The latvian academy of culture

TERM 2

On the basis on the knowledge acquired in Term1 work is started with an author’s text using Latvian drama and prose (R. Blaumanis, J. Jaunsudrabiņš, J. Ezeriņš, A. Upīts and others). The analysis of a role in action. At the initial stage studies-improvisations are created on the theme of a corresponding excerpt of drama or prose precisely defining the given conditions, analysing the logic of the character’s activities and his/her motives (What does this character want to achieve? Why does he/her want it?). The spoken text is partly improvised. At this stage it is important to bring the character’s activity nearer to oneself in a logical way, connect it with oneself. The emotional memory plays an important role in this process, i.e., to be able to find associations in the storage of one’s own emotions and life experience that would help to understand the drama material better and make the motives of the character’s activity one’s own.	17, 18, 19, 20, 21	L20;S4;P36
A transition to a precise author’s text takes place during the further work, the nucleus of the role and its deepest essence and the most characteristic features are determined The main task of the role is defined within the framework of the excerpt of the play or the literary work.	22, 23, 24, 25, 26	L8;P52
In the course of exercises the students learn to find a precise relation towards their partner, develop dialogues, i.e., listen, answer and understand the essence of the inner monologue. The author’s text becomes an important instrument to influence the partner. The training of the elements of the art of acting is continued simultaneously with the work at excerpts.	27, 28, 29 30, 31, 32	L16;S4;P52
TERM 3
The work at Russian classical drama (A. Ostrovsky). The analysis of a role in action using excerpts of A. Ostrovsky’s play Forest, Talents and Admirers, A Bride without a Dowry. Stage 1. The content of the play and the main task of the character. Studies-improvisations on the theme of the excerpt. The search of the point of interaction between the character and the performer. The establishment of conditions, the conflict, events and the task of the character. Stage 2. Transition to a precise author’s text. The word-based activity: an ability to instil one’s own views in one’s partner. The inner and outer originality of the character – the final stage of the creation of the role. The knowledge about the author’s creative principles and his/her world’s outlook is acquired in the work process. Moreover, the research in the corresponding epoch is carried out using genres of other arts (music, fine arts).	33- 40	L8;P16
The work at excerpts of antique drama (Aeschylus, Sophocles, Euripides). An introduction into the genre of antique tragedy and its means. When working with these excerpts the student’s face is covered with a mask. If compared to the excerpts of the situational comedy these assignments demand higher intensity of emotions, power of voice and expressiveness of one’s body. All the means of expression are oriented towards a larger distance and more spacious premises. Thus the barrier of the situational means of expression is overcome and the students continue to get acquainted and develop their creative potentials.	41- 48	L8;P16
TERM 4
The genre of comedy. Classical comedy, comedia dell’arte, farce, grotesque, vaudeville. (Lope de Vega, Carlo Goldoni, Gozzi, Labiche). The work at the development of the actor’s inner technique is continued in this term. The following drama features necessary for the genre of comedy are mastered: specific flexibility of the inner technique, a quick reaction, an ability to naively believe the given most paradoxical conditions, a precise transition from contact with one’s partner to contact with the audience, a sense of time and the rhythm of drama. Comedia dell’arte demands an especially witty ability of improvisation and skills to create typical characters with separate brightly stressed features (Pantaloon, Arlecchino, Smeraldina and others). The exaggeration becomes a means of artistic expression in farce and grotesque. When working in the genre of comedy the students also apply the previously acquired knowledge about the analysis of a play and a role in action. The work at excerpts of comedy frequently discovers new, unexpected creative potentials in the students.	49- 63	L36;S8;P112
TERM 5
W. Shakespeare’s drama. Comedy. Tragedy. An excerpt of F.Dostoyevsky’s writings. The work at the drama excerpts by W. Shakespeare and F. Dostoyevsky not only deepens and strengthens the professional skills already acquired, it also provides a basis for serious studies in the conflicting human nature and psychology. Thus the personality of the future actor is also developed.	65- 80	L50;S8;P126