Acting II. 6
Code | Completion | Credits | Range | Language Instruction |
---|---|---|---|---|
205HB6 | ZK | 3 | 10/S | Czech |
- 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:
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A spirited temperament, imagination, empathy, sense for speaking and movement rhythm.
- Study Objectives:
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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:
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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 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:
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- Doporučený bakalářský dramatická výchova - komb. (subject determining qualification)