Body in Motion 3
Subject is not scheduled Display Schedule
|202ETV3||credit||2||2 hours (45 min) of instruction per week, 32 to 42 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
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.
Mode of study
Contact teaching, group and individual work. In-class reflection, work with recommended literature and material.
Prerequisites and co-requisites
- Completion of Body in Motion 1 and 2.
- Active approach.
- 70% attendance.
- Use of acquired skills and knowledge from previous courses Body in Motion for working with movement material, space structure and subsequent transfer of spontaneous compositions to the conscious level.
- Fascination with the movement of one's body, partner's movement, space movement, movement in the space. Finding movement awareness. Working with time and gravity.
- Working with inner space; building sensitivity for the space, a partner, environment and the here and now. Building a narrative, relationship, emotion.
- Listening to the story written by one's body, in space and time.
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
Attendance in classes and lectures. on-going written reviews, course paper at the end of the semester.
Course may be repeated
Schedule for winter semester 2022/2023:
(Karlova 26, Praha 1)
|Date||Day||Time||Tutor||Location||Notes||No. of paralel|
|Fri||09:25–10:55||Michaela RAISOVÁ||Malý sál
Karlova 26, Praha 1
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared