Authorial Acting 1
Subject is not scheduled Not scheduled
Name of lecturer(s)
Learning outcomes of the course unit
The aim of the foundational two-semester course is:
- For students to develop understanding of the potentials of actors’ expressivity in areas like: intentionality, concreteness, composition, communicative expression.
- To understand the process of creating, rehearsing, and presenting their authorial works – to be able to independently and consciously work on their material in interplay with other
Mode of study
Instruction takes place in a regular seminar - a creative workshop combining dramaturgy and acting. Part of the course are also moderated discussions, readings, text analyses, etc.
Prerequisites and co-requisites
Prerequisites: A general knowledge of the principles of authorial creation and experience with Dialogical Acting (DAwIP), recitation, speech, vocal creations and stage movement – the basis of creativity.
Requirements: Creativity, study of DAwIP, of speech, recitation, stage movement.
The course Authorial Acting, is based on experiences in Dialogical Acting with the Inner Partner. The course is an introduction to acting and its authorial aspects - not only when performing a role - but acting as a game and open creation. Emphasis is placed on sensing the partner, teamwork, and on personal, authorial creative work. Necessary are also talents in authorial writing and dramaturgy. This course leads to participants understanding authorial principles, and prepares students for later independent development. Becoming professional actors is not the goal of the course.
- Dramaturgical preparation.
- Analysis of personal and individual authorial themes and their development.
- Active situation analysis.
- Composition and preparations for the final performance.
Recommended or required reading
Chekhov, M. On the Technique of Acting. New York: Harper, c1991.
Stanislavski, K. An Actors’ Work: a student's diary. Translated by Jean Benedetti. London: Routledge, 2008.
Donnellann, D. The Actor and the Target. London: Nick Hern Books, 2005.
Brook P. The Empty Space. New York: Avon Books, 1969.
Barba E. a Savarese N. A Dictionary of Theater Anthropology: the secret art of the performer. New York London: Routledge, 2006.
Assessment methods and criteria
During the semester independent reading, preparation of assignments, independent rehearsing of developed situations are required.
Overall grading is comprised of 50% for participation in exercises, 30% for authorial input and 20% for the artistic quality of the performance at the summary performance.
Course web page
No schedule has been prepared for this course