Valencian Community PAU Performing Arts II study plan

Distinguish and define the core elements of dramatic text (plot, character, conflict, theme, dialogue, stage directions) using precise Spanish terminology for each.

Analyse the structure of a short one-act play by mapping its exposition, rising action, climax, falling action and resolution onto a written diagram.

Compare how dramatic time (linear, fragmented, retrospective) and dramatic space (offstage, scenic, dramatic) operate in two contrasting short scenes.

Classify a set of provided excerpts by genre (tragedy, comedy, tragicomedy, farce, melodrama) and justify each classification with two textual criteria.

Trace the evolution of dramatic structure from Aristotelian unity to modern episodic and open forms, noting at least four turning points with dates.

Summarise the principal period conventions of classical Greek theatre, Roman theatre and medieval religious drama in a comparative table.

Identify and explain the structural hallmarks of Spanish Golden Age comedy (three acts, polymetry, gracioso, honour code) in a representative scene.

Connect one structural concept from domain 1 (e.g. peripeteia or dramatic irony) to a specific historical example.

Map the major periods from Renaissance and Baroque to Romanticism, realism, naturalism, symbolism and the avant-gardes, with one defining feature and one representative author each.

Explain the innovations of twentieth-century theatre makers (expressionism, epic theatre, theatre of the absurd, poor theatre) in terms of what each rejected and what each proposed.

Outline the development of Spanish theatre from the Golden Age through the eighteenth to twentieth centuries, naming key authors and movements.

Describe the main lines of Valencian theatrical tradition, including medieval and Renaissance roots, the nineteenth-century revival and twentieth-century authors.

Position a chosen contemporary trend (postdramatic, documentary, immersive) against the historical lineage you have mapped.

Identify and define staging conventions across history (proscenium, thrust, arena, black box, site-specific) and state one practical consequence of each for the actor.

Describe the functions of scenography, lighting, costume, sound and props in shaping meaning, giving one concrete example per element.

Analyse how a lighting design can establish time, mood and focus, using vocabulary of intensity, colour, angle and cue.

Explain the role of the technical team (stage manager, lighting and sound operators, set crew) in the production process from rehearsal to performance.

Evaluate the relationship between stage space and audience configuration in a described production and argue for the effect on reception.

Explain the components of actor training (body, voice, breath, presence, concentration) and how each is developed in practice.

Describe at least three approaches to character construction (e.g. objective-based, physical, textual) and compare their assumptions.

Analyse how voice work (resonance, articulation, projection, pace) serves character and audience communication.

Define ensemble work principles (listening, complicity, shared rhythm, status) and identify them in a described rehearsal situation.

Relate stage presence to spatial awareness and audience relationship in a specific staging configuration.

Define key critical concepts (mimesis, catharsis, verfremdung, fourth wall, subtext, dramatic action) and attribute each to its context of origin.

Distinguish descriptive, interpretive and evaluative critical claims in a sample review and rewrite one of each.

Apply two different critical approaches (e.g. formalist and socio-historical) to the same scene and note where they diverge.

Explain how a critic supports judgement with textual or performance evidence rather than assertion.

Compare the dramaturgical principles of dance, music theatre, circus and performance art, naming what each foregrounds (movement, score, risk, body/action).

Explain how music theatre integrates text, score and staging, and identify the demands this places on the performer.

Describe how circus disciplines structure dramaturgy through acts, virtuosity and audience risk.

Analyse how performance art and new media (video, digital scenography, interactivity) alter the performer-audience relationship.

Identify the principal theatrical institutions, companies and festivals of the Valencian Community and describe their programming profile.

Explain the routes of contemporary creation in the Valencian scene, including independent companies, small-format venues and institutional support.

Connect a Valencian contemporary creation to a historical or theoretical concept studied earlier.

Consolidate the whole syllabus by answering timed exam-style questions on each domain and diagnosing weak areas.