|
| Course Description |
|
| Course Name |
: |
Phonetic and Diction II |
|
| Course Code |
: |
TİM 233 |
|
| Course Type |
: |
Compulsory |
|
| Level of Course |
: |
First Cycle |
|
| Year of Study |
: |
2 |
|
| Course Semester |
: |
Fall and Spring (32 Weeks) |
|
| ECTS |
: |
6 |
|
| Name of Lecturer(s) |
: |
Instructor FIRATDEMİRAĞ
|
|
| Learning Outcomes of the Course |
: |
Knows and applies the techniques of speaking properly, fluently and clearly.
Knows and applies the correct use of voice techniques
Knows and applies the voice control techniques
Knows and applies breathing techniques
Knows and applies breathing control techniques
Knows and applies the rules of phonetics.
Knows and applies the rules of stress, intonation, pause, and addition.
Knows and applies the technique of using recitative voice
Uses his voice in accordance with the requirements of the scene and the role.
|
|
| Mode of Delivery |
: |
Face-to-Face |
|
| Prerequisites and Co-Prerequisites |
: |
TİM 133 Phonetic and Diction I
|
|
| Recommended Optional Programme Components |
: |
None |
|
| Aim(s) of Course |
: |
The aim of the course is to develop fluent and clear speaking skills appropriate for the necessities of the role by studying on the correct use of voice techniques, breathing techniques, breath control techniques, stress, intonation, pause, and addition. |
|
| Course Contents |
: |
Undergraduate students in the second grade keep learning the items they were taught in the first grade; additionally, they continue their education with the short texts and analysis of these texts. |
|
| Language of Instruction |
: |
Turkish |
|
| Work Place |
: |
Studio |
|
|
Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Meeting and Course Description. |
Selection and memorization of scenes from Ancient Greek Theatre. |
Special Support/
Structural examples |
|
2 |
Starting to study the selected scenes from Ancient Greek Theatre, Detailed examination of the character. Study and examination on the ancient Greek speech manners. Naturalness, coloring, bendings, studies and studies on the art of speaking with the correct intonation. |
Sophocles Oedipus trilogy. (King Oedipus, Oedipus on the Kolonos, Antigone) |
Special Support/
Structural examples |
|
3 |
Starting to study the selected scenes from Ancient Greek Theatre, Detailed examination of the character. Study and examination on the ancient Greek speech manners. Naturalness, coloring, bendings, studies and studies on the art of speaking with the correct intonation. |
Sophocles Oedipus trilogy. (King Oedipus, Oedipus on the Kolonos, Antigone) |
Special Support/
Structural examples |
|
4 |
Starting to study the selected scenes from Ancient Greek Theatre, Detailed examination of the character. Study and examination on the ancient Greek speech manners. Naturalness, coloring, bendings, studies and studies on the art of speaking with the correct intonation. |
Sophocles Oedipus trilogy. (King Oedipus, Oedipus on the Kolonos, Antigone) |
Special Support/
Structural examples |
|
5 |
Starting to study the selected scenes from Ancient Greek Theatre, Detailed examination of the character. Study and examination on the ancient Greek speech manners. Naturalness, coloring, bendings, studies and studies on the art of speaking with the correct intonation. |
Shakespeare´s tragedy and historical games, select scene and memorization. |
Special Support/
Structural examples |
|
6 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Tragedies: Romeo, Juliet, Titus Andronicus, Timon of Athens, Othello, Macbeth, King Lear, Julius Caesar, Coriolanus, Hamlet, Antony and Cleopatra - History Games: Henry IV, Henry V, Henry VI, Henry VIII, King John, Richard II, Richard III |
Special Support/
Structural examples |
|
7 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Tragedies: Romeo, Juliet, Titus Andronicus, Timon of Athens, Othello, Macbeth, King Lear, Julius Caesar, Coriolanus, Hamlet, Antony and Cleopatra - History Games: Henry IV, Henry V, Henry VI, Henry VIII, King John, Richard II, Richard III |
Special Support/
Structural examples |
|
8 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Tragedies: Romeo, Juliet, Titus Andronicus, Timon of Athens, Othello, Macbeth, King Lear, Julius Caesar, Coriolanus, Hamlet, Antony and Cleopatra - History Games: Henry IV, Henry V, Henry VI, Henry VIII, King John, Richard II, Richard III |
Special Support/
Structural examples |
|
9 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Tragedies: Romeo, Juliet, Titus Andronicus, Timon of Athens, Othello, Macbeth, King Lear, Julius Caesar, Coriolanus, Hamlet, Antony and Cleopatra - History Games: Henry IV, Henry V, Henry VI, Henry VIII, King John, Richard II, Richard III |
Special Support/
Structural examples |
|
10 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Shakespeare´s comedy plays, select scene and memorization. |
Special Support/
Structural examples |
|
11 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Comedies: The Comedy of Errors, Two Gentlemen of Verona, A Midsummer Night´s Dream, All´s Well That Ends Well, Taming of the Shrew, The Merry Wives of Windsor, The Merchant of Venice, Measure for Measure, Much Ado About Nothing, As You Like It,The Winter´s Tale, Cymbeline, The Tempest, Twelfth Night. |
Special Support/
Structural examples |
|
12 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Comedies: The Comedy of Errors, Two Gentlemen of Verona, A Midsummer Night´s Dream, All´s Well That Ends Well, Taming of the Shrew, The Merry Wives of Windsor, The Merchant of Venice, Measure for Measure, Much Ado About Nothing, As You Like It,The Winter´s Tale, Cymbeline, The Tempest, Twelfth Night. |
Special Support/
Structural examples |
|
13 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Comedies: The Comedy of Errors, Two Gentlemen of Verona, A Midsummer Night´s Dream, All´s Well That Ends Well, Taming of the Shrew, The Merry Wives of Windsor, The Merchant of Venice, Measure for Measure, Much Ado About Nothing, As You Like It,The Winter´s Tale, Cymbeline, The Tempest, Twelfth Night. |
Special Support/
Structural examples |
|
14 |
Shakespearean Tragedy stage work. Detailed examination of the characters. Investigations and studies on the speech attitudes of shakespearean period . Works and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Comedies: The Comedy of Errors, Two Gentlemen of Verona, A Midsummer Night´s Dream, All´s Well That Ends Well, Taming of the Shrew, The Merry Wives of Windsor, The Merchant of Venice, Measure for Measure, Much Ado About Nothing, As You Like It,The Winter´s Tale, Cymbeline, The Tempest, Twelfth Night. |
Special Support/
Structural examples |
|
15 |
Semester analysis and general revision. |
|
Special Support/
Structural examples |
|
16 |
Semester analysis and general revision. |
Scene selection from Chekhov´s drama plays and memorization. |
Special Support/
Structural examples |
|
17 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Drama Plays: Uncle Vanya, Three Sisters, The Seagull, Cherry Orchard, Ivanov |
Special Support/
Structural examples |
|
18 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with the correct intonation. |
Drama Plays: Uncle Vanya, Three Sisters, The Seagull, Cherry Orchard, Ivanov |
Special Support/
Structural examples |
|
19 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with |
Drama Plays: Uncle Vanya, Three Sisters, The Seagull, Cherry Orchard, Ivanov |
Special Support/
Structural examples |
|
20 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with |
Chekhov´s comedy plays, select scene and memorization. |
Special Support/
Structural examples |
|
21 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with |
Comedy Plays: A Marriage Proposal, The Countryside Summer, Bear, Swan Song. |
Special Support/
Structural examples |
|
22 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking with |
Comedy Plays: A Marriage Proposal, The Countryside Summer, The Bear, Swan Song. |
Special Support/
Structural examples |
|
23 |
Scene playing from Chekhov´s drama. Detailed examination of the character. Investigations and studies on the speech attitudes of Chekhov´s tragedies. Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
Moliere´s plays, select scene and memorization. |
Special Support/
Structural examples |
|
24 |
Sceneplaying from Moliere´s drama. Detailed examination of the characters. Investigations and studies on the speech attitudes of Moliere´s comedies.Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
Scapin, The Doctor in Spite of Himself, Tartuffe,Don Juan, Amphitryon, The Jealous Husband, The Miser, |
Special Support/
Structural examples |
|
25 |
Sceneplaying from Moliere´s drama. Detailed examination of the characters. Investigations and studies on the speech attitudes of Moliere´s comedies.Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
Scapin, The Doctor in Spite of Himself, Tartuffe,Don Juan, Amphitryon, The Jealous Husband, The Miser, |
Special Support/
Structural examples |
|
26 |
Work on the Simon Neill´s play called "The Good Doctor". Detailed examination of the character. Investigations and studies on the dialogue exchanging, action-reaction, question and answer and speech attitudes in the full text.Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
|
Special Support/
Structural examples |
|
27 |
Study on the Simon Neill´s play called "The Good Doctor". Detailed examination of the character. Investigations and studies on the dialogue exchanging, action-reaction, question and answer and speech attitudes in the full text.Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
|
Special Support/
Structural examples |
|
28 |
Study on the Simon Neill´s play called "The Good Doctor". Detailed examination of the character. Investigations and studies on the dialogue exchanging, action-reaction, question and answer and speech attitudes in the full text.Studies and practices on Naturalness, coloring, bendings, correct intonation and the art of speaking |
|
Special Support/
Structural examples |
|
29 |
Study on Parts of Final Examination. |
|
Special Support/
Structural examples |
|
30 |
Study on Parts of Final Examination. |
|
Special Support/
Structural examples |
|
31 |
preparation for final exam and general rehearsals. |
|
Special Support/
Structural examples |
|
32/33/34 |
Final Exam |
|
|
|
|
|
Required Course Resources |
| Resource Type | Resource Name |
| Recommended Course Material(s) |
|
| |
| Required Course Material(s) | |
|
|
|
Assessment Methods and Assessment Criteria |
|
Semester/Year Assessments |
Number |
Contribution Percentage |
|
Mid-term Exams (Written, Oral, etc.) |
0 |
100 |
|
Homeworks/Projects/Others |
0 |
0 |
|
Total |
100 |
|
Rate of Semester/Year Assessments to Success |
40 |
| |
|
Final Assessments
|
100 |
|
Rate of Final Assessments to Success
|
60 |
|
Total |
100 |
|
|
| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
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. |
4 |
|
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. |
2 |
|
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. |
5 |
|
5 |
This programme teaches the ways of gaining the ability of using Turkish correctly and efficiently. |
5 |
|
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. |
2 |
|
9 |
This programme provides with the ways of finding the necessary documents, tools, resources, and the archive related to the art of theater - acting. |
2 |
|
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. |
4 |
|
11 |
Students gain the ability to present information related to the Art of Theatre-Acting to various audiences. |
3 |
|
12 |
Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. |
2 |
|
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.
|
1 |
|
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. |
5 |
|
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. |
4 |
|
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. |
4 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
|
|
| Student Workload - ECTS |
| Works | Number | Time (Hour) | Total Workload (Hour) |
| Course Related Works |
|
Class Time (Exam weeks are excluded) |
32 |
4 |
128 |
|
Out of Class Study (Preliminary Work, Practice) |
32 |
1 |
32 |
| Assesment Related Works |
|
Homeworks, Projects, Others |
0 |
0 |
0 |
|
Mid-term Exams (Written, Oral, etc.) |
0 |
0 |
0 |
|
Final Exam |
1 |
1 |
1 |
|
Total Workload: | 161 |
| Total Workload / 25 (h): | 6.44 |
| ECTS Credit: | 6 |
|
|
|