Directing 2

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Learning outcomes of the course unit:

1. Familiarization with the programme and goals of studying drama directing.

2. Familiarization with the basic aesthetic terms of drama theatre and directing.

4. Understanding the basic principles of staging and theatrical functions in historical examples.

5. Defining the function and means of modern theatrical directing.

Mode of study:

Lectures, classes, course paper and its review.

Prerequisites and co-requisites:

1) Talent, verified in the multi-level admissions procedure.

2) Knowledge of theatre history and theatre types.

3) Good bearing in Czech and World drama literature.

4) Mastery of basic theatrology concepts.

Course contents:

1. Stanislavsky: „Being yourself in the given circumstances“.

2. Michail Čechov, „psychological gesture“ and „imaginary double“.

3. Vakhtangov and „making the theatre theatrical“.

4. The Meyerhold techniques of montage and biomechanics.

5. Brecht's „epic theatre“ and „Verfremdungseffekt“.

6. Grotowsky's „poor theatre“ and „holy actor“.

7. Brook's „empty space“.

Syllabus: During the semester, in the seminar the students are familiarized with the key directing personalities and methods of work that were decisive for the development of contemporary European theatre. K. S. Stanislavsky's acting method is examined, with emphasis on working with subtext, ability to „be yourself in the given circumstances“ and motivation for action. In the method of Michail Čechov, the emphasis is on work with the „psychological gesture“ and „imaginary double.“ When examining Vakhtangov's methods, especially highlighted are the possibilities of joining internal techniques with the expressivity of the stylized external expression. Meyerhold's method serves mainly for introducing the possibilities of „biomechanics“ and systematic work with montage, mise en scene and tempo-rhythm. Also introduced are the principles of Brecht's „epic theatre“ and „Verfremdungseffekt“ with an emphasis on the principle of estrangement. With Jerzy Grotowsky, while becoming familiar with his „poor theatre,“ students are introduced to the possibilities of theatre as a path towards recognizing, encountering and sharing and the principles of modern actor training. Peter Brook is introduced as a key representative of modern directing that systematically works with combinations of the most widely varied methodological approaches.

Recommended or required reading:

Pavis, Patrice - Dictionary of the Theatre

Gordon, Robert - The purpose of playing: modern acting theories in perspective

Schechner, Richard - Performance theory [2005]

Bogart, Anne - A director prepares: seven essays on art and theatre

Čechov, Michail Alexandrovič - The path of the actor

Čechov, Michail Alexandrovič - To the actor: on the technique of acting

Donnellan, Declan - The actor and the target

Hauser, Frank; Reich, Russell - Notes on Directing: 130 Lessons in Leadership from the Director`s Chair

Gaskill, William - A Sense of direction

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

Rudlin, John - Commedia dell´arte: an actor´s handbook

Rudlin, John; Crick, Olly - Commedia dell´arte: a handbook for troupes

Stanislavski, Constantin - An actor´s handbook: an alphabetical arrangement of concise statements on aspects of acting

Stanislavski, Constantin - An actor´s work: a student´s diary

Thomas, James Michael - Script analysis for actors, director and designers

Zarrilli, Phillip B. - Psychophysical acting: an intercultural approach after Stanislavski

Assessment methods and criteria:

Grading originates in the submission and defense of the course paper and considers participation in class debates.

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No schedule has been prepared for this course

The subject is a part of the following study plans:

• Directing and Dramaturgy for Dramatic Theatre (B.A.) (main subject)