Acting II. 7

Tutor:

Jana SMRČKOVÁ

Synopsis:

Acting training as the fundamental object of professional preparations building a theory and practical basis for acting skills important for the drama training instructor.

Prerequisites:

A spirited temperament, imagination, empathy, sense for speaking and movement rhythm.

Study Objectives:

The basic range of goals is a development of communication skills of the student. Furthermore this course develops conscious imagination and creativity and processes of self-reflection, self-awareness and self-creation leading to psychosomatically true essence and action which are in conflict with the deep-rooted idea of acting as a superficial imitative activity. To demostrate this cliche as undesirable is a goal of this study.

Outline and Syllabus:

Curriculum

- perception of oneself in a space.

- Be able to express oneself by non-verbal means.

- Non-verbal communication means by which to cooperate with a partner.

- Ability to relax and focus on creative performance of a imaginary nature.

- Acting work with dialogues.

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

Syllabus

1. Building upon natural talent and tendency for play.

2. Introduction to simple tasks and given impulses of sensitivity and imagination.

3. Mental and phsyical relaxation:

- finding a state of physical self-awareness,

- limiting or eliminating stage-fright,

- exercises which stimulate desire to communicate by movement (gestures).

4. Perception of oneself in a space:

- with rhythm,

- with music.

5. Simple acting etudes without text

6. Building and development:

- space and movement memory,

- acting vision and imagination.

7. Development of improvisation and exercises stimulating sensitivity, imagination and desire to communicate

8. More complex communication exercises.

9. Independence.

10. Acting in pairs - dialogue.

11. Collaborative work - mutual evaluation.

12. Texts as the foundation for warm-up narration

13. Acting improvisation.

14. Working with excerpts from plays or the independent work of the 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)