| Course Description |
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| Course Name |
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Movement for Stage III |
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| Course Code |
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TYM 334 |
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| Course Type |
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Optional |
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| Level of Course |
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First Cycle |
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| Year of Study |
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3 |
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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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Understands motion stylization Understands and improves the usage facilities in dramatic action.
Expresses character´s thoughts and feelings on the stage through actor´s body which is a means of expression.
Analyzes the movement exhibited on the stage.
Uses the expression power of movement in accordence with the movement principles.
Analyses the movement in accordence with the movement principles and expresses it with his body.
Forms and develops a new movement style which is expressively strong on the stage.
Represents the images and symbols on the stage
Studies on short stage performances in which actor´s body is at the forefront, expresses the action analsis done in the plays taken as an example with new and expressively strong movement style.
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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 234 Movement for Stage II
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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 |
: |
The Movement for Stage III 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 the annual lesson plan. |
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Presentation |
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2 |
Warm-up and study and practice on 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 body positions, postures, double and single acrobatic-artistic movements in the context of the scene aesthetics and plastic body |
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Presentation, Special Support / Structural Examples |
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6 |
study and practice on body positions, postures, double and single acrobatic-artistic movements in the context of the scene aesthetics and plastic body |
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Presentation,- Special Support / Structural Examples |
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7 |
study and practice on movement stylization. |
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Presentation- Special Support / Structural Examples |
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8 |
Mid-term exam |
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|
9 |
study and practice on the use of movement stylization within the dramatic action. Analysis of the text of the play taken as an example. |
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Presentation - Special Support / Structural Examples |
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10 |
Introduction to the analysis of expressive strength of movement within the movement principles. Determination of the scenes which will be performed from the text of the play taken as an example. |
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Presentation- Special Support / Structural Examples |
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11 |
Introduction to the analysis of expressive strength of movement within the movement principles. Determination of the scenes which will be performed from the text of the play taken as an example. |
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Presentation- Special Support / Structural Examples |
|
12 |
Introduction to the use of images and symbols on the stage. Determination of the images and symbols in the scene performance text. |
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Presentation- Special Support / Structural Examples |
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13 |
Introduction to the use of images and symbols on the stage. Determination of the costumes, decor and accessories that will be used in the performance. |
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Presentation - Special Support / Structural Examples |
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14 |
Mid-term exam |
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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 |
|
17 |
Introduction to the use of actor´s body as a strong means of expression on the stage, determination of the musics that will be used in the performance. |
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Presentation - Special Support / Structural Examples |
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18 |
study and practice on the use of actor´s body as a strong means of expression on the stage, Action analysis on the created scene performance text. |
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Presentation - Special Support / Structural Examples |
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19 |
Analysis of the movements determined as a result of the action analysis, make and practice movement stylizations. |
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Presentation - Special Support / Structural Examples |
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20 |
Formation and implementation of movement choreographies using movement stylizations. |
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Presentation - Special Support / Structural Examples |
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21 |
Associate movement choreographies with dramatic action and its implementation. |
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Presentation - Special Support / Structural Examples |
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22 |
Mid-term exam |
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|
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23 |
Expression and practice of character´s feelings and thoughts through the instrument, and the implementation. |
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Presentation- Special Support / Structural Examples |
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24 |
The establishment and implementation of performance on the stage plastically. |
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Presentation- Special Support / Structural Examples |
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25 |
Design and implementation on the stage of the performance with a new movement style that is new and powerful in expression. |
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Presentation - Special Support / Structural Examples |
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26 |
adding and implementation of costumes, accessories, decor pieces and technical devices to the performance device. |
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Presentation- Special Support / Structural Examples |
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27 |
study and practice of the performance design with an aesthetics point of view and with an expression language in which the actor´s body is at the forefront. |
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Presentation - Special Support / Structural Examples |
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29 |
Performance is at the forefront of design aesthetic point of view the body of the player with the study and application of the scene with an expression language. |
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Presentation- Special Support / Structural Examples |
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30 |
study and practice of the performance design with an aesthetics point of view and with an expression language in which the actor´s body is at the forefront. |
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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. |
0 |
|
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. |
0 |
|
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. |
2 |
|
5 |
This programme teaches the ways of gaining the ability of using Turkish correctly and efficiently. |
0 |
|
6 |
Having sufficient information on stage technology, students comprehend how to express the artistic expression images of the play. |
5 |
|
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. |
0 |
|
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. |
5 |
|
11 |
Students gain the ability to present information related to the Art of Theatre-Acting to various audiences. |
1 |
|
12 |
Students gain awareness of being an artist who is aware of the responsibility to themselves, their own country and to the humanity. |
1 |
|
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.
|
5 |
|
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 |
|
15 |
Students gain communication and social competence skills as a natural part of the art of theater - acting. |
1 |
|
16 |
Students gain the habit and awareness of having art ethics and professional discipline together with the professional acting qualifications. |
1 |
|
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. |
0 |
|
18 |
Students will have the ability to search, discover, create alternative solutions, reach information, think critically and engage in productive discussions for personal and professional growth. |
0 |
|
19 |
In addition to professional development, students continue to improve themselves in the scientific, social, cultural and athletic fields. |
0 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
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