Acting with object WSL/RTL/ZAZP-Z
I Semester:
Form and content of the object
Attempting to recognize the specifics of manipulation - bringing objects to life on stage.
Various methods of manipulating objects - exploring the autonomous predispositions of each object.
Language of objects - learning to send clear messages to the audience.
Creating short etudes in the object theatre convention.
Rhythm, composition, micro-conflict... - analysis of acting aspects in creating etude dramaturgy.
Naming and skillful utilization of the object's atmosphere and the atmosphere of the scenic expression.
Under special conditions, it may be possible to conduct part of the program online.
II Semester:
Exploring unconventional methods of manipulating objects.
Defining the theme as the basis for constructing scenic expression.
Attempting to understand the relationship between actor and object on stage.
Objectification of the object without the need for classic animation.
Group discussions on the possibilities of object theatre.
Attempting to find one's own, individual understanding of object theatre.
Exploring the autonomous specificity of selected material.
Under special conditions, it may be possible to conduct part of the program online.
Course coordinators
Learning outcomes
In terms of knowledge (W):
R_W06
R_W08
R_W11
In terms of skills (U):
R_U01
R_U03
R_U07
R_U09
R_U10
R_U12
R_U3, R_U4
In terms of social competence (K):
R_K01
R_K02
R_K03
R_K05
R_K06
R_K08
R_K10
Assessment criteria
I Semester: Credit without a mark (non-graded pass)
II Semester: Exam
I Semester:
• Attendance in classes
• Proficiency in creating scenic expressions in various object theatre conventions;
• Active participation in preparing and presenting etudes throughout the semester;
II Semester:
• Active participation in developing the concept of a collective theatrical expression
• Effectiveness in group work
• Artistic value of the prepared exam presentation.
• Ability to make important conceptual decisions and coordinate group work
Bibliography
M. Chekhov „On the technique of acting”
Piotr Damulewicz „Ewolucje programu w nauczaniu gry aktora przedmiotem na Wydziale Lalkarskim w Białymstoku – geneza, przemiany, stan obecny”
J. Ch. Andersen „Fairy Tales”
Henryk Jurkowski „Szkice z teorii teatru lalek”
Bernarda Bielenia "Upodmiotowienie przedmiotu i uprzedmiotowienie aktora – proces przemiany na podstawie inscenizacji „Miriam” Olega Juriewa
Mateusz Smaczny "Świadomość ciała aktora lalkarza"
Mark Down "A practical guide to puppetry"