Embodied Movement Practices / Spring 2023

    I   Unit: System of Wants Theme: Building Conflict    Introduction   Stanislavski's system is a systematic approach to training actors that the Russian theatre practitioner Konstantin Stanislavski developed in the first half of the XX century. His system cultivates what he calls the "art of experiencing" (with which he contrasts the "art of representation."  When the actor asks him/herself "What do I want ?" when saying a line, he/she gives his line a sense of truth.        II    Learning Objectives     Understand the main conflict in your story/piece Explain why the system of wants is important for the actor  Gain an awareness of the importance of giving the spoken words a sense of truth Experience the system of wants.     III   Main Lesson   1    Warm Up     2   Rehearsal of Movement, Voice and text       3   Conflict   Elements...

      I  Unit : Voice Theme : Scoring the Voice and Movement    Introduction   In theatre, the voice is imperative for both speaking and singing . Performers use their voices to communicate the dramatic truths of the characters through the dialogue of a play or the songs of a musical or opera. Breathing, phonation, resonance, and articulation are the fundamentals of vocal production and technique.   II Learnig Objectives Understand the difference between blocking, structuring and scoring  Explain the integration between text, structure, voice & movement score Gain an awareness of your voice potential to express feelings and ideas Experience the integration of movement and voice as it is arranged using score-making     III Main Lesson 1 The Score  vs. The Blocking      The term "dance score," or movement score, refers to notations showing sequences of movements performers are supposed to use that is, they...

  I  Unit: The Structure Theme: Constructure, Structure, Substructure   Introduction In all fictionalized performing forms, depending on the aesthetic structure of the performance, actors use extra- daily scenic behavior. in a fictionalized manner, which is different from daily behavior. The use of terms such as constructure, structure and substructure should make sense in the context of embodied movement within the stage context.   II Learning Objectives   Understand the concepts explored in class Explain the importance of extra-daily techniques for actors  Gain an awareness of how these concepts aid the development of your solo work Embody these concepts through movement and expression III Main Lesson   Constructure Although it is considered obsolete, we will use the term constructure to describe the process or act of constructing (or the manner in which movement is constructed) using all the elements of extra-daily techniques.   Extra-dail...