COURSE UNIT TITLE

: HISTORY OF ACTING II

Description of Individual Course Units

Course Unit Code Course Unit Title Type Of Course D U L ECTS
TOS 4006 HISTORY OF ACTING II ELECTIVE 2 0 0 2

Offered By

Performance Arts

Level of Course Unit

First Cycle Programmes (Bachelor's Degree)

Course Coordinator

PROFESSOR HÜLYA NUTKU

Offered to

Performance Arts

Course Objective

In the second half of the course is about the point acting got after XIX century (centuries XX and XXI). Vast methods lead to the improvements in acting. Also that is the result of the director s and dramaturgy s significance. In the light of that formation, the course aims to enlight the students about the final destination acting got through the actors significant to the century, as well as the directors and methodologic aid with the history in the various countries. Dersin amacı bu gelişmelerin ıığında çağa damgasını vuran oyuncuların yanısıra yönetmenler ve ülkeler bazında tarihsel olarak methodların katıkısıyla oyunculuğun vardığı noktada öğrenciyi aydınlatmaktır.

Learning Outcomes of the Course Unit

1   Where is the final point contemporary acting stands Overall evaluation
2   Knowledge on directors contribution in improvement of an actor
3   Transferring acting methods and techniques contribution to improvement of acting
4   Givin information on acting improvements in different countries
5   Knowledge about the most significant actors effected contemporary acting

Mode of Delivery

Face -to- Face

Prerequisites and Co-requisites

None

Recomended Optional Programme Components

None

Course Contents

Week Subject Description
1 Milestones of thecontemporary acting (Stanislavski-Meyerhold-Tayrov-Vakhtangov) Method Evaluation Overall
2 France (Copeau-Pitoeff-Dullin-Jouvet-Baty-Artaud) From naturalist aspects to the theater of cruelty Improvement process
3 Avusturia (M.Reinhardt), Germany (Bahrens- Fuchs- Jessner- Piscator), Sweden (Appia) Political Theater
4 England (Granville-Barker) Gordon Craig Process of Decor and Lighting
5 USA (D.Belasco- Stark Young- C.Chaplin), Italy, Spain (Elenore Duse) Significant Actors
6 The significance of the methods in Russia for the acting progress, Oklopkov Theatral Reality
7 France (Artaud-Barrault-Madelaine Renaud), Theater in German language (Brecht Directors and Actors
8 USA (Boleslavski, Ouspenskaya-Mikael Çehov-Lee Strasberg) Actor Studio Actors between 1920-50
9 England: (John Gielgud-Laurence Olivier) John Littlewood and Theatre Workshop Importance of Atelier/Workshop
10 Poland: (Grotowski and theater of the poor) Hungary and four masters Education of the Actor
11 New tendencies in USA: (Viola Spolin)Living and the Open Theatre Robert Wilson etc... Performance Groups
12 England: Royal Shakespeare, National Theater, Peter Brook, Peter Hall Significance of the director
13 Italy: Strehler,Grassi-Moretto,Luca Ronconi,Dario Fo, Eugene Barba Antropology and the theater of the public
14 Canada (Johnstone) ve Brazil (Augusto Boal) Theatre of the Oppressed Overall Evaluation

Recomended or Required Reading

Özdemir Nutku, OYUNCULUK TARIHI, 2.cilt , Dost Yayınları Ankara
Nedret Güvenç, DINLE BENI, Iş Bankası Kültür Yayınları,Istanbul,2003
Gökhan Akçora, ENGIN CEZZAR, YKY, Istanbul, 1996
Münir Özkul, Aktör Dediğin Nedir ki,yayına hazırlayan Kurtuluş Özyazıcı, Dost Yayınları, Ankara 2008
Haldun Dormen, SÜRÇ-I LISAN ETTIKSE, Gelişim Yayınları, Istanbul
Cahit Irgat, ÇOK YAŞASIN ÖLÜLER, Notos Yayınları,Istanbul,2011
Ali Poyrazoğlu, ÖDÜNÇ YAŞAMLAR, Can Yayınları, Istanbul,1999
Erol Günaydın, IKI KALAS BIR HEVES, (Emine Algan nehir söyleşi),Iş Bankası Kültür Yayınları,Istanbul, 2007
Agah Özgüç, CAHIDE SONKU, Star matbaacılık, Ankara, 2003
Ahmet Fehim, SAHNEDE, Mitos Boyut Yayınları, Istanbul, 2002
Yıldız Kenter, HEP AŞK VARDI, Iş Bankası Kültür Yayınları, Istanbul, 2003
Tuncel Kurtiz, OYUNCU, Kitle Yayınları, Ankara, 1999
Macide Tanır, TIYATRONUN CADISI, Bilgi Yayınları, Ankara, 2000
Mücap Ofluoğlu, SUYA YAZILANLAR, Mitos Boyut Yayınları, Istanbul, 2003

Planned Learning Activities and Teaching Methods

Historical progress information is given, then significant actors diaries/biographies are read for research. Presentations and leading to interpretations, debates, evaluations... Attendance to the course, participation as well as, creating an urge or interest for research and analysis... Rich sources for the presentations and decent footnote usage should be the concerns. Survey of the resources for the midterm and final exam success requires the information needed.

Assessment Methods

SORTING NUMBER SHORT CODE LONG CODE FORMULA
1 MTE MIDTERM EXAM
2 FIN FINAL EXAM
3 FCG FINAL COURSE GRADE MTE * 0.40 + FIN * 0.60
4 RST RESIT
5 FCG FINAL COURSE GRADE MTE * 0.40 + RST * 0.60

Further Notes About Assessment Methods

Evaluation is based on %40 Midterm, %60 Final exams and participation to
the classes.

Assessment Criteria

Assesment criteria priority is obligation of the attendance. Decency of footnotes are citation, bibliography and handling the topic of the presentation with confidence are all significant. It is also minded that participation in arguments and skill of interpretation.

Language of Instruction

Turkish

Course Policies and Rules

Course policy and rules are attendance, participation, research, analysis, survey and their presentation, debate and interpretation skills, source usage, reach of visual material, success in midterm and final, methodological knowledge in acting, knowledge about contemporary actors, ability to form a study group within the debate atmosphere of question-answers base.

Contact Details for the Lecturer(s)

To be announced.

Office Hours

To be announced.

Work Placement(s)

None

Workload Calculation

Activities Number Time (hours) Total Work Load (hours)
Lectures 13 2 26
Preparations before/after weekly lectures 4 2 8
Preparation for midterm exam 1 6 6
Preparation for final exam 1 8 8
Final 1 2 2
Midterm 1 2 2
TOTAL WORKLOAD (hours) 52

Contribution of Learning Outcomes to Programme Outcomes

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