Embodied Movement Practices / Spring 2022

      I Warm Up II   Rehearsal of Movement, Voice and text      III    Conflict   Elements of Drama: Conflict      Question 1   What is the main conflict in your piece? Is it external or internal? Explain       IV     System of Wants      What is it that I want when I say .....  Actors never say anything on stage unless they want something.  That is a general rule that allows for what they say to be organic and believable. This is why play-wright-ing is such an important part of drama. A writer who does not know how to write for theater may write too much without a clear sense of how the system of wants works. This will cause extra amount of text that will be impossible for actors to find justification what they say on stage.    This is the reason why plays written by writers of other genres of both fiction and non-fiction are not very engaging plays...

  I   Warm Up   II   Eleonora Duse    Uncanny control of her instrument through natural choices. Unaware of the audience, channeling of spirit archetypes, dissolving the ego through possession (what she called "The Grace"). No makeup, emotionalism or realism, Quintilian's ideas about acting, leading to Stanislavsky's method.   Question 1   What is at the core of Duse's method?    III   Detail in Movement: Pause and Connection John Cage   (min 0:00 - 11:00)   "The pause provides some room for the experiencing of the divine."     Question 2   After reading the quote above, what do you think John Cage meant?     IV Rainer Maria Rilke "Let This Darkness Be a Bell Tower" by Rainer Maria Rilke,  A Poetry Film by Matt Huynh & Mila Nery   Letter 3. Rainer Maria Rilke https://rilkepoetry.com/letters-to-a-young-poet/letter...

I     Warm Up II   Structuring your expressive movement proposition.   Movement Direction: Creating Character Question 1 After watching this video, what do you find applicable to your own creative process moving forward.  --------------   III   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 are documents showing choreography. Blocking is the precise staging of actors in order to facilitate the performance of a play, ballet, film or opera. ... During the blocking rehearsal, the assistant director, stage manager or director takes notes about where the actors are positioned and their movement on stage.   Question 2   In which way is blocking different from the movement structuring you have done in class? Why is this distinction important for your work? ---------------------   IV    VOICE   V...

    I   Warm Up   II   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 in the story.   Question1 How can the artist create context at a personal level when working on a character?   Text Text is the easiest one of the three to understand, because it is what we often focus on the most. The text is the written part of the story, what happens and what is stated on the page. It is everything you see that is not implied. The story-conte...