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Theory of Acting

Code: 43154 ECTS Credits: 6
Degree Type Year Semester
4313879 Theatre Studies OT 0 1
The proposed teaching and assessment methodology that appear in the guide may be subject to changes as a result of the restrictions to face-to-face class attendance imposed by the health authorities.


Miquel Maria Gibert Pujol

Use of Languages

Principal working language:
catalan (cat)


Enric Gallen Miret
Miquel Maria Gibert Pujol



Objectives and Contextualisation

The module intends to offer students the necessary tools to approach the theatrical phenomena from a semiotic perspective whilst considering the complexity of the staging of a theatrical text. This will materialize through the study of theatrical representations that part from artistic texts and that offer possibilities for meaning (1) to materialize in a performance that actualizes its potentialities and that establishes an articulation between two axes of pragmatic dimension (Author-Text / Text-Receptor) (2). In order to achieve this, the following is necessary: a) to highlight the principal agents that intervene in a staging of a performance (authors, translators, directors, actors, spectators), and (b) to point out the different interactions that form the representation as a communicative phenomena.


  • Analyse phenomena in the performing arts on the basis of their potential categorisations and interrelations.
  • Assess the social dimension inherent in the performing arts.
  • Assess the specific characteristics of research in the performing arts and the great potential provided by their complexity.
  • Continue the learning process, to a large extent autonomously
  • Evaluate performance phenomena synchronically and diachronically on the basis of specific theoretical paradigms (specialisation A).
  • Follow the codes of practice that govern research activity.
  • Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.

Learning Outcomes

  1. Apply semiologic methods to the study of the components of theatrical representation.
  2. Assess the social dimension inherent in the performing arts.
  3. Assess the synchronic dimension of the elements that make up theatrical representation from a semiologic perspective.
  4. Continue the learning process, to a large extent autonomously
  5. Follow the codes of practice that govern research activity.
  6. Integrate the theoretical principles of the semiologic perspective for the analysis of theatrical representation.
  7. Use acquired knowledge as a basis for originality in the application of ideas, often in a research context.


1st session

a)      Presentation of the module

b)      1. The dramatic text

1.1  Dramatic writing. Levels of textuality


2nd session

1.2. Drama diction

1.3 Drama fiction


3rd session

1.4. Space

1.5. Time


5th session

2. Drama representation

2.1. The dramatic convention

2.1.1. The levels of concretion of the dramatic text


6th session

2.2. The Diversity of codes and their articulation. The roll of the director

2.2.1. The director as “dramaturge” Documentation about the text


7th session

2.2.2. Work with the actors Blocking the stage text The conception of performance from a globalizing interpretation of the possibilities of signification


8th session

2.3. The spatial relation. The work of the scenographer

2.3.1. The space of representation The scenographic object Lighting. The creation of a visual space Sound and text as stage deixis

2.3.2. The space of the audience

2.4. Time

2.4.1. The time of representation

2.4.2. Represented time vs. Plot time


10th session

2.5. The actor and the audience

2.5.1 The actor as a creator of characters

2.5.2. The gestural language and the re-creation of dramatic situations

2.5.3. The technics for approaching the character. Actor formation

2.5.4. The audience: empathy vs. distancing

2.6.5. The implicit receptor

2.6.6 The model receptor


Sessions 1st – 4th Prof. Miguel M. Gibert

Sessions 5th – 10th Prof. Enric Gallén


The three hours of each session in the classroom will be structured in the following way: the two first hours will focus on a lecture proposed by the professor for that day– sometimes, with the support of audiovisuals; the third hour, will be based on group and individual works supervised by the professor. This work will be focused on the discussion and preparing of the writing of the critical analysis mentioned in section 3. Evaluation. Also, each student will present at the end of the module, a small work in which they will analyze some of the questions dealt with in class – Look equally at section 3.

Annotation: Within the schedule set by the centre or degree programme, 15 minutes of one class will be reserved for students to evaluate their lecturers and their courses or modules through questionnaires.


Title Hours ECTS Learning Outcomes
Type: Directed      
Lectures and case solving 30 1.2 1, 5, 6, 4, 7, 3, 2
Type: Supervised      
Debates, tutorials, works 60 2.4 1, 5, 6, 4, 7, 3, 2
Type: Autonomous      
Reading of articles and reports of interest, personal study, development of a project 60 2.4 1, 5, 6, 4, 7, 3, 2


Given that the module is imparted by two professors, with the distribution outlined in section 4 “Chronogram”, the evaluation will be effectuated in the following way: in each class session, starting on the second session, students will hand-in to the professor a written analysis  - 4.500 character with spaces, approximately – of a theoretical text delivered by the professor in the session prior. Hence, each professor of the module will gather four analytic texts from every student, who will produce a total of eight texts altogether. Once the sessions have concluded, students will produce either two brief works of synthesis with conclusions or two research works based on some of the themes suggested in the module, with the prior approval of the professor.  One of these final works will make direct or indirect reference to one of the themes approached on sessions 1-4 (Professor Miquel M. Gibert), and the other paper will make reference to a theme suggested in sessions 5-10 (Professor Enric Gallén). Each one of these papers will have an extension of 14000-16000 characters with spaces included. The handing-in of the papers to the mentioned professors will be effectuated before 16 January 2020. The sum of the mark obtained from the 8 analytical texts will make for 30% of the global grade for the module, whilst the sum of the two papers will make for 60%. The remaining 10% will be obtained from the assessment of class interventions. The final grades of the module will be decided in a joint session by the professors who impart the module. Students will receive their final grade not later than 25 January 2020, followed up by a report, written by the module coordinator, and focused on each student’s activity and level of preparation. Revision dates will open on the following two days of receiving the grade for the module. On 30 January 2020 the definite grades will be published.


1. At the time of each evaluation activity, the teacher will inform the students of the procedure and the date for reviewing the grades.

2. In the event of a student committing any irregularity that may lead to a significant variation in the grade awarded to an assessment activity, the student will be given a zero for this activity, regardless of any disciplinary process that may take place. In the event of several irregularities in assessment activities of the same subject, the student will be given a zero as the final grade for this subject.

3. In the event that tests or exams cannot be taken onsite, they will be adapted to an online format made available through the UAB’s virtual tools (original weighting will be maintained). Homework, activities and class participation will be carried out through forums, wikis and/or discussion on Teams, etc. Lecturers will ensure that students are able to access these virtual tools, or will offer them feasible alternatives.

Assessment Activities

Title Weighting Hours ECTS Learning Outcomes
Assistance and active participation in the classroom 30 % 0 0 1, 5, 6, 4, 7, 3, 2
Assistance to tutorials 10 % 0 0 1, 5, 6, 4, 7, 3, 2
Handing-in of reports and works 60 % 0 0 1, 5, 6, 4, 7, 3, 2


5. 1.

ABELLÁN, Joan, La representació teatral, Monografies de teatre núm. 13, Institut del Teatre, Barcelona, 1983.

ABIRACHED, Robert, La crisis del personaje en el teatro moderno, Publicaciones de la Asociación de Directores de Escena de España, Madrid, 1994.

BARTHES, Roland, Écrits sur le théâtre, (ed. RIVIÈRE, Jean-Loup), Éditions du Seuil, Paris, 2002.

BATLLE, Carles, FOGUET, Francesc (cords.), La representació teatral, Editorial UOC, Barcelona, 2003.

BLAU, Herbert,  The Audience, John Hopkins University Press, Baltimore, 1990.

BOBES NAVES, María Carmen (coord.), Teoría del teatro, Arco Libros, Madrid, 1997.

BOBES NAVES, María Carmen, Semiología de la obra dramática, Arco Libros, 1997, Madrid, 1997.

CHEVREL, Yves,  “Les études de réception”, i “Le texte étranger: la littérature traduite” dins  BRUNEL, Pierre; CHEVREL, Yves (eds.):Précis de littérature comparée. Paris: PUF, 1989, p. 57-86 i 189-213.  [Hi ha una edició en llengua espanyola: Compendio de literatura comparada. México: Siglo XXI, 1994].

FÀBREGAS, Xavier, Història del teatre català. Barcelona: Millà, 1978.

GARCÍA BARRIENTOS, José Luís, Cómo se comenta una obra de teatro, Editorial Síntesis, Madrid,2001.

GENETTE, Gérard,  Palimpsestes. La littérature au second degré. Paris: Éditions du Seuil, 1982 [Trad. espanyola: Palimpsestos:la literatura en segundo grado. Madrid: Taurus, 1989; trad. anglesa: Palimpsestes: Literature in the Second Degree. Lincoln: University of Nebraska Press, 1997].

HUBERT, Marie-Claude, Les grandes théories du théâtre. París: Armand Colin, 1998.

HUERTA CALVO, Javier (dir.), Historia del teatro español, 2 vols. Madrid: Gredos, 2003.

JAUSS, Hans, La literatura como provocación. Barcelona: Península, 2000 (Historia, Ciencia,  Sociedad; 301). [Trad. francesa: Pour une esthétique de la réception. Paris: Gallimard, 1978; trad. catalana: Teoria de la recepció literària: dos articles. Barcelona: Barcanova (Els Llibres de l’Institut d’Humanitats. Opuscles, 3), 1991].

KESALL, Malcolm, Studying Drama. An introduction, Edward Arnold, London-New York-Melbourne- Auckland, 1989.

LARTHOMAS, Pierre: Le langage dramatique, P.U.F., Paris,  1980.

LEACH, Robert, Theatre studies, Routledge, London and New York, 2008.

MEDINA VICARIO, Miguel, Los géneros dramáticos, Editorial Fundamentos, Madrid, 2000.

MELENDRES, Jaume, La teoria dramàtica: un viatge a través del pensament teatral. Barcelona: Publicacions de l’Institut del Teatre, 2006.

PAVIS, Patrice, Diccionario del teatro. Dramaturgia, estética, semiologia, Paidós, Barcelona, 2002.

---, El teatro y su recepción: semiología, cruce de culturas y postmodernismo. La Habana: UNEAC: Casa de las Américas: Embajada de Francia en Cuba. 1994.  [Versió anglesa: Theatre at the Crossroads of Culture. Londres: Routledge, 1991].

SALA-VALLDAURA, Josep M., Historia del teatre a Catalunya. Lleida: Pagès editors, 2005.

TALENS, Jenaro et allii, Elementos para una semiótica del texto artístico, Cátedra, Madrid, 1980.

TRANCÓN, Santiago, Teoría delteatro. Madrid: Fundamentos,2006.




Bañuls, José Vicente (ed.), El teatro greco-latino y su recepción en la literatura occidental, 2 vols. Bari: Levante, 2006-2007

Casas, Joan (ed.), L’escena antiga. Introducció de Joan Casas. Traduccions d’Esther Artigas i Roser Homar. Martorell: Adesiara, 2016.

Lesky, Albin, La tragedia griega. Presentación de Jaume Pòrtulas. Traducción de Juan Godó Costa, revisada por Montserat capms. Barcelona: Acantilado, 2001.

García Gual, Carlos, Historia, novela y tragedia. Madrid: Alianza Editorial, 2006

Luque Moreno, Jesús, Introducción a Lucio Anneo Séneca, Tragedias (2 vols). Madrid: Gredos, 2016.

Nietzsche, Friedrich, El naixement de la tragèdia. Introducció de Jaume Pòrtulas. Traducció de Manuel Carbonell. Martorell: Adesiara, 2011.

Olson, Elder, Tragèdia i teoria del drama. Traducció de Salvador Oliva. Barcelona: Quaderns Crema, 1985.

Rodríguez Adrados, Francisco, Fiesta, comedia y tragedia. Madrid: Alianza Editorial, 1983.

__, Del teatro griego al teatro de hoy. Madrid: Alianza Editorial, 1999.

Scodel, Ruth, La tragedia griega. Una introducción. Traducción de Emma Julieta Barreiro. México D. F.: Fondo de Cultura Económica, 2014.  

Steiner, George, La muerte de la tragedia. Barcelona: Azul editorial, 2001.

__, Antígonas: una poética y una filosofia de la lectura. Barcelona: Gedisa, 1987.



Couprie, Alain,  Lire la tragédie. Paris: Dunod, 1994

Delmas, Cristian,  La tragédie à l’Âge Classique (1553-1770). Paris: Seuil, 1994

Forestier, Georges,  Passions tragiques et règles classiques: essai sur la tragédie française. Paris: PUF, 2003

Truchet, Jacques, La tragédie classique en France. Paris: PUF, 1975



López Eire, Antonio (ed.), Sociedad, política y literatura : comedia griega antigua : actas del I Congreso internacional, Salamanca, noviembre 1996. Salamanca : Asociación Española de Estudios sobre la Lengua, Pensamiento y Cultura Clásica, 1997.

López Férez, Juan Antonio (ed.), La comedia griega y su influencia en la literatura española . Madrid: Ediciones Clásicas, 1998.

Meredith, George, Comedy : an essay on comedy. Baltimore : John Hopkins University Press, 1980.


5. 2. 4.

Lérat, Pierre, Le ridicule et son expression dans la comédie française de Scarron a Molière. Lille, 1980.

Scherer, Jacques, La dramaturgie classique. Paris : A. Collin, 1950.

Voltz, Pierre,  La comédie. Paris: A. Colin, 1964.



Centre for Research of Early English Drama (Records of Early English Drama): http://www.reed.utoronto.ca

Història de les arts escèniques catalanes http://publicacions.institutdelteatre.cat/ca/enciclopedia-arts-esceniques.htm