Movement Techniques 3

Subject guarantor:

Monika DIATTA-REBCOVÁ

Name of lecturer(s):

Monika DIATTA-REBCOVÁ

Learning outcomes of the course unit:

A. The aim is the mastery of basic trade knowledge, that is the adoption of a solid foundation of technique, good physical condition, theory knowledge and, finally, professional ethics.

Instruction is focused on development of personal talent and style, which is similar to an actors and may be used across arts fields and genres.

B.

Contact improvisation

Dance technique contact improvisation in brief dancer movements in a space without previous movement preparation.

Study aims in the Winter semester:

1) Adoption of movement in solo improvisation without pre-preparation. Only watching - perceiving, how our bodies move/dance in a space without our rational awareness. We allow ourselves to be surprised by what is happening, new formings of the body, new movements, discovery of new possibilities of movement in a space. This technique is similar to dialogues with a greater emphasis on movement in a space. We execute and react to our movements, monitor and are aware of what our body is doing in a space.

2) Practicing movement principles of contact improvisation assisting in the better understanding of the human body and its movement potential. We learn to perceive of movement aesthetics, the human body as a movement instrument. In the dancing of contact improvisation we work with conscious and subconscious decisions of the dancer. We work with the body, emotions, touch and movement.

3) Working with the body in a theatre space stimulating awareness. Working with the body center and the pelvis play a fundamental role. Improvisation helps personal concentration, leading to the acceptance of oneself, spontaneity and original expression. Through dance and movement we can resolve internal conflicts, tell stories and watch a prepared story.

The study aims in the Summer semester:

1) In the Summer semester we begin working with a partner. Adopting basic techniques of transferring body weight to a partner's body.

2) We learn to communicate with a partner „bodily.“ Non-verbally, we learn to react to partner movement. We create movement variations for duets which are set into a choreography. Topic and narrative enter into play.

3) We work with groups and develop techniques of group improvisation. We learn to adopt movement variation with various partners and further more work with the partner. We set a group choreography to the set form.

Mode of study:

A.

Exercises developing acting skills, improvisations on a given topic, practice and interpretation in etudes, creating one's etude and movement study, trade literature readings, analyses of media recordings of classic and contemporary works, monitoring contemporary theatre works.

B.

Winter semester:

The partner for the dancer's body is only the floor. Solo improvisations contain technique exercises such as reaching, resisting, rolling, collapse, direction, beads, rounded movements, up-side-down, transfer of weight to one leg and others. The dancer performs these exercises along with an emphasis on releasing body weight onto the floor, and an emphasis on following the beginning (cause) and pursuant (resulting) movement and applying that technique to so-called „muscle memory.“

Choreography creation based on solo improvisation:

Placing movement variations to a defined choreography for exercising memory, perception of movement detail and adopting movement precision.

Summer Semester:

1) Duet: Two dancers practice techniques: copying partner movement, repetitive movement, searching for movement, eye contact with the partner in movement, exchanging movement role with a partner, rolling with a partner, giving body weight to a partner with an emphasis on setting the center of both partners, supporting places, spoons, skying (lifts), leading a partner by the wrist (tai-chi), hanging outside the axis with a partner, transfering impulses to a partners body, etc.

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

2) Group improvisation containing exercises: gaits and other dance group movements in large-small spaces. Gaits and other dance group movements around a circle, in the center of a circle, in the very center. Leading a group using one dancer in a gait and other movement in a space, group improvisation which originates in solo and pair improvisation with an emphasis on perceiving the placement and movement of the group which continuously changes. Entering and leaving group improvisation according to desire and feeling of individual dancers.

3) Creating a choreography

Movement in a duet or in groups can be placed into a defined choreography based on set principles and similar reasons for creating a choreography based on solo improvisation in the winter semester.

In contact improvisation, we work in silence or use music:

1. As a backdrop.

2. As a partner for dancers

Music can inspire and can be reacted to. At the close of each lesson we gradually allow dancers to improvise of an assigned topic, while the others watch. Then we talk about evaluating the results, how it appeared to the audience and performers who did the improvisation.

Prerequisites and co-requisites:

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

2. Good health and movement disposition

3. basic bearing in theatre and cultural events

Recommended optional programme components:

no info

Course contents:

Movement Technique introduces students to proper technique in body exercises following the nature of the human body musculoskeletal system.

Instruction in movement technique is divided into two parts - see points A and B:

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

1. Basic exercises

basic knowledge of the so-called „les fakultes radical“ technique

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

- basic exercises, controlling the body, isolations (des exercices les gammes), dyno-rhythmic movment, three-dimensional movement in a space- „les triples dessing“ basic creative technique, exercising various gaits.

2. Figures - les figures

- clear use of technique for interpretation

3. Improvisation - des improvisationes

- improvisation on a given topic - „connecting the muscles and brain“ for interpretation

4. Theatre plays - les repertoires

- original creations, application of movement habits in acting

B.

In the Winter semester we are devoted to solo improvisation and creation of a solo choreography.

In the Summer semester, practice dancing with a partner in a duet, additionally instructing group improvisation and creation of a choreography based on a duet or group improvisation.

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.

Awarding credit and testing based on:

1. completing assignments in a given semester in the proper extent and with appropriate quality

2. activity in exercises and individual preparations

3. presentation

During the semester active participation, improvement of covered techniques, independent preparation of the assignments, professional approach to the group in group assignments, intellectual activity leading towards refining original thought and investigating individual potential in originality based on a synthesis of the instructed genres is expected

B.

1) 100% attendance in the course - 2hrs/week and the weekly workshops arranged in the testing period

2) Completion of the summary exam at the end of the semester for receiving assessment in the form of an exam.

Course web page:

Note:

no info

Schedule for winter semester 2013/2014:

The schedule has not yet been prepared

Schedule for summer semester 2013/2014:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Obor Pantomima (Bc) (next compulsory subject)