Techniques and exercises for movement-based theatre
Tångeberg-Grischin, Maya (2023)
Tångeberg-Grischin, Maya
Taideyliopiston Teatterikorkeakoulu
2023
2341-9679
978-952-353-069-0
verkkosivusto
Nivel 20
Julkaisun pysyvä osoite on
https://urn.fi/URN:ISBN:978-952-353-069-0
https://urn.fi/URN:ISBN:978-952-353-069-0
Verkkojulkaisu:
https://nivel.teak.fi/nivel20/Sisällysluettelo
Introduction --
Study Level I --
Study Level II --
Study Level III.
Study Level I --
Study Level II --
Study Level III.
Tiivistelmä
This collection contains some important techniques and exercises of movement-based theatre and does not by any means cover the full range of possibilities. However, it does give an impression of the main fields: about body techniques, acrobatics, objective mime, analytic mime, characterisation and action, voice-and-movement, and mask work. On their basis, the instructor invents further exercises needed in the classroom. The sketches illustrate only the important points of movements and actions.
Purpose. I have taught movement-based theatre for over fifty years. I have collected its exercises and researched the paths, difficulties and aims of movement-based theatre. I document and share here my tacit knowledge of what has successfully been done in classrooms since the 1950s, with the hope of serving future generations of theatre practitioners. I describe aspects created by others and also my own, and place them in their artistic and pedagogical context. I do not present my method or the sole method of somebody else, but instead present possibilities. The provenance of exercises (as far as it is known) is mentioned as well as their applications. I know each exercise through practice. But the collection is not complete! Exercises change and develop over the years. Their purposes change. Good exercises should not be lost. Even if they are not useful in the moment, they may be important later, somewhere else. I chose exercises I found useful and that have their place in movement-based theatre education. I analyse them and hope to create a sourcebook for directors, pedagogues and theatre students. The collected techniques and exercises are described, and are connected to learning and remembering processes under two systematic viewpoints: As acting qualities to develop and as acting skills to acquire.
Purpose. I have taught movement-based theatre for over fifty years. I have collected its exercises and researched the paths, difficulties and aims of movement-based theatre. I document and share here my tacit knowledge of what has successfully been done in classrooms since the 1950s, with the hope of serving future generations of theatre practitioners. I describe aspects created by others and also my own, and place them in their artistic and pedagogical context. I do not present my method or the sole method of somebody else, but instead present possibilities. The provenance of exercises (as far as it is known) is mentioned as well as their applications. I know each exercise through practice. But the collection is not complete! Exercises change and develop over the years. Their purposes change. Good exercises should not be lost. Even if they are not useful in the moment, they may be important later, somewhere else. I chose exercises I found useful and that have their place in movement-based theatre education. I analyse them and hope to create a sourcebook for directors, pedagogues and theatre students. The collected techniques and exercises are described, and are connected to learning and remembering processes under two systematic viewpoints: As acting qualities to develop and as acting skills to acquire.