Andalusia PAU Performing Arts II study plan
Andalusia PAU Performing Arts II · Give each week a clear focus.
8 weeks · About 7 hours per week
Theory and history of performing arts: dramatic text, staging and performance
Define and contrast the core terms of dramatic theory (text, fable, plot, character, conflict, dramatic time and space) and write a one-page glossary in your own words.
Map the main periods of Western theatre history from Greek tragedy to the twentieth century on a single timeline, giving two representative authors and one key formal trait per period.
Explain in writing how a dramatic text differs from a performance text, using two examples of stage directions that only make sense in performance.
Identify the parts of classical dramatic structure (exposition, knot, climax, denouement) in a short play you have read, annotating the text directly.
Your checkpoint
A one-page glossary of 20 dramatic-theory terms plus an annotated timeline covering at least eight historical periods.
Theory and history of performing arts: dramatic text, staging and performance & Analysis and commentary of dramatic texts and theatrical works
Read one full-length play from the Spanish Golden Age and one from the twentieth century, and summarize each in 150 words focusing on structure rather than plot.
Apply a fixed commentary template (context, argument, structure, characters, language, staging implications) to a fragment of each play.
Distinguish in writing between analysis of a dramatic text and commentary on a staged production, listing the evidence each requires.
Build a personal checklist of ten questions to ask of any text before commenting on it.
Your checkpoint
Two written commentaries of 400 words each, one on a Golden Age fragment and one on a modern fragment, using the same template.
Analysis and commentary of dramatic texts and theatrical works
Analyse how language register, verse versus prose and rhetorical figures shape character and conflict in one scene, quoting at least five short passages.
Compare two scenes of similar dramatic situation from different periods and argue which devices each uses to build tension.
Practise writing a timed commentary of one fragment in 45 minutes under exam conditions.
Self-mark the timed commentary against a rubric you write yourself, scoring structure, evidence and staging awareness.
Your checkpoint
One timed 45-minute commentary plus a self-assessment sheet identifying three specific weaknesses to fix.
Theatrical genres, styles and movements in the Western tradition
Classify the major Western genres and forms (tragedy, comedy, tragicomedy, farce, melodrama, musical theatre, physical theatre) with defining features and one example each.
Trace the main movements (Classicism, Romanticism, Realism, Naturalism, Symbolism, Expressionism, Epic theatre, Absurd, postmodern and contemporary creation) and link each to one staging convention.
Explain in writing how a single theme, such as revenge, is treated differently in two movements.
Match ten short unidentified descriptions of plays to their genre or movement, justifying each choice.
Your checkpoint
A genre-and-movement reference sheet of 15 entries, each with defining features, one example and one staging convention, plus the ten-item matching exercise with justifications.
Scenography, staging and production: space, lighting, costume and sound
Describe the main stage types (Italianate proscenium, thrust, arena, black box, site-specific) and state the acting and audience consequences of each.
Explain the functions of stage lighting (visibility, focus, mood, time, space) and name the basic equipment and positions involved.
Analyse how costume communicates character, period and status, using three concrete examples from productions or published designs.
Draft a sound design concept for one scene, specifying atmosphere, cues and the relationship between sound and silence.
Your checkpoint
A one-page scenographic concept for a single scene covering space, lighting, costume and sound, with a short justification of each choice.
Performance: acting, direction and the actor's craft & Dance and movement in the performing arts
Explain the principal approaches to actor training (Stanislavski-based, physical, Brechtian distancing, Grotowski-influenced) and what each asks of the performer.
Describe the director's tasks across pre-production, rehearsal and performance, and distinguish direction from staging and from production management.
Define the basics of stage movement and dance vocabulary (alignment, weight, level, rhythm, spatial pathways) and apply them to a short sequence.
Analyse how movement and choreography create meaning in a non-dance play, citing one scene you know well.
Your checkpoint
A 500-word essay comparing two approaches to acting and explaining how direction and movement choices would differ under each.
Spanish and Andalusian theatre heritage and contemporary creation
Outline the main landmarks of Spanish theatre heritage from the Golden Age to the twentieth century, naming key authors and works for each landmark.
Identify the distinguishing features of Andalusian theatre heritage and contemporary Andalusian creation, including notable companies, authors and festivals you can verify.
Connect one contemporary Andalusian production to a wider Spanish or European movement and argue the connection in writing.
Compile a short annotated list of reliable sources on Andalusian theatre for further reading.
Your checkpoint
A 600-word written piece on Andalusian theatre heritage and contemporary creation, with an annotated source list of at least five entries.
Theory and history of performing arts: dramatic text, staging and performance & Analysis and commentary of dramatic texts and theatrical works & Theatrical genres, styles and movements in the Western tradition & Scenography, staging and production: space, lighting, costume and sound & Performance: acting, direction and the actor's craft & Dance and movement in the performing arts & Spanish and Andalusian theatre heritage and contemporary creation
Consolidate all domains into a single revision map linking theory, commentary, genres, scenography, performance, movement and heritage.
Complete a full mock exam under timed conditions, including one text commentary and one essay question.
Mark the mock against the official weighting of the domains and identify the two weakest areas.
Rehearse a 10-minute spoken defence of one commentary, anticipating follow-up questions.
Your checkpoint
A completed timed mock exam with a scored self-evaluation and a one-page plan for final revision of the two weakest domains.
Milestones
Week 2: You can write a structured commentary on an unseen fragment using your template without consulting notes, and you can name the main periods of Western theatre history in order.
Week 4: You can classify an unseen play description by genre or movement and justify the choice with at least two formal features, and your timed commentary scores at least 60 percent on your own rubric.
Week 6: You can explain the scenographic choices for a scene across space, lighting, costume and sound, and compare two acting approaches with specific consequences for direction and movement.
Week 8: Your timed mock exam is complete within the time limit, your self-evaluation identifies two weak domains with evidence, and you can defend one commentary orally for 10 minutes.