Authorial Acting 2
|202EHO2||ZK||4||4 hours (45 min) of instruction per week, 58 to 78 hours of self-study||English||summer|
Name of lecturer(s)
Jan HANČIL, Jan VEČEŘA
Learning outcomes of the course unit
The aim of the Fundamental two-semester course is:
- Develop sensitivity to physical impulses, improvisational, characterization and presentation skills.
- Inform students about the potential of acting manifestation (goal orientation, factuality, composition, commucative manivestation).
- Inform students about the process of trying a role in order to demonstrate awareness and independence in working in a role in interaction with others.
Mode of study
Contact instruction in a creativity seminar - creativity workshop which combines dramaturgy and acting. Part of the course is also moderated discussion, independent readings and text analyses, etc.
Prerequisites and co-requisites
Prerequisites: General knowledge of the principles of original creations and experience with dialogue behaviour, recital, speaking behaviour, vocal creations and stage movement. Creativity.
Requirements: Creativity, study of dialogue behaviour, study of speaking behaviour, respectively recitals, study of stage movement.
The course „Acting Propaedeutic Based on Dialogue Acting“ is an introduction to acting and its creative aspect, not merely playing a role but acting as a game and creation. Emphasis is placed on sensing the partner, team creation and personal investment. Presumed is a creative writing ability and dramaturgy. This course leads to the understanding of principles and prompts students towards their later independent development.
- Public solitude and concentration.
- Imitation and individual expression.
- Individual and collective improvization.
- Path towards presentation and path towards a role.
- Text as a character's originating point.
- Characterization and its potential.
- Self testimony and its limits.
- Work on stage presentation.
- Dramaturgical preparations.
- Analysis of personal and individual topics and their development.
- Active situation analysis.
- Composition and preprations for the summary performance.
Recommended or required reading
Alfreds, Mike. Different Every Night: Freeing the Actor. London: Nick Hern Books, 2007.
Barba, Eugenio, and Savarese, Nicola. A Dictionary of Theatre Anthropology. London and New York: Routledge, 2005.
Barnett, David. Brecht in Practice: Theatre, Theory and Performance. London: Bloomsbury, 2015.
Silberman, M., Giles, S., Kuhn, T. eds. Brecht on Theatre. London: Bloomsbury, 2014.
Brook, Peter. Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate. New York: Scribner Macmillan, 1995.
Brook, Peter. There are No Secrets: Thoughts on Acting and Theatre. London: Bloomsbury, 2015.
Chekhov, Michael. To the Actor: On the Technique of Acting. London: Martino Fine Book, 2014.
Donnellan, Declan. The Actor and the Target. London: Nick Hern Books, 2005.
Johnstone, Keith. Impro: Improvisation and the theatre. London: Routledge, 1987.
Meisner, Sanford, Longwell, Dennis, et al. Sanford Meisner on Acting. New York: Vintage, 1987.
Merlin, Bella. The Complete Stanislavsky Toolkit. London: Nick Hern Books, 2014.
Stanislavsky, Constantin. An Actor Prepares. New York: Routledge, 1989.
Assessment methods and criteria
During the semester independent reading, preparation of component assignments, independent rehearsing of developed situations are required.
Overall grading is comprised of 50% for participation in exercises, 30% for original input and 20% for the artistic quality of the performance at the summary performance.
For 3rd year students.
Course may be repeated
Schedule for winter semester 2022/2023:
The schedule has not yet been prepared
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Authorial Acting in English (B.A.) (required subject)