods to increasing the openness to the community and the work with the media.
- Practical training by writing texts in Portuguese language (originals, translations and adaptations) for
musictheatre.
- Testing the \"scenic word\" in Portuguese and the problems of prosody and phonetics.
- Communication strategies for opening music-theatre to community and to attract new audiences.
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
Depending on the profile of each student and his/her expectations of specialization, different tasks will be
distributed to them and they will be also assessed according to their respective specificity.
This curricular unit assures the connection between theory and practice, how each student bring his/her
specific contribution to the team in order to construct the final product.
The described methodology will allow that the active learning combines the topics that are more related to
music-theatre practice - acting and performance, composition and music-theatre writing (including training
through workshops) - with more theoretical dimensions, like historical-anthropological research,
musicdramaturgy, management strategies and programming, etc..
In workshops not only the specific skills of individuals but also the skills of teamwork must me tested and
trained.
Evaluation method