Curriculum

Drama Academy – Ramallah

Bachelor of Arts in Acting

Curriculum

Students are required to achieve (180) Credit Points over three years of an intensive practical and theoretical study on the following Module:  

Acting methods

Stanislavski method: The lessons are designed to help the students for self discovery and to develop concentration, imagination and life observation which are the basic elements of Stanislavski method. Students are trained on improvisation in order to encourage physical freedom and sense of truth. The beginning of the work focuses on stage craft, “moment to moment” spontaneity and a specific approach to researching and rehearsing a contemporary scene and monologue.

Students are trained on script analysis using the basic elements of the Stanislavski system, focused more directly towards developing the skills necessary to create characterization based on classical and contemporary monologues and scenes using a variety of theatre styles and schools: realism, Arab theatre and more.

Michael Chekhov Method: Michael Chekhov’s technique is a completely imaginative approach to experiencing the truth of the moment. According to Chekhov the work of the actor is to create an inner event which is an actual experience occurring in real time within the actor. This inner event as it is being experienced by the actor is witnessed by the audience as an outward expression related to the contextual moment of the play. This event and the ability to create it belong to what Michael Chekhov calls the Creative Individuality of the actor, and is not directly tied to his personality. This Creative Individuality allows the artist actor to use parts of himself that are not just the smaller meaner more banal elements that make up his daily life, but rather parts of his unconscious, where dwell more universal and archetypal images.  The lessons are designed to allow students actors to incorporate the imagination and body as well as intellect. The students develop a ‘psycho-physical approach’, in which transformation, working with impulse, imagination and inner and outer gesture are central. It offers clear and practical tools in working with imagination, feelings and atmosphere

 

Body and Movement

The lessons are designed in which the students are introduced to certain basic movement principles in which all living matter confirms. Once we know where we are going in space, we must observe and analyze how we are going and what kind of movement energy (effort) we use, our choice of muscular energy, which determines how we carry out an action, is the result of previously experienced inner impulses. While our chosen spatial direction it produces a definitive expressive movement quality. Slight changes of effort and /or direction can produce the most subtle differences in expression and meaning.

 The content of the training is: Body awareness and instruction in movement, stage presence, physical training, non-verbal learning games, pantomime, acrobatics, fencing and stage compact and dance.

 

Voice and speech

The students are introduced to the bases in the field of body, respiration, voice, speech and text work throughout an educative mentoring in speech within the framework of the module “acting”.

Students are trained on:

-         Physical perception: Development of conscious tension and relaxation techniques for the entire body and the organs of articulation.

-         Breathing: Combined breathing (diaphragm and abdominal breathing); additional breathing (supportive function).

-         Voice: Development of voice from the centre; voice projection; strengthening the voice; stressing the voice (handling extreme voice demands); personal voice range; modulation; laughing, crying, whispering technique; techniques for non-physiological voice use.

-         Articulation: Standard pronunciation; correction of personal speech errors.

-         Expression / text work: Awareness of personal speaking methods; development of speaking methods for prose and poetry; visualization of texts; metrics.

-         Transfer into scene work.

-         Theoretical background.

 Jacques Lecoq Method

The Jacques Lecoq method is founded on the dynamics of movement. It employs the body as the first element, which recognizes the world through live imitation of all which moves from life to theatre. The study applies basic movement rules to dramatic work and actors’ interpretation. It studies theatre styles developed in the history of theatre and reinterprets them into a study of perception of present life. The teaching becomes a living support for the student – which overcomes forms – in accordance with the constant rhythm of life. 

The training sets the students obstacles thus provoking creative quality, and this way helps to develop and find their own path. Students deals with watching the world and its movement. This path leads from a quiet psychological game to development of a character, through substantiation of nature, animals, colours, sounds and discovery of games with masks. All lessons are connected to one another and have the same working structure. They create a complete whole based primarily on movement analysis and improvisation.  

 

Acting in front of camera

This course aims to introduce the students to the development of the language of cinema through the development of the editing theories. Students are going to watch and analyze the evolution of acting in cinema since the silent films till today. They are going to explore the difference between acting on stage and acting “on frame”, through practical exercises of different situations in front of the camera.

 

Theatre history

The course is designed in which students will follow up with the evolution of theater throw history, theater movements, techniques that are used in different movement, writers, directors, scene designers, actors, etc.

The students in which future actors, need to rely with their script readings and characters analysis on a stable basis of clear define implications of theater.


Text analysis

The course is aimed at supporting the acting students with the tools needed to explore in depth the dramatic text and to explore the character’s motives, the relationship between characters, their acts, and their main objective.  The students learn to find out the main conflicts which produce the sub-conflicts. They learn to analyze the inner and the outer contradictions and their social, psychological and historical background. The course also aims to develop the students-actors skills to be ready to work with directors.