The latvian academy of culture

TERM 6

11. A.Chekhov’s drama. The 20th century drama of Western Europe and the USA. The work at A. Chekhov’s drama demands an ability to create a complicated, many-sided inner life of the character. Dramatically charged inner processes are often hidden behind an apparently, as it were, inactive situation. Thus the future actors enrich their professional knowledge with an art to develop the life of the character in several levels. The theme of human loneliness and a desperate desire to find one’s place and the sense of one’s existence in this world is typical of in A. Chekhov’s drama. Later this theme is widely used in the drama of the 20th century.	81- 96	L50;S8;P126
TERM 7
The preparation of the Bachelor’s Work: performances of various genres. The main objective of the Bachelor’s Work is to give the students an opportunity to demonstrate their professional skills and abilities in works of various genres (drama, comedy, musicals). If during the studies the role was created within the framework of an excerpt, in the Bachelor’s Work the role is recreated within the framework a play. It is an essentially new, more work-consuming assignment. In order to carry it out it is especially important to determine and precisely impersonate the content and the main task of the play and consequently the significance of the main task and the role though out the play. The students demonstrate their professional readiness in their Bachelor’s Work applying the knowledge and skills acquired during their studies.	97- 112	L50;S8;P126

Preconditions for the Acquisition of the Credit Points:

12. 
    A positive assessment of individual assignments during the term.
    
13. 
    75% attendance of lectures.
    

Literature:

1. 
   Akimovs, N. Par teātri. - Rīga, 1964.
   
2. 
   Akurātere, L. Aktiermāksla latviešu teātrī. - Rīga, 1983.
   
3. 
   Grēviņš, M. Dailes teātris. - Rīga, 1971.
   
4. 
   Hausmanis, V. Sarunas ar Felicitu Ertneri. - Rīga, 1977.
   
5. 
   Toporkovs, V. Staņislavskis mēģinājumā. - Rīga, 1963.
   
6. 
   Zahava, B. Aktiera un režisora meistarība. - Rīga, 1971.
   
7. 
   Bruder, M. etc. A Practical Handbook for the Actor. - New York, 1986.
   
8. 
   Gordon, M. The Stanislavsky Technique: Russia Applause. - Th. B. P., 1987.
   
9. 
   Hilton, J. New Directions in Theatre. - Great Britain, 1993.
   
10. 
    Аппиа А. Живое и искусство. - Москва, 1987ю
    
11. 
    Арто А. Театр и его двойник. - Москва, 1993.
    
12. 
    Владимирова З. М. О. Кнебель. - Москва, 1991.
    
13. 
    Габитова Р. М. Философия немецкого романтизма. - Москва, 1989ю
    
14. 
    И. В. Гете. Ф. Шиллер. Переписка. - Москва, 1988.
    
15. 
    Гладков А. О Мейерхольде. - т. 1 - 2. - Москва, 1991.
    
16. 
    А. И. Кацман - театральный педагог. - С. - Петербург, 1994.
    
17. 
    Смелянский А. М. Булгаков в Художественном театре. - Москва, 1989.
    
18. 
    Станиславский К. Работа актера над собой в творческом процессе воплощения// Станиславский К. Собрание сочинений. - т. 3. - Москва, 1990.
    
19. 
    Станиславский К. Работа актера над собой в творческом процессе переживания// Станиславский К. Собрание сочинений. - т. 2. - Москва, 1989.
    
20. 
    Херсонский Х. Вахтангов. - Москва, 1940.
    
21. 
    Чехов М. Литературное наследие в 2 томах. - Москва, 1986.
    
22. 
    Щепкина - Куперник. - Театр в моей жизни. - Москва, 1948.
    
23. 
    Эфросс А. О театре. - т. 1 - 4. - Москва, 1993.
    

CXXIV.BA STUDY PROGRAMME Part B

Description of the Study Course

The Name of the Course: Solo Singing and Singing in Ensemble

The Scope of the Course: 320 hours (320 practical classes, 42 individual classes, 16 hours of theoretical lectures, 10 hours for the preparation of the Bachelor’s Work).

10 credit points. Type of Assessment: a test at the end of Term 1, 3, 5, 7 and an examination at the end of Term 2, 4, 6.

I.The Author of the Course: Ass. Prof. A.Garanča, accompanist R.Hansons

Preconditions for the Acquisition of the Course: Suitability for the profession: the voice of a corresponding quality, a good ear for music and a good musical memory, musicality and emotionality.
The Content of the Course: The main attention in the singing course is paid to the development of the skills of each individual student or the preclusion of their defects. The study programme and its complicity are adjusted to the general level of the students’ musical skills and development, therefore separate compositions are taught being following each student’s skills and the specific features of their voice. The objective of the course is to prepare highly professional actors of drama, film and television. While acquiring the programme the students perfect their voices and obtain singing skills both singing solo and in ensemble. Within the framework of the study programme various students’ concerts are organised. The course also envisages cooperation with the Latvian theatres and the students and academic staff of the Vocal Department of J.Vītols Academy of Music.
Thematic Planning:

THEMES	Week	Type of classes and hours
The history of the development of vocal art. Various vocal schools, the evolution of vocal pedagogy.	1	L2;P2;P2
The structure of the voice apparatus. The work of sound producing organs. Exercises.	2	L2;P2;P2
The work of respiratory organs. Resonators. Exercises.	3	L2;P2;P2
Types of human voice: high voice (soprano, tenor), medium voice (mezzo-soprano, baritone), low voice (alto, bass).	4	L2;P2;P2
The creation of sound. Similarities and differences: daily speech, actors’ speech and singing.	5	L2;P2;P2
Compass: pitch, articulation apparatus. The hygiene and the regime of a singer’s voice.	6	L2;P2;P2
The practical classes continuously interact with the deepening and expansion of the theoretical course and the rest of the special subjects – the art of acting, speech, dancing and movement. Voice training exercises are carried out during the whole study programme.	7	L2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2
Latvian national songs (arrangement by J.Vītols, J.Cimze, E.Melngailis, P.Dambis, A.Kalniņš	8, 9, 10, 11, 12, 13 14, 15, 16	L2;P2;P2; I2;I2;I2
National songs of the world (Italian, Spanish, French, German).	17, 18, 19 20, 21, 22 23, 24, 25	P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; I2;I2;I2
Latvian classical romances (J.Vītols, E.Dārziņš, J.Zālītis, J.Mediņš).	26, 27, 28 29, 30, 31 32	P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; I2;I2;I2
Ancient Russian romances.	33, 34, 35 36, 37, 38 39, 40	P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; I2;I2;I2
Arias and songs of the Age of Renaissance (e.g., D.Cimarosa, A.Caldara, F.Gasparini, G.Caccini, A.Scarlatti).	41, 42, 43 44, 45, 46 47, 48	P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2;P2; I2;I2;I2
Romances by F.Schubert, R.Schumann, J.Brahms, F.Mendelssohn.	49, 50, 51 52, 53, 54 55, 56	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
Songs from the films of the 30-40ies according to the lecturer’s choice.	57, 58, 59 60, 61, 62 63, 64	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
French chansons (e.g., the repertoire of J.Greco, Y.Montand, E.Piaf)	65, 66, 67 68, 69, 70 71, 72	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
Songs from B.Brecht’s plays.	73, 74, 75 76, 77, 78 79, 80	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
Negro gospels. G.Gershwin and C.Porter’s songs.	81, 82, 83 84, 85, 86 87, 88	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
An insight into the most famous modern musicals (L.Webber, A.Schönberg and others).	89, 90, 91, 92, 93, 94 95, 96	P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2
Songs and ensembles from the plays performed on the stages of Latvian theatres.	97, 98, 99 100, 101, 102, 103, 104, 105, 106, 107, 108, 109, 110, 111, 112	P2;P2;P2;P2; P2;P2;P2;P2; P2;P2;P2;P2; P2;P2;P2;P2; I2;I2;I2;I2;I2;I2; I2;I2;I2;I2;I2;I2 I2;I2;I2;I2

*P – practical classes

*I – individual classes

Preconditions for the Acquisition of the Credit Points:

The students have to attend all the seminars.

The examination is in a written form. It includes a report on a theoretical question and text analysis.