Acting II. 4

Code	Completion	Credits	Range	Language Instruction
205HVB4	ZK	2	20/S	Czech

Tutor:

Jana SMRČKOVÁ

Synopsis:

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

Prerequisites:

Vivacious temperament, imagination, empathy, sense of speaking and movment rhythm.

Study Objectives:

The basic aim is to develop the communcation skills of the student. Furthermore, the aim is to develop imagination and creativity originating from a conscious state and processes of self-reflection, self-awareness and self-creation towards a psycho-somatic real being and action which is in conflict with the deep-rooted idea of acting as a superficial imitative activity. The aim is to show this as an undesireable cliche.

Outline and Syllabus:

Curriculum

- Perception of oneself in a space.

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

- Non-verbal communication means in cooperating with a partner.

- Ability to relax and concentrate on creative tasks of a imaginative nature.

- Acting work in dialogues.

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

Syllabus

1. Buliding upon displayed natural talent and tendency towards play.

2. Introduction to simple tasks and given stimulations of perception and imagination.

3. Practical relaxation of the body and mind.

- finding a physical self-awareness state,

- practices limiting or removing stage-fright,

- working in exercises which stimulate the desire to communication through gestures.

4. Perception of oneself in a space.

- with rhythm

- with music

5. Simple acting etudes without text.

6. Building and developing

- spatial and movement memory,

- acting visualization and imagination.

7. Development of improvisation and exercise stimulating, perception, imagination and desire to communcate.

8. Complex communcation exercises.

9. Individuality.

10. action in pairs - dialogue.

11. Collaborative work - mutual evaluation.

12. A text as the foundation of a warm-up narrative.

13. Acting improvisation.

14. Working on excerpts from plays or 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 akťjora nad soboj. Dněvnik uřenika; přel. Jaroslav Hulák, Moje výchova k herectví. Z deníku hereckého adepta (Praha: Athos, 1946)

TAIROV, Alexandr Jakovlevič

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