| | Searching Current Courses For Fall 2016 |
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Course: |
FVM 218
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Title: | Screen Actor Movement/Action I |
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Long Title: | Actor Movement & Action |
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Course Description: | This first level is an introduction to skills that will bring basic
movement awareness. This course is designed to expand concepts of
movement specifically for film acting by developing a metaphoric
language to apply to characterization and enhance the student's general
physical ability, observational skills, and confidence when acting. |
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Min Credit: | 3 |
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Max Credit: | |
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Course Notes: | Prevously FVT 218 |
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Origin Notes: | CCA |
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Status Notes: | Revisions made 10/26/09 s@ |
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Encourage becoming present to the actor¿s process of working physically and non-verbally
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Establish a solid foundation in mind-body awareness
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Execute fundamental exercises that will strengthen the actor¿s movement vocabulary in order to understand what is `ACTION¿ in terms of impulse and response
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Analyze non-verbal movement sequences using vocabulary that includes movement dynamics/time/space factors/body shape/and the qualities of weight and effort
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Expand the physical potential of the body to be more flexible and resilient
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Enhance dexterity, coordination, poise, balance, and physical confidence
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Establish a method for physical preparation and process to bring more depth and fullness to a role
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Embody physical dimension, and range, to build characterization
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Enable the body to move differently and be open to spontaneous change, depending on setting and environment (interior verses exterior spaces)
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Develop the ability to relax, be at ease, and also use energy and physical tension when needed
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Recognize physical patterns, inhibitions, inefficient movement habits that impede the physical freedom to make strong choices and make Action happen
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Build ensemble spirit and a willingness to use movement skills as a collaborating factor to develop relationship and create atmosphere
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Learn about how we function and how people respond to physical stimuli
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Source creativity and build a sense of how to intuit his/her movement as a process for finding creative authenticity and individuality
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Apply all movement work to the language of film and film genres
1.
Body Basics Part I: Introduction to Mind-Body Awareness Methods
a. Function and Form: How the body works
i. Body Scanning and Mapping the Boney Structure
ii. Functional Integration: Tuning the Physical Instrument
b.
Focal Point: Breathing for physical and mental centeredness
i. Breath Cycle, Breath Flow, Breath Rhythm
ii.
Body Listening: Inhabiting the physical Self
c.
Muscle Tensions: Contract and Release
d.
The Experience of Embodiment: Making Internal Connections and Integrations
e.
Organizing the Body: Whole Parts vs. Body Whole
2.
Posture and Movement: From the Top Down and the Bottom Up
a. The Vertical Axis and Vertical Through-ness
i. The Upright Carriage
b. The Body Center
i. Directing Attention Toward and Away from Center
ii. Expanding the Field of Attention
c.
Conscious Directing: Sensing the Physical Form ¿ From Outside In/ Inside Out
3. Movement Sequencing and Sequentiality
a. Spinal Action
b. Core ¿ Proximal ¿ Distal Connections
i. Limbs to Trunk/Trunk to Limbs
ii. Naval Radiation and Lines of Energy
c.
Body Part Initiation: Directing gesture and Follow-through
4. Balance
a. Stance and Contacting the Floor
b. Weight Shifts, Grounding the Center
c. Knees as Springboards, Resiliency and Bouyancy
d. Equilibrium
e. Object Improvisation
5. Introduction to Movement Analysis Part I: Body, Effort, Shape, Stance
a. Factors and Elements
i.
Space: Direct / Indirect
ii.
Time: Sudden/ Sustained
iii.
Weight: Light / Heavy
iv.
Flow: Bound/ Free
b.
States: Combining 2 Factors
i.
Dream and Awake
ii.
Rhythm and Remote
iii.
Mobile and Stable
c.
The (8) Action Drives: Combining 3 Effort Elements
i. Punching and Dabbing
ii.
Slashing and Flicking
iii. Pressing and Gliding
iv. Wringing and Floating
6. Site-Specific Observation: Etude (Study #1)
a.
Embodiment: How to enter and discover another? What is presence?
b.
Site-Specific Witnessing of other
c.
Other as Object of Attention
d.
Signature Identification: What is in a Walk? a Lean? a Gaze? a Shrug?
e.
Interpretation and Meaning: Gesture as Symbolic and Metaphoric
7. Stimulus as Impetus: Improvisational Studies
a.
Space as Stimulus: Entering and Exiting the FRAME
b.
The Cinematic Space: Interactive and Environment
c. Living 3-Dimentional Relationship
i. Self ¿ to ¿ Space
ii.
Spatial Intention: Directing Action through Gesture
8.
Body Rhythm Study: Finding Musicality
a. Feeling the Basic Down Beat, Accents and Upbeats
b. Basic Meters: 2/4, 3/4, 4/4, 6/8
c. Repetition and Memory Recall
d. Knowing Left from Right: Reversing Rhythm Sequences
e. Mixed Meters and Alternating Tempo
9. Film Analysis #1: Action Moments
a.
Comparative study of two contrasting roles and situations
b. The Given Circumstances: A Review
c.
Application of Movement Theory and Vocabulary
d. Action: The Act of Doing
i.
Motivation asserted by physical gesture and motion
ii.
How small? How Big? - The question of Scale
iii.
Continuation of the Pursuit/Accessing Movement Potential
iv.
The Body Agenda: Wants, Desires, Conflicts, Resolutions
10.
Body Basics Part 2: Mechanical Principles of the Body
a. Gesture and Movement: What¿s the Difference?
b. Balance and Counterbalance: The Static Pose
c. Integration: Opposite Forces within the Body
d. Moving through the Path of Origin
e. Moving Toward the Interested goal
f. State of Readiness
i. Preparedness to work with the Forces of Gravity and Momentum
ii. Relationship between movement and rest
g. Improvisational Play
11. Movement Analysis: Part 2: Shape into Character
a.
What is Shape: The Body¿s Journey into Transformation
b.
Adapting to Objects, Props, Set, Location, Architecture, People
c. Improvisational Study: Flat, Linier, Round, Curved, Twisted
d. Asymmetry vs. Symmetry
e. Shape Flow: Shape as Active Choices
f. Bridging and Blending: Gestural Shaping
g. Partner Improvisations: Sketches
12.
Expressive Play and Action
a. 3 Basic Parts: The Cycle of Action
i. Preparation for Action
ii. The Act Itself
iii. The Precise End of the Moment
iv. Embodiment of the Cycle
v. Collecting Energy for the Action
vi. Point of Excitability
vii. Executing the Action Intended
b. Reorganizing the Body to prepare for the next cycle/Recuperation
c. Clarifying the End of Action
d. Improvisational Etude: Changing your State of Being
i. Crossing the Desert
ii. Storm at Sea
iii. The Wineglass
iv. Nightmare
13. Applying Movement Analysis
a. Movement into Character
i. Signature Moves: Walk, Stance, Shape, Gaze, Intonation, Pitch, Tempo
b. Chaplin vs. Keaton: Motivating Forces at Work
c. Oral Presentation of Cinematic Action Study
i. Entering the Frame
ii. Close-ups
iii. Full-Body Shot
iv. One Beat at a Time
v. Desire/Action/Conflict
14. Transformation: The Art of Change
a. The Smallest Mask: The Red Nose
b. Positive Inhibition: Waiting for the inner Impulse - The 3 Second Wait
c. Etude (Study) #2: Maintaining Physical Communication with the Camera
i. Object of Intention: Sell a Product
ii. Gesture as Pure Action
iii. 30 seconds or less
iv. One Frame is all you got
v. Being animated is not a crime
vi. Show us you care, Share your Passion
vii. Invent the impossible
15. Creating Ensemble: Final Cinematic Action Study
a. Establishing Relationship: Self ¿to- other (s)
b. Physical Space: Distance Between ¿ What does that Mean?
c. The Gaze: Looking, Glancing, Staring, Avoiding
d. Touch: Qualities, Subtleties, Intimacy
e. Improvisational Etudes: Portraits in Film
i. The Country Picnic Dance: A choreographic study in Action
ii. Using Metaphor: Creating Non-Linear Movement Sentences
iii. Archetypal Etudes: The Warrior, The Villian, The Prophet etc.
f. Physical Dialogue: Seamless Phrases of Action
g. The Dance of Death
16. Lab
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Community College of Aurora |
CCA |
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