Authorial Acting 4
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 202EHO4 | exam | 3 | 4 hours (45 min) of instruction per week, 33 to 48 hours of self-study | English | summer |
Subject guarantor
Name of lecturer(s)
Contents
The course „Acting Propaedeutic Based on Dialogue Acting“ is an introduction to acting and its creative aspect, not merely playing a role but acting as a game and creation. Emphasis is placed on sensing the partner, team creation and personal investment. Presumed is a creative writing ability and dramaturgy. This course leads to the understanding of principles and prompts students towards their later independent development.
Developed skills:
- Public solitude and concentration.
- Imitation and individual expression.
- Radiance.
- Individual and collective improvization.
- Path towards presentation and path towards a role.
- Text as a character's originating point.
- Characterization and its potential.
- Self testimony and its limits.
- Work on stage presentation.
Procedure:
- Dramaturgical preparations.
- Analysis of personal and individual topics and their development.
- Active situation analysis.
- Composition and preprations for the summary performance.
Learning outcomes
The aim of the Fundamental two-semester course is:
- Develop sensitivity to physical impulses, improvisational, characterization and presentation skills.
- Inform students about the potential of acting manifestation (goal orientation, factuality, composition, commucative manivestation).
- Inform students about the process of trying a role in order to demonstrate awareness and independence in working in a role in interaction with others.
Prerequisites and other requirements
Prerequisites: General knowledge of the principles of original creations and experience with dialogue behaviour, recital, speaking behaviour, vocal creations and stage movement. Creativity.
Requirements: Creativity, study of dialogue behaviour, study of speaking behaviour, respectively recitals, study of stage movement.
Literature
Alfreds, Mike. Different Every Night: Freeing the Actor. London: Nick Hern Books, 2007.
Barba, Eugenio, and Savarese, Nicola. A Dictionary of Theatre Anthropology. London and New York: Routledge, 2005.
Barnett, David. Brecht in Practice: Theatre, Theory and Performance. London: Bloomsbury, 2015.
Silberman, M., Giles, S., Kuhn, T. eds. Brecht on Theatre. London: Bloomsbury, 2014.
Brook, Peter. Empty Space: A Book About the Theatre: Deadly, Holy, Rough, Immediate. New York: Scribner Macmillan, 1995.
Brook, Peter. There are No Secrets: Thoughts on Acting and Theatre. London: Bloomsbury, 2015.
Chekhov, Michael. To the Actor: On the Technique of Acting. London: Martino Fine Book, 2014.
Donnellan, Declan. The Actor and the Target. London: Nick Hern Books, 2005.
Johnstone, Keith. Impro: Improvisation and the theatre. London: Routledge, 1987.
Meisner, Sanford, Longwell, Dennis, et al. Sanford Meisner on Acting. New York: Vintage, 1987.
Merlin, Bella. The Complete Stanislavsky Toolkit. London: Nick Hern Books, 2014.
Stanislavsky, Constantin. An Actor Prepares. New York: Routledge, 1989.
Evaluation methods and criteria
During the semester independent reading, preparation of component assignments, independent rehearsing of developed situations are required.
Overall grading is comprised of 50% for participation in exercises, 30% for original input and 20% for the artistic quality of the performance at the summary performance.
Note
For 3rd year students.
Further information
Course may be repeated
Schedule for winter semester 2023/2024:
The schedule has not yet been prepared
Schedule for summer semester 2023/2024:
The schedule has not yet been prepared