INTRODUCTION TO THE ACTOR’S ART FALL 2013

MW 11:00-12:15

Theatre 101 - 802

Jenny Wanasek

Office T 25, phone 229-4947

Office Hours: M W 9-11:00am

and by appointment

COURSE DESCRIPTION

This class will introduce the student to the basic principles of Acting. This will be accomplished through the use of a variety of theatre exercises, the performance of student generated material, the viewing and critique of live theatrical performance, and the analysis and performance of a script. These offer the opportunity to exercise and develop one’s imagination, physical and vocal dexterity, emotional expression, as well as to expand one’s ability to take risks and reflect on that experience. Students will gain an appreciation for the art of Acting as a creative discipline that embraces intuition, process, and craft through active participation in exercises, engaging in critique of theatrical performances, and researching a character. There will be an introduction to pursuing acting as a profession and to the demands the actor faces in the rehearsal and performance of live theatre as well as to an example of interactive theatre used for social justice and transformation.

COURSE OBJECTIVES

Expose students to acting as an art form and craft

Increase students’ power to bring to life a character

Increase students’ sensitivity to human motivation – their own and others’

Expose students to a variety of theatrical performances

Expose students to a variety of uses for theatrical expression

COURSE REQUIREMENTS

  1. Students must participate fully in each class session.
  2. Students must dress for freedom of movement.
  3. Students must attend two theatrical productions chosen by the instructor.
  4. Written or performance assignments are due at class time on the date due. Points will be deducted for each day late.

GRADINGpoints may be earned for the following

PARTICIPATIONTOTAL POSSIBLE: 64

  1. 2.3 points possible for each day student is actively involved and energetically focused in class. This means being prepared and ready to present or participate in all exercises and homework. (Each student allowed one class missed with no penalty) After the 8th week of class, in addition to the loss of the 2.3 pts, there will be additional deductions for any absence beyond three.
  2. 1 pt. deduction for arriving late (each student allowed one late arrival with no penalty). Deductions increase for amount of time late. Deductions increase after three late arrivals.

HOMEWORKTOTAL POSSIBLE: 18

There will be approximately two written and three performed assignments.

(MTV: 4, 1st Scene: 4, Walk: 3, Play Quiz: 3, Character Analysis: 4)

There will be other unannounced quizzes on reading assignments. Attendance points are deducted for poor performance on quizzes (rationale being that if you have not read the material you are not prepared for classwork/discussion).

PERFORMANCE ATTENDANCETOTAL POSSIBLE: 8

4 points possible for attendance at The Belle of Amherst and 4 pts possible for Les LiasonsDangereuse.Paper response part of requirement for Les LiasonsDangereuse.

1 point possible for Les LiasonsDangereuseperformance attendance without paper.

FINAL EXAMTOTAL POSSIBLE: 10

TOTAL POSSIBLE POINTS 100

A100-96A-95-91B+ 90-86
B85-81 The Milwaukee Repertory Theatre
B-80-76
C+75-71
C70-66
C-65-61
D+60-56
D55-51
D-50-46
Not passing….45 and less
BIBLIOGRAPHY
Required text: The Immigrant by Mark Harelik Do not buy the musical version

Required text:Descent by Tom PatrickCopies can be purchased from the instructor, $7

Required reading: the following articles may be posted on D2L or handed out in class:
The Power of Focusing.Cornell, Ann Weiser, Ph.D., 1996. Focusing In

Safety AndTrust, pp 15-23.New Harbinger Publications, Inc.

Acting One. Cohen, Robert, 2002, fourth edition.Emotion and Acting

Theory, pp 175-181.McGraw-Hill Higher Education.

Respect For Acting. Hagen, Uta. Objectves.

Acting One. Cohen, Robert, 2002, fourth edition.GOTE, pp 61-64.

McGraw-Hill Higher Education.

Movement For Actors.Mackavey, Jill, 2002. Synergizing Internal and

External Acting, pp 199-213. Allworth Press.

Plays for which attendance is required:

THE BELLE OF AMHERSTRenaissance Theatreworks October 18-November 10, 2013

Pay what you can performance: Oct 28, 7:30

158 N. Broadway, Milwaukee

LES LIASONS DANGEREUSEUWM Theatre Department

Nov 20-24 W,R,F, Sat at 7:30, Sun at 2pm

UWM Mainstage, Fine Arts Bldg

General Guidelines:

  • You are responsible for all course material. If you miss a class, check D2L for updates on material covered or assignments due or see a class member to get caught up on notes, handouts, announcements, etc. that were given during your absence. I will not provide content to students who missed the class period in which it was given. Please do not ask for extra credit work.
  • All written assignments are due to the D2L dropbox BEFORE CLASS TIME. It is your responsibility to make sure that you do this successfully before the due date. Late assignments are sometimes accepted. Deductions are made for late submissions.
  • If you have a condition that requires special accommodations, please contact me as soon as possible. We will make an appointment o review your VISA and discuss your accommodations. I am happy to make accommodations for documented disabilities. However, please note that: 1) you must provide official documentation (VISA) in order to have accommodations made: 2) I will not retroactively provide accommodations; and 3) accommodations cannot be made unless and until you have formally discussed implementation with me.
  • Office Hours: I maintain set office hours for your benefit each week. If you have classes that meet during these hours, I can be available at other hours for a special appointment. Additionally, if you can, when taking advantage of the office hours time - let me know when to expect you so that you can receive priority at that time.
  • Crisis Policy: If, during the course of the semester, you become involved in any situation that may affect your ability to meet your academic responsibilities, then I encourage you to come speak to me as soon as possible. I may be more able to help you find solutions when I know about your problem in advance. If you wait until you have missed a deadline, assignment, etc. (or if you wait until the end of the term to explain your extenuating circumstances), you will generally discover that I am unable to help you find solutions.
  • Electronic communication devices are no more appropriate in the classroom than they are in the theatre. Turn them off during class.

Academic Misconduct. Review the document on our D2L page if you’re unsure as to what constitutes academic misconduct

GER Rationale

This course satisfies the PSOA GER requirements because it:

Focuses on the creation of theatrical pieces and participation in the craft of acting a role in a play (GER Goal #1)

Asks students to learn and apply various acting techniques used by actors in acting a role (GER Goal #3)

Requires participants to analyze their own and other’s acting performances (GER Goal #2)

GER Assignment: Performance of a scene from a play

GER Outcome: Creative self-expression, integration of knowledge regarding acting technique in the performing of a role in a scene from a play.

GER Assignment:Students, working in pairs, will complete this course by preparing and performing a five minute scene from a play which deals with the questions of social responsibility. In their performance the student is required to apply the following aspects of the actor’s craft: analyze character and character choices; execute emotional, physical and vocal expression; demonstrate a personal connection to character; choose character objectives and actively pursue said objectives; integrate direction from instructor; demonstrate listening and responding to their scene partner, and collaborate responsibly with them.

GER Assessment:Students are graded on: synergy of character analysis and objectives, personal connection and empathy for character, appropriateness of physical and vocal expression, pursuing active choices of character, listening and responding to scene partner. The performance of the scene allows instructor to assess the integration of aspects of acting technique, the student’s creative application of them and their response to the personal challenge of embracing another’s reality, as well as demonstrate the ability to empathize with and connect to other members of society.

CALENDAR
PLAN / DUE
SEPT 4 / Syllabus, Acting Exercises
9 / Discuss Qualities of the Actor assignment, Acting Exercises / COMPILE QUALITIES OF THE ACTOR, WRITTEN AND RANKED, submit to dropbox
11 / Acting Exercises
Discuss The Power of Focusing;Explain MTV Assignment / ARTICLE: The Power of Focusing on D2L
WRITTEN OUTLINE FOR MTV due to dropbox on Sat, Sept 14.
16 / Acting Exercises, discuss MTV assignment
Sign up for MTV performance order / WRITTEN OUTLINE FOR MTV due to dropbox on Sat, Sept 14.
18 / MTV Performances: / BE READY TO PERFORM MTV
RESPONSE TO MTV EXPERIENCE due within 24 hours of performing
23 / MTV Performances; / BE READY TO PERFORM MTV
RESPONSE TO MTV EXPERIENCE due within 24 hours of performing
25 / MTV Performances
Content-less Scenes: assign partners / RESPONSE TO MTV EXPERIENCE due within 24 hours of performing
30 / Discuss Emotional Theory article
Content-less scene rehearsal;WALKS assignment explained. / READ Emotional Theory article, D2L
OCT 2 / blocking exploration; objectives explored;
coach scenes; Show scenes
7 / Explore energy centers and physical movement; Exploration of physical expression as it relates to the questions in the Walks Assignment; Discuss article: Synergizing Internal…
9 / SEE WALKS / WRITTEN PORTION OF WALKS ASSIGNMENT DUE to dropbox; BE READY TO PERFORM WALKS ASSIGNMENT; RESPONSE TO WALKS ASSIGNMENT due to dropbox, submit to dropbox within 24 hours of performing it.
14 / SEE WALKS, Debrief WALKS Assignment, / WRITTEN PORTION OF WALKS ASSIGNMENT DUE to dropbox; BE READY TO PERFORM WALKS ASSIGNMENT; RESPONSE TO WALKS ASSIGNMENT due to dropbox, submit to dropbox within 24 hours of performing it.
16 / Introduce Short Scenes; assign partners
21 / Rehearse scenes; Discuss Beats and Objectives / READ GOTE article, D2L
23 / Short Scenes coached
28 / Coaching and perform scenes
PWYC EVENING
30 / Life in the professional theatre, time tables of professional productions
NOV 4 / Discuss scripts, scenepartners assigned
Quiz on both plays – 3 pts
INFORM INSTRUCTOR OF YOUR FINAL SCENE CHOICE / READ DESCENT AND THE IMMIGRANT
BRING SCRIPT OF YOUR CHOICE TO CLASS EVERY DAY FOR REST OF SEMESTER
6 / Introduction to Forum Theatre/Theatre of the Oppressed / ARITICLE: BOAL on D2L
11 / Discuss The Belle of Amherst.
Discuss Character Analysis; explore character in movement / CHARACTER ANALYSIS DUE to dropbox
13 / Script work; review beats, objectives; Voice and Speech; Dialects / ARTICLE: Objectives on D2L
18 / Script work; testing on beats/objectives in chosen Final Scenes / APPLY BEATS AND OBJECTIVES TO YOUR SCENE Copy the pages of your scene, mark beats
20 / Scenes coached / SEE LES LIASONS DANGEREUSE
Nov 20, 21, 22, 23 at 7:30 and 24th at 2pm
UWM Theatre Bldg
25 / Scenes Coached / Discuss Les LiasonsDangereuse. Paper due to dropbox.
SCENES PARTIALLY MEMORIZED
DEC 2 / Scenes Coached
4 / Scenes coached / SCENES COMPLETELY MEMORIZED
9 / Scenes coached
11 / Scenes coached and performed
DEC 16
10am-noon / FINAL PERFORMANCE

GRADING RUBRIC FOR FINAL EXAM (GER Assignment)

Exceptional
A
Full points / Distinctive
B
80% of points / Successful
C
65% of points / Substandard
D
50% of points / Failing
F
0 points
Character objectives are in line with character/script analysis / Character objectives are consistent with analysis most of the time / Character objectives are consistent with analysis half of the time / Character objectives are consistent with analysis rarely / Character objectives aren’t in any way justified in character analysis/script
Has deep and personalized emotional connection to character and takes risks to allow emotion to flow / Has deep and personalized emotional connection to character and takes risks to allow emotion to flow most of the time / Has modicum of personalized emotional connection to character and takes risks half the time to allow emotion to flow half of the time / Has shallow emotional connection to character and rarely takes risks to allow emotion to flow / No personal emotional connection to character and no emotional expression
Physical and vocal choices are appropriate to character and script information / Great attention is made to make physical and vocal choices that are appropriate given character and script information and is evident with good success in expression / A strong attempt is made to make physical and vocal choices that are appropriate to character and script information with some success in expression / Some attempt is made to make physical and vocal choices that are appropriate to character and script information / Physical and vocal choices aren’t in any way an expression of information in the script
Is able to express the character and its goals clearly through active choices and attention to beat structure consistently / Is able to express the character and its goals clearly through active choices and attention to beat structure most of the time / Is able to express the character and its goals clearly through active choices and attention to beat structure half of the time / Is able to express the character and its goals clearly through active choices and attention to beat structure some of the time / Is not able to execute active choices in pursuit of character’s objectives and has no understanding of beat structure
Is able to focus on scene partner, listening and responding to stimuli in each moment / Is able to focus on scene partner, listening and responding to stimuli in most of the scene / Is able to focus on scene partner, listening and responding to stimuli in half of time / Is able to focus on scene partner, listening and responding to stimuli in some moments / Is not able to receive stimuli by focusing on scene partner and does not incorporate new information from them as it happens
Uses rehearsal time productively, is prepared, is open to direction and applies it to scene consistently / Uses rehearsal time productively, is prepared, is open to direction and applies it to scene consistently most of the time / Uses rehearsal time productively, is prepared, is open to direction and applies it to scene half of the time / Has difficulty focusing during rehearsal, is poorly prepared, is resistant to direction and rarely applies it to scene / Is not focused during rehearsal, is unprepared, does not take direction or apply it to scene