The latvian academy of culture

TV DIRECTION

C

Choice	1	2	3	4	5	6	7	8	Hours	Credit Points	Lecturers
The Theory of the Folklore			32:2 T	32:2 E					64	4	Lect.I.Tāle
Baltic Mythology					32:2 T	32:2 E			64	4	Prof.J.Kursīte
Set Design					32:2 T				32	2	Lect. I Romānova
The Fundamentals of the Fotography	32:2 T	32:2 E							64	4	Lect.M.Kundziņš
Film and Video Editing			32:2 T						32	2	Prof.A.Epners
Total	2	2	4	2	4	2				16

BA STUDY PROGRAMME Part A

Description of the Study Course

The Name of the Course: TV Direction
The Scope of the Course: 388 academic hours (168 hours of lectures, 120 hours of seminars and 100 hours of independent work with students)..

20 credit points. The type of assessment: tests, annual papers and examinations.

The Author of the Course: Ass. Prof. Ģirts Nagainis
Preconditions for the Acquisition of the Course: For the acquisition of the speciality of TV Direction the following skills are required: video editing, operator, TV technology, journalist and acting. It is required to have prior knowledge in the history of art, the cinema and literature. Students should be able to photograph, film with a VHS camera, have paradoxical type of thinking, a bright imagination and an extraordinary conception of life.
The Contents of the Course: The course includes the most significant theories, methodologies and practical classes in drama and TV direction. The objective of the course is to acquire TV direction from plot making till a video film shooting parallelly developing basic skills in the profession of an operator and a journalist.
Thematic Planning:

I.Theme	Week	Type of classes and hours
The art of action. The origin, expression and understanding of the art of action in the Eastern and Western cultures.	1.,2	L2
Fen-Shui: the Chinese art of composition.	3.,4.	L2
Composition and perspective in the icons of Byzantium.	5.,6.	L2
Renaissance and perspective, the lights and darks and dimensions.	7.,8.	L2;S2
A play, a script, a chronicle, an anecdote, a document and others as a record of an action.	9.,10.	L2
The development of the art of action from a ritual, a play, a carnival till the cinema and the video film.	11.,12.	L2
The brightest expression of the art of action in the 20^th century.	13.,14.	L2
Practical work 60 hours.
The main principles of the art of action: the art of action as a collective and synthetic art.	15.,16.	L2;S2
An actor expressing the art of action.	17.,18	L2;S2
An action of human will directed to a specific aim.	19.,20.	L2;S2
An actor: an exponent and a tool of his own art.	21.,22.	L2;S2
The creative work of an actor: the main material of the director art.	23.,24.	L2;S2
The role of a spectator in creative work.	25.,26.	L2;S2
The nature of an actor’s play.	27.,28.	L2;S2
The school of the art of experience.	29.,30.	L2;S2
The school of the art of performance.	31.,32.	L2;S2
An action: the main cause of actor’s experience and his main material.	33.,34.	L2;S2
The synthesis of the arts of experience and performance.	35.,36.	L2;S2
Acting: The main principles of actor education: to create an artistic personality, to reveal this personality, the accomplishment of ethic and aesthetic ideals.	1.,2.,3.,4.	L2;S2
K. Stanislavsky’s system: the truth of the life, the teaching about the main task, an action as the cause of the experience. The creative work of an actor and his unity with the character.	5.,6.,7.,8.,9.,10.	L2;S2
The inner and outer techniques: the unity of the feel for the truth and form.	11.,12.	L2;S2
The types of actor’s attention and the accomplishment of his fantasy.	13.,14.	L2;S2
Attention on the filming ground and in life.	15.,16.	L2;S2
The inner and outer relaxation.	17.,18.	L2;S2
An actor’s confidence: a precondition for the credibility of his play.	19.	L2
The given conditions and the biography of a character.	20.,21.	L2;S2
Stanislavsky’s method of physical actions.	22.,23.	L2;S2
Meierhold’s bio-mechanics.	24.	L2;S2
Brecht’s method of alienation.	25.	L2;S2
Happening as the main addition to TV genres.	26.,27.	L2;S2
The task of an action and its elements.	28.,29.	L2;S2
Improvization and fixation.	30.	L2
Life research and fantasizing about the role.	31.,32.	L2;S2
Revelation and intuition in actor’s work.		L2;S2
The fundamentals of direction: a director as a creator of a new truth, reality, a life model, etc.	37.,38	L2;S2
The ethics of director’s work.	39.	L2;S2
The acquisition of the etudes of a director and an actor.	40.,41.,42.,43.	L2,S2
Research and selection of action.	44.,45.	L2;L2
How to see, provoke, foresee and lead an event.	46.,47.	L2;S2
Happening and provocation.	48.,49.	L2;S2
A plot and a dialogue.	50.,51.	L2;S2
A frame, composition and mise-en-scene.	52.,53.,54.	L2;L2
An angle and movement in a frame.	55.,56.	L2;S2
The devices of frame editing.	57.	L2;L2
An editing phrase, episode and general stylistics.	58.,59.	L2;L2
The practical creation of a plot and dialogue.	60.,61.	L2;S2
The practical creation of an performance (circus, a fairy-tale, a similarity, etc.).	62.	L2
The staging of a play in a room theatre istabas teātrī and a TV stage.	63.	L2;S2
The basic principles of collective work. Work with an artist, a sound director and a camera-man.	64.	L2;L2
TV direction: A TV news item and coverage.	65.,66.,67.	L2;L2
The structure and the creation techniques of a programme.	68.,69.,70.	L2;L2;S2
Work with a person in a scene.	71.,72.,73.	L2;L2;S2
A TV show with public.	74.,75.	L2;S2
TV journal.	76.,77.,78.,79.	L2;L2;S2
Director’s responsibility and his ability to influence the audience.	80.	L2;L2;S2
The possibilities of author television: a director and an operator in one person, a journalist and a director in one person, I do everything myself!	81.,82.,83.	L2;S2
The acquisition of the fundamentals of a live broadcast: sports, church services, parades, Song festivals, concerts, theatre performances.	84.,85.,86.,87.	L2;L2;S2
The meaning of a film style in TV.	88.	L2;S2
The application of computer graphics.	89.	L2;S2;S2
Director’s work and ratings.	90.	L2;S2
The frame thinking.	91.,92.,93.	L2;S2
The techniques of self-advertizing.	94.,95.,96.	L2;S2;S2
A video film: the cinema and a video film. Mutual influence and differences.	97.,98.	L2;S2
The history of creation of the video film.	99.	L2;S2
A TV production and a video film.	100., 101.	L2;S2
The principles of creating soap operas and serials.	102.	L2;S2
The ability to create a command.	103	L2;S2
From the notification of an idea till a director’s script.	104	L2;S2
Work with an actor in a video film.	105., 106.	L2;S2
Documentary video films and documentary serials.	107., 108	L2;S2
Colour drama, editing in the interpretation of music. From a clip till an oratory.	109., 110.	L2;S2;S2
The movement and ballet on TV.	111.	L2;S2
Virtual reality: a director vs a viewer. The ethic responsibility of a director about the pollution of the viewer’s conscience.	112.	L2;

Requirements for the Acquisition of Credit Points:
1. Successfully completed practical tasks.

2. Passed examinations.

Literature:

1.Čaplins, Č. Mana dzīve. - Rīga, 1976.

2.Doreda, E. Pasaule ir apaļa. - Rīga, 1994.

3.Dunkers, O. Režisors domā par aktieri. - Rīga, 1976.

4.Dzenītis, Ģ. Tālrāde. - Rīga,

5.Freimane, V. Personības un parādības. - Rīga, 1986.

6.Freimanis, A. Puikas gads. - Rīga 1984.

7.Herbert, Zett., Television Production Hand Book., Wordsworths Publ. Coup., California, 1992

8.Kinooperators Māris Rudzītis. - Rīga, 1983.

9.Leimanis,L. Rakstu krājums. - Rīga, 1980.

10.Līce,S. Viņi veidoja latviešu mākslas filmu vizuālo tēlu. - Rīga, 1995.

11.Par sevi, par savu dzīvi, par savu darbu kino. - Rīga, 1991.

12.Sils, H. Tēlotāja māksla un vārds. - Sidneja, 1968.

13.Staņislavskis, K. Aktiera darbs. - Rīga, 1953.

14.Triju zvaigžņu atspīdums. Atmiņas par A. Slapiņu, G. Zvaigzni un J. Podnieku. - Rīga, 1994.

15.Ulmane, L. Pārvērtības. - Rīga, 1986.

16Director on TV. - London, 1985.

17.Paas, M. TV used time. - Paris, 1995.

18.Videofilms. - London, 1995.

BA STUDY PROGRAMME Part B