| Course Description |
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| Course Name |
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Improvisation |
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| Course Code |
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TİM 132 |
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| Course Type |
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Compulsory |
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| Level of Course |
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First Cycle |
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| Year of Study |
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1 |
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| Course Semester |
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Fall and Spring (32 Weeks) |
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| ECTS |
: |
8 |
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| Name of Lecturer(s) |
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Instructor MUZAFFER HAMİT KIRIKKALP
Instructor İSMAİL DİKİLİTAŞ
Instructor HÜSEYİN İNANBİÇER
Assoc.Prof. CİHANGİRNEVRUZOV
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| Learning Outcomes of the Course |
: |
Understands and applies the basic principles of the art of acting and professional ethics.
With improvisation, the student gains the skills of "suggested conditions", "action", "impact-assessment - response", and "making analysis with action " which are the basic principles of art of acting.
Learns the basic principles of acting consciously and logically appropriate for the conditions of improvisation and gains the ability to practice them.
Knows about the basic principles of determining the meaningful action related to the cause-effect relationship in the logic system of improvisation conditions.
Knows and applies the basic principles of performing a logical psycho-physical actions not changing the proposed condition of the improvised subject.
Is able to answer in the improvisation conditions to the questions :"Who are you? What do you want? and What are you doing?" which are the basic three elements that form the basis of art of acting.
Knows and applies the basic principles of "Observation", "Fantasy development", "Metamorphosis" techniques in improvisation conditions.
İmproving the ability of the observation and attention, applies quickly the basic skills of "impact-assessment - response" not deviating from the aim in the proposed conditions.
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| Mode of Delivery |
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Face-to-Face |
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| Prerequisites and Co-Prerequisites |
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None |
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| Recommended Optional Programme Components |
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None |
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| Aim(s) of Course |
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The aim is to teach the basic knowledge of the art of acting, professional ethics, and creativity with students´ learning how their own physical material (biomekanizmasının body, consciousness and the unconscious mechanism, muscles and nervous system) works parallel to sensory, mental, and cognitive development. |
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| Course Contents |
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The improvisation class aims on unveiling the individual acting materials of the candidate actor from his own human and mental sources, getting acquainted to these and perfect these, where after student learns to amalgamate these qualities with those of other group members, and see and find their possibilities and constraints. Among the fundamental parts of the aim of this class is to develop the actor’s fantasy. |
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| Language of Instruction |
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Turkish |
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| Work Place |
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Studio |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
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1 |
Meeting with the students and explaining the need for awareness of "team" and provide basic information about professional ethics. |
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Special Support / Structural Examples |
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2 |
Introduction to attention studies. Studying on perceptual attention. |
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Special Support / Structural Examples |
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3 |
Attention studies. Studying on visual and audio attention. |
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Special Support / Structural Examples |
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4 |
Attention studies. Exercises that are done not to deviate from the goal. |
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Special Support / Structural Examples |
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5 |
Attention studies. Concentration of individual and collective efforts |
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Special Support / Structural Examples |
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6 |
Attention studies. Uniqueness of the work in the community |
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Special Support / Structural Examples |
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7 |
Introduction to Observation exercises (look to see, and hear) |
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Special Support / Structural Examples |
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8 |
Study on human observation and imitations. |
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Special Support / Structural Examples |
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9 |
Study on animal observation and imitations. |
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Special Support / Structural Examples |
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10 |
Study on object observation and imitations. |
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Special Support / Structural Examples |
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11 |
Introduction to working with imaginary pretmets. |
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Special Support / Structural Examples |
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12 |
Study on the imaginary pretmets. |
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Special Support / Structural Examples |
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13 |
Introduction to the subject of feeling and confidence. |
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Special Support / Structural Examples |
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14 |
Study on the feeling and confidence. |
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Special Support / Structural Examples |
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15 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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16 |
Semester analysis and general revision. |
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Special Support / Structural Examples |
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17 |
Introduction to partners work. Feeling of compliance to partner. |
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Special Support / Structural Examples |
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18 |
Introduction to partners work. Feeling and compliance to partner. |
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Special Support / Structural Examples |
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19 |
Exercises to develop a story logic.
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Special Support / Structural Examples |
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20 |
Story logic enhancement exercises. |
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Special Support / Structural Examples |
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21 |
Oral and actual Reflex - The reaction studies |
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Special Support / Structural Examples |
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22 |
Oral and actual Reflex - The reaction studies |
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Special Support / Structural Examples |
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23 |
Introduction to the aim and actions appropriate for the aim. |
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Special Support / Structural Examples |
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24 |
Studies on Conflict for the sake of the aim. |
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Special Support / Structural Examples |
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25 |
Exercises on "Conflict for the sake of the aim". |
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Special Support / Structural Examples |
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26 |
"Unconditioed and Unconditional Belief" studies. |
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Special Support / Structural Examples |
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27 |
Believe and play-based activities. |
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Special Support / Structural Examples |
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28 |
Exercises that develop team spirit |
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Special Support / Structural Examples |
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29 |
Exercises that develop team spirit |
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Special Support / Structural Examples |
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30 |
Exercises that develop team spirit |
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Special Support / Structural Examples |
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31 |
Final preparation and general rehearsals. |
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|
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32/33/34 |
Final Exam |
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| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
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1 |
With the help of techniques and methods of acting, this programme teaches the ways of expressing the emotions and thoughts of the character to play on stage. |
5 |
|
2 |
Students comprehensively search for the national and international theatre literature, techniques and methods, synthesize the knowledge they acquired considering the requirements of the age and gain a critical point of view. |
2 |
|
3 |
Taking the art of Theatre-Acting into consideration, students comprehend the improvement and transformation period of the art from past to the future, and adapt it according to the requirements of the age. |
3 |
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4 |
The Art of Theatre-Acting is supported with methods, theories, history, the techniques of using voice and body, behavioral psychology, and aesthetics and art theories. This programme helps undergraduates to comprehend the concept of art and have the knowledge sufficient to transfer to the future with the past. |
4 |
|
5 |
This programme teaches the ways of gaining the ability of using Turkish correctly and efficiently. |
3 |
|
6 |
Having sufficient information on stage technology, students comprehend how to express the artistic expression images of the play. |
1 |
|
7 |
Considering the art of Theatre-Acting, students learn a social and aesthetic point of view and can apply this on performing arts, radio, television and cinema. |
4 |
|
8 |
Students gain the ability to evaluate universal values with the knowledge acquired in their own field of study. |
4 |
|
9 |
This programme provides with the ways of finding the necessary documents, tools, resources, and the archive related to the art of theater - acting. |
5 |
|
10 |
Improving coordination skills, students know about and analyze their own body, emotions and thoughts and gain the ability to use their natural mechanism as an instrument on the stage. |
5 |
|
11 |
Students gain the ability to present information related to the Art of Theatre-Acting to various audiences. |
5 |
|
12 |
Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. |
5 |
|
13 |
In addition to acting techniques, this programme teaches the correct ways of using body on stage with movement, dance, body plastic and fencing disciplines.
|
3 |
|
14 |
This programme teaches the ways of using voice correctly on stage supporting this with the voice and speech techniques, singing, solfege and ear training. |
3 |
|
15 |
Students gain communication and social competence skills as a natural part of the art of theater - acting. |
5 |
|
16 |
Students gain the habit and awareness of having art ethics and professional discipline together with the professional acting qualifications. |
5 |
|
17 |
As an artist, students improve themselves continually, and combine the knowledge and skills appropriate for the rules of professional ethics with the other fields of art and make correlations between them. |
5 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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