Acting II. 5

Tutor:

Jana SMRČKOVÁ

Synopsis:

Acting training as a basic objective preparation building a theory and practical basis of acting skills important for a drama education pedagog.

Prerequisites:

Spirited temperament, imagination, empathy, senso of oral and movement rhythm.

Study Objectives:

The fundamental range of aims of this course are the development of the communication skills of the student. Furthermore, a development of imagination and creativity originating from a conscious posture and processes of self-reflection, self-awareness and self-creation to a psycho-somatic real essence and behaviour which is in conflict with deep-seated conception of acting as a superficial imitative activity. To prove that cliche as undesirable is part of the goal of this study.

Outline and Syllabus:

Outline:

- Sense of oneself alone in a space.

- Demonstrate ability to express onself by non-verbal means

- Non-verbal communication means cooperating with a partner.

- Learning to relax and focus on creative imaginative acts.

- Acting work in dialogs.

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

Syllabus:

1. Building up of the natural talent and inclination toward playfulness.

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

3. Practical relaxation of the mind and body:

- locating a state of physical self-awareness,

- practice in minimizing or eliminating stage fright,

- Exercises stimulating the desire to express oneself in movement (gestures)

4. Sense of self 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. Developing improvisation and exercises stimulating perception, imagination and the desire to communicate.

8. Complex communication exercises.

9. Independence

10. Pair behaviour - dialogues.

11. Collective work - mutual evaluation.

12. The text as the basis of a warm-up narrative.

13. Acting improvization

14. Working on exerpt 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 bakalářský dramatická výchova - komb. (subject determining qualification)