Acting II. 10

Tutor:

Jana SMRČKOVÁ

Synopsis:

Acting training as the basic subject of an occupational preparation building a theoretic and practical foundation of acting skills important for a drama training teacher.

Prerequisites:

Active temperament, imagination, empathy, sense of speaking and movement rhythm.

Study Objectives:

The fundamental goals include a development of student communication skills. Further, there will be a development of imagination and creativity originating from the conscious state and processes of self-reflection, self-confidence and self-creation to the psychosomatic real existence and behaviour which is in contrast with the deep-seated conception of acting as a superficial imitative activity. To demonstrate this cliche as undesirable is as well a goal of this course.

Outline and Syllabus:

Outline:

- Sense of oneself in a space

- Ability to express oneself by non-verbal means

- Non-verbal means of communication in cooperation with a partner

- Ability to relax and focus upon imaginative creative tasks

- Acting practice with dialogs

- Interpreting excerpts or whole acts from theatre plays, in some cases the works of students

Syllabus

1. Building-up of the natural display of talent and affinity towards playfullness

2. Introduction to particular simple tasks and settings stimulating perception and imagination

3. Pratices for relaxing the mind and body:

- finding a phsyical self-confidence,

- practice for reducing or eliminating stage-fright

- working on exercises for stimulating desires and expressing them in gestures (movements)

4. Sense of oneself in a space

- with rhythm

- with music

5. Simple acting etudes without texts

6. Building and developing

- space and movement memory

- Acting vision and imagination

7. Development of improvisation and exercises stimulating perception, imagination and as well as communicating desire

8. Complex communication exercises

9. Independence

10. Behaviour in pairs - dialogues

11. Collective work - mutual evaluation

12. Texts as a foundation for narrative warm-ups

13. Acting improvisation

14. Work on excerpt from plays or the independent works of students

Study materials:

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 akťora nad soboj. Dněvnik učenika; přel. Jaroslav Hulák, Moje výchova k herectví. Z deníku hereckého adepta (Praha: Athos, 1946)

TAIROV, Alexandr Jakovlevič

1921, 1970 Zapiski režissjora. Statji, besedy, reči, pis´ma; přel. Alena Morávková spolu se Zdeňkou Psůtkovou, Odpoutané divadlo (Praha: AMU, 2005)

Note:

Schedule for winter semester 2009/2010:

The schedule has not yet been prepared

Schedule for summer semester 2009/2010:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Doporučený magisterský dramatická výchova - dvouleté komb. (subject determining qualification)