Repository of Academy of Dramatic Art
Not a member yet
624 research outputs found
Sort by
Rhythm sections in drama based theater
Get PDFU pisanom završnom radu proučavam funkcioniranje čovjekovog mentalnog prostora i njegov prijenos u čovjekov izraz te propitujem kroz dosadašnje ispitne produkcije kako se taj proces odražava na glumu i režiju. Mentalni prostor i izraz vremenski su produkti obrade forme i sadržaja u vremenu. Jedino što je istovjetno u misli i izrazu je ritamski obrazac. On se ostvaruje tako što spaja više vremenskih linija u naizgled jednu informaciju koju dobivamo u izrazu. Ritamski obrazac u sebi ne nosi sadržaj i formu, ali je produkt odnosa toga dvoga. U glumi i režiji taj proces je često obrnut prijenos. Publika gleda ritmički obrađen materijal već grupiran u makro situacije - ritamske sekcije i ritamske sekvence. Međutim na probi obrnutim redoslijedom istražujemo kako mentalni prostor glumca proširiti na način kako bi dao točan ritamski obrazac u izrazu. Ritam je jedino u izvedbi što jest, on nema negaciju, te o njemu možemo imati stav. Ritam ne možemo ne usvojiti, neovisno o tome je li ritam svjesno ili nesvjesno primljen.In my final thesis I research the functioning of the human mental space and its transmission into a man's expression and I study this process through acting and directing of the former exam productions. Mental space and expression are temporal products of form and content processing in time. The only thing that is identical in thought and expression is the rhythmic pattern. It is accomplished by joining several time lines in the seemingly one information we get in the expression. The rhythmic pattern in itself does not carry the content and form but is the product of the relationship between the two. In acting and directing this process is often a reverse transmission. The audience sees rhythmically processed material already grouped into macro situations - rhythmic sections and rhythmic sequences. However, during rehearsals we research in a reversed sequence how the actor's mental space expands in a way that would give the exact rhythmic pattern in an expression. Rhythm is the unique thing in itself in a performance, it is without negation so we can acquire an attitude towards it. We can not be unadapted to the rhythm, regardless of whether the rhythm has been consciously or unconsciously received
A polyphony of life in acting and music
Get PDFOvaj diplomski rad pojašnjava mogućnosti povezivanja dvaju srodnih umjetniĉkih podruĉja: glume i glazbe. U pedagoškom radu pojedinih profesora s odsjeka Glume na Akademiji dramske umjetnosti Sveuĉilišta u Zagrebu već postoje pokušaji korelacije i primjene znanja iz glazbe u glumaĉkom procesu i obrnuto, no ovaj rad nastao je iz potrebe da se u samostalnom i pedagoškom radu glumac potakne na pomnije istraživanje poveznica između glume i glazbe te da se dobivena znanja i iskustva iskoriste u profesionalnom glumaĉkom životu kao dodatna sredstva za proširivanje potencijala glumaĉkoga tijela, glasa i imaginacije i otkrivanje dramaturških nijansi u dramskim tekstovima.This graduate thesis clarifies the possibilities of linking two related art fields: acting and music. The pedagogical work of some professors on the Acting department at the Academy of Dramatic Art in Zagreb already attempts to correlate and apply music knowledge in the acting process, and vice versa, but this work was inspired by the need to encourage the actor to thoroughly inspect possible connections between acting and music, both in individual and pedagogical sense, as well as to stimulate him to use the knowledge and experience gained by discovering these connections in his professional life in order to expand the potentials of his body, voice and imagination, and to reveal dramaturgical nuances in dramatic texts
