Embodied Movement Practices in the Performing Arts. Fall 2022

  I Warm Up II   Rehearsal of Movement, Voice and text      III    Conflict   Elements of Drama: Conflict      Question 1   What is the main conflict in your piece? Is it external or internal? Explain       IV     System of Wants      What is it that I want when I say .....  Actors never say anything on stage unless they want something.  That is a general rule that allows for what they say to be organic and believable. This is why play-wright-ing is such an important part of drama. A writer who does not know how to write for theater may write too much without a clear sense of how the system of wants works. This will cause extra amount of text that will be impossible for actors to find justification what they say on stage.    This is the reason why plays written by writers of other genres of both fiction and non-fiction are not very engaging plays. They tend to...

      I   The Score vs. The Blocking    The term "dance score," or movement score, refers to notations showing sequences of movements performers are supposed to use that is, they are documents showing choreography. Blocking is the precise staging of actors in order to facilitate the performance of a play, ballet, film or opera. ... During the blocking rehearsal, the assistant director, stage manager or director takes notes about where the actors are positioned and their movement on stage.   Question 1   In which way is blocking different from the movement structuring you have done in class? Why is this distinction important for your work? ---------------------   II    VOICE   Voice Warm Up Voice Exploration Voice Harmonies Solo Improv   Finding the voice for the instrument, score,etc. Add the voice or voices to the text. III Activity 1 Students will create a sequence of voice propositions (using extreme of conscious...

I     Constructure   Constructure Although it is considered obsolete, we will use the term constructure to describe the process or act of constructing (or the manner in which movement is constructed) using all the elements of extra-daily techniques.   Extra-daily techniques are those movement techniques we have explored in class. All the grounding and guiding information that the audience needs, such as: who the characters are where they are,  what time of day it is conform the body language of the performer. Like the word "context," constructure can also be any other additional information the audience needs to interpret and accurately understand what is happening in the movement story. Question 4  Based on your work so far, how would you describe your own experience with the process of constructing movement? II     Structure Structure  Structure comes from the Latin word structura which means "a fitting together, building." Your b...

      I   Warm Up   II   CONCEPTS  Context, Text, and Subtext   Context Often when we think of context, we think of things like the date a work was published, who it was written by, or the climate of the time. But context is very important within your fictive universe as well.  Context in this sense is all the grounding and guiding information that the audience needs, such as who the characters are, where they are, what time of day it is, etc. Context can also be any other additional information the audience needs to interpret and accurately understand what is happening in the story.   Question 1 How can the artist create context at a personal level when working on a character?   Text Text is the easiest one of the three to understand, because it is what we often focus on the most. The text is the written part of the story, what happens and what is stated on the page. It is everything you see that is not implied. T...