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Title: Gib in telo Authors: ID Govednik, Rok (Mentor) More about this mentor... ID Paternoster, Anja (Author) Files: Anja_Paternoster.pdf (9,02 MB) MD5: BC58DCC96BB020BF247E73A586878DCE   Anja_Paternoster.zip (353,63 MB) MD5: E8125808F9993F907050C8A5FFF30F6D   Language: Slovenian Work type: Bachelor thesis/paper Typology: 2.11 - Undergraduate Thesis Organization: AU - School of Arts Abstract: Pričujoče diplomsko delo je razdeljeno na dva dela. V prvem delu bomo raziskali pomen giba, njegovo definicijo in deljenje gibov glede na dele telesa. Zatem se bomo posvetili gibu v gledališču in se vrnili na začetek, ko igra še ni obstajala. Omenili bomo Tepsisa, tako imenovanega prvega igralca. Temu bo sledila primerjava gledališke in filmske igre. Sprva bomo primerjali sam medij, kako se sporočilo, ki ga igralci uprizorijo, širi do gledalcev. Nato pa bomo primerjali omenjeni igri ter na kaj vse morajo biti igralci pripravljeni med samo izvedbo akcije. V delu, ki je namenjen filmu, bomo usmerili pozornost tudi na odnos kamere in igralca. Definirali bomo tri poglede: pogled kamere, pogled gledalca in medsebojni pogled igralcev, kot tudi subjektivni pogled, ki je kameri in igralcu do neke mere skupen. Po omembi filmskih planov bomo prešli na gib v animaciji. Začeli bomo s kratko predstavitvijo ter tudi predstavili dve tehniki: lutkovno animacijo in piksilacijo. Raziskali bomo tudi pomen tempiranja, ki je močno povezano z gibom v animaciji. V drugem delu se bomo osredotočili na praktični del diplomskega dela, animirani film Bela, črna in prava ljubezen. To poglavje bomo razdelili na tri dele: predprodukcijo, produkcijo in postprodukcijo. Začeli bomo z idejo, kreativno platjo in nadaljevali s tehnično. Na tem mestu bomo opisali pripravo in proces snemanja. V poglavju Postprodukcija bomo podrobno govorili o montaži, barvni korekciji in ustvarjanju zvoka. Na koncu diplomskega dela bomo predstavili dosežke filma, ter navedli sodelujoče, ki so pripomogli k izdelavi animacije. Keywords: Gib, telo, gledališka igra, filmska igra, gledališče, film, animacija, gibanje v animaciji, piksilacija Place of publishing: Nova Gorica Year of publishing: 2022 PID: 20.500.12556/RUNG-7718  COBISS.SI-ID: 130130435  NUK URN: URN:SI:UNG:REP:SPPZYIFG Publication date in RUNG: 21.11.2022 Views: 2377 Downloads: 43 Metadata:    Cite this work Plain text BibTeX EndNote XML EndNote/Refer RIS ABNT ACM Ref AMA APA Chicago 17th Author-Date Harvard IEEE ISO 690 MLA Vancouver : Copy citation

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Secondary language

Language:	Undetermined
Title:	Body and Movement
Abstract:	This thesis is divided into two parts. In Part 1, we will explore the meaning of movement, its definition and the division of movements according to body parts. Then we will look at movement in the theatre and go back in the history, when the play didn't exist yet. We will mention Thepsis, the so-called first player. This will be followed by a comparison of theatre and film. First, we will compare the medium itself, how the message that the actors perform convayes to the audience. Then we will compare the film and theatre play and what actors need to be prepared for during the action itself. In the part that focuses on the topic of film, we will talk about the relationship between the camera and the actor. We will define three views: the camera's view, the spectator's view and the actors' mutual view, as well as a subjective view that is shared to some extent by the camera and the actor. After the film plans, we will move on to the movement in animation. We will start with a short presentation and also introduce two techniques: puppet animation and pixilation. We will also explore the importance of pacing, which is strongly linked to movement in animation. In Part 2, we will focus on practical work, the animated film White, Black and True Love. This chapter will be divided into three parts: pre-production, production and post-production. We will start with the idea, the creative side and continue with the technical side. There we will describe the preparation and the recording process. In the Post-production chapter, we will talk in detail about editing, colour correction and sound creation. Finally, we will present the achievements of the film and the contributors who helped to make the animation possible.
Keywords:	Movement, body, theatre acting, film acting, theatre, film, animation, movement in animation, pixilation

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