Work on Performance 3
Subject is not scheduled Not scheduled
|12 hours (45 min) of instruction per week, 392 to 492 hours of self-study
Name of lecturer(s)
- Individual authorial creation as the starting point for theatre work.
- Dramatic text as the starting point for the actor's work.
- Work with the actor, puppet, material.
- Interacting with a space, relations and roles in a situation. The detail and the whole.
- What makes the stage work. Costume, music, setting, lighting.
- Rythm and space.
- The production whole.
- The subject of production work is the space for a practical examination and test of the director's and actor's approaches, with an emphasis on the individual creativity of students.
- The first study phase addresses the ability, under strictly defined conditions, to realise a literary idea while emphasising an understanding of the basic relations that constitute a stage work.
- This means understanding the meaning of a situation, acting in the situation, the relation between the whole and the detail etc. of great importance is an evaluation of the use of modes of expression.
- Another study phase focuses on how the relevant dramatic text is realised (also for works of collective direction), emphasising the individual authorial approach while concentrating on the ability to communicate with collaborators in the work, above all actors and the director. The final study phase focuses on creating a true theatre production in the DISK theatre, with an emphasis on the work as a whole, a sense for team work and resulting reflections on the work.
- The capacity for theatrical creation in practical form.
- The ability to produce your own authorial creation.
- The ability to produce a normal theatre text.
- The abiliity to work with a partner on stage, puppet, material.
- The ability to communicate with the director, dramaturg, designer and others.
Prerequisites and other requirements
- Ability to reflect.
- Ability to communicate and a sense for team work.
- Ability to analyse and synthesise.
- Creative ability.
- Organisational ability.
K. S. Stanislavskij: My Life in Art.
Peter Brook: Empty Space.
Jan Císař: Theory of Puppet Theatre Acting
Bertolt Brecht: Thoughts on Theatre
Denis Diderot: The Dramatic Paradox
Jan Hyvnar: The Actor in Modern Theatre
E.G. Craig: The Actor and Uber-Marionnette
Otakar Zich: Aesthetic of Dramatic Art
Jiří Veltruský: Contribution to the Theatre Theory
Anatolij Efros: Theatre: my love
Jindřich Honzl: Mimický znak a mimický příznak
Evaluation methods and criteria
Student grading originates in the monitoring of participation in the collective creation process and the resulting artistic form and its review.
The course is modified during the semester according to the year's lead instructor requirements and demands.
Instruction schedule see: www DAMU / katedra ALD / Pro studenty / Rozvrhy
No schedule has been prepared for this course
The subject is a part of the following study plans
- Dramaturgy for Alternative and Puppet Theatre (M.A.) (required main subject)