Directing 5

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Subject guarantor:

Milan SCHEJBAL, Daria ULLRICHOVÁ

Name of lecturer(s):

Milan SCHEJBAL, Daria ULLRICHOVÁ

Learning outcomes of the course unit:

1. Ability to read and interpret a text and create a dramaturgic-directing conception.

2. Ability to analyze a dramatic situation and the motivations for actions of dramatic characters.

3. Ability to lead and motivate actors during the opening up of a situation by the director and actors.

4. Ability to create and organize dramatic space.

5. Ability to create scenic stylization and alientation.

6. Ability to use time and space to express the meaning of a dramatic situation through mise en scene.

7. Ability to coordinate and control all elements creating a production and their fine tuning into a unified, thematicized whole.

The subject focuses on theoretical and practical familiarization with the process of work as a director and on confronting the most important tendencies of modern and contemporary creative work by directors in this country and around the world. After theoretical mastery of basic terms and familiarization with key methodological procedures, studies are determined to an appropriate degree by preparation, continuous generalization and reflection on work on production tasks. Preparation develops mainly based on interpretation of literature for the theatre, and especially of drama, through which directing builds the means of the stage as an integral structure and specific system.

Mode of study:

Lectures, classes, course paper and its defense.

Prerequisites and co-requisites:

1) Knowledge of theatre history and theatre types.

2) Good bearing in Czech and World drama literature.

3) Mastery of basic theatrology concepts and knowledge of trade publications.

Course contents:

Curriculum:

1. Intent of staging and the dramaturgic-directing conception.

2. Structural analysis of the dramatic situation and motiviation of action of dramatic characters.

3. Conventional and expressive behavior and action in a dramatic situation.

4. Scenic stylization - its possibilities and pitfalls.

5. Creating and organizing dramatic space.

6. Fabulation by directors and actors, opening up a situation and creation of mise en scene.

7. A production as an integral structure and specific system.

On the basis of analysis of a given dramatic subject, students are led to create a dramaturgic-directing conception and to identify the intent of the staging. The main departure-point in the first phase of study is practical structual analysis of the dramatic situation and its components. The analysis is conceived as the basis for staging, in which emphasis is placed mainly on a definite, clear expression of the meaning of the dramatic situation in time and space through mise en scene. The individual phases of the situation are then accented, developed and alienated with respect to their thematic importance with respect to the whole. When giving direction to actors in the course of opening up a situation, the emphasis is on moting the action of dramatic characters arising from the given circumstances. At the same time, students learn to create and organize dramatic space as a hierarchical structure of thematicized relationships between individual elements in stage space. The goal in the course of study is to develop the ability to coordinate and fine tune all elements of creative production into a unified, thematicized whole.

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.

Course web page:

Note:

Schedule for winter semester 2017/2018:

	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	room K330 Učebna K330 (DAMU) (Karlova 26, Praha 1) SCHEJBAL M. 15:00–18:00 (paralelka 1)
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Wed	15:00–18:00	Milan SCHEJBAL	Učebna K330 (DAMU) Karlova 26, Praha 1		paralelka 1

Schedule for summer semester 2017/2018:

The schedule has not yet been prepared

The subject is a part of the following study plans:

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