Escuela de artes TAI
TAI SCHOOL OF ARTS MADRID
Recommendations
Bachelor’s degree in Performing Arts & Screen Acting
Escuela de artes TAI
Bachelor’s degree in Performing Arts & Screen Acting

Study Plan
Bachelor's degree in Performing Arts & Screen Acting

Performing Arts Performing Arts Performing Arts Performing Arts
  • ECTS – European Credit Transfer System
  • OB – Obligatorio
  • FB – Formación básica
  • FBC – Formación Básica Común
  • FBR – Formación básica de rama
  • PE – Prácticas Externas
  • RAC – Reconocimiento de Créditos
  • TFG – Trabajo Fin de Grado

Year 1

Improvisation and acting foundations

Introduction to acting. Relaxation, attention and concentration. The dramatic situation, observation, imagination. Action. Psychophysical states and sensory stimuli. Conflict, events, active analysis of a text. Improvisation. Introduction to character creation. Relationships. Words.

  • Credits: 6
  • Character: FBR

Screen acting foundations

Audiovisual media: film, television and internet. The shoot. The script. Basic techniques of realism applied to screen acting. Simple improvisations on camera. Voice and body on camera. Script analysis and practical approach to the text.

  • Credits: 6
  • Character: FBR

Acting project I

Comedy techniques: types, the clown. The given dramatic situation. Introduction to the embodiment of a character. Drama and comedy. Specific work on dramatic proposals.

  • Credits: 6
  • Character: OB

Vocal technique I

Oral communication. The vocal process. Voice and the actor. Preparation of the acting instrument. From voice to word. Voice and the stage space.

  • Credits: 3
  • Character: OB

Music and singing I

Form and rhythm: beat, accent and musical time, writing and reading rhythms, musical time, analysis of simple forms, tempo, articulation and dynamics. Melody and harmony. Voice: general postural re-training, anatomy and physiology of the respiratory apparatus, vocal hygiene, intonation, choir singing.

  • Credits: 6
  • Character: OB

Movement and gesture

The physical, emotional and mental body. The law of counterweight. The segmented body. Body and gesture. The body in space. The fixed point. Group consciousness

  • Credits: 3
  • Character: OB

Dancing basic moves

Dance from the perspective of acting. Basic physical warm-ups. Improvisation and imagination. Spatial composition. Choreographic memory.

  • Credits: 3
  • Character: OB

Dramatic literature I

Theater in Greece. Theater in Rome. Theater in the Middle Ages and Renaissance. La Celestina and its literary revolution. Elizabethan theater. Spanish baroque theater. French classical theater.

  • Credits: 3
  • Character: OB

History of performing arts

Introduction to the History of Theater. The theater in Greece and Rome. Theater in the Middle Ages. Theater of the Renaissance and Italy. Theater of the Golden Age in Spain. Elizabethan British theater and French classical theater. From the Enlightenment through Romanticism. Persistence and rupture.

  • Credits: 6
  • Character: FBC

Film and acting

Pre-cinema. Construction and development of the film industry. European cinema. Consolidation of silent film in Hollywood. Pre-war cinema in Europe. Italian neorealism. The “Salamanca Talks” and the birth of the new Spanish cinema. Nouvelle vague and European cinema in the 1960s and 70s. Renewal of American film.

  • Credits: 6
  • Character: FBR

Professional ethics and equality

Laboratory of collective creation and production. Expressive tools of each artistic discipline and dialogues between disciplines. Students manage their own creative project through to its completion, with teamwork, leadership and by relinquishing individual vision.

  • Credits: 6
  • Character: FBC

Computer technology applied to the performing arts

Hardware: parts of the computer, local networks and broad networks, wireless technologies. Software: operating systems, office technology software, multimedia, bibliographic resources. Internet: basic concepts and services, web pages, social networks, web 2.0. etc. Multimedia: the fundamentals of editing.

  • Credits: 6
  • Character: FBC

Year 2

Building a character

Acting training. Working on space and time. Levels of energy and working on atmospheres. Internal action. Expressivity in action. Style. Form. Words and working with images. Constructing the formal elements of a character. Introduction to ensemble work.

  • Credits: 9
  • Character: FBR

Filming and auditioning

Further insights into basic techniques of realism applied to audiovisual media. Casting. Comedy and drama script analysis. Comedy scene practice for film and television. Drama scene practice for film and television. Dynamics of the shoot. Screening and analysis of own work.

  • Credits: 6
  • Character: FBR

Acting project II

Introduction to acting in non-realist styles/genres. Analysis of a non-realist dramatic work. Personal approach to character development. The character. Organicity. Concept of style and form. Specific work on dramatic proposals.

  • Credits: 6
  • Character: OB

Vocal technique II

Anatomy and physiology of the voice. Development of a psychophysical awareness in oral expression for the actor. Application of vocal technique and oral expression in acting. From voice to word: the text. Anti-gravity reflexes. Head-neck-stern relationship. Resonators. Verse I: impulse-phrase relationship.

  • Credits: 3
  • Character: OB

Music and singing II

Inhaling and exhaling. Sound emission and attack. Hygiene and resources to conserve and care for the phonatory apparatus. Voice projection. Voice characterization. Gesture in the voice. Solo, vocal trio and choir singing. The singer’s posture. The larynx. The Joe Still Voice Craft method.

  • Credits: 6
  • Character: OB

Body and masks

Neutrality. The mask. The larval mask. Stage composition using physical tools and masks. Styles of interpretive expressive movement. The rehearsal space as a creative space. Creation of stage works.

  • Credits: 3
  • Character: OB

Contemporary dance

The body as a tool in acting. Body awareness. Contemporary dance techniques. Development of the creative capacity. “Viewpoints and Atmospheres” group choreography. Improvisation and contemporary dance

  • Credits: 3
  • Character: OB

Make-up and character development

Morphology and study of shapes: facial types, basic elements. The art of make-up and corrective techniques. Technique and practice: prior operations, product application (golden rules), types of make-up (theater, photography, film and TV). Specific make-ups: “washed face” effect, fantasy, historical characterization.

  • Credits: 3
  • Character: OB

Dramatic literature II

The paradox of the stage actor in the new social order. The myth of Don Juan and Spanish Romanticism. Melodrama, bourgeois drama, romantic drama, etc. Surpassing naturalism. The crucible of the 20th century. The break with theatrical illusionism. Contemporary tragedy. Political, social and poetic theater. Contemporary comedy and the theater of the absurd. Theater of cruelty, sacred theater, poor theater. Postmodernism.

  • Credits: 3
  • Character: OB

Script and playwriting I

The dramatic text: the main idea, two forces in conflict; themes; space, time and characters; super-objective of a dramatic work. The script: the literary script; premise, logline and synopsis; audiovisual narrative (structure); dialogue in film.

  • Credits: 3
  • Character: OB

Art history and aesthetics

Brief reception history of aesthetic ideas: art and aesthetics, ethics and morality, the organization of the arts, art as a field, the historic avant-gardes as beginning and end. Theater/performance: history, characters, rhetoric as a creation of the ordinary. Art, theater, public and spectator.

  • Credits: 6
  • Character: FBR

Theory of acting

Acting technique. Stanislavski. The biomechanics of Meyerhold. Antonin Artaud. Bertolt Brecht. Jerzy Grotowski and Tadeusz Kantor. Physical theater in France. Eugenio Barba. Dance and theater. Contemporary theories. Performance art and live arts.

  • Credits: 6
  • Character: OB

Modern language

Listening: short recorded conversations in Spanish. Reading of a variety of materials.

  • Credits: 6
  • Character: FBC

Year 3

Stage acting

Literary language and stage language. The Here and Now. Listening. Impulse. Organicity. Quality of movement. Conscious convention. Ensemble work. The technical-interpretive structure.

  • Credits: 9
  • Character: OB

Screen acting

Analysis of complex scripts. Film narrative and editing. Development of complex characters. Screen acting by genre. Onscreen historical drama. Screening and analysis of artistry. Technical work with green screen and extreme situations. Utilities and examples in the industry. Practical introduction to virtual interaction.

  • Credits: 9
  • Character: OB

Acting project III

Introduction to contemporary theater. Text and pretext. Introduction to stage dramaturgy and semiotics. Approach to the personal creation of a work. Specific work on a dramatic proposal. Phases of creation of a show.

  • Credits: 6
  • Character: OB

Vocal training

The vocal process (phonation). From word to text. The voice on stage. Verse II: punctuation-pauses-phrasing.

  • Credits: 6
  • Character: OB

Musical theater

Introduction to the history of musical theater. Singing and vocal technique applied to theater. Acting in musical theater. Theatrical and musical creation.

  • Credits: 4,5
  • Character: OB

Stage combat

Body awareness. Objective gesture in acting. Abstract gesture in acting. Construction and application. Physical architecture. Creation of stage combat and character works using movement and space.

  • Credits: 3
  • Character: OB

Choreography

Techniques of choreography applied to musical theater. Classic ballet. Jazz dance. Modern dance. Contemporary dance. Theater dance. Ethnic dance. Folklore. Expressivity in dance.

  • Credits: 3
  • Character: OB

Script and playwriting II

The dramatic text: analysis and structure; process of evolution of a story, sequencing and climax; genre; fictional construction. Script: versions and types; structure (shot list and dialogues); development of an original script.

  • Credits: 4,5
  • Character: OB

Film narrative and editing

Narrative techniques. Camera and object movements. Continuity. Sequence. Space and time. Narrative voice. Pre-production. Production. Post-production.

  • Credits: 3
  • Character: OB

Technology applied to the performing arts

Overview of the history of technology applied to the performing arts. Technologies according to field of application. Practical stage design project using technologies. Preparation throughout the course + presentation of the projects.

  • Credits: 6
  • Character: OB

Intellectual property law

Intellectual property in relation to the performing arts and acting. Author’s rights. Tools used in the negotiation of artist contracts. International property rights. Phases of artistic creation from a legal standpoint. Collective management of author’s rights. Systems of protection of intellectual property rights.

  • Credits: 3
  • Character: OB

Audiovisual and performing arts industry

Definition and history of the cultural and creative industries. Financing in the theatrical and audiovisual industries. Production processes. Exhibition and distribution channels, theatrical tours. Strategy analysis and orientation. Analysis of the national and international theatrical and audiovisual industries. Markets and fairs.

  • Credits: 3
  • Character: OB

Year 4

Stage/screen creative project

Specific work on a dramatic/audiovisual research proposal. Personal approach to an audiovisual and/or stage creation. Phases in the creation of a stage or audiovisual work.

  • Credits: 6
  • Character: OB

Entrepreneurship, management and professional career

Applied theater: definition; theater pedagogy; socio-cultural activity; coaching for actors; creation and improvement of companies and organizations. Business initiatives: strategic plan and definition; methodology. Cultural management: foundations; organisms; theatrical production; basic ideas of Technique applied to theater.

  • Credits: 6
  • Character: OB

TV hosting workshop

The role of TV host. Interviews: preparation, question list, techniques of interpersonal connection, listening techniques, improvisation, techniques for being interviewed. The program rundown. Reading the news: tone, rhythm and naturality; teleprompter; handling floats/live voice over; connections and disconnections; summaries. TV programs.

  • Credits: 3
  • Character: OB

Dramaturgy workshop

Theoretical foundations: brief history of dramaturgy and staging; semiotics of theater; nature and polysemy of the sign in theater; the stage code. Dramaturgy and staging: information and documentation; elements of dramatic form and theme, contemporary reading; aesthetic and style; instruments of stage signification. Application in practice.

  • Credits: 3
  • Character: OB

Dubbing workshop

The history of dubbing. Synchrony. Interpretation. Vocal pitch. Dubbing equipment and techniques. Dramatic films. Animated movies. Singing in dubbing. The narrator. Embellishing the voice.

  • Credits: 3
  • Character: OB

Acrobatics workshop

Body, time-space: the silence of action; rotation on an axis; mental and muscle impulses; unsteady balance; falls and tumbles. Group compositions: simple acrobatic figures with catcher; articulated groups; synchronized fights; group fights. Objects: tumbles and falls on and with objects. Styles and their application: combat and geometry; the duel and mêlée; comic acrobatics and stage fighting; film acrobatics/stunts.

  • Credits: 3
  • Character: OB

External internship

The purpose of business internships is to obtain practical experience that helps towards insertion in the labor market and raises the future employability of students, contributing to their full education and training, and providing them with knowledge of the work methodologies in the field of performing arts and screen acting and improving the development of technical, methodological, personal and participatory methodologies.

  • Credits: 21
  • Character: OB

Academic recognition of credits

Attendance to artistic, cultural, student and cooperation events of the school, and artistic entrepreneurship.

  • Credits: 6
  • Character: OB

Undergraduate thesis project

In the Undergraduate Thesis Project, students produce an individual, original, and autonomous work under the guidance of a professor, in which they apply and development the knowledge and skills they have acquired in their Degree.

  • Credits: 9
  • Character: OB