Course Information
FacultyFine Arts
Cycle / Level1st / Undergraduate
Teaching PeriodSpring
CoordinatorPeriklis Choursoglou
Course ID280006502

Programme of Study: UPS of School of Film Studies (2009-2013)

Registered students: 76
OrientationAttendance TypeSemesterYearECTS
CoreElective Courses beloging to the selected specialization635

Class Information
Academic Year2018 – 2019
Class PeriodSpring
Faculty Instructors
Weekly Hours4
Total Hours52
Class ID
Course Type 2016-2020
  • Scientific Area
Course Type 2011-2015
Specific Foundation / Core
Mode of Delivery
  • Face to face
The course is also offered to exchange programme students.
Language of Instruction
  • Greek (Instruction, Examination)
  • English (Instruction, Examination)
  • French (Instruction, Examination)
General Prerequisites
6 Acting 2 follows on from 3 Direction Workshop 1. Although 3 Direction Workshop 1 is not yet a pre-requisite for the course, it soon will be.
Learning Outcomes
The students’ focus is on collaborating with actors during rehearsals. They identify the core dramatic elements, the points where there is suspense or reversals. The condition with which the scene begins, its culmination and climax. Character development (if there is any) during the scene. They acquire the knowledge required to apply the method for communicating with actors--which is to say guiding them but being guided by them at the same time. A character is built up through dialogue between the director and actor. Although the communication method stems from the Stanislavsky method (or simply the Method, as it is referred to by American directors and actors), the actors also draw on other methods for approaching and collaborating with actors. The students are put in touch with the cinema of Bresson, Angelopoulos, Mizoguchi, Lanthimos and others. They become familiar with the practice of filming rehearsals. They come to realize that things that emerge out of the filmed rehearsals can lead them to decoupage solutions. They apply the lessons learned and material developed in the rehearsals in their exercises.
General Competences
  • Apply knowledge in practice
  • Retrieve, analyse and synthesise data and information, with the use of necessary technologies
  • Adapt to new situations
  • Make decisions
  • Work autonomously
  • Work in teams
  • Work in an international context
  • Generate new research ideas
  • Design and manage projects
  • Appreciate diversity and multiculturality
  • Demonstrate social, professional and ethical commitment and sensitivity to gender issues
  • Be critical and self-critical
  • Advance free, creative and causative thinking
Course Content (Syllabus)
Analysing a character. Noting an actor’s interpretative tools. Stanislavsky Method. How it conquered America and came to be known simply as the Method. Film analysis (with a focus on acting). Other acting methods: Bresson, Angelopoulos, Lanthimos, Haneke. Creating the emotional environment in which an actor will open up and mould the character from the script. Exercises in which the students work in pairs or groups of three, rehearsing a scene they have selected with the actors. They film the rehearsals. They produce a montage with the first rehearsals and the last. They hand in a text in which they explain the evolution of their work.
Educational Material Types
  • Notes
  • Slide presentations
  • Audio
  • Multimedia
  • Book
Use of Information and Communication Technologies
Use of ICT
  • Use of ICT in Course Teaching
  • Use of ICT in Laboratory Teaching
  • Use of ICT in Communication with Students
  • Use of ICT in Student Assessment
After each class, electronic notes summarizing everything covered in the class are distributed. The notes remind the students of everything that was said and done in the workshop. They also present elements of the theory and practice of actor training.
Course Organization
Artistic Workshop1274.2
Written assigments50.2
Student Assessment
-The students are primarily assessed on their final exercise, meaning the initial and final rehearsals. -Attendance and class participation.
Student Assessment methods
  • Written Assignment (Formative, Summative)
  • Labortatory Assignment (Formative, Summative)
  • Artistic Performance (Formative, Summative)
Course Bibliography (Eudoxus)
1. ΑΝΤΛΕΡ Στέλλα, H τέχνη του ηθοποιού, μτφρ. Σύλλας Τζουμέρκας, εκδ. Ίνδικτος 2007. 2. ΤΣΕΧΩΦ Μιχαήλ, Μαθήματα για έναν επαγγελματία ηθοποιό, μτφρ. Αλίκη Αλεξανδράκη, εκδ. ΔΩΔΩΝΗ 1991. 3. ΣΤΑΝΙΣΛΑΒΣΚΙ Κονσταντίν, Πλάθοντας ένα ρόλο, μτφρ. Άγγελου Νίκα, εκδ. Γκόνης, 1962. 4. ΣΤΑΝΙΣΛΑΒΣΚΙ Κονσταντίν, Ένας ηθοποιός δημιουργείται, μτφρ. Άγγελου Νίκα, εκδ. Γκόνης, 1962. 5. WESTON Judith., Σκηνοθετώντας τον ηθοποιό, μτφρ. Νίκος Λερός, εκδ. Πατάκη 2006. 6. ΜΑΜΕΤ Ντέϊβιντ, Προς τον ηθοποιό, μτφρ. Μαρία Πασχαλίδου, εκδ. Παττάκη 2001. 7. ΜΠΕΡΓΚΜΑΝ Ινγκμαρ, Ο Μπέργκμαν μιλάει για τον Μπέργκμαν, εκδ. Ροές 1985. 8. ΚΑΖΑΝ Ελία, Μια ζωή, μτφρ. Ευγένιος Πιερής, εκδ. Ελληνική Ευρωεκδοτική Ε.Π.Ε. 1988. 9. BRESSON Robert, Σημειώσεις για τον κινηματογράφο, μτφρ. Αντωνία Βουτσαδάκη, εκδ. Καθρέφτης.
Additional bibliography for study
Στο τέλος κάθε εργαστηρίου δίδονται σημειώσεις με την εξέλιξη των προβών που πραγματοποίησε κάθε ομάδα φοιτητών, τις παρατηρήσεις του διδάσκοντα και των φοιτητών που παρακολούθησαν την πρόβα. Αναφέρονται τα συμπεράσματα.
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