Acting II. 1
Code | Completion | Credits | Range | Language Instruction |
---|---|---|---|---|
205HVB1 | Z | 1 | 22/S | Czech |
- Tutor:
- Jana SMRČKOVÁ
- Synopsis:
-
The actor's education as a basic subject of expert preparation builds the theoretical and practical bases for an actor's skills important for a pedagogue of dramatic education.
- Prerequisites:
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A lively temperament, imagination, empathy, sense for the rhythm of word and movement.
- Study Objectives:
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The basic range of targets is to develop the student's communication skills. Also to develop fantasy and creativity from conscious states and procedures of self-reflection, self-awareness and self-creation, to the psychomatic truth of being and acting, which contradicts the lived idea of acting as a superficially imitative activity. To reveal this cliche as unwelcome is also one of the study's goals.
- Outline and Syllabus:
-
???
- To perceive yourself in space.
- To be able to express yourself with non-verbal means.
- To cooperate with your partner using non-verbal means of communication.
- To be able to relax and concentrate on creative acts of a fantastic nature.
- Actor's work on the dialogue.
- Creating an extract from a theatre play or whole file, or students' authorial work.
SYLLABUS
1. Underlining natural signs of talent and a tendency to playfulness.
2. Introduction to specific simple tasks and assigning aligned perception and fantasy.
3. Practices for relaxing the psyche and body:
- finding a state of physical self-confidence,
- practices for reducing or removing nerves,
- work on practices which underline the desire to express yourself in movement (gesture).
4. Perceiving yourself in space:
- with rhythm,
- with music.
5. Simple sctor's studies without texts.
6. Building and developing:
- spatial and animated memory,
- actor's imagination and fantasy.
7. Developing improvisation and training related perception, fantasy, but with the desire to comunicate.
8. More complicated communication exercises.
9. Independence.
10. Acting in pairs - dialogue.
11. Collective work - mutual assessment.
12. Texts as a basis for ??
13. Actor's improvisation.
14. Work on extracts from plays or students' independent work.
- Study materials:
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BROOK, Peter
1968 The Empty Space; přel. Alois Bejblík, Prázdný prostor (Praha: Panorama, 1988)
1987 The Shifting Point; přel. Jan Hančil, Pohyblivý bod (Praha: Nakladatelství Studia Ypsilon, 1996)
ČECHOV, Michail
1953 To the Actor; přel. Zoja Oubramová, O herecké technice (Praha: Divadelní ústav-DAMU, 1996)
LUKAVSKÝ, Radovan
1981 Být nebo nebýt. Monology o herectví (Praha: SPN)
PILÁTOVÁ, Jana (ed.)
1990 Jerzy Grotowski a Teatr Laboratorium. Texty (První část) (Praha: Pražské kulturní středisko)
1990 Jerzy Grotowski a Teatr Laboratorium. Texty (Druhá část) (Praha: Pražské kulturní středisko)
1990 Jerzy Grotowski a Teatr Laboratorium. Texty (Třetí část) (Praha: Pražské kulturní středisko)
STANISLAVSKIJ, vl. ALEXEJEV, Konstantin Sergejevič
1938 Rabota akťjora nad soboj. Dněvnik uřenika; přel. Jaroslav Hulák, Moje výchova k herectví. Z deníku hereckého adepta (Praha: Athos, 1946)
TAIROV, Alexandr Jakovlevič
1921, 1970 Zapiski režissjora. Staťji, besedy, reči, pis´ma; přel. Alena Morávková spolu se Zdeňkou Psůtkovou, Odpoutané divadlo (Praha: AMU, 2005)
- Note:
- Schedule for winter semester 2008/2009:
- The schedule has not yet been prepared
- Schedule for summer semester 2008/2009:
- The schedule has not yet been prepared
- The subject is a part of the following study plans:
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- Doporučený magisterský dramatická výchova (subject determining qualification)