| Course Description |
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| Course Name |
: |
Movement |
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| Course Code |
: |
YMOP019 |
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| Course Type |
: |
Optional |
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| Level of Course |
: |
First Cycle |
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| Year of Study |
: |
1 |
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| Course Semester |
: |
Fall and Spring (32 Weeks) |
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| ECTS |
: |
4 |
|
| Name of Lecturer(s) |
: |
Instructor LİLİA KOSTOVA PANAYOTOVAPETROVA
Instructor SEDAAYVAZOĞLU
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|
| Learning Outcomes of the Course |
: |
Understands and applies the attitudes and rituals of the period according to hierarchical ranking and classification by doing exercises with the accompaniment of music.
Understands and applies men and women greetings of the periods with the accompaniment of music according to hierarchical ranking and classification.
Understands and applies rituals of different religions with the accompaniment of music according to hierarchical ranking.
Understands and applies the use of body aesthetics by working on complex figures.
Understands and applies the techniques about the use of body plastic by working on complex figures.
Understands and applies the accessories of the period with the accompaniment of music types of that period.
Knows table manners of the periods according to hierarchical ranking and classification; understands and applies them with the accompaniment of music.
Expresses the attitudes and behaviors of the characters according to periodical charasteristics.
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| Mode of Delivery |
: |
Face-to-Face |
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| Prerequisites and Co-Prerequisites |
: |
None |
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| Recommended Optional Programme Components |
: |
None |
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| Aim(s) of Course |
: |
Providing professional development principles, the extent of the student´s own physical material. 16th century to the present day according to the classification of the European rankings and application of the term attitude and rütellerinin hiyararşi. Use of body aesthetics, the development of the plastic and body coordination. Basic choreography as a collective movement is the ability to acquire. |
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| Course Contents |
: |
Studying the basic choreography after developing student’s body flexibility and aesthetics, and body coordination. |
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| Language of Instruction |
: |
Turkish |
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| Work Place |
: |
Dance studio |
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Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Introducing students with the annual lesson plan |
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Case Study / Case |
|
2 |
Performing body exercises to gain stage aesthetics. |
|
Case Study / Case |
|
3 |
Studying on male and female greetings in 16th -17th centuries. |
|
Case Study / Case |
|
4 |
Practical studies on how men and women walk and sit in 16th -17th centuries. |
|
Case Study / Case |
|
5 |
Studying on how men and women hold hands in 16th -17th centuries. |
|
Case Study / Case |
|
6 |
Studying and practicing how men and women walk, sit and stand up together in 16th -17th centuries. |
|
Case Study / Case |
|
7 |
Detection of deficiencies |
|
Case Study / Case |
|
8 |
Practical studies on using fans and sticks while men and women walk, sit, stand up individually or as couples in 16th -17th centuries. |
|
Case Study / Case |
|
9 |
Practical studies on cloak holding in 18th century. |
|
Case Study / Case |
|
10 |
individual practical exercises on the use of fans, sticks, hats, gloves in 18th century. |
|
Case Study / Case |
|
11 |
Practical studies on the use of gloves, top hats, sticks and fans while walking and sitting in18th century. |
|
Case Study / Case |
|
12 |
Individual practical exercises on falling down and standing up with accesorries in 18th century. |
|
Case Study / Case |
|
13 |
Group practical exercises on falling down and standing up with accesorries in 18th century. |
|
Case Study / Case |
|
14 |
Overall evaluation |
|
Case Study / Case |
|
15 |
Term analysis and general revision |
|
Case Study / Case |
|
16 |
Term analysis and general revision |
|
Case Study / Case |
|
17 |
Practical execises on hand kissing in 19th century. |
|
Case Study / Case |
|
18 |
Practical exercises on the use of women´s hats, gloves, fans and umbrellas in 19th century. |
|
Case Study / Case |
|
19 |
Practical exercises on the use of men´s hats, gloves and sticks in 19th century. |
|
Case Study / Case |
|
20 |
Practical studies on glove throwing in duel ritual in 19th century. |
|
Case Study / Case |
|
21 |
Practical studies on speech attitudes and bahaviours in 19th and 20th centuries. |
|
Case Study / Case |
|
22 |
Practical studies on maid attitudes and bahaviours in 19th and 20th centuries. |
|
Case Study / Case |
|
23 |
Overall evaluation |
|
Case Study / Case |
|
24 |
Practical studies on religious rituals, attitudes and behaviors of different periods. |
|
Case Study / Case |
|
25 |
Application of all movements studied in different choreographic arrangements |
|
Case Study / Case |
|
26 |
Application of all movements studied in different choreographic arrangements |
|
Case Study / Case |
|
27 |
Practical studies on greetings with the use of hats, sticks and fans in different venues in 20th century. |
|
Case Study / Case |
|
28 |
Individual practical studies on postures and positions belonging to different periods to gain aesthetic expression. |
|
Case Study / Case |
|
29 |
Group practical studies on postures and positions belonging to different periods to gain aesthetic expression. |
|
Case Study / Case |
|
30 |
Overall evaluation |
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|
|
31 |
Preparation for the exam |
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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* |
|
1 |
Gains the ability to review advanced knowledge and skills acquired in the field critically |
0 |
|
2 |
As a performing artist, has a sense of ethics of art and professional disipline. |
5 |
|
3 |
Gains the musical and technical ability to interpret national and international works of literature on the stage through Opera singing techniques and methods. |
0 |
|
4 |
Gains the ability to use voice mechanism accurately and efficiently on the stage, to ensure breath coordination and to protect voice health. |
4 |
|
5 |
Gains the ability to review universal values with the knowledge acquired in their field of study. |
1 |
|
6 |
Gains the sensitivity of being an artist who is aware of the responsibilities towards his nation, himself and humanity. |
5 |
|
7 |
Besides singing technique, controls his body successfully thanks to the abilities acquired through dance, stage and fencing disciplines. |
5 |
|
8 |
Improves the practical ability of singing ability which is developed through acquiring technical knowledge together with the acting ability on the stage. |
5 |
|
9 |
Gains the ability to provide all kinds of national and international singing literature documents, equipments, resources and archive related to his field. |
1 |
|
10 |
Gains the ability to individually maintain the process of practicing on works which he is responsible for. |
5 |
|
11 |
Constantly improves himself as a man of art, and follows the current activities related to his art closely. |
3 |
|
12 |
Gains the ability to use his natural mechanism on the stage as an instrument by improving his coordination abilities and by recognizing and analyzing his own body, emotions, and thoughts. |
5 |
|
13 |
As well as having a sense of social responsibility, owns communication and social skills requried by performing arts. |
5 |
|
14 |
Gains the ability to transfer his knowledge on the art of opera singing to different audiences. |
0 |
|
15 |
Has the ability of focusing on the scene, using his imagination and observation skills, the ability to have a reflex and to use the memory of the musical scene. |
5 |
|
16 |
Develops the ability of creating a character on the stage, maintaining mastery of work, singing with a partner and feeling the partner. |
5 |
|
17 |
As a man of art, tries to establish ties with other art fields by associating his knowledge and skills according to the rules of professional ethics. |
3 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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