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...

    I   Warm Up   II   Unit: The Text Theme: Context, Text, Subtex   Introduction Context, text and subtext are all part of the same meaning making mechanism that allows the actor to justify his/her choices. In the case of Embodied Movement, these three concepts makes the delivery of expression more grounded, authentic and convincing for the actor and those witnessing.   III Main Lesson CONCEPTS  Context, Text, and Subtext   Context Often when we think of context, we think of things like the date a work was published, who it was written by, or the climate of the time. But context is very important within your fictive universe as well.  Context in this sense is all the grounding and guiding information that the audience needs, such as who the characters are, where they are, what time of day it is, etc. Context can also be any other additional information the audience needs to interpret and accurately understand what is happening...

   I  Unit: Assessment  Theme: Mid-Term Quiz   Introduction Every semester I assess your understanding of the content covered so far. Just right before the progress report's dead line, you test your own abilities to retain some of the themes we have learned and experienced together.   Today's quiz evaluates how efficient I have been in communicating ideas about Embodied Movement Practices based on your responses to the questions below.   II Objectives Understand the nature of self-assessment Make sense of the various concepts explored in class Gather an awareness of assessment that is conducive to further learning Experience what is like to put into practice the content learned in class   III Main Lesson    REVIEW   space, levels and direction   focus   breath   breath connectivity  breath capacity   kinesphere Labas's cube   Laban's 4 Components of Human Movement & 2 elements per component ...

  I   Unit: Laban's Movement Components Theme: Efforts Introduction   Laban categorized human movement into four component parts: Direction, Weight, Speed & Flow. Each component has two qualities. Direction can be direct or indirect. Weight can be heavy or light. Speed can be fast or slow. Flow can be bound or free. These components and ther qualities we have indirectly addressed in class. Laban also identified 8 efforts in movement. Laban named these Effort qualities: Floating, Dabbing, Wringing, Thrusting, Pressing, Flicking, Slashing, and Gliding . Laban identified these Efforts by breaking down movement into what he called the Motion Factors of Weight, Time and Space.     II    Learning Objectives Understand the embodiment of movement Explain the relationship between movement components and efforts Gather awareness of how these movements influence your work  Experience the integration of these concepts with your dance   III   Mai...