| Course Description |
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| Course Name |
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Acting II |
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| Course Code |
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TİM 231 |
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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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2 |
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| Course Semester |
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Fall and Spring (32 Weeks) |
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| ECTS |
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9 |
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| Name of Lecturer(s) |
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Instructor MUZAFFER HAMİT KIRIKKALP
Instructor İSMAİL DİKİLİTAŞ
Assoc.Prof. CİHANGİRNEVRUZOV
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| Learning Outcomes of the Course |
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Is able to analyze Dramaturgy material (text of the play) with the basic rules of three-circle (the method of deductive analysis) principle.
Gains the ability to do research on dramatury material from socio-political and socio-psychological aspects.
Is able to analyze and apply dramaturgy material with the method of analysis with action.
Analyzes and practices the role he will play with the "If I were you" principle.
Understands and applies the elements of "action", "impact - assessment - response ", which are the basic principles of art of acting in the proposed conditions of the piece taken from the text of the play.
Gains the ability to detect and apply the psycho-physical action connected with cause and effect relationship by forming the logic system in the proposed conditions of dramaturgy material.
Learns the basic principles of rehearsal awareness by gaining the professional habits of art of acting.
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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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TİM 131 Acting I
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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 help stuents, under the principles of the professional principles, read and uderstand the dramaturgy material (script of the play) in a correct manner, analyse it with action, use their own body (biomekanism of the body, conscious and the unconscious mechanism, muscles and nervous system) in a way that is appropriate for the proposed conditions of the role they will play and gain the professional habits. |
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| Course Contents |
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In this year of Acting education, student-actors encounter the text for the first time. Parts for two or three people selected from the texts are suggested to students. Students learn to understand the intellectual basis of the text, determine the logic behind the actions of the character, have a natural contact with partners, understand the nature of questions and answers and learn the basic information like hearing, seeing and action and reaction. |
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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 |
Presentation of Dramaturgical materials (texts of the plays) that will be studied on throughout the year and selection of scenes. |
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Special Support/ Structural examples |
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2 |
Presentation of Dramaturgical materials (texts of the plays) that will be studied on throughout the year and selection of scenes. |
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Special Support/ Structural examples |
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3 |
Teaching of the three circles (the method of deductive analysis) principle of the selected Dramaturgical materials and the period research from the socio-political and socio-psychological aspects. |
* Assignment1: A file will be prepared including the selected dramatic artifacts; term research, the author researches, and analyzes of the play characters. |
Special Support/ Structural examples |
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4 |
Teaching of the three circles (the method of deductive analysis) principle of the selected Dramaturgical materials and the studies on period research from the socio-political and socio-psychological aspects. Explanation of the professional behavior rules on stage. |
Research - Analysis |
Special Support/ Structural examples |
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5 |
Teaching of the three circles (the method of deductive analysis) principle of the selected Dramaturgical materials and the period research from the socio-political and socio-psychological aspects. |
Research - Analysis |
Special Support/ Structural examples |
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6 |
Introduction to Reading rehearsal and teaching the principles and knowledge of reading rehearsals. Explaining the techniques of preparing a role -book. |
Work on the role - book |
Special Support/ Structural examples |
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7 |
Reading rehearsals. |
Work on the role - book |
Special Support/ Structural examples |
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8 |
Reading rehearsals. |
Work on the role - book |
Special Support/ Structural examples |
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9 |
Reading rehearsals. |
Work on the role - book |
Special Support/ Structural examples |
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10 |
Teaching practically the dramatic works with the method of analysis with action and with "If I were you" principle. Transition to the application on stage. |
Study for the presentation of the selected dramatic works by students. |
Special Support/ Structural examples |
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11 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
Study on the error correction of detected mistakes, |
Special Support/ Structural examples |
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12 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
.Study on the error correction of detected mistakes, |
Special Support/ Structural examples |
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13 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
Study on the error correction of detected mistakes |
Special Support/ Structural examples |
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14 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
Study on the error correction of detected mistakes |
Special Support/ Structural examples |
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15 |
Semester analysis and general revision. |
*Assignment 2: the summary of the book called "Creating A Role" by Konstantin Stanislavski´s .
*Assignment3: Practical preparation on the Scenes. |
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 |
Assignment 2 Report * |
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Special Support/ Structural examples |
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18 |
Assignment 3 Report * |
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Special Support/ Structural examples |
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19 |
Assignment 3 Report * |
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Special Support/ Structural examples |
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20 |
Research on the actions within the scope of prepared pieces and practical study on " impact - assessment - response. " |
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Special Support/ Structural examples |
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21 |
Practical study on questions, in the suggested conditions of dramaturgical materials, "who are you, what do you want? What are you doing? " which are the basic three triggers of action
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Special Support/ Structural examples |
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22 |
Dramaturgical material in suggested conditionsthe logical index (array of reasons) by creating a cause - effect relationship to identify and practical work on the psycho-physical action. |
* Assignment 4: Practical presentation of the parts prepared within the courses in the 20th, 21st, and 22nd weeks. |
Special Support/ Structural examples |
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23 |
Assignment 4 Report * |
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Special Support/ Structural examples |
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24 |
Assignment 4 Report * |
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Special Support/ Structural examples |
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25 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
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Special Support/ Structural examples |
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26 |
Studies on the presentation of the selected dramatic artifacts by students and error correction. |
Study on the error correction of detected mistakes |
Special Support/ Structural examples |
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27 |
Exam schedule rehearsals. |
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28 |
Exam schedule rehearsals. |
Study on the error correction of detected mistakes |
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29 |
Exam schedule rehearsals and flows. |
Study on the error correction of detected mistakes |
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30 |
Exam schedule rehearsals and flows. |
Study on the error correction of detected mistakes. |
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31 |
Final preparation and general rehearsals. |
* Assignment 5: A file that shows the content and progress of the studies conducted by the student throughout the year. |
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32/33/34 |
Final. Reporting Assignment 5* and assertion. |
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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 |
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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 |
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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 |
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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.
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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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