|
| Course Description |
|
| Course Name |
: |
Acting Methods I |
|
| Course Code |
: |
STY 717 |
|
| Course Type |
: |
Optional |
|
| Level of Course |
: |
Second Cycle |
|
| Year of Study |
: |
1 |
|
| Course Semester |
: |
Fall (16 Weeks) |
|
| ECTS |
: |
6 |
|
| Name of Lecturer(s) |
: |
Prof.Dr. CAHANGİR NEVRUZOV
|
|
| Learning Outcomes of the Course |
: |
Applies a comprehensive analysis of dramaturgy material (text of the play) on the basis of the principle of three-circle (the method of deductive analysis).
Comphrehends his/her role in the full range professional manner and plays it in the suggested conditions, using the dramatic artifacts and the metamorphosis technique.
Performs his/her character within the framework of the director, without diverting from the superior goal and by creating a unique personal artistic interpretation of the role.
Performs his/her role by mixing all personal analyzed knowledge, observation and data by taking into account the approach of obraz thought.
Performs her design on the stage by existing in a presentation that is prepared with professional discipline and prepared in a manner close to the stage conditions of the full range of (costumes, makeup, decor, music, lighting, effects, etc.).
Evaluates and develops the role during the implementation on the stage.
Transfers to the audience the purpose of the game´s superior goal by establishing actor-audience relationship on the stage through design.
|
|
| Mode of Delivery |
: |
Face-to-Face |
|
| Prerequisites and Co-Prerequisites |
: |
None |
|
| Recommended Optional Programme Components |
: |
None |
|
| Aim(s) of Course |
: |
The student (candidate actor), as the the creative subject of the director´s hands, to acquisition a professional actor, habits and information within the knowledge acquired in courses using professional help when needed, professional discipline and prepared in a manner close to the scene of the full range of conditions (costumes, makeup, decor, music, lighting, effects, etc., containing) in a perform existence of Thought of "Obraz" applying the approach is intended to create a character developing. |
|
| Course Contents |
: |
A practice on the by itself perception and to give meaning to the player means of expression (physical, psychology, subliminal, etc.) . |
|
| Language of Instruction |
: |
Turkish |
|
| Work Place |
: |
Studio, Stage |
|
|
Course Outline /Schedule (Weekly) Planned Learning Activities |
| Week | Subject | Student's Preliminary Work | Learning Activities and Teaching Methods |
|
1 |
Explanation of the basic information of the concept of character and of approach to character. |
Text Research and recommendations. |
Special Support, / Structural Examples |
|
2 |
Explanation of the basic information of the concept of character and of approach to character. |
Text Research and recommendations. |
Special Support, / Structural Examples |
|
3 |
Reading rehearsals and analysis of the behavior of the characters within the conditions suggested. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
4 |
Reading rehearsals and analysis of the behavior of the characters within the conditions suggested. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
5 |
Actor approach with obraz to the character.
|
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
6 |
Actor approach with obraz to the character. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
7 |
Preparation through analysis with action of the character logically index applied a series of the action of objectives. Work on the director. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
8 |
Midterm Exam |
|
|
|
9 |
Preparation through analysis with action of the character logically index applied a series of the action of objectives. Work on the director. |
Homework
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
10 |
The creation of the draft surveys the geography of the scene, the concept of partition. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
11 |
The creation of the draft surveys the geography of the scene, the concept of partition. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
12 |
Discussions on the discipline of plastic and recycling optimize the design of director. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
13 |
Discussions on the discipline of plastic and recycling optimize the design of director. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
14 |
Discussions on the discipline of plastic and recycling optimize the design of director. |
Rehearsal Preparatory Studies |
Special Support, / Structural Examples |
|
15 |
Semester analysis and general revision. |
|
Special Support, / Structural Examples |
|
16/17 |
Final. |
|
|
|
|
|
Required Course Resources |
| Resource Type | Resource Name |
| Recommended Course Material(s) |
 Constantin Stanislavski, An Actor Prepares
Constantin Stanislavski, My Life in Art
Constantin Stanislavski, An Actor´s Work: A Student´s Diary
Constantin Stanislavski, Building A Character
Constantin Stanislavski, Creating A Role
|
| |
| Required Course Material(s) | |
|
|
|
Assessment Methods and Assessment Criteria |
|
Semester/Year Assessments |
Number |
Contribution Percentage |
|
Mid-term Exams (Written, Oral, etc.) |
1 |
50 |
|
Homeworks/Projects/Others |
1 |
50 |
|
Total |
100 |
|
Rate of Semester/Year Assessments to Success |
40 |
| |
|
Final Assessments
|
100 |
|
Rate of Final Assessments to Success
|
60 |
|
Total |
100 |
|
|
| Contribution of the Course to Key Learning Outcomes |
| # | Key Learning Outcome | Contribution* |
|
1 |
understands the conversion lines based on the past to the future development of the performing arts, and applies them according to the needs of our time. |
5 |
|
2 |
shows the ways that would help them to obtain competency in using Turkish correctly, beautifully and efficiently |
5 |
|
3 |
ensures effective and correct use of the voice mechanism, the coordination of breath and sound ability, and health protection of voice as part of the opera singing training, |
0 |
|
4 |
creates a critical perspective by taking into account the requirements of the era and synthesizes the learned information while investigating all aspects of theatre and opera of national and international literature. |
5 |
|
5 |
knows the methods, theories, history, and uses of the voice and body techniques and their relationship with theories of art, aesthetics, and behavioral psychology. The student understands the art in particular with a level of knowledge that enables them to transfer it into the future. |
4 |
|
6 |
has sufficient knowledge in terms of scene technology, and comprehends the way the artistic and expressive images of the game will be expressed. |
5 |
|
7 |
gains a social and aethetic point of view of theatre-acting and opeara-singing and ensures adequacy of application in performing arts, radio, television and cinema. |
5 |
|
8 |
gains the ability to assess the universal values with his/her acquired knowledge in the field of study. |
3 |
|
9 |
gains the sensitivity of being an artist conscious of the responsibility that falls on him/her personally, nationally, and globally. |
4 |
|
10 |
knows and has the ability to show the ways that help him/her to find the necessary documents, tools, resources, and organize an archive regarding the sources related to performing arts. |
2 |
|
11 |
gains the ability to provide information to different audiences about the area of performing arts within the realm of the art of theatre-acting / opera – singing. |
4 |
|
12 |
gains the ability to individually carry out the process of working on the work(s) he/she is obliged to work on. |
5 |
|
13 |
constantly improves himself as a man of art, and keeps up-to-date about the current art events. |
4 |
|
14 |
shows and uses the ways to use the correct technique of voice and speech sound on stage by singing, solfege and ear training. |
0 |
|
15 |
has a sense of social responsibility, social competence, and communication skills required by Performing arts. |
4 |
|
16 |
gains professional ethics and professional discipline of art along with attributes, and awareness of being a professional performing artist in theatre-acting/opera-singing. |
5 |
|
17 |
continuously improves himself as a man of art, relates the knowledge and skills of professional ethics to other art fields, and establishes ties between them. |
4 |
|
18 |
shows the ways to bring the character’s thoughts and feelings into existence on the stage through techniques and methods of performing arts. |
5 |
|
19 |
gains the ability to use his/her natural mechanism as an instrument on the stage by improving his skills of coordination, and knowing his/her body, emotions and thoughts. |
5 |
| * Contribution levels are between 0 (not) and 5 (maximum). |
|
|
| Student Workload - ECTS |
| Works | Number | Time (Hour) | Total Workload (Hour) |
| Course Related Works |
|
Class Time (Exam weeks are excluded) |
16 |
3 |
48 |
|
Out of Class Study (Preliminary Work, Practice) |
16 |
6 |
96 |
| Assesment Related Works |
|
Homeworks, Projects, Others |
1 |
6 |
6 |
|
Mid-term Exams (Written, Oral, etc.) |
1 |
6 |
6 |
|
Final Exam |
1 |
6 |
6 |
|
Total Workload: | 162 |
| Total Workload / 25 (h): | 6.48 |
| ECTS Credit: | 6 |
|
|
|