Katedra autorské tvorby a pedagogiky DAMU

Anglický program naší katedry slavil v říjnu 10 let od svého založení! 🥳

Foto: Irina Degtereva a Daniel Kvapil

DIALOGICKÉ JEDNÁNÍ & KONZULTACE K PŘIJÍMAČKÁM
Přijďte na workshop a vyzkoušejte si naši vlajkovou psychosomatickou disciplínu. Určeno nejenom zájemcům o studium. Vším vás provedou Michal Čunderle a Pavel Zajíček. Ve středu 18. prosince 16:30-18 hod. v uč. 407, KATaP DAMU.
Akce se uskutečňuje díky projektu DKR Dialogicky pojednávaná pedagogika, reflexe, diversita, komunita. ZDARMA.

Ivan Vyskočil Základem je zkušenost a zakoušení stran jednání (mluvení, hraní) sám se sebou (s vnitřním partnerem, resp. partnery) zpravidla o samotě. Z autopsie snad každému známé tzv. samomluvy nebo samohry. Dále pak jde o to, učit se a naučit se podobně autentické, spontánní, hrající a...

On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Attention in Students-Performers This is the Part II that follows after “On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil and his Theatre as Encounter.” As promised, we show how Stanislavsky’s public solitude and ...

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"Students of authorial acting at DACP explore and develop their personal dispositions, potencies, and themes of existential interest in all disciplines that are part of the study programme (movement, voice, authorial reading, speech, dialogical acting) but namely in the discipline of authorial presentation that is not taught as a regular subject but realized through students’ individual work. In these disciplines, students develop their own solo each semester with an assisting pedagogue that they present at the klauzury (the exam week open to the public at the end of each semester). They are encouraged to explore personal repertoires of characters, situations, and stories that emerge through the dialogical inter-acting with their inner partners (practiced in public solitude). The only “given circumstances” for authorial actors are their very persons, their situatedness (with all backgrounds, experience, cultural baggage, skills, and expertise), their inner partners and impulses, the wishing attention of the audience, and sometimes also their stage partners and/or texts. The key aim is to find a suitable format for one’s topic that they can demonstrate in such a psychosomatic fitness at klauzury, for both the actor and the material/piece to communicate to the audience. This audience at klauzury is usually small and expects encounter.

The work of students of authorial acting is based on investigations into their own persons (see, the question of context is omnipresent). They meet themselves (by means of a purposely designed study curriculum) in order to discover personal topics worth elaborating on and to find creative ways and forms to communicate their topic with others. This embodied learning practice is an example of a possible methodological approach in cultural psychology, which views creativity as a dialogical movement of consciousness in embodied and situated persons."

On the Hidden Potential of Public Solitude, Part II: Cultivating Multiple Attention in Students-Performers This is the Part II that follows after “On the Hidden Potential of Public Solitude, Part I: Ivan Vyskočil and his Theatre as Encounter.” As promised, we show how Stanislavsky’s public solitude and ...