NAME of the CLASS Spring 2007

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