| Course Description |
|
| Course Name |
: |
Acting IV |
|
| Course Code |
: |
TİM 431 |
|
| Course Type |
: |
Compulsory |
|
| Level of Course |
: |
First Cycle |
|
| Year of Study |
: |
4 |
|
| Course Semester |
: |
Fall and Spring (32 Weeks) |
|
| ECTS |
: |
14 |
|
| Name of Lecturer(s) |
: |
Instructor MUZAFFER HAMİT KIRIKKALP
Instructor İSMAİL DİKİLİTAŞ
Assoc.Prof. CİHANGİRNEVRUZOV
|
|
| Learning Outcomes of the Course |
: |
Knows and applies dramaturgy material (text of the play) using the three-circle (the method of deductive analysis) principle within the method of analysis with action together.
Professionally understands and applies the discipline and the method of creating a character, (knows and believes the character´s and his own way of thinking, and living space).
Knows and applies the role he will play, the suggested conditions of the text and the character, and the metamorphosis technique in a professional manner.
Performs the caharacter creating the partition of the artistic interpretation of the role within the framework of the director´s comments not deviating from the superior goal.
Performs the role he will play blending the analyzed knowledge, observation and data with the Obraz thought approach through his character.
Performs his character taking part in a full range of play (including costumes, makeup, decor, music, lighting, effects,) prepared closest to the professional discipline and stage conditions.
Is able to evaluate and develop the character while the role is being performed on stage.
Is able to convey the superior aim of the play to the audience establishing an actor-audience relationship through the character he creates.
|
|
| Mode of Delivery |
: |
Face-to-Face |
|
| Prerequisites and Co-Prerequisites |
: |
TİM 331 Acting III
|
|
| Recommended Optional Programme Components |
: |
None |
|
| Aim(s) of Course |
: |
The aim of the course is to help students (candidate actors), in the hands of the director as a creative subject, take place in a play prepared comprehensively (including costumes, makeup, decor, music, lighting, effects, etc.) that is nearest to the professional discipline and stage conditions, create a character with the Obraz thoguht system with the knowledge acquired in the subsidiary profession courses and with the habits and knowledge that an actor should have. |
|
| Course Contents |
: |
Students now work on giving a perfect and complete performance for which they have been studying for three years, setting up the entire play in conditions that are most near-to real life theatre conditions. |
|
| Language of Instruction |
: |
Turkish |
|
| Work Place |
: |
Stage |
|
|
Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Selection of the play that will be staged and its discussion and analysis within the basis of great circle (eligibility for the present). |
Assignment 1: Preparing a file that includes the research of the selected play within the basis of three-circle principle and the results. |
Special support/ Structural examples |
|
2 |
*Presentation of Assignment 1and Study |
Research - Analysis |
Special support/ Structural examples |
|
3 |
Distribution of roles and Discussion on the characters of the play |
* Assignment 2: Preparing research files of the characters that will be played within the three circle principle. |
Special support/ Structural examples |
|
4 |
Reading rehearsals and analysis on the medium-circle. |
Study on the role - book |
Special support/ Structural examples |
|
5 |
*Report of Assignment 2 and discussion on the minor circle. |
* Assignment 3: Surveying of the character´s of the role and practical preparation of the logical purpose and action system of the character with the method of analysis with action. |
Special support/ Structural examples |
|
6 |
Reading rehearsals and analysis of the behavior of the characters within the suggested conditions . |
Work on the role - book |
Special support/ Structural examples |
|
7 |
*Report of Assignment 3 and preparation of the logical purpose and action system of the character with the method of analysis with action. |
Study on the role - book |
Special support/ Structural examples |
|
8 |
The full range reading rehearsals of the dramatic artifact (including all assignments given above) |
* Homework 4: The Role-book preparation and adoption of the text. Continuation of observations and studies on the character. |
Special support/ Structural examples |
|
9 |
Establishment of the first act on the Stage in decor Marke |
|
Special support/ Structural examples |
|
10 |
Rehearsal of the first act in the decor Marke. |
|
Special support/ Structural examples |
|
11 |
*Report of Assignment 2 . The first draft rehearsal of the first act. |
|
Special support/ Structural examples |
|
12 |
Establishment of the second act in decor Marke.on the stage |
|
Special support/ Structural examples |
|
13 |
Establishment of the second act in decor Marke on the stage |
|
Special support/ Structural examples |
|
14 |
The first rehearsal of the second act. |
|
Special support/ Structural examples |
|
15 |
Semester analysis and general revision. |
|
Special support/ Structural examples |
|
16 |
Semester analysis and general revision. |
|
Special support/ Structural examples |
|
17 |
The draft flow of the first and second act. |
|
Special support/ Structural examples |
|
18 |
The establishment of real decor of the play. The establishment of Light order and adaptation rehearsals of the music -effect. |
|
Special support/ Structural examples |
|
19 |
Flow rehearsals. |
|
Special support/ Structural examples |
|
20 |
Flow rehearsals. |
|
Special support/ Structural examples |
|
21 |
Flow rehearsals. |
|
Special support/ Structural examples |
|
22 |
Flow rehearsals. |
* Assignment 5: A file that shows comprehensive information about the author of the play the student performs, a comprehensive socio-politic and socio-psychological period analysis of the work, and professional analysis within the basis of four-year experiences of the character he has created. |
Special support/ Structural examples |
|
23 |
General rehearsal. |
|
Special support/ Structural examples |
|
24 |
The premiere of the studied play. |
|
Role playing / Drama |
|
25 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
26 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
27 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
28 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
29 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
30 |
Analysis of premiere, determination of the mistakes and putting the play on stage. |
|
Role playing / Drama |
|
31 |
Evaluation of all stagings of the play. |
|
|
|
32/33/34 |
Final. Report of Assignment 5* and assertion. |
|
|
|
|
| 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. |
5 |
|
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. |
4 |
|
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 |
|
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. |
4 |
|
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. |
5 |
|
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.
|
2 |
|
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. |
2 |
|
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). |
|
|