Theory of Theatre and its Components 2

Display Schedule

Subject guarantor:

Zuzana SÍLOVÁ, Jan VEDRAL

Name of lecturer(s):

Zuzana SÍLOVÁ, Jan VEDRAL

Learning outcomes of the course unit:

Systematic reflection on basic problems and questions connected with the emergence and development of dramatic art, analysis of concrete examples from contemporary stage practice.

Mode of study:

Classes, development of master's exam questions and their presentation.

Prerequisites and co-requisites:

The course ends with a text on knowledge learned, taking into account tasks completed dealing with at least one topic in the form of a coherent essay (ca. 3 to 5 standard pages), and reflection on one's own practical activity on stage.

Course contents:

This course combines lectures and classes (2 classes weekly) developing knowledge and skills acquired in the bachelor's study of theatre and drama theory to a new level at which the interest of the student is focused on general issues and on the other hand, issues of individual trades (theory, directing, dramaturgy theory, acting theory).

The course syllabus is created by questions in the master's exam in the history and thoery of acting, formulated to prompt brief considerations supported by examples; those considerations should rise from, not only, acquired knowledge, but also, a consideration of ones own experience in stage and staging practice.

1. Basic indicators of European acting, particularly in comparison with Asian. Tendences of European acting to remain „as in life“ and acting as creativity. Manner and creation of a figure.

2. Changes in Czech acting from Vojan to today with consideration of changes in style in relation to changes in period mentality.

3. „Psycho-physical“ types and types of actor's approach to a figure (including the accompanying theory) and its relation to the appropriate type and genre of drama (stage) arts.

4. The actor on stage and in camera recording from the perspective of the overall issues of behaviour in a space and body-space sense

5. The actor on stage and in camera recording from the perspective of issues of spontaneous reaction and buidling (and keeping) the line of action: performance and figure, from spontaneous action and reaction to conscious building of a line of action. Unity a priori of an artistic character and genesis of a figure from (possibly conflicting) action in various situations

6. Dramatic action and acting (stage) expression: experiencing and imagining, conventional and expressive behaviour, life and stage conventions, script and subtext, attitude and expression, emotional expression and action, gesture and gestus, expression and communication

7. Dramatic and acting (desirable) tension; acting performance and physical existence on stage, muscle tone and dialectic tension and relaxation against overstrain (cramps) and permissibility, muscle sensitivity and movement sense, body self-consciousness and acting self-control

8. From figure attitude in a situation to movement expression: body and mind, breathing, spirit and soul, conventional and expression (emotional), attitude and posture, gestus and gesture, isolated movement and overall appearance, „sense“ and body center, natural and stylized movement.

Recommended or required reading:

Ukládán a doplňován průběžně podle konkrétních úkolů.

Brockett, O. G. Dějiny divadla

Císař, J. Přehled dějin českého divadla I, II

Aristoteles. Poetika

Zich, O. Estetika dramatického umění

Honzl, J. K novému významu umění

Vostrý, J. O hercích a herectví, Divadelní a literární podobizny

Gajdoš, J. Postmoderné podoby divadla

Pavis, P. Divadelní slovník, Praha

Vostrý, J. Režie je umění

Balvín, J. / Pokorný: Vídeňské lidové divadlo

Vostrý, J. Činoherní klub 1965-1972

Burian, E. F. O nové divadlo 1930-1940

Hyvnar, J. Herec v moderním divadle

Diderot, Herecký paradox

Brecht, B. Myšlenky

Císař, J. Základy dramaturgie 1, 2

Mukařovský, J. Otázky z estetiky

Veltruský, Příspěvky k teorii divadla

Frejka, J. Železná doba divadla

Lukavský, R. Stanislavského metoda herecké práce, Kultura mluveného slova

Otokar Fischer a Národní divadlo

Götz, F. Boj o český divadelní sloh

Šalda, F. X. O naší moderní kultuře divadelně dramatické

Fischer, O. K dramatu

Macura, V. Paradox obrozenského divadla, in: Divadlo v české kultuře 19. století

Grossman, J. Analýzy

Hyvnar, J. Francouzská divadelní reforma, Praha 1996

Assessment methods and criteria:

Completed with an exam checking the acquired knowledge considering the submitted task of developing at least one of the topics in the form of a related presentation. (cca. 3-5 pages), self-review of stage activties.

Course web page:

Note:

Schedule for winter semester 2015/2016:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed	místnost S202 Zasedací místnost (Karlova 26, Praha 1) SÍLOVÁ Z. 15:00–16:30 (přednášková par. 1)
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Wed	15:00–16:30	Zuzana SÍLOVÁ	Zasedací místnost Karlova 26, Praha 1		přednášková par. 1

Schedule for summer semester 2015/2016:

The schedule has not yet been prepared

The subject is a part of the following study plans:

• Acting for Dramatic Theatre (M.A.) (compulsory subject)