Awareness in Movement 2

Display Schedule

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Michaela RAISOVÁ

Contents

Deeper experimentation with movement and space through conscious body ready to communicate on the stage. It is necessary for the next step: finding the way how to catch what is just happening and be able to repeat it in the same quality.

1. Posture – spatial body placement.
2. Perception of horizontal and vertical lines.
3. Spatial relationships. Entering the space, leaving the space.
4. Tempo, tempo-rhythm, dynamics and scale.
5. Creation of 2 partitures: getting up and moving sculptures.
6. Sensing the difference between a rythm and a meter through structured movement and its transfer into a specific theatrical form with clear rules.

Learning outcomes

1. Improving of a mind-body condition through the cultivation of a conscious movement.
2. Continuing to search for a natural movement without stereotypes and bad habits.
3. Cultivating sense for conscious movement on stage/in front of the viewers, stage presense.
4. Cultivating body expression skills – experimenting with a movement as a form of an expression.
5. Training of skills in an improvisation and its repeating- how to preserve and to transfer the quality from the improvisation to the concrete image, form, partiture.
6. Themes: „getting up partiture“ and „moving sculpture partiture“.

Prerequisites and other requirements

1. Successful completino of Awareness in Movement 1.
2. Willingness to work on oneself.
3. Feeling for space.
4. Movement imagination.
5. Musicality.
6. Ability to review and analyze the seen.

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.
• Calais-Germain, Blandine. Anatomy of Movement. Seattle: Eastland Press, 2013.
• 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. Class attendance, min 70% attendance.
2. Interest and personal creativity.
3. Presentation of a short structured etude/partiture.
4. Written reflection and taking part in „klauzury“ – exam week presentation at the end of semester.
5. Written assesement – ability to explain and connect specific terms to specific material and exercises from the classes, work with literature.

Schedule for winter semester 2022/2023:

The schedule has not yet been prepared

Schedule for summer semester 2022/2023:

• Week view
• List

The subject is a part of the following study plans

• Authorial Acting in English (B.A.) (required subject)
• Authorial Acting in English (B.A.) (required subject)