Acting II. 8

Tutor:

Jana SMRČKOVÁ

Synopsis:

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

Prerequisites:

Spirited temperament, imagination, empathy, sense of verbal and movement rhythm.

Study Objectives:

The basic range of goals is the development of the communication skills of the student. Further, this course is to develop the imagination and creativity orginating from the conscious state and processes of self-reflection, self-awareness and self-creation, to psychosomatic real essence and behaviour which is in contradiction to the deep-seated concept of acting as a superficial imitating activity. To demonstrate this cliche as undesireable is also an aim of this study.

Outline and Syllabus:

Outline:

- Perception of oneself alone in a space.

- Demonstrate ability to express oneself by non-verbal means.

- Non-verbal communication means in cooperating with a partner

- Be able to relax and focus on imaginative creative actions.

- Acting work with dialogues.

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

Syllabus:

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

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

3. Practice in relaxing the mind and body:

- locating a state of physical self-awareness,

- practice minimizing or eliminating stage fright,

- working with exercises which stimulate the desire to express oneself by movement (gesture).

4. Perception 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 the desire to communicate.

8. Complex communication exercises.

9. Independence

10. Behaviour in pairs - dialog.

11. Group work - mutual evaluation.

12. A text as the basis for a warm-up narrative.

13. Acting improvisation.

14. Working on play excerpts 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)