

Ines Kleesattel
2 CreditsZMA-ZMA-P006.17F.001


Dieter Mersch
2 CreditsZMA-ZMA-P007.17F.001


Irene Vögeli, Ines Kleesattel, Dieter Mersch und Gäste
2 CreditsZMA-ZMA-P005.17F.001


Christoph Allenspach
2 CreditsBDE-BDE-T-WP-2012.17F.001


Wahrnehmung von Kunst aus: Prof.Dr. Mira Sack (MS), Aufführungsanalyse: Maren Rieger (MaRi)
4 CreditsBTH-VTP-L-5140.17F.001


Thomas Gerber und Lorenz Suter
0.5 CreditsBFI-MFI-MM.216.ICL.02-12.17F.001


Hayat-Hayriye Erdogan & Simone Karpf
2 CreditsMTH-MTH-ERK-CAM.17F.001


Peter Ender, Joachim Heinzle,
Michael Simon, Simone Karpf, Florian Leitner, Nicolas Stemann, Julia Reichert u.a.
2 CreditsMTH-MTH-ERK-CAM.17F.002


Christoph Merki
2 CreditsBMU-PJAPO-MOMA-08-3.17F.001


Stefano Vannotti
2 CreditsMDE-MDE-Seminare-1000.17F.001


Björn Franke
2 CreditsMDE-MDE-Seminare-1000.17F.002


Dr. Mela Kocher
2 CreditsMDE-MDE-Seminare-1000.17F.003


Maren Rieger (MaRi), Dr. Andrea Gleiniger (AG), Lucie Tuma (LuTu)
3 CreditsBTH-VDR-L-309.17F.001


Urs Meier, Prof. Katrin Luchsinger Dr.
2 Creditsbae-bae-vt210-01.17F.001


Natalia Sidler
1 CreditDMU-WKMP-4206.17F.001


Markus Gerber (MaGe), Walter Küng (WaKü)
3 CreditsBTH-VSC-L-6218.17F.001


Prof. Luchsinger Katrin Dr., Thomas Schärer
1 Creditbae-bae-dt620-12.17F.001


Prof. Katrin Luchsinger Dr., Susann Wintsch lic. phil.
2 Creditsbae-bae-dt220-01.17F.001


Andrea Zimmermann
2 Creditsbae-bae-vt630-01.17F.001


Cyril Kennel,
Flurina Gradin
2 CreditsBDE-BDE-T-WP-4012.17F.001


Sandra Winiger
2 Creditsbae-bae-dp800-05.17F.001


Cord Riechelmann
Irene Vögli, Jana Thierfelder
1 CreditMTR-MTR-1019.17F.001


Patrick Müller, Isabel Mundry
1 CreditMTR-MTR-1019.17F.003


Liliana Heimberg Leitung Kurs u. Projektbegleitung
Hamadou Mandé (Projektbegleitung)
Yolande Lingani (Koordination)
0 CreditsMTH-MTH-VER-VLK-QUA.17F.007


Christoph Allenspach
2 CreditsBDE-BDE-T-WP-4013.17F.001


Ruedi Widmer
10 Creditsmae-vpu-202.17F.003


Patrick Müller, Barbara Naegelin
2 CreditsMTR-MTR-1002.17F.001


Irene Vögeli, Jana Thierfelder und Gäste
4 CreditsMTR-MTR-1002A.17F.001


Katja Gläss, Soenke Gau
2 CreditsMTR-MTR-1002.17F.005


Hans-Jörg Betschart (HB), Noemi Egloff (NE)
2 CreditsBTH-VDR-L-312.17F.001


Andreas Bürgisser (ABü), Sascha Willenbacher (SaWi), Christopher Kriese (CKri)
4 CreditsBTH-VTP-L-5130.17F.001


Peter Purtschert
1 CreditBFI-.375.Th-MFI.ICL02_01.P.17F.001


Leitung: Christian Iseli
Dozierende: Sabine Gisiger, Christian Iseli
1 CreditMFI-MFI-BFI.ICL02-08.17F.17F.001


Simon Graf
3 CreditsBKM-BKM-Th.17F.019


Bernhard Lehner
1 CreditBFI-218.P.MFI.ICL02-03.17F.17F.001


Leitung: Christian Iseli
Dozierende: Sabine Gisiger, Christian Iseli, NN
1 CreditBFI.425.MFI.ICL02-15.17F.17F.001


Koordination: Manuela Rüegg
Programmation/Kontakt: Daniel Loepfe
0 CreditsBFI-MFI-MM.Filmklub.17F.001


Leitung: Nicole Schroeder
Dozierenden: Nicole Schroeder
1 CreditDDK-KF-BFI-BFI-V-Producing.17F.002


Nicole Schroeder
0.5 CreditsDDK-KF-BFI-BFI-V-Producing_1.17F.001


Dozierende: Filippo Bonacci, Anita Wasser
1 CreditDDK-KF-BFI-BFI-V-Producing.17F.007


Manuel Gerber
2 CreditsBFI-BFI-V-Sound-Design.KF.17F.001


Maike Thies (wissenschaftliche Mitarbeiterin, BA Game Design)
1 CreditBDE-BDE-T-X-1234.17F.001


Gunter Lösel, Yvonne Schmidt, Anton Rey & Christian Iseli
0 CreditsMTH-MTH-VER-WAH.17F.001
Clown for Actor - PROBIEREN_(SC) 


Wird auch angeboten für
Nummer und Typ | BTH-VSC-L-6224.17F.001 / Moduldurchführung |
---|---|
Modul | Themenfeld: Raum für Körper_L2 (6Wo) - PROBIEREN_(SC) |
Veranstalter | Departement Darstellende Künste und Film |
Leitung | Amir Modaï (AM), Pete Sweet (PS) |
Anzahl Teilnehmende | 3 - 10 |
ECTS | 3 Credits |
Voraussetzungen | *ZHdK-weit geöffnete Lehrveranstaltung* Für Studierende aus anderen Studiengängen/Vertiefungen der ZHdK: Anfragen bezüglich Platzzahl sowie Anmeldungen bis Do, 09.02.2017/Wo06) z.Hd. BA Theater-Administration: Carmen Waldvogel, carmen.waldvogel@zhdk.ch |
Lehrform | Workshop |
Zielgruppen | L2 VSC |
Lernziele / Kompetenzen | Students will learn the fundamental skills that bring a clown to life on stage: breath, contact with the audience and articulation in the body. We will dive into the process first defined by Jacques Lecoq of discovering what is funny about each person. We will do a careful observation of each students way of moving, and use this as a map to lead us to the particular form of their clown. Students will discover the voice, costume and status of their clown and do a series of improvisations designed to expand the depth and range of their play. For the finale of the first half of the course students will put on a show, developing material from improvisations into short numbers to present to an audience of students and staff of the school. By learning how to embody and play out the impulses that are encoded in individual movement patterns, we embrace the specific way that each of us is hilariously funny. We tap into a rich source of creative energy and a moving force for the actor and the scene. The clarity of presence required for this style gives the actor powerful tools for genuinely feeling what moves them and using this to move their audience. |
Inhalte | In this Module we will explore the rich, hilarious world of theatrical clowning. In this vibrant style, the simple presence of the actor, revealing themselves generously to the audience, is the source comedy that can be touching, poetic and ridiculous all at the same time. We will work precisely and playfully to reveal the specific way that each person is funny. Students will discover their clown, a comic character based on their unique way of moving, with it’s own rhythm, voice and way of relating to the world. The module will have two main focuses. We will cover the fundamentals of clowning by creating and performing a variety cabaret. Then we will go beyond the style and explore the clown characters in dramatic situations working with classic texts to create theater that is deeply human and wonderfully funny.In the first weeks the students will discover their clown characters and learn the essentials of the style by creating a cabaret. They will explore audience interaction, the presentation of skills, song, dance and the ecstatic ""state"" of play that makes the simplest actions impossibly funny. In the second half of the module we will explore life themes from the perspective of the clown and create work that draws on theatrical texts as well as improvisations of the clowns in dramatic contexts. We will then the deepen the research by improvising in the clown state, on life themes such as birth, death, work, love and illness. We will explore the relationship between the clowns and the classic archetypes from the dramatic literature. We will do scene work in other styles that draws on the strengths of theatrical clowning and create a showing of dramatic work that harnesses the honesty, contact and comedy of the clown. |
Bibliographie / Literatur | Texte werden abgegeben |
Leistungsnachweis / Testatanforderung | gem. Angaben der/des Modulverantwortlichen |
Termine | Raum: 1 grosser Proberaum |
Dauer | Anzahl Wochen: 6 (FS: Wo:08-13) / Modus: 4x3h/Wo + 1x3h/Wo Selbststudium_Mo/Di/Mi/Fr, jeweils 16.30-19.30h Selbststudiumszeit pro Semester: ca. 18h |
Bewertungsform | bestanden / nicht bestanden |