Movement Techniques 1

Subject guarantor:

Monika DIATTA-REBCOVÁ

Name of lecturer(s):

Monika DIATTA-REBCOVÁ

Learning outcomes of the course unit:

A.

The aim is master the basic knowledge of the trade, that is adoption of solid basic technique, physical condition, theory knowledge and finally, professional ethics.

Instruction in focused on the development of personal talent and style which is similar to acting and may be used across artistic genres.

B.

Lessons of modern dance for beginners contain an introduction to basic dance techniques of the dance instructor and choreographer Jose Limon and Merce Cunningham.

Mode of study:

A.

Exercises developing the conditions for acting, improvisation on a given topic. Exercising and interpretation of taken etudes, creation of one's own etude and movement study. Professional literature readings. Analysis of recorded classical and modern creations. Monitoring contemporary theatre works.

B.

The Limon technique - working with the body conscious of gravity. Instruction in the body center. movement in a space. Alternating muscle tension and extension working with breathing. Attention is devoted also to suspension of movement in the air at the highest point.

Prerequisites and co-requisites:

1. Talent - completing the talent test for acting at an arts school

2. Good health and movement abilities

3. Fundamental bearing in theatre and cultural events.

Recommended optional programme components:

no info

Course contents:

Movement technique introduces students to proper body exercise techniques by maintaining the nature of anatomy of human body movement.

Instruction in movement technique is divided into two parts - se points A and B.

A. Instruction curriculum in physical mime (Le Mime Corporel Dramatique)

1. Basic exercises

basic knowledge of so-called „Les Facultes Radical“ technique.

- Warm-up exercises for strengthening and preparing the body as a means of expression

- Basci exercises, body control, isolations (des exercices les gammes), dynamo-rhythmics movment, 3D movment in a space - „Les Triples Dessing“ creating the basics of technique, exercise of various types of gaits

2. Figures - Les figures

- clear use of technique in interpretation

3. Improvisation 0 des improvisationes

- improvisation on a given topic - linking of the muscles and brain - for interpretation

4. Theatre plays - les repertoires

- original creations, application of movment patterns in acting.

B. Combination of the dance techniques of Limon-Cunningham

Winter Semester:

Basic exercises and simple dance variations in place are instructed which practice this dance technique with an emphais on alternating muscle tension and release and proper breathing. We practice individual parts of the body separately. I create and instruct exercises for proper posture, foot movement, placing the hips in parallel and turned positions, working on the torso and back, guiding the arms (successional arms), use of head weight, pelvic girdle.

Summer semester:

Complex movement phrases and joining movement of individual parts of the body to an overall movement of the whole body in coordination and use of the weight of the head, arms, torso, pelvis or legs using gravity in movement in a space are instructed.

The Cunningham technique is based on the precise form of the movement and working with the body.

Winter Semester:

Basic exercises from warming up the back, feet, legs and arms in established exercises by M. Cunningham (ex: exercises at 6t) and simple movement in a space (ex: triplet).

Summer semester:

Complex and longer movement phrases in place and in moving in a space. Small and large jumps (leaps, skips)

One lecture of both techniques deliberately taught because the supplement each other.

The Limon technique instructs in the so-called dance-body as in movment breathing of alternating muscle tension and release. The Cunningham technique places demands on the posture, precise placement of the body and its parts in a space for better consciousness of dancer movement, training the muscles necessary for healthy and proper movement and dnace, linking thought and development of movement intelligence.

Recommended or required reading:

Bochenek, Valérie: Marcel, Marceau: Le Mime Marcel Marceau - entretiens et regards avec Valérie Bochenek, Somogy éditions d´art, Paris 1996.

Craig, Edward Gordon: O divadelním umění, Praha 2006.

Český taneční slovník, tanec, balet, pantomima, Praha 2001.

Decroux, Etienne: Parole sur le mime, Éditions Gallimard, Paris II 1963.

Diderot, Denis: Herecký paradox, ed. Malá dílna, Votobia, Olomouc 1997.

Encyklopedie antiky, Praha 1973.

Fialka, Ladislav: Pantomima, Vybrané statě (skripta), Praha 1988.

Gschwend Hanspeter: Dimitri, Le Clown en moi, Suisse 2004.

Hyvnar, Jan:Herec v moderním divadle, Praha 2000.

Lecoq, Jacques; Lallias, Jean-Claude; Carasso, Jean-Gabriel: The Moving Body: Teaching Creativ Theatre, New York 2001.

Mistrík, Miloš: Herecké techniky 20. storočia, Bratislava 2003, SAV.

Mistrík, Miloš: Jacques Copeau a jeho Starý holubník, Bratislava 2006.

Pavlovský, Petr a kol: Základní pojmy divadla, Praha 2004.

Petišková, Ladislava: Česká pantomima a její tradice, Dramatické umění, 1981 č.12.

Poesio, Paolo Emilio: Jean Louis Barrault, Praha 1969.

Rutte, Miroslav: O umění hereckém, Praha 1946

Sochor, Martin: Výchova k herectví a mimickému divadlu, disertační práce HAMU 2009.

Veber, Václav: Příběh pantomimy, Praha 2006.

Vinař, Josef: Elementy herectví, Praha 2002.

Vostrý, Jaroslav: O hercích a herectví, Praha 1998.

www.angefou.co.uk

www.ecole-jacqueslecoq.com

www.marceaufoundation.org

www.mimecentrum.de

www.mime.info

www.planetemime.com

www.scuolateatrodimitri.ch

www.budil.cz

Planned learning activities and teaching methods:

no info

Assessment methods and criteria:

A.

Award of credit and testing is based on:

1. Completing assignments in the given semester with corresponding extent and quality

2. Activity in exercises and individual preparation

3. Presentation

During the semester active participation, refining technique, Independent work on the assigned tasks, professional responsibility towards the group in preparations of group creations, intellectual activity of the leader in refining original thought and searching for originality based on the sythesis of instructed genres is expected in instruction.

B.

1) 100% attendance in the course 2hrs per week and the weekly workshop arranged during the testing period.

2) Completion of the summary process at the end of the semester for receiving evaluations in the form of testing.

Course web page:

Note:

no info

Schedule for winter semester 2012/2013:

The schedule has not yet been prepared

Schedule for summer semester 2012/2013:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Pantomima (Bc) (next compulsory subject)