Physicality on the Stage

Předmět není vypsán Nerozvrhuje se

Garant předmětu

Jméno vyučujícího (jména vyučujících)

Katedra

Předmět zajišťuje Katedra alternativního a loutkového divadla

Obsah

The course offers opportunity to search a way of thinking about and through the body. Body and material as elementary foundation for creating a performative situation where story, theme or situation is not being interpreted by words, but the actor makes effort to use his body (movement, rhythm, breath, voice) and/or scenographic material (object, puppet, material) to create a structured expression, that communicates with audience. Two elementary constants of this kind of structured expression are body and material.

In these classes the relationship of the space (and time) to the subject (body, object, material and other) is being questioned and explored and a path is forged to systematic work on oneself and one’s own creativity and physical presence (stage presence). These basic principles are: continuous development of awareness of body and its relation to space and material, work with body tension and concentration and how to communicate an intention through the body to the audience. An understanding of the relationship of body-mind approaches with the work of a performer is also explored.

•Working with inner space; working with the imagery as material, building sensitivity for the space, an object as a partner, a partner, the environment and the here and now. Building a structured narrative, relationship. Asking the elementary questions that overlap into dramaturgy: what, why and how. How to perform and how to watch – these two modes are being explored in depth.

Výsledky učení

The aim is defined by the course title: The body as a partner, a bearer of emotion, feeling and life experience and their use in authentic body/movement expression. Conscious work with space, composition, time, rhythm, structure and partners in the space.

In the field of skills (S), the student:

-Is able to listen and watch the story written by one's body, in space and time.

-Can communicate with the audience through concentrated work of a body-mind.

-Cultivates multiple awareness through instant composition and through creation of scored improvisations and also fixed partitures.

-Focuses and works with the physical presence and movement of one's body, partner's movement, space movement, movement in the space.

-is able to find movement awareness.

In the field of social competencies (C), the student:

-Can work with time and other basic elements.

Předpoklady a další požadavky

Physical and mental fitness.

Literatura

Brook, Peter. The Empty Space. New York: Penguin Books, 2008.

Donnellan, Declan. The Actor and the Target. London: Nick Hern Books, 2005.

Donnellan, Declan. The Actor and the Space. Nick Hern Books, London, 2024.

Barba, E., Savarese, N. and col: A Dictionary of Theatre Anthropology. London, NY: Routledge, 1999.

Berger, John. Ways of Seeing. (1976), UK Penguin Boooks, 2008.

Mirzoeff, Nicholas. How to see the world. Basic Books. 2016.

Newlove, Jean. Laban for Actors and Dancers. London: Routledge, 1993.

Rais, Mish, Eliášová Mirka, Lizzy Le Quesne : Secretly Alive. Embodied perspectives on dance improvisation, Prague, NAMU, 2024.

Rais, Mish, Machková Markéta, Novorytová, Jana: On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Awareness in Students-Performers, Stanislavski Studies, volume 12, issue 2, 2024.

Zarrilli, P. Psychophysical Acting, an intercultural approach after Stanislavski, London: Routledge, 2009.

Hodnoticí metody a kritéria

Credit is awarded for participation in class (80% attendance) and final written reflection and oral presentation at the end of the semester.

Další informace

Pro tento předmět se rozvrh nepřipravuje

Předmět je součástí následujících studijních plánů