The result of the class should be a reinforcement of the actor's creativity without consideration of the possible key interpretations or directing concept. The aim is to reinforce acting skills in working with a script and to align with the other participants on a stage, allies and adversaries.

Classes, exercises, testing

Thorough knowledge of the drama works and stories of A.P.Chekhov. An understanding of his writing world.

Monitoring comtemporary Chechov stagings and film variations.

This course covers issues in the creation of a drama figue through the method processes of Donellan, Allschitze and Michail Chekov. These have arisen as counterbalances in the concept of acting as a puppet in the hands of a powerful mover - playwright and director - and attempts to revive acting, freed of conventional expression means. The project attempts to open up sources of acting creativity through variation and improvisation based on the drama scripts of A.P. Chekov. In particular, this is to enrich the expression register to unexpected interpretations which offer sensible actions and behaviour beyond the usual concept. Important is the investigation of the internal identification or polemics with the figure through a deep interpretation of the script and improvised "zeroing-in' in a space which is continuously changed and verified. The aim is not to pin down the drama situation and figure actions into a firm form of the staging but to continuously investigate and discover new potential, check one's discoveries subsequently reflect upon them.

Jovan Hristič: Čechov dramatik, 2003; Peter Szondy: Teoria morenej drámy; Radovan Lukavský: Stanislavského Metoda herecké práce, Praha 1978; Michail Čechov: O herecké technice, Praha 1996; Jaroslav Vostrý: O hercích a herectví, Praha 1998; Jan Hyvnar: Herec v moderním divadle, Praha 1998; Radovan Lukavský: Být nebo nebýt hercem - Monology o herectví, Praha 1981; Peter Brook: Prázdný prostor; Donnellan, Declan" Herec a jeho cíl;

Krasner, David (ed.) - Method acting reconsidered: theory, practice, future

Lecoq, Jacques - The moving body: teaching creative theatre

Luere, Jeane - Playwright Versus Director: Authorial Intentions and Performance Interpretations

Hodge, Alison - Twentieth century actor training [2007]

Johnstone, Keith - IMPRO: improvisation and the Theatre

Merlin, Bella - Beyond Stanislavsky: the psycho-physical approach to actor training

Mitter, Shomit - Systems of Rehearsal. Stanislavsky, Brecht, Grotowski and Brook

Working at home the actor learns to pull from the text as much information as possible about their character which remains the constant value regardless of the key interpretations of any fiction staging. The method selected originates in the modern transformation of acting method of K.S. Stanislavsky as formulated by Donellan, Allschitz, Brook, Michail Chekov. The actor comes to rehearsals already with this awareness and with the others produces a natural expression of their conscious internal life. They align with the other participants to work as a balanced and living body and not a chance group of soloists. The investigation is an important process. The result becomes a glimpse into an open class and not a complete performance.

Class and test participation. Homework.

• Directing and Dramaturgy for Dramatic Theatre (B.A.) (optional subject)
• Dramaturgy for Dramatic Theatre (M.A.) (optional subject)
• Directing for Dramatic Theatre (M.A.) (optional subject)
• Acting for Dramatic Theatre (M.A.) (optional subject)