Movement Techniques 4

Subject guarantor:

Monika DIATTA-REBCOVÁ

Name of lecturer(s):

Monika DIATTA-REBCOVÁ

Learning outcomes of the course unit:

A. the aim is the management of basic knowledge of the trade, the learning of solid basics of technique, physical fitness, theory knowledge and finally, professional ethics.

Instruction is focused on the development of personal and style which the is intimate to the actor and can be used across arts disciplines and genres.

B: Contact improvisation

The dance technique "contact improvisation is, briefly, movement of a dancer in a space without previous rational movement preparations.

Winter semester study aims:

1) To learn movement in solo improvisation without rational prepration. Merely following - perceiving how our body moves in a space without our rational participation. We allow ourselves to be surprised at what happens, new forms by the body, new movements, discovering new potential of movement in a space. This technique is similar to dialogue with greater emphasis on movement in a space. We do and react to our „doings.“ We follow and perceive what our bodies do in a space.

2) Practicing contact improvisation movement principles allowing for a better knowledge of the human body and movement potential. We learn aesthetic perception of movement, and the human body as a instrument of movement. In contact improvisation there is work with the conscious and subconscious decisions of the dancer. We work with the body, emotions, touching, movement.

3) Working with the body in a theatre space awakens an awareness of it. Working with the center of the body and pelvis plays a basic role. Improvisation aids in personal excellence, leads to the accepting of oneself, sponataneity and authentic expression. Through dance and movement we can resolve inner conflicts, tell stories, follow a prepared script.

Summer semester study aims:

1) In the Summer semester we begin to work with a partner. We learn the basic technique of tranferring the weight of the body to the body of the partner.

2) We learn to communicate with a partner 'bodily", non-verbally. We learn to reach to a partner's movement. We create a movement variation for a duet with a partner which is set in a choreography. Theme and narrative become a part of the play.

3) We work with a group and develop group improvisation technique. We learn movement variations by various partners and work with them. We set a group choreography into a fixed form.

Mode of study:

iA. Exercises developing acting, improvisation on a given topic, practice and interpretation of an assigned etude, creating one's own etude and movement study. Trade literature readings. Analysis of classical and modern recorded creations. Monitor of contemporary theatre works.

B. Winter Semester: The partner for the dancing body is for now only the floor. Solo improvisation include technique exercises such as reaching, resisting, rolling, collapse, direction, bead, round movement, up-side-down, transfer of weight onto one leg and others. The dance performs these exercises with an emphasis on relaxing the weight of the body onto the floor, with an emphasis on following the beginning (impulse) and continuing (result) the movement and „saves“ this technique in so-called muscle memory.

Creation of a choreography based on a solo improvisation:

We set a movement variation in a choreography to practice memory, perception of movement detail and mastering movement precision.

Summer Semester:

1) Duet: Two dancers rehearse techniques: copying a partner's movement, movement repetition, extracting movement, eye contact with the partner in movement, exchange of movement role with the partner, rolling with a partner, giving the weight of the body to the body of a partner with an emphais on setting the center of both partners, supporting places, spoons, lifts, leading a partner by the wrist (tai-chi), hanging outside partner axis, giving impulses to partner body, etc.

These techniques are also saved to muscle memory in order to later be used as movement methods of improvisation with a partner.

2) Group improvisation include exercises: walking and other group movements in a large-small space, walking and other movements by groups of dancers around a circle, in the center of a circle, in the center, leading of the group by one dancer in walking and other movement in a space, group improvisation which is originates in solo and pair improvisation with an emphasis on the perception of the situation of figure and movement of a group which continually changes, entering and exiting a group improvisation according to desire and feeling of individual dancers.

3) Creating a choreography

Movement in duets or groups can be set in a choreography based on the same principle and for the same reasons in the creation of choreography base on solo improvisation in the Winter semester.

In improvisation. we work silently or use music:

1. as the background, 2 as a partner to the dancer. Music may inspire and be reacted to. At the end of each lesson, I allow, individually, dancers to improvise on a given topic, while the others watch. Afterwards we talk about the results; how it appeared to the viewers and the dancers who did the improvisation.

Prerequisites and co-requisites:

1. Talent - completion of an acting talent exam at an arts school

2. movement and health disposition

3. basic bearing in theatre and cultural events.

Recommended optional programme components:

No info.

Course contents:

Movment technique introduces students to proper body exercise technique through maintaining the nature of the anatomic bases of the movement aparatus of the human body.

Instruction of movement technique is divided into two parts - se points A and B:

A. Outline of body mime instruction (Le Mime Corporel Dramatique)

1. Basic exercises

Basic knowledge of technique of so called -„les facultes radical“

- warm-up exercises for strengthening and sensitizing the body as a means of expression

- basic exercises, managing the body, isolations (des exercices les gammes), dynamo-rhythmic movement, three-dimensional movement in a space - „les triples dressing“ creating basic technique, practice of various types of gaits.

2. Figures - les figures

- graphic use of technique for interpretation

3. Improvisation - des improvisationes

- improvisations on a give theme - „joining muscles and mind“ for interpretation

4. Theatre acting - les repertoires

- one's own creation, application of movement habits in acting.

B.

The Winter semester is devoted to solo improvisation and the creation of a solo choreography.

The Summer semester, dancers work with a parner in a duet, also a group improvisation and the creation of a choreography based on an improvisation in a duet or in a group is instructed.

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 exam based on:

1. fulfillment of assignment in the given semester in the appropriate extent and quality

2. participation in exercises and individual preparations

3. presentation

During the semester participation in instruction, development in the covered techniques, independent preparations of assignments, professionalism towards the group in task preparations in group creations, activity leading to the refining of original ideas and investigation of individual potential for originality based on a synthesis of the instructed genres.

B.

1) 100% class attendance, 2 hrs/week and at the week workshop arranged in the exam period.

2) Completion of the Summary at the end of the semester for award of points in the form of an exam.

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)