Canary Islands PAU Performing Arts II study plan

Define and contrast the core elements of theatrical language (dramatic action, conflict, character, dialogue, subtext, dramatic space-time) and write a one-page glossary in your own words.

Classify the major dramatic genres and subgenres (tragedy, comedy, tragicomedy, farce, melodrama, didactic forms) and match each to two concrete play examples with the structural feature that justifies the label.

Map Aristotle's six elements and the Freytag pyramid onto a single full-length play you know well, annotating inciting incident, climax and resolution with page or scene references.

Build a comparative timeline of Greek, Roman and medieval theatre (festival context, staging conditions, performer status) and identify three continuities and three ruptures.

Trace the development of Renaissance and Baroque theatre (commedia dell'arte, Elizabethan public playhouse, Spanish corral de comedias, French neoclassicism) and explain how each physical venue shaped dramaturgy.

Explain the rise of the director and the realist project (naturalism, the well-made play, Stanislavski's early work) and list the staging conventions realism displaced.

Summarise the twentieth-century avant-gardes (symbolism, expressionism, futurism, surrealism, epic theatre, Theatre of the Absurd) with one defining formal device each.

Locate Spanish and Canarian theatrical landmarks on your timeline and note what each contributes to the wider European narrative.

Analyse dramatic text as a blueprint for performance: distinguish stage directions from dialogue, identify implied staging information, and mark what the text leaves the production to decide.

Practise dramaturgical analysis by writing a scene breakdown (units, objectives, beats) for a 10-minute excerpt, then revise it after reading the scene aloud.

Compare two published translations or adaptations of the same scene and argue which choices serve performance and why.

Draft a short dramaturgical note (context, themes, production concept) for that excerpt as if for a rehearsal pack.

Explain the director's core tasks (interpretation, casting, blocking, rehearsal scheduling, production unity) and describe how a mise-en-scène concept is communicated to a creative team.

Compare at least three actor-training lineages (Stanislavski-based, Meyerhold biomechanics, Grotowski, Lecoq, Brechtian demonstration) and state what each demands of the performer's body and voice.

Design a rehearsal schedule for a one-act play over three weeks, allocating table work, blocking, runs and technical integration with realistic time budgets.

Analyse a filmed scene shot by shot to separate directorial choices (framing, tempo, focus of attention) from the actor's contribution.

Identify the functions of scenography (space, atmosphere, narrative, practical access) and evaluate how a set design solves entrances, sightlines and scene changes.

Explain the expressive vocabulary of stage lighting (intensity, colour, angle, direction, cue structure) and describe how a lighting cue sequence shapes focus and mood.

Describe the role of costume in character and period signalling, including quick-change and movement constraints on the performer.

Outline a sound design plot: diegetic versus non-diegetic sound, reinforcement versus effect, and cue placement relative to action.

Draw a ground plan and a front elevation for one scene, marking sightlines, entrances and the principal lighting positions.

Analyse how music and rhythm structure dramatic tempo, using at least two examples where score or song drives the action rather than decorating it.

Trace key moments in dance history (court ballet, romantic ballet, Ballets Russes, Tanztheater, contemporary dance theatre) and connect each to theatrical staging practice.

Examine the trained body as expressive material: alignment, breath support, weight, gesture vocabulary and stage presence, and design a 15-minute warm-up you can actually run.

Compare two productions in which movement or choreography carries the narrative, and evaluate what words alone would have lost.

Define contemporary performative practices (site-specific, immersive, participatory, documentary and verbatim theatre, performance art) and state the reception contract each sets up with its audience.

Assess how new media (live video, projection mapping, motion capture, networked and telematic performance, VR) alter staging, liveness and the performer-audience relationship.

Evaluate the ethical and practical implications of audience participation, including consent, accessibility and risk assessment.

Propose a concept for a short hybrid piece that integrates one digital medium, justifying every technical choice by its effect on the audience.

Apply a structured review method (description, analysis, interpretation, evaluation) to write criticism that separates observation from judgement.

Situate Spanish theatrical heritage (Golden Age comedia, eighteenth- and nineteenth-century stage, twentieth-century institutional and independent theatre) within the European narrative you built in week 2.

Identify distinctive features of Canarian theatrical heritage, including local companies, venues, festivals and authors, and note which sources you would consult to verify each claim.

Synthesise the whole syllabus into a one-page revision sheet linking each domain to two anchor examples you can deploy under exam time pressure.

Rehearse exam technique on one past-paper-style question per domain, timing each answer.