Body in Motion 1

Display Schedule

Code Completion Credits Range Language Instruction Semester
202ETP1 Z 2 2 hours (45 min) of instruction per week, 32 to 42 hours of self-study English winter

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Jana NOVORYTOVÁ

Learning outcomes of the course unit

The aim is defined by the course subtitle: The body as an instrument, to recognize one's body as a means of communication.

Mode of study

Contact instruction, recorded sample analysis, group work.

Prerequisites and co-requisites

Course contents

Anatomy in movement:

Based on theory knowledge and subsequent partner manipulations, researching the human body as a system of joints and bones. Awareness of anatomy and neurology based on experience are integrated and become greater awareness, employable for the discovery of new movement material which may be effectively used. To help understand one's body, learn it, use it properly, save energy and avoid injury and stress.

Surface, touch:

Working with the intimate space of the human body, sensitizing the skin surface, reacting to touch. Touch as a bearer of information in various qualities, ex: drifing across the skin surface with a touch, resisting touch, internal mass, entrusting body weight to touch. Subsequent research into the potential which these qualities bring to movement interaction.

Mass, internal space:

Working with internal space; its quality, with states, with density, viscosity, changing quality of internal mass. Based on physical changes in one's mass in the internal space we discover a change in the quality of the movement of one's body, changes in emotion and subsequently changes in communication in the movement interaction.

Construction, bones:

Bones as the basic architecture of the human body; solid structure which supports it and simultaneously protects soft tissue.This is an inseparable element taking part in movement. Based on changes in one's observations and intentions we uncover those layered changes in the movement of one's body in a movement interaction.

Recommended or required reading

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

Boorman, Joyce. Creative Dance in Grades Four to Six. Ontario: The Hunter Rose Company Limited, 1971.

Boorman, Joyce. Creative Dance in the First Three Grades. Ontario: The Hunter Rose Company Limited, 1969.

Brook, Peter. Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate. Scribner, 1995.

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

Brook, Peter. There Are No Secrets: Thoughts on Acting and Theatre. London: Bloomsbury, 2015.

Buckwalter, Melinda. Composing While Dancing, an improviserś companion. Wisconsin: The University of Wisconsin Press, 2010.

Burt, Ramsay. Judson Dance Theatre, Performative Traces. New York: Routledge, 2006.

Chekhov, Michail. The path of the Actor. London: Routledge, 2005.

Chekhov, Michael. To the Actor: On the Technique of Acting. London: Martino Fine Book, 2014.

Cohen, Bonnie Bainbridge. Sensing, Feeling, Action. USA: Contact Editions, 1993.

Cooper, Ann, ed. Taken by surprise, A dance improvisation reader. Middletown: Wesleyan University Press, 2003. Donnellan, Declan. The Actor and the Target. London: Nick Hern Books, 2005.

Feldenkrais, Moshe. Awareness Through Movement. New York: Harper Collins Publishers, 1990.

Forsythe, William. Practice of Choreography, It Starts From Any Point. New York: Routledge, 2011.

Franclin, Eric. Dance Imagery for Technique and Performence, USA: Human Kinetics, 1996.

Hartley, Linda. Wisdom of the Body Moving, An Introduction to Body-Mind Centering. Berkeley, CA: North Atlantic Books, 1995.

Hodge, Alison, ed. Twentieth Century Actor Training. New York, London: Routledge, 2002.

Innes, Christopher. Avant-garde Theatre. NY, London: Routledge, 1993.

Mitter, Shomit. Systems of Rehearsal. Stanislavsky, Brecht, Grotowski and Brook. London, NY: Routledge, 1992.

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

Lecoq, Jacques. Theatre of Movement and Gesture. London: Routledge, 2006.

Lecoq, Jacques. The Moving Body – Teaching Creative Theatre. New York: Routledge, 2002.

Long, Raymond. The Key Muscles of Yoga. Banfha Yoga Publications LLC, 2006.

Long, Raymond. The Key Poses of Yoga. Banfha Yoga Publications LLC, 2008.

Paxton, Steve. Gravity. Belgium: Graphius, 2018.

Reeve, Justine. Dance Improvisations. USA: Human Kinetics, 2011.

Reeves, Geoffrey. Peter Brook. Cambridge: Cambridge University Press, 1995.

Roose-Evans, James. Experimental Theatre from Stanislavsky to Peter Brook. London: Routledge, 2001.

Stanislavsky, K.S. An Actor Prepares. New York: Routledge, 1989.

Steinman, Louise. The Knowing Body. Berkeley, CA: North Atlantic Books, 1986.

Tufnell, Miranda, Crickmay, Chris. Body, space, image: notes towards improvisation and performance. Hampshire: Dance books, 2003.

The Great European Stage Directors: Brook, Grotowski, Barba. London, NY: Methuen Drama, 2019.

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

Assessment methods and criteria

Class and workshop participation, on-going written reviews.

Schedule for winter semester 2022/2023:

06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
room S221
Velký sál

(Karlova 26, Praha 1)
NOVORYTOVÁ J.
14:05–15:35
(parallel1)
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Tue 14:05–15:35 Jana NOVORYTOVÁ Velký sál
Karlova 26, Praha 1
parallel1

Schedule for summer semester 2022/2023:

The schedule has not yet been prepared

The subject is a part of the following study plans