Authorial Acting 1

Display Schedule

Subject guarantor

Jan HANČIL

Name of lecturer(s)

Alex ASIKAINEN, Jan HANČIL

Department

The subject provides Department of Authorial Creativity and Pedagogy

Contents

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.

Developed skills:

• Public solitude and concentration.
• Imitation and individual expression.
• Radiance.
• 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.

Procedure:

1. Dramaturgical preparations.
2. Analysis of personal and individual topics and their development.
3. Active situation analysis.
4. Composition and preprations for the summary performance.

Learning outcomes

The aim of the Fundamental two-semester course is:

1. Develop sensitivity to physical impulses, improvisational, characterization and presentation skills.
2. Inform students about the potential of acting manifestation (goal orientation, factuality, composition, commucative manifestation).
3. 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.

Prerequisites and other requirements

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.

Literature

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.

Evaluation 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.

Note

For 3rd year students.

Schedule for winter semester 2024/2025:

• Week view
• List

Schedule for summer semester 2024/2025:

The schedule has not yet been prepared

The subject is a part of the following study plans

• Authorial Acting (M.A.) (Required main subjects)