Physical Education WR/WF
The course has been designed with consideration of the specific nature of directing work and the director’s role in shaping the physical work of an acting ensemble. Its aim is to develop an awareness of the body as a fundamental medium of stage action, as well as to equip students with tools enabling them to consciously observe, analyse, and organise the actor’s physicality within the theatrical process.
Students are introduced to a variety of theatrical and performance practices related to work with the body, including V. Meyerhold’s exercises, T. Terzopoulos’s system, M. Chekhov’s technique, kalarippayattu, T. Suzuki’s method, and selected contemporary movement practices. The classes allow students to compare different approaches to the body, movement, energy, stage presence, and the relationship between physical action and acting expression.
Most of the class time is devoted to practical work with the students’ own bodies. Students perform exercises aimed at developing body awareness, coordination, mobility, strength, breathing, concentration, balance, and energy management. This practical work is complemented by theoretical knowledge concerning the use of the body in European theatre, as well as in selected non-European traditions and performance practices.
An important element of the course is work on the relationship between the body, breath, and voice, using selected exercises from Kristin Linklater’s method. Students learn the basic principles of conscious use of the vocal and respiratory apparatus and develop freedom of expression, communication skills, and competences related to public speaking. This knowledge also serves to develop a better understanding of and ability to organise the vocal work of an acting ensemble.
The course also develops competences related to occupational health, safety, and well-being in the directing profession, as well as to the responsible organisation of the physical work of an acting ensemble. Students learn the basic principles of recovery, ergonomics, and prevention of physical overuse, as well as selected popular forms of physical activity, such as yoga, strength training, and fitness. Particular emphasis is placed on the conscious integration of breathing, muscular work, movement, and stage action.
Course coordinators
Term 2025/26-Z: | Term 2025/26-L: | Term 2026/27-L: | Term 2026/27-Z: |
Learning outcomes
W01
Possesses knowledge of theories and methods necessary to conduct a warm-up before movement classes. Is able to apply the knowledge acquired during the course to further artistic development in stage work.
K_W06
Possesses up-to-date knowledge concerning methods of physical training and maintaining a healthy lifestyle. Is familiar with relevant literature in this field.
W02
Understands theories that enable further education and development in the field of physical exercise. Possesses the necessary knowledge concerning care for the body and mind. Knows basic elements of physical exercise and understands how they can be applied in stage work.
K_W11
Knows and understands the basic principles of physical training and recovery.
W03
Possesses knowledge concerning safety during physical exercises. Knows basic health and safety rules applicable during classes.
U01
Knows techniques and exercises that can be used to conduct a warm-up. Is able to perform strengthening exercises.
K_U07
Possesses skills and techniques enabling the creation of artistic projects in the future.
K01
Applies the acquired knowledge to further learning and development. Is able to combine acquired experience and apply it in work with a scene partner. Is able to express a critical opinion.
K_K03
Uses acquired knowledge and skills in the creation of artistic projects.
K_W03
Recognises the elements of a theatrical work and understands its structure.
K_U08
Is able to use theatrical improvisation methods and apply them in work with actors and in their own creative process.
Assessment criteria
The course is completed on the basis of attendance and active participation in classes – 80%.
As part of the final assessment at the end of the academic year, students are required to prepare and conduct an original actors’ warm-up based on the knowledge acquired during the course. The warm-up should prepare the entire body and voice for a stage rehearsal – 20%.
Bibliography
Core Literature
Linklater, Kristin, Uwolnij swój głos. Tworzenie obrazów w pracy nad głosem i mową, trans. Anna Trzewiczek, Kraków: Państwowa Wyższa Szkoła Teatralna im. Ludwika Solskiego, 2012, 350 pp.
Campo, Giuliano, Molik, Zygmunt, Głos i ciało, trans. Ewa Oleszko-Molik, Andrzej Wojtasik, ed. Monika Blige, Wrocław–Kraków: Instytut im. Jerzego Grotowskiego, Państwowa Wyższa Szkoła Teatralna im. Ludwika Solskiego, 2016, 247 pp.
Barba, Eugenio, Savarese, Nicola, Sekretna sztuka aktora. Słownik antropologii teatru, trans. Jarosław Fret et al., Polish edition ed. Leszek Kolankiewicz, Wrocław: Instytut im. Jerzego Grotowskiego, 2005, 316 pp.
Lecoq, Jacques, Carasso, Jean-Gabriel, Lallias, Jean-Claude, Ciało poetyckie. Nauczanie twórczości teatralnej, trans. Magdalena Hasiuk-Świerzbińska, Wrocław: Instytut im. Jerzego Grotowskiego, 2011.
Benedetti, Jean, Sztuka aktora, trans. Anna Kowalcze-Pawlik, Kraków: Państwowa Wyższa Szkoła Teatralna im. Ludwika Solskiego, 2015, 307 pp.
Chekhov, Michael A., O technice aktora, trans. and ed. Marek Sołek, 2nd ed., Kraków: Wydawnictwo Arche, 2008, 237 pp.
Supplementary Literature
Raddatz, Frank (ed.), W labiryncie. Theodoros Terzopoulos spotyka Heinera Müllera, trans. Mateusz Borowski, Małgorzata Sugiera, Wrocław: Instytut im. Jerzego Grotowskiego, 2012, 192 pp.
Osiński, Wiesław, Teoria wychowania fizycznego, Poznań: Akademia Wychowania Fizycznego w Poznaniu, 2011, 409 pp.