Body Awareness WSL/ATL/SC3-L

In terms of knowledge (W):
K_W06

In terms of skills (U):
K_U01
K_U04
K_U06
K_U07
SATL_U03

In terms of social competence (K):
K_K05

1. SEMESTER VII – PASS/FAIL ASSESSMENT (NO GRADE)

Semester VII is purely process-oriented and lays the foundation for work in Semester VIII. To obtain a Pass, the following conditions must be met:

1. **Attendance and work culture**
- Maximum of 2 unexcused absences.
- Punctuality: each student has a limit of two “free” late arrivals. The next 2 late arrivals will be counted as 1 unexcused absence.

2. **Active participation in at least 80% of workshop classes**
Engagement in the process, no passive attitude, preparation and readiness for class, concentration, willingness to try new qualities of work with the body, knowledge of agreements from previous classes, and ability to draw conclusions from pedagogical feedback.

3. **Ability to work in a group / partner work / boundaries**
Respect for one’s own body and the partner’s body, awareness of one’s own and the partner’s boundaries, clear communication of consent to touch/physical contact, and care for one’s own and others’ safety.

4. **Independent thinking and personal contribution**
Active pursuit of one’s own movement research, undertaking rehearsals, independently seeking inspiration, a mature approach to one’s own development, and transferring workshop work into one’s own acting language.

If a student does not meet the above conditions, they receive a Fail.

2. SEMESTER VIII – GRADED ASSESSMENT

The final grade is the sum of points accumulated during the semester and for the final movement-acting étude.

Breakdown of criteria into points:

A. Attendance, preparation, and work culture (15 pts)

- 15 pts – 100% attendance or 1 excused absence, consistent preparation.
- 10–14 pts – 1–2 absences, occasional late arrivals.
- 0–9 pts – Exceeded absence limit, repeated late arrivals, lack of appropriate attire.

B. Engagement and workshop process (20 pts)

- 17–20 pts – Full concentration, stepping outside one’s comfort zone, consistent work on body awareness, drawing conclusions from pedagogical feedback.
- 10–16 pts– Correct execution of exercises, occasional drop in concentration, reactive rather than proactive attitude (shifting responsibility for oneself onto others vs. taking responsibility for one’s own development).
- 0–9 pts – Conservative attitude, lack of willingness to take artistic/movement risks, passively “waiting out” the exercises.

C. Group work skills, partnering, consent culture (15 pts)

- 13–15 pts – High attentiveness to the partner and care for safety in movement. Mature communication regarding consent: actively checking boundaries in improvisation, clearly communicating one’s own limitations (e.g., injuries, not feeling well), and full respect for boundaries set by the partner. Ability to listen, adapt, and propose alternative ways of realizing a task without withdrawing from the process.
- 8–12 pts– Adequate cooperation and respect for basic safety rules. Occasional overlooking of partner’s signals or focusing mainly on one’s own body. Respecting explicitly stated boundaries, but with limited proactivity in confirming consent before more dynamic or close physical contact.
- 0–7 pts – Ignoring the partner/group and crossing others’ physical or emotional boundaries (no asking for consent, ignoring “stop” signals or signs of discomfort). Creating danger in dynamic movement tasks, lack of flexibility, and significant difficulties in teamwork.

D. Independent thinking and personal contribution (15 pts)

- 13–15 pts – Active pursuit of one’s own movement research and going beyond scheduled class time (undertaking individual/team rehearsals, independently seeking inspiration). Asking mature questions, transferring workshop work into one’s own acting language, and contributing original solutions to tasks and the final étude. Mature approach to one’s own development.
- 8–12 pts – Correct execution of instructions and tasks, but with limited personal interpretation. Work on tasks is mainly confined to class time (sporadic or superficial independent work outside class). Lack of deeper reflection on one’s own motility and rare initiation of creative input.
- 0–7 pts – Lack of initiative and no independent work outside class (no preparation of materials, no team/individual rehearsals for the étude). Passive attitude, waiting for ready-made solutions from the instructor, and lack of reflection on one’s own process and the body’s possibilities.

E. Main task: Movement-acting étude (35 pts) (Semester 2 only)
Assessed in terms of applying tools learned throughout the year:

- Awareness of form and movement composition (10 pts) – dramatic/movement coherence, use of space, dynamics, rhythm.
- Quality and precision of execution (10 pts)– plasticity of the body, muscle tone, control of the center, embodiment of acting intention.
- Acting truth in movement (10 pts) – integration of movement with emotion, motivation of actions, absence of “empty demonstration.”
- Originality and authorial approach (5 pts)*– inventiveness in form and interpretation.

3. FINAL GRADING SCALE (Semester VIII)

- 91–100 pts – very good (5.0)
- 81–90 pts – plus good (4.5)
- 71–80 pts– good (4.0)
- 61–70 pts– plus sufficient (3.5)
- 50–60 pts – sufficient (3.0)
- 0–49 pts – fail (2.0)

- Michaił A. Czechow, „O technice aktora”, Wydawnictwo Akasza, Kraków 1995
- Kristin Linklater: „Uwolnij swój głos - tworzenie obrazów w pracy nad głosem i mową”, PWST im. L. Solskiego w Krakowie, 2012
- Thomas W. Myers, "TAŚMY ANATOMICZNE MERIDIANY MIĘŚNIOWO-POWIĘZIOWE DLA TERAPEUTÓW MANUALNYCH I SPECJALISTÓW LECZENIA RUCHEM", DB Publishing, 2015
- Gilbert Renaud, "Recall Healing: Uzdrawianie przez świadomość", WENA Studio Twórczej Ekspresji, 2014
- Amanda Armstrong, „Leczenie poprzez nerw błędny. Pokonaj lęk, depresję, stres i traumę poprzez regulację układu nerwowego", 2025
- Marzena Wiśniewska, Karol Suszczyński, „Puppetry in the 21st Century: Reflections and Challenges”, AT im. A. Zelwerowicza w Warszawie Filia w Białymstoku, 2019

Źródło: https://atb.edu.pl/wp-content/uploads/2019/10/Puppetry_in_the_21st_Century_e-book.pdf

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:

• Acting, puppet theatre acting