Awareness in Movement 3

Display Schedule

Code Completion Credits Range Language Instruction Semester
202EVD3 credit 2 2 hours (45 min) of instruction per week, 32 to 42 hours of self-study English winter

Subject guarantor

Michaela RAISOVÁ

Name of lecturer(s)

Jan BÁRTA

Contents

Training for movement is necessary for to be aware of my body and motion and its following transfer to the process of the individual creativity and being present on a stage.

  1. Calm - perception of time and space.
  2. Breathing.
  3. Release, hypotonicity, activation and overstrain.
  4. Movement dynamics.
  5. Plasticity of movement.
  6. Rythm.

Learning outcomes

  1. Being aware of my body and its sentience. Feeling the inner space of the body and its motion- concrete tasks, rehearsals.
  2. Connection between the inner space and the space outside of the body- being aware of the body and movements „here and just now“ on the stage - concrete tasks, rehearsals.
  3. Sensing differences: release, hypotonicity, activation and overstrain. Experimenting with a rythm and motional compositions- improvisation, short etudes.
  4. Concrete themes of an improvisation. Students create short etudes from following themes: my space, elements, colours.

Prerequisites and other requirements

  1. Coordinated movement.
  2. Feeling of rhythm.
  3. Motional imagination.
  4. Musicality.

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.
  2. Interest and personal creativity.
  3. One or more authorial etuds or improvisation- solo or in a group.
  4. Written review.

Schedule for winter semester 2023/2024:

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
room S221
Velký taneční sál
(Karlova 26, Praha 1)
BÁRTA J.
15:00–16:30
(parallel1)
Tue
Wed
Thu
Fri
Date Day Time Tutor Location Notes No. of paralel
Mon 15:00–16:30 Jan BÁRTA Velký taneční sál
Karlova 26, Praha 1		 parallel1

Schedule for summer semester 2023/2024:

The schedule has not yet been prepared

The subject is a part of the following study plans