Body in Motion 4

Display Schedule

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Michaela RAISOVÁ

Contents

• Use of acquire skills and knowledge for working with movement material, space structure and subsequent transfer of spontaneous compositions to the conscious level. Preparation for a pedagogical practise – creation of a class.
• Fascination of the movement of one's body, partner's movement, space movement, movement in space. Finding movement awareness. Working with time and gravity.
• Working with internal space; building sensitivity for a space, a partner, an environment. Building a narrative, relationship, emotion.
• Listening to the story written by one's body, in space and time.
• Preparation of a pedagogical intention and its realisation.

Learning outcomes

The aim is defined by the course btitle: The body as a partner, a bearer of emotion, feeling and life experience and their use in authentic body/movement expression. Pedagogical work: preparation of a class, topic, structure and leading of a group of people.

Prerequisites and other requirements

• Completion of Body in Motion 1, 2 and mainly 3.
• Creativity.
• Active approach.
• Individual preparation of the material.
• 70% attendance.

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

Active participation (70% attendance), on-going written reviews, written outline of a prepared class, its realisation and a written reflection of the process and experience with reference to recommended literature.

Schedule for winter semester 2023/2024:

The schedule has not yet been prepared

Schedule for summer semester 2023/2024:

• Week view
• List

The subject is a part of the following study plans

• Authorial Acting in English (M.A.) (Required subjects)
• Authorial Acting (M.A.) (Required subjects)