Awareness in Movement 2
|202EVD2||ZK||2||2 hours (45 min) of instruction per week, 29 to 39 hours of self-study||English||summer|
Name of lecturer(s)
Learning outcomes of the course unit
- Improving of a mind-body condition through the cultivation of a conscious movement.
- Continuing to search for a natural movement without stereotypes and bad habits.
- Cultivating sense for conscious movement on stage/in front of the viewers, stage presense.
- Cultivating body expression skills – experimenting with a movement as a form of an expression.
- Training of skills in an improvisation and its repeating- how to preserve and to transfer the quality from the improvisation to the concrete image, form, partiture.
- Themes: „getting up partiture“ and „moving sculpture partiture“.
Mode of study
- Regular contact teaching.
- Individual and group work.
- Discussion and feedback in classes.
Feedback on individual movement assignments: How I see myself/ How I appear to the audience. Work with terminology, cultivation of the ability to describe the observed and how to provide reflection.
Prerequisites and co-requisites
- Successful completino of Awareness in Movement 1.
- Willingness to work on oneself.
- Feeling for space.
- Movement imagination.
- Ability to review and analyze the seen.
Deeper experimentation with movement and space through conscious body ready to communicate on the stage. It is necessary for the next step: finding the way how to catch what is just happening and be able to repeat it in the same quality.
- Posture – spatial body placement.
- Perception of horizontal and vertical lines.
- Spatial relationships. Entering the space, leaving the space.
- Tempo, tempo-rhythm, dynamics and scale.
- Creation of 2 partitures: getting up and moving sculptures.
- Sensing the difference between a rythm and a meter through structured movement and its transfer into a specific theatrical form with clear rules.
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.
Calais-Germain, Blandine. Anatomy of Movement. Seattle: Eastland Press, 2013.
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
Credit is awarded based on:
- Class attendance, min 70% attendance.
- Interest and personal creativity.
- Presentation of a short structured etude/partiture.
- Written reflection and taking part in „klauzury“ – exam week presentation at the end of semester.
- Written assesement – ability to explain and connect specific terms to specific material and exercises from the classes, work with literature.
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