Drama Art class of 2009 in rehearsal
Present students in rehearsal for "Down memory lane"
DRAMA ART
Acting - Drama – Mime – Improvisation - Scene and Monologue Study – Breathing techniques –Voice production – Development of Poise, Selfconfidence, Physical health, Mastery Over Stage Fright
The focus of Creative Drama is on acting, drama skills and techniques that are transferable to all other endeavors such as poise, diction, projection, confidence and health on an existential level. The principal aim of the course is to provide the candidate with a theoretical and practical background of the art of drama, and to prepare him for a career in acting.
PRACTICAL
Breathing Techniques
Voice production
Resonance and Projection
Poise and movement
Mime and Improvisation
Acting and Interpretation
Story telling
THEORETICAL
MODULE 1 – BREATHING, VOICE AND SOUND
BREATHING
The importance of correct breathing
The technique of correct breathing
The difference between breathing and supporting
Anatomy of the diaphragm
Anatomy of the lungs
Effect of correct breathing on the brain
Brain waves
Breathing exercises
Physical warm-ups for actors and speakers
A few advanced breathing exercises
LARYNX AND VOICE
Voice production or phonation
Articulation
Language skills
Vocal exercises
Articulation exercises
Advanced articulation exercises
Exercises for consonants
Exercises for vowels
Anatomy of the larynx
Functions of the larynx
The production of airflow
Sound production
Vocal folds
Vocal folds in phonation
Vocal fold excitation
Articulation of voice
How the larynx works
MODULE 2 – POSTURE, MIME AND IMPROVISATION
POSTURE AND MOVEMENT
About movement
Something about the Alexander Technique
Inner movement
About posture
The do’s and don’ts of posture
Exercises for improving your posture
Anatomy of the spine
ATTENTIVENESS
Expansion of consciousness
Parts and planes of the being
Exploring parts of the being
Developing full potential
Awareness of the inner- and outer being
The use of oneself
Attentiveness through breathing
EMOTIONS
Performing emotions
MIME
Definitions of Mime
The origins and development of the art of mime
IMPROVISATION
David Algar’s rules
MODULE 3 – THEATER, ACTING AND INTERPRETATION
THEATER
ACTING AND INTERPRETATION
The four pillars of acting
The uses of drama
Theater Assesment
Something about past personalities
The Actor’s Primary goal
When studying a poem or monologue
Requirements for building a character
The words of the script
Relating to the words
Sound and no sound
Stress
Pitch
Volume, rhythm, repetition, diction
Acting is physically demanding
THEATER ACTING
Approach
Focus
Problem solving
Dialogue
Moment to moment
Facades and changes
Characterization
MODULE 4 – STAGE DIRECTING
So you want to be a stage director?
Stage Directing by Francis Hodge
Seven major areas of play directing
What you need to know the first time you direct a play by Bruce Miller
Selecting a script
Script Analysis
Concept and design
Casting
The brain behind the hidden hand by Bruce Miller
The first rehearsal
Exploring the script
Blocking
Doing it right
Making moments happen
Working through
Running through
Giving notes
Directing
Director’s goals
Director’s tools
Creating and carrying out the production concept
Director’s processes
First production meeting
Production schedule
Casting
Blocking rehearsals
Rehearsals with actors
Technical rehearsal
Historical conventions of directing
Musical directing
Choreography
Directing Theater by Debra Bruch
Australian women theater directors
The art of invisible leadership
Dealing with feminism
Pondering direction
Talking Industry
The duties of the director
Developing the concept
Casting
Meeting with the designers
Preparations for the rehearsal period
Useful techniques
Lights
Costumes
The curtain call
MODULE 5 – STORY TELLING AND MULTIPLE INTELLIGENCES IN DRAMA
STORY TELLING
Concepts to remember
Story telling is a folk art
Finding a tale
Learning a tale
Just before performing a tale
Performing a tale
Story tell ideas
Atmosphere
Voice
Expression
Timing
Ending the story
Some further helpful hints
When to tell stories
Choosing a story
MULTIPLE INTELLIGENCES IN DRAMA
Linguistic Intelligence
Logical-Mathematical Intelligence
Musical Intelligence
Intrapersonal Intelligence
Interpersonal Intelligence
Bodily-Kinesthetic Intelligence
Spatial Intelligence
MODULE 6 – DRAMA AND THEATER HISTORY
GREEK DRAMA
ROMAN DRAMA
MEDIEVAL DRAMA
RENAISSANCE DRAMA
DRAMA – Seventeenth Century Drama
Eighteenth Century Drama
Nineteenth Century Drama
Twentieth Century Drama
MODULE 7 – DRAMA AND THEATER HISTORY2
THE ORIGINS OF TRAGEDY AND COMEDY
THE DEVELOPMENT OF ANTHENIAN TRAGEDY
The development
The nature
The genre of tragedy
Tragic festival
Theatre and actors
The chorus
The structure
ANCIENT GREEK THEATRE
The timeline of Greek Drama
The origin
Staging an ancient Greek play
Greek theatres
Structure
Directory of Greek plays
ROMAN THEATRE
Roman history
Roman theatre
Major influences on Roman theatre
Roman festivals
Forms of Roman theatre
Roman tragedy
Dramatic theory
Theatre design
Theatre and actors
Style
Theatre at the end of the Empire
MEDIEVAL THEATRE
Medieval history
Earliest existing drama from the Middle eages
Liturgical drama inside the Church
Liturgical drama outside the Church
Medieval staging
The mystical play
The miracle play
The morality play
Medieval secular plays
The decline of Medieval theatre
RENAISSANCE/NEOCLASSICISM THEATRE
Renaissance history
Neoclassicism history
Italianate staging
Italianate special effects
Comedia dell Arte
MEDIEVAL TO ELIZABETHAN THEATRE
Theatre’s transition in Europe
Influences on Elizabethan Drama
Pre-Shakespearian acting troupes
Elizabethan theatres
The Stuart Court Masques
Spanish theatre during the Renaissance
Spanish religious drama
Spanish secular drama
Neoclassicism in France
RESTORATION THEATRE
The Restoration in England
Restoration Comedy of manners
EIGHTEENTH CENTURY THEATRE
Rationalism
Sentimentalism
Serious Drama
Other forms
Staging in the eighteenth theatre
ROMANTICISM
The age of independence
Major characteristics
Theatre practice
NINETEENTH CENTURY DRAMA
The primary form
Characteristics of Melodrama
Types of Melodrama
Major trends
Staging in the nineteenth century
REALISM
The emergence of Realism
Beginnings of the movement
TWENTIETH CENTURY DRAMA
Overview of theatre, playwrights and plays from early nineteenth up to date
MODULE 8 – PLAYWRIGHTS AND THEIR PLAYS
GREEK DRAMA
Playwrights and plays
ROMAN DRAMA
Playwrights and plays
RENAISSANCE
Playwrights and plays
DRAMA 1700 -1800
Playwrights and plays
DRAMA 1800 – 1900
Playwrights and plays
DRAMA 1901 – 1969
Playwrights and plays
MODULE 9 – STAGE TECHNIQUE
THE GREAT BEGINNING, THE GREAT ENDING
STAGE PERFORMANCE
GETTING ON WITH THE JOB
READING YOUR AUDIENCE
SOLO PERFORMING
STRESS AND HOW TO HANDLE IT
FROM THE STAGE TO THE PODIUM
PERFORMANCE NERVES AND HOW TO HANDLE IT
STAGE FRIGHT MANAGEMENT
MODULE 10 – PLAYS, ACTING AND MUSIC (A BOOK OF THEORY)
Nietzsche on Tragedy
Sarah Bernhardt
Coquelin and Molière
Rèjane
Yvette Guilbert
Sir Henry Irving
Duse in Some of Her Parts
Annotations
M. Capus in England
A Double Enigma
DRAMA
Professional and Unprofessional
Tolstoi and Others
Some Problem Plays
"Monna Vanna"
The Question of Censorship
A Play and the Public
The Test of the Actor
The Price of Realism
On Crossing Stage to Right
The Speaking of Verse
Great Acting in English
A Theory of the Stage
The Sicilian Actors
MODULE 11 – STUDIES IN SEVEN ARTS
Something about all the arts
MODULE 12 – LAST BUT NOT LEAST
Review of some important components of your course
Breathing is meaning
The actor’s voice
Character
Script
Rehearsal
A final word on how the voice works
Dance and drama chance
Aspects of posture, gender and personality
The focus of Creative Drama is on acting, drama skills and techniques that are transferable to all other endeavors such as poise, diction, projection, confidence and health on an existential level. The principal aim of the course is to provide the candidate with a theoretical and practical background of the art of drama, and to prepare him for a career in acting.
PRACTICAL
Breathing Techniques
Voice production
Resonance and Projection
Poise and movement
Mime and Improvisation
Acting and Interpretation
Story telling
THEORETICAL
MODULE 1 – BREATHING, VOICE AND SOUND
BREATHING
The importance of correct breathing
The technique of correct breathing
The difference between breathing and supporting
Anatomy of the diaphragm
Anatomy of the lungs
Effect of correct breathing on the brain
Brain waves
Breathing exercises
Physical warm-ups for actors and speakers
A few advanced breathing exercises
LARYNX AND VOICE
Voice production or phonation
Articulation
Language skills
Vocal exercises
Articulation exercises
Advanced articulation exercises
Exercises for consonants
Exercises for vowels
Anatomy of the larynx
Functions of the larynx
The production of airflow
Sound production
Vocal folds
Vocal folds in phonation
Vocal fold excitation
Articulation of voice
How the larynx works
MODULE 2 – POSTURE, MIME AND IMPROVISATION
POSTURE AND MOVEMENT
About movement
Something about the Alexander Technique
Inner movement
About posture
The do’s and don’ts of posture
Exercises for improving your posture
Anatomy of the spine
ATTENTIVENESS
Expansion of consciousness
Parts and planes of the being
Exploring parts of the being
Developing full potential
Awareness of the inner- and outer being
The use of oneself
Attentiveness through breathing
EMOTIONS
Performing emotions
MIME
Definitions of Mime
The origins and development of the art of mime
IMPROVISATION
David Algar’s rules
MODULE 3 – THEATER, ACTING AND INTERPRETATION
THEATER
ACTING AND INTERPRETATION
The four pillars of acting
The uses of drama
Theater Assesment
Something about past personalities
The Actor’s Primary goal
When studying a poem or monologue
Requirements for building a character
The words of the script
Relating to the words
Sound and no sound
Stress
Pitch
Volume, rhythm, repetition, diction
Acting is physically demanding
THEATER ACTING
Approach
Focus
Problem solving
Dialogue
Moment to moment
Facades and changes
Characterization
MODULE 4 – STAGE DIRECTING
So you want to be a stage director?
Stage Directing by Francis Hodge
Seven major areas of play directing
What you need to know the first time you direct a play by Bruce Miller
Selecting a script
Script Analysis
Concept and design
Casting
The brain behind the hidden hand by Bruce Miller
The first rehearsal
Exploring the script
Blocking
Doing it right
Making moments happen
Working through
Running through
Giving notes
Directing
Director’s goals
Director’s tools
Creating and carrying out the production concept
Director’s processes
First production meeting
Production schedule
Casting
Blocking rehearsals
Rehearsals with actors
Technical rehearsal
Historical conventions of directing
Musical directing
Choreography
Directing Theater by Debra Bruch
Australian women theater directors
The art of invisible leadership
Dealing with feminism
Pondering direction
Talking Industry
The duties of the director
Developing the concept
Casting
Meeting with the designers
Preparations for the rehearsal period
Useful techniques
Lights
Costumes
The curtain call
MODULE 5 – STORY TELLING AND MULTIPLE INTELLIGENCES IN DRAMA
STORY TELLING
Concepts to remember
Story telling is a folk art
Finding a tale
Learning a tale
Just before performing a tale
Performing a tale
Story tell ideas
Atmosphere
Voice
Expression
Timing
Ending the story
Some further helpful hints
When to tell stories
Choosing a story
MULTIPLE INTELLIGENCES IN DRAMA
Linguistic Intelligence
Logical-Mathematical Intelligence
Musical Intelligence
Intrapersonal Intelligence
Interpersonal Intelligence
Bodily-Kinesthetic Intelligence
Spatial Intelligence
MODULE 6 – DRAMA AND THEATER HISTORY
GREEK DRAMA
ROMAN DRAMA
MEDIEVAL DRAMA
RENAISSANCE DRAMA
DRAMA – Seventeenth Century Drama
Eighteenth Century Drama
Nineteenth Century Drama
Twentieth Century Drama
MODULE 7 – DRAMA AND THEATER HISTORY2
THE ORIGINS OF TRAGEDY AND COMEDY
THE DEVELOPMENT OF ANTHENIAN TRAGEDY
The development
The nature
The genre of tragedy
Tragic festival
Theatre and actors
The chorus
The structure
ANCIENT GREEK THEATRE
The timeline of Greek Drama
The origin
Staging an ancient Greek play
Greek theatres
Structure
Directory of Greek plays
ROMAN THEATRE
Roman history
Roman theatre
Major influences on Roman theatre
Roman festivals
Forms of Roman theatre
Roman tragedy
Dramatic theory
Theatre design
Theatre and actors
Style
Theatre at the end of the Empire
MEDIEVAL THEATRE
Medieval history
Earliest existing drama from the Middle eages
Liturgical drama inside the Church
Liturgical drama outside the Church
Medieval staging
The mystical play
The miracle play
The morality play
Medieval secular plays
The decline of Medieval theatre
RENAISSANCE/NEOCLASSICISM THEATRE
Renaissance history
Neoclassicism history
Italianate staging
Italianate special effects
Comedia dell Arte
MEDIEVAL TO ELIZABETHAN THEATRE
Theatre’s transition in Europe
Influences on Elizabethan Drama
Pre-Shakespearian acting troupes
Elizabethan theatres
The Stuart Court Masques
Spanish theatre during the Renaissance
Spanish religious drama
Spanish secular drama
Neoclassicism in France
RESTORATION THEATRE
The Restoration in England
Restoration Comedy of manners
EIGHTEENTH CENTURY THEATRE
Rationalism
Sentimentalism
Serious Drama
Other forms
Staging in the eighteenth theatre
ROMANTICISM
The age of independence
Major characteristics
Theatre practice
NINETEENTH CENTURY DRAMA
The primary form
Characteristics of Melodrama
Types of Melodrama
Major trends
Staging in the nineteenth century
REALISM
The emergence of Realism
Beginnings of the movement
TWENTIETH CENTURY DRAMA
Overview of theatre, playwrights and plays from early nineteenth up to date
MODULE 8 – PLAYWRIGHTS AND THEIR PLAYS
GREEK DRAMA
Playwrights and plays
ROMAN DRAMA
Playwrights and plays
RENAISSANCE
Playwrights and plays
DRAMA 1700 -1800
Playwrights and plays
DRAMA 1800 – 1900
Playwrights and plays
DRAMA 1901 – 1969
Playwrights and plays
MODULE 9 – STAGE TECHNIQUE
THE GREAT BEGINNING, THE GREAT ENDING
STAGE PERFORMANCE
GETTING ON WITH THE JOB
READING YOUR AUDIENCE
SOLO PERFORMING
STRESS AND HOW TO HANDLE IT
FROM THE STAGE TO THE PODIUM
PERFORMANCE NERVES AND HOW TO HANDLE IT
STAGE FRIGHT MANAGEMENT
MODULE 10 – PLAYS, ACTING AND MUSIC (A BOOK OF THEORY)
Nietzsche on Tragedy
Sarah Bernhardt
Coquelin and Molière
Rèjane
Yvette Guilbert
Sir Henry Irving
Duse in Some of Her Parts
Annotations
M. Capus in England
A Double Enigma
DRAMA
Professional and Unprofessional
Tolstoi and Others
Some Problem Plays
"Monna Vanna"
The Question of Censorship
A Play and the Public
The Test of the Actor
The Price of Realism
On Crossing Stage to Right
The Speaking of Verse
Great Acting in English
A Theory of the Stage
The Sicilian Actors
MODULE 11 – STUDIES IN SEVEN ARTS
Something about all the arts
MODULE 12 – LAST BUT NOT LEAST
Review of some important components of your course
Breathing is meaning
The actor’s voice
Character
Script
Rehearsal
A final word on how the voice works
Dance and drama chance
Aspects of posture, gender and personality
