THAR 1338 ACTING I Spring 2007
Wortham upstairs rehearsal studio Tues/Thurs 10-1120
INSTRUCTOR YoungEmail—
Course Description
An introduction to the theory and practice of acting as explored through exercises, monologues, scenes, and viewing plays. The exercises will explore the use of imagination, concentration, relaxation, improvisation, spontaneity, listening, and action playing.
Course Objectives/Learning Outcomes
- Develop an understanding of the basic tools necessary to build a foundation for solid acting values.
- To instill a respect for the discipline of acting.
- To instill a sense of joy, play, and risk.
- To help the student develop confidence in approaching and performing a text.
- Develop a strong sense of self, so the student is free to work both spontaneously and instinctively.
Attendance and Tardiness.
Since most work is done in class and cannot be made up outside of it, attendance in mandatory. If, because of serious illness or an emergency, you must be absent, please email me PRIOR to the class. Failure to email will be considered an unexcused absence. School of Theatre & Dance policies for Absences and tardies is listed on the website (
ALL TELECOMMUNICATION DEVICES SHOULD BE TURNED OFF THROUGHOUT CLASSTIME.
Assignments and Rehearsal
I will expect you to perform assigned work at the specified time. Remember that scene work demands substantial outside rehearsal time, so plan ahead to work with your partner. Please be responsible about meeting your rehearsal schedule. You also are expected to read the full text of every play that contains a scene on which you will work, as well as any additional articles or reading materials offered to the class. Additionally you are required to see TWO productions (A Streetcar Named Desire, The Boys Next Door, Death of a Salesman), and turn in a response paper with your ticket stub signed by an usher and stapled to it. You may also provide a response paper for any of the Albee New Plays for extra credit. Papers will only be accepted in hardcopy form.
Grading
40%--20% for Daily Participation; 20% Attendance
15% Response papers
20%--Monologues
25%--Final scenes
Grades reflect a willingness to participate, preparation, responsibility, commitment, and growth
Attire/Equipment needed
--this class will start with physical and vocal warm-ups, so you must dress in clothes that will allow you to move; athletic shoes or bare feet are permissible. NO FLIP FLOPS.
--one playground ball at least 10” diameter by the second class
Name______
Major______
Phone______
Email______
Previous Performance Experience (acting, music, dance)______
Sports/Dance/Physical Activities)______
Health Concerns (previous injuries, surgeries)______
What do you hope to get from this class?______
What grade do you expect to get from this class?______
Jan 16/18--WEEK 1—A>introductions, syllabus, student info cards (name, class, possible majors, phone #/email, health concerns, experience), name ball, EST game, Jackass/Elephant/Rabbit/1776
B>Warmups, BG 1&2, Lessac nrg Buoyancy, transformation circle, statues, busby berklee, monsters
Jan 23/25--WEEK2—A>wu, bg1&2, one frog, review buoyancy, intro potency, story die, mirror, change 2-6 things
B>wu, bg 1/2/3, review buoyancy/potency, intro radiancy, keep it up, “where” by activity, Transformation circle, machines, assign matchbook for next class
Jan 30/Feb 1-- WEEK 3—A>wu, bg, matchbook concentration game, stan observation game, sponpo, machines, mirror circle, assign readings—ASSIGN MONOS EARLIER TO GIVE THEM MORE TIME TO FIND THEM--
B>wu, bg, one frog, simultaneous story, 3 way conversation, lecture/argument, distraction, review nrg’s, sponpo with trades
Feb 6/8>GONE TO CHICAGO>find substitute?
WEEK 4—A—wu, bg, move through substances, improv using object other than itself, tag team improv, stage vocab
B>wu, bg, one frog, Stan obs game, tag team, discuss readings, substance into personal object—assign students to bring fruit to next class, do bkfst liquid on their own at home
Feb 13/15--WEEK 5—A—wu/ew, bkfst liquid, jackass/elephant, fruit sense memory, growing/shrinking, assign walks, assign shaving/makeup
B—Wu/ew, 3 minute walks, tag team/door improv, assign to find 3 monologues for 6B
Feb 20/22--WEEK 6—A—recreate last 2 minutes, wu/ew, walks, photo/resume
B—wu/ew, sense memory, environment (hagen), assign nonsense scenes, intro A/O work,
Feb 27/March 1--WEEK 7—wu/ew, shaving/makeup, a/o improvs with nonsense scenes, collect 3 monologues
B—wu/ew, shaving/makeup, reverse shaving makeup, continue nonsense scenes
Mar 6/8--WEEK 8—wu/ew, worthy adversary , nonsense scenes3 entrances, return chosen mono
B—wu/ew, cold reading, 3 entrances
SPRING BREAK (March 12-19)
March 20/22--WEEK 9—introduce partner and indication
A—wu/ew, , first showing of monologues, coach monos, a/o improv
B—coach monos, a/o improv, assign scenes
Mar 27/29--WEEK 10—continue to coach sense memory and a/o with monos
A—wu/ew, coach monos, a/o improv, schedule scene showings
B—same as A
April 3/5--WEEK 11—first showings of scenes
Apr 10/12--WEEK 12—introduce beats—coach scenes
Apr 17/19--WEEK 13—coach scenes
Apr 24/26--WEEK 14—see monos—cold reading
WEEK 15—final showings?????
Good folks
zap back to let me know you got this
remember to take time with your hot beverage before Thursday
remember to bring a piece of fruit to class on Thursday
remember on Feb 27 you're bringing me the text of 3 monologues typed up nice&pretty that you are desperate to perform at the end of the term --The monologue should run 45-60 seconds. You want to find something that really appeals to you, and is not outrageously far from who you are now (way too old, etc)
--20th Century American Realism
--Character in your own age range
--make sure name of play is on each of the selections
--monologues from plays you haven’t worked on
--make sure your character is talking to someone
--make sure you Need something from the person you’re talking to, and that you’re going about getting it in the monologue
--monologue must be from a published/produced play—no monologues from monologue books or websites that have monologues that are n’t from plays
--don’t pick a monologue that “tells a story or that is loaded with exposition
--talking on the telephone won’t help
--no monologues from novels, movies or tv
--pick a character you can relate to, and one you will enjoy working on
Playwrights with whom you might start your search
Arthur Miller Richard Nash
Michael Weller Neil Simon
Marsha Norman AugustWilson
William Inge Beth Henley
Lillian Hellman Horton Foote
Lanford Wilson Terrence McNally
Jose Rivera Eduardo Machado
Cheryl West Lynn Nottage
Pearl Cleage AR Gurney
John Patrick Shanley Kaufman &Hart
Craig Lucas Rebecca Gilman
William SaroyanClifford Odets
Kenneth LonerganEric Bogosian
Teresa RebeckSarah Ruehl
you might google these folks to look across reviews of their plays to see if any of the stories/characters spark your interest>those that do you should track down in the library--you will need to have access to the entire play (library or amazon . . . )
Warmups
Feb 27--Diaz
March 1--Brock
Mar 6--
Mar8—
March 20-Boyette
March 22--Gonzalez
Mar 27--
March 29--Levitt
April 3--Oliver
April 5--
Apr 10/--Slay
April 12Spencer
Apr 17/Wilson
April 19
Apr 24/
April 26
MONOLOGUES
Wells Brown—Carl-GETTING OUT
Chris Bustamante—Balthazar 121st St with Norca about her brain
Leslie Gonzalez—Abigail CRUCIBLE—you taught me goodness
Van Hua—Hal PROOF
Nancy Rosales—GETTING OUT (arlie), MARISOL
Nathan Casey—DEATH OF A SALESMAN—biff
Sara Piering—LOST IN YONKERS--Bella
Rian Slay—BBM—I’m not going to let you hurt me
Jess Wilson—The Lark
Jonathan Gonzalez—Mr. Webb OUR TOWN