Basics of Working on a Role WSL/ATL/SDPnR
Semester V – Psychological Approach to Acting and Character Development
In Semester V, students focus on a psychological approach to acting. The work is based on analysing the text, the stage situation and the character's actions. Students learn to understand the character's inner logic and turn their analysis into specific acting choices and actions.
1. Main Topics and Acting Tools
Students learn and practise the following:
1. Truth on stage – creating a believable and natural performance in imaginary circumstances.
2. Given circumstances – analysing the time, place, situation, relationships, background of the character and the conditions in which the character acts.
3. The “Magic If”– using imagination and personal experience by asking: “What would I do if I were in this character's situation?”
4. Character's objective and super-objective– understanding what the character wants to achieve in a particular scene and throughout the whole role.
5. Through-line of action, tasks, obstacles and conflict– creating a clear and logical sequence of actions based on the character's goals and the difficulties they face.
6. Subtext and inner monologue – developing the character's thoughts and discovering meanings that are not directly expressed in the text.
7. Concentration and connection with a scene partner – developing the ability to listen, react and stay connected with another actor in the present moment, “here and now”.
8. Physical actions – understanding the connection between the body, physical actions and the character's thoughts and emotions.
9. Continuity of the character's life – creating the character's personal history, experiences, relationships and way of thinking, including what happens outside the scenes written in the text.
10. Process, observation and improvisation – treating character development as a process of exploration, rehearsal and gradual discovery.
Working on scenes helps students develop the ability to analyse a play, a scene and a character independently, and to create a believable and consistent inner life for the character.
An important part of this process is developing the character's inner world through inner monologue, subtext, imagination, relationships and the conscious use of psychological and physical acting tools.
Semester VI – Form, Theatrical Conventions and Non-Psychological Approaches to Acting
In Semester VI, the focus changes from the question “What does the character feel and why?” to “How are the character and the situation presented on stage?”
Students explore character development through theatrical form, conventions, rhythm, composition, stage signs and the conscious use of voice, body, movement and stage presence.
Acting choices do not always need a psychological explanation or a logical sequence of cause and effect. Students also explore ways of creating a role through simplification, contrast, repetition, montage, changes of perspective, theatrical conventions and deliberate breaks in continuity.
1. Main Topics and Acting Tools
1Form and theatrical conventions– understanding how a scene or performance is structured and learning to work consciously within a chosen convention.
2. Acting style – choosing a way of presenting a character that fits the form and style of the material.
3. Rhythm and composition – working with tempo, pauses, repetition, contrast and the structure of stage actions.
4. Voice and body – using speech, gestures, movement and physical presence as independent tools of expression.
5. Space and stage signs – creating meaning through movement, body position, relationships in space and the actor's actions.
6. Perspective on the character – exploring different ways of presenting a character, from fully identifying with the role to keeping a conscious distance from it.
7. The actor and the character– developing the ability to be the character and, at the same time, show the character to the audience.
8. Theatrical conventions and stylisation – using exaggeration, distortion, grotesque elements, contrast, simplification and other theatrical techniques.
9. Discontinuity and montage– creating a character and a stage situation without always following realistic or psychological logic.
10. Freedom to work with different theatrical conventions – developing the ability to act confidently and consciously in non-realistic, non-psychological and form-based material.
2. Independent Creative Work
An important aim of the course is to develop students' independence in working on a role.
Students:
1. Analyse the material independently.
2. Prepare scenes.
3. Ask questions about the material and their work.
4. Suggest their own artistic ideas and solutions.
The course also aims to assess how well students can:
1. Use acting tools and techniques learned during earlier stages of training.
2. Make independent artistic decisions.
3. Develop and manage their own creative process without constantly relying on the teacher's guidance.
3. Individual Approach to Student Development
The working process is adapted to each student's stage of development.
The tasks and pace of work depend on the student's current skills, needs and difficulties. Individual topics and exercises may be explored in greater depth for as long as necessary to support real progress in the student's acting skills.
Course coordinators
Learning outcomes
Knowledge
1. The student has a thorough understanding of literary and dramatic analysis, including the historical period, characters, cultural and historical contexts, theatrical traditions and the relevance of the play today. [K_WO3] [K_WO5]
2. The student understands the range of acting techniques, tools and methods available to achieve a specific interpretation and knows how to use different sources of inspiration in the creative process. [K_WO8] [K_WO11]
Skills
1. The student can independently define the scope, direction and goals of improvisation. [K_UO2] [K_UO4]
2. The student can effectively use verbal and non-verbal acting techniques. [K_UO6]
3. The student can consciously and creatively apply theoretical knowledge when working on an artistic project. [K_UO8]
Social Competences
1. The student can share their experience, knowledge and creativity with other members of the team during the process of creating a performance. [K_KO2]
2. The student can work with a high level of commitment, take part in discussions and creative disagreements, and use emotions such as tension, stress and passion constructively in both individual and group work. [K_KO5]
3. The student can remain creative and open-minded when facing difficulties, disagreements or moments of crisis. They can also reflect critically on their own work and contribution to the creative process. [K_KO6]
4. The student can analyse the creative process, draw conclusions from their own experience and reflect on both their individual development and the work of other members of the group. [K_KO10]
Assessment criteria
1. Form of Examination
The course Working on a Role in Semester VI is assessed through a practical examination. Students present a prepared role in one or more scenes before an examination committee.
2. Requirements for Admission to the Examination
1. Students must attend at least 50% of classes.
2. A maximum of 2 unexcused absences is allowed per semester. More than 2 unexcused absences will result in failing the course.
3. Being more than 15 minutes late is counted as an absence.
4. Missing a class does not excuse students from knowing the material covered, the exercises completed or the arrangements made for further work.
5. Not knowing the required material is considered a lack of preparation for class.
3. Final Assessment Criteria
The final grade is based on the student's overall work throughout the semester, including:
1. Active participation, commitment and regular work during classes.
2. Preparation for each class, including knowledge of the text and scene material.
3. Completion of tasks and exercises assigned by the teacher.
4. Independent work on the role outside class and presentation of its results during classes.
5. Creativity, independence and the quality of acting ideas and choices.
6. Progress in character development, understanding the role and making conscious acting choices on stage.
7. Ability to work with a scene partner and as part of a group.
8. Active participation during other students' work, including giving constructive feedback and accepting comments from others.
9. Ability to use the teacher's feedback and make changes to improve the role.
10. Professional behaviour, including responsibility, reliability, punctuality and respect for partners, the group and the working space.
11. Level of preparation and quality of the final performance before the examination committee.
4. Components of the Final Grade
1. Individual and group work during classes – 25%
2. Independent work on the role outside classes and its results assessed by the teacher – 30%
3. Ability to work with a scene partner and as part of a team – 15%
4. Active participation in group work, observing others, giving constructive feedback and accepting feedback – 10%
5. Preparation and performance of the role during the practical examination – 20%
5. Organisation of Classes and Examination
1. The teacher selects the material for work on the role. The material is then discussed and agreed upon with the students.
2. Students are required to prepare their assigned material regularly, learn their lines and present the results of their work on time so that further work on the role can continue.
3. Not knowing the lines, failing to prepare the material or failing to present the required work by the agreed deadline, especially by the middle of the semester, may result in a lower final grade.
4. If these problems make it impossible to meet the main requirements of the course or continue working on the role, the student may fail the semester.
5. The examination takes the form of a stage performance presented before the examination committee and other students. In justified cases, the teacher may limit the number of people in the audience.
6. Mobile phones must not be used during classes unless the teacher gives permission. All devices must be set to silent mode.
Bibliography
Required Reading
1. Konstantin Stanislavski, An Actor's Work on a Role, translated into Polish by Jerzy Czech.
2. Konstantin Stanislavski, An Actor's Work, Vol. I, translated into Polish by Jerzy Czech.
3. Konstantin Stanislavski, An Actor's Work, Vol. II, translated into Polish by Jerzy Czech.
4. Uta Hagen, Respect for Acting.
5. Michael Chekhov, On the Technique of Acting.
6. Stephen Book, Book on Acting.
7. Yevgeny Vakhtangov, Poszukiwania (Explorations), translated into Polish by Henryk Bieniewski.
8. Keith Johnstone, Impro: Improvisation and the Theatre.
9. Viola Spolin, Improvisation for the Theater.
10. Judith Weston, Directing Actors.
11. Krystian Lupa, Utopia: Letters to Actors.
Supplementary Reading
1. Peter Brook, The Empty Space, translated into Polish by Witold Kalinowski.
2. Jacques Copeau, Naga scena (The Bare Stage), translated into Polish by Maria Skibniewska.
3. Arnold Mindell, Dreambody, translated into Polish by Tomasz Teodorczyk and Maciej Błasiak.
4. Susan Sontag, Against Interpretation and Other Essays, translated into Polish by Małgorzata Pasicka, Anna Skucińska and Dariusz Żukowski.
5. Marta Fik, Przeciw konwencjom (Against Conventions).
6. Adolphe Appia, The Work of Living Art, translated into Polish by Janina Hera, Leszek Kossobudzki and Halina Szymańska.
Additional information
Information on level of this course, year of study and semester when the course unit is delivered, types and amount of class hours - can be found in course structure diagrams of apropriate study programmes. This course is related to the following study programmes: