Course Description |
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Course Name |
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Movement for Stage II |
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Course Code |
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TYM 234 |
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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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3 |
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Name of Lecturer(s) |
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Instructor MUZAFFER HAMİT KIRIKKALP |
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Learning Outcomes of the Course |
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Develops the skills of maneuverability, endurance, concentration, coordination, agility, flexibility and balance. Builds his body as a plastic material by practicing on body positions, postures, dual-and single-artistic acrobatic movements and gains aesthetics point of view. Determines and applies the importance of facilities of using the actor´s body as a means of expression on stage. Analzes the movements exhibited on stage and applies them consciously with a cretain artistic competence. Comprehends the Action stylization. Understands and develops awareness of tempo-rhythm. Applies the fight scenes and possible extreme scenes that he will use on stage as part of his role in accordance with the reality. Develops his reflex, courage and confidence by applying the fight techniques. Comprehends and develops the techniques of taking non-destructive blow, shock absorption and pulse-pounding. Represents the basic defense and attack techniques from visual aspect in accordence with reality without giving harm to himself and his partner, and applies them on stage in technical and artistic terms. Represents the defense and attack techniques of using cold and firearms in accordance with reality, and applies them on stage in technical and artistic terms.
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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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TYM 134 Movement for Stage 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 conduct studies and practices on Maneuverability, endurance, concentration, coordination, agility, flexibility and balance and by this way develop the bodily material within the professional principles. Taking the actor´s body as a plastic material on stage, create action arrangements with movement and stage combat techniqueshelp students gain an aesthetics approach to use their body on stage, and develop its usage facilities as a means of expression. |
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Course Contents |
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The Movement for Stage II class which includes maneuverability, endurance, concentration, coordination, balance, movement and stage combat techniques, aims to form movements arrangements taking the actor´s body on stage as a plastic material. |
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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 the introduction of an annual lesson plan. |
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Presentation |
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2 |
Study and practice on Warm-up and stretching exercises |
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Presentation, Special Support/ Structural examples |
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3 |
study and practice on agility and balance exercises. |
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Presentation, Special Support/ Structural examples |
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4 |
study and practice on co-ordination exercises within the approach of controlled movement. |
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Presentation, Special Support/ Structural examples |
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5 |
Study and practice on Reflexes, courage and confidence developing exercises. |
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Presentation, Special Support/ Structural examples |
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6 |
Introduction to body positions, postures, double and single acrobatic-artistic movements. |
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Presentation, Special Support/ Structural examples |
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7 |
study and practice on body positions, postures, double and single acrobatic-artistic movements |
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Presentation, Special Support/ Structural examples |
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8 |
Mid-term exam |
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Presentation, Special Support/ Structural examples |
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9 |
Introduction to the use of actor´s body as a plastic material on stage. Introduction to Martial-extreme scenes. |
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Presentation, Special Support/ Structural examples |
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10 |
study and practice on the techniques of using actor´s body as a plastic material on stage. study and practice on the basic defense and attack techniques. |
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Presentation, Special Support/ Structural examples |
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11 |
Introduction to the aesthetics of the stage. study and practice on the basic defense and attack techniques |
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Presentation, Special Support/ Structural examples |
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12 |
study and practice on the aesthetics of the stage. study and practice on formation and development of choreographies of fight movements. . |
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Presentation, Special Support/ Structural examples |
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13 |
study and practice on the aesthetics of the stage. study and practice on formation and development of choreographies of fight movements. . |
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Presentation, Special Support/ Structural examples |
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14 |
Mid-term exam |
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Presentation, Special Support/ Structural examples |
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15 |
Semester analysis and general review |
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Presentation, Special Support/ Structural examples |
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16 |
Semester analysis and general review |
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Presentation, Special Support/ Structural examples |
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17 |
study and practice on formation and development of action choreographies. Introduction to the techniques of attack and defense in the use of cold and firearms. |
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Presentation, Special Support/ Structural examples |
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18 |
Study and practice on the use of accessories and costumes as symbol and icon and the formation and developemnt of action choreographies. study and practice on the techniques of attack and defense in the use of cold and firearms. |
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Presentation, Special Support/ Structural examples |
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19 |
Study and practice on the use of accessories and costumes as symbol and icon and the formation and developemnt of action choreographies. study and practice on the techniques of attack and defense in the use of cold and firearms. |
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Presentation, Special Support/ Structural examples |
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20 |
Introduction to Performance surveys. study and practice on the formation and development of choreographies of armed movements. |
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Presentation, Special Support/ Structural examples |
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21 |
Study and practice on the use of created movement Choreographies within the performance surveys. study and practice on the use of place and accessory in fight-extreme scenes.
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Presentation, Special Support/ Structural examples |
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22 |
Mid-term exam |
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Presentation, Special Support/ Structural examples |
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23 |
Introduction to Motion stylization. introduction to the use of created movement Choreographies within the performance surveys. |
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Presentation, Special Support/ Structural examples |
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24 |
Study and practice on motion stylization. study and practice on the use of movement Choreographies within the performance surveys. |
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Presentation, Special Support/ Structural examples |
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25 |
Introduction to the use of motion stylization within the dramatic action. study and practice on the performances of martial-extreme scenes. |
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Presentation, Special Support/ Structural examples |
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26 |
studies and practices on Tempo-rhythm. study and practice on the performances of martial-extreme scenes. |
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Presentation, Special Support/ Structural examples |
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27 |
studies and practices on Tempo-rhythm. study and practice on the performances of martial-extreme scenes. |
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Presentation, Special Support/ Structural examples |
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28 |
Mid-term exam |
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Presentation, Special Support/ Structural examples |
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29 |
Action analysis of the plays taken as an example, analysis of the movements and formation of movement choreographies, the use of costumes and accessories as symbol and icon and introduction to the practices of movement performances. studies and practices on representation of the performances of Battle-extreme scenes in accordance with reality from visual aspect. |
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Presentation, Special Support/ Structural examples |
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30 |
Action analysis of the plays taken as an example, analysis of the movements and formation of movement choreographies, the use of costumes and accessories as symbol and icon and introduction to the practices of movement performances. studies and practices on representation of the performances of Battle-extreme scenes in accordance with reality from visual aspect. |
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Presentation, Special Support/ Structural examples |
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31 |
Final exam preparation |
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Presentation, Special Support/ Structural examples |
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32/33/34 |
Final |
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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. |
3 |
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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. |
3 |
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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. |
1 |
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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. |
3 |
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5 |
This programme teaches the ways of gaining the ability of using Turkish correctly and efficiently. |
0 |
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6 |
Having sufficient information on stage technology, students comprehend how to express the artistic expression images of the play. |
4 |
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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. |
3 |
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8 |
Students gain the ability to evaluate universal values with the knowledge acquired in their own field of study. |
1 |
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9 |
This programme provides with the ways of finding the necessary documents, tools, resources, and the archive related to the art of theater - acting. |
1 |
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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 |
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11 |
Students gain the ability to present information related to the Art of Theatre-Acting to various audiences. |
2 |
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12 |
Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. |
1 |
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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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5 |
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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. |
0 |
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15 |
Students gain communication and social competence skills as a natural part of the art of theater - acting. |
1 |
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16 |
Students gain the habit and awareness of having art ethics and professional discipline together with the professional acting qualifications. |
1 |
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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. |
1 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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