Theory of Movement Seminar

Display Schedule

Code Completion Credits Range Language Instruction Semester
202EST credit 1 18 seminar hours (45 min) of instruction per semester, 12 to 17 hours of self-study English summer

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Jan BÁRTA, Jana NOVORYTOVÁ, Michaela RAISOVÁ

Contents

  1. Group and individual reflection of attended practice and themes.
  2. Theoretical basics of subject, working with recommended literature.
  3. Analysis of the structure of chosen lessons.
  4. Group discussion.

Learning outcomes

  1. Functional integration of the theory of subject and practice based on attendance in subjects Awareness in Movement I and II and Body in Motion I and II.
  2. Naming the themes of lessons in subjects Awareness in Movement I and II and Body in Motion I and II.
  3. Reflection of the structure of classes in time.
  4. Group analysis of lessons´ structure from the point of pedagogical view.

The seminar is in Czech and English.

Prerequisites and other requirements

Students must have experience at least of two semesters of movement classes taught at the Dept.

  1. Ability to analyse and reflect.
  2. Basic orientation in recommended literature.
  3. Creative condition.

Literature

Barba, E., Savarese, N. and col: A Dictionary of Theatre Anthropology. London, NY: Routledge, 1999.

Boorman, Joyce. Creative Dance in Grades Four to Six. Ontario: The Hunter Rose Company Limited, 1971.

Boorman, Joyce. Creative Dance in the First Three Grades. Ontario: The Hunter Rose Company Limited, 1969.

Brook, Peter. Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate. Scribner, 1995.

Brook, Peter. The Empty Space. New York: Penguin Books, 2008.

Brook, Peter. There Are No Secrets: Thoughts on Acting and Theatre. London: Bloomsbury, 2015.

Buckwalter, Melinda. Composing While Dancing, an improviserś companion. Wisconsin: The University of Wisconsin Press, 2010.

Burt, Ramsay. Judson Dance Theatre, Performative Traces. New York: Routledge, 2006.

Chekhov, Michail. The path of the Actor. London: Routledge, 2005.

Chekhov, Michael. To the Actor: On the Technique of Acting. London: Martino Fine Book, 2014.

Cohen, Bonnie Bainbridge. Sensing, Feeling, Action. USA: Contact Editions, 1993.

Cooper, Ann, ed. Taken by surprise, A dance improvisation reader. Middletown: Wesleyan University Press, 2003. Donnellan, Declan. The Actor and the Target. London: Nick Hern Books, 2005.

Feldenkrais, Moshe. Awareness Through Movement. New York: Harper Collins Publishers, 1990.

Forsythe, William. Practice of Choreography, It Starts From Any Point. New York: Routledge, 2011.

Franclin, Eric. Dance Imagery for Technique and Performence, USA: Human Kinetics, 1996.

Hartley, Linda. Wisdom of the Body Moving, An Introduction to Body-Mind Centering. Berkeley, CA: North Atlantic Books, 1995.

Hodge, Alison, ed. Twentieth Century Actor Training. New York, London: Routledge, 2002.

Innes, Christopher. Avant-garde Theatre. NY, London: Routledge, 1993.

Mitter, Shomit. Systems of Rehearsal. Stanislavsky, Brecht, Grotowski and Brook. London, NY: Routledge, 1992.

Newlove, Jean. Laban for Actors and Dancers. London: Routledge, 1993.

Lecoq, Jacques. Theatre of Movement and Gesture. London: Routledge, 2006.

Lecoq, Jacques. The Moving Body – Teaching Creative Theatre. New York: Routledge, 2002.

Long, Raymond. The Key Muscles of Yoga. Banfha Yoga Publications LLC, 2006.

Long, Raymond. The Key Poses of Yoga. Banfha Yoga Publications LLC, 2008.

Paxton, Steve. Gravity. Belgium: Graphius, 2018.

Reeve, Justine. Dance Improvisations. USA: Human Kinetics, 2011.

Reeves, Geoffrey. Peter Brook. Cambridge: Cambridge University Press, 1995.

Roose-Evans, James. Experimental Theatre from Stanislavsky to Peter Brook. London: Routledge, 2001.

Stanislavsky, K.S. An Actor Prepares. New York: Routledge, 1989.

Steinman, Louise. The Knowing Body. Berkeley, CA: North Atlantic Books, 1986.

Tufnell, Miranda, Crickmay, Chris. Body, space, image: notes towards improvisation and performance. Hampshire: Dance books, 2003.

The Great European Stage Directors: Brook, Grotowski, Barba. London, NY: Methuen Drama, 2019.

Zarrilli, P. Psychophysical Acting, an intercultural approach after Stanislavski, London: Routledge, 2009.

Evaluation methods and criteria

Credit is awarded based on:

  1. Attendance of the whole seminar.
  2. Active participation in discussion.

Schedule for winter semester 2022/2023:

The schedule has not yet been prepared

Schedule for summer semester 2022/2023:

The schedule has not yet been prepared

The subject is a part of the following study plans