|
Introduction
|
History
and meaning of the SVC System.
Actor’s First Aid Kit: essential warm-up exercises. |
|
Creative
attention |
Creative
state and its three parts.
Three circles of attention (small, medium and
large).
Difference between Passive and Active (Creative)
attentions. |
|
Physically-psychological
freedom |
Relationship
between Physical, Emotional and Psychological Actions.
Essential law of plasticity. Technique of relaxing
and tensing various parts of the body using Creative Attention. |
|
Basics
of movement improvisation |
Physical
Actions (body movements) as a mean of expressing and creating a character.
Trappings of movement clichés. Introduction of the Seven Zones
Technique that allows one to discard movement clichés and to
explore one’s individuality in terms of body language. |
|
Development
of fantasy and imagination |
Basic
principles of the “Fantastic Realism” and “Affective Memory” theories.
Understanding and controlling the forces invoked
by using these polar techniques. The law of blending “Fantastic Realism”
and “Affective Memory” for effective creation of a character. The
art of observation. |
|
Changing
approach toward the subject |
Two
stages of the beginning of a creative process. “Magic If” as a First
Stage and its importance for starting the creative process.
Creative Questions as a Second Stage (“What?”,
“Why?”, “Where?”, “When?”, etc.) |
|
Changing
approach toward the setting |
Given
circumstances. Atmospheres. Implementation of given circumstances
and atmospheres. |
|
Changing
approach towards the partner |
Acting
as a communication between partners.
“Evaluation of the facts” as a basic element
of communication. Breaking the actions of a character into evaluation
of the facts. |
|
Actions
under the circumstance of natural silence |
Understanding
of the value and power of a word.
Creating scenes that fully express relationships
between characters without using words. Digital communication (using
numbers as words). |
|
Acting
with a partner without given character |
“Me
under given circumstances” concept.
Creating scenes where students are not limited
by the character and the script and all actions are evoked by the
“Me under given circumstances” concept. |
|
Acting
with a partner with a given character |
“A
character under imagined circumstances” concept.
Creating scenes where students improvise the
actions of the given character. |
|
Acting
with a partner with an existing script |
Scene
studies (student’s choice), analysis of an existing character and
his/her actions. Specifics and differences of using the SVC System
in film and theater. |
