C:\My Documents\Steph\Sly_215Afall2014.doc
University Of Southern California
Course Syllabus
SOT #215A
Course Name: Movement II
Course #: 215A
Units: 2
Session: Fall 2014
Instructor: Stephanie Shroyer
Email: or
Office Phone: (213) 740-8904
Office Hours: Mon. and Wed. 12:30 – 1:30 p.m. MCC 204 or by appointment please. Students are encouraged to use this as an opportunity to speak privately with the instructor about individual in-class progress.
Class Meets
Time: 10:00 until 11:50 a.m.
Days: Mondays and Wednesdays
Location: PED 208
Final Exam Monday, December 15th, 8:00 - 10:00 a.m.
Course Description
This course explores the components in a comprehensive actor training method employing voice, speech and acting which rigorous physical movement anchors. The student will strengthen the body and voice. Specific focus is on training the actor’s physical instrument emphasizing observation techniques, alignment principles and assessment of learned habits inhibiting the physical choices made in the students acting. This class introduces the incorporation of behavioral, environmental and spatial influences as they relate to the actors craft.
Goals and Objectives
1. To cultivate a pervasive “questioning” state of mind predicated on a commitment to taking responsibility for one self.
2. To develop a process through which one can break inhibiting habitual movement patterns in order to allow unencumbered choice, conscious control, and spontaneity in movement.
3. To recognize the importance of and exhibit competency in determining the necessary behavioral, environmental and spatial choices as they relate to:
a. The “reality of doing” principle.
b. Making of “meaning” through movement (story and relationship connotations).
c. The active pursuit of character objective within a text.
d. History, period and style.
e. Integration of the mechanics of movement into performance.
Process and Progression
Week 1 8/25 Intro and course outline
8/26 Baseline Monologues. Individual “isms”.
Assignments: Read pp. 1-11 in the Course Reader (Movement for the Actor) and
Search for a new monologue that presents a physical challenge. Then find an iconic inspiration for the physicality of the character. In “picture” form, this will be the physical model for your character, the “icon” to stimulate your physical imagination. Bring ideas Wed. 9/4.
Week 2 9/1 Labor Day. University Holiday.
9/3 Movement Vocabulary. Phys. Monologue ideas & picture icon.
Assignments: “Street” person Iconic Study observation exercise.
Read: pp.45-96 in The Expressive Body
Pp.29-49 in the Course Reader
Week 3 9/8 “Street” person Iconic Study observation exercise.
9/10 Movement Vocabulary. Begin work in iconic gesture. Observation. Physical imitation. Imaginary givens.
Assign: Rock Star Iconic Study
Week 4 9/15 Movement vocabulary. Iconic gesture continues with introduction of the Mirror Process. Having selected a monologue & iconic image (the icon in picture form) for your character, bring them back to class today. Remember to bring me a copy of the monologue also (see Assignments and schedule, pg.3)
9/17 Movement Vocabulary. Begin Mirror Process with your monologue choice. Structurals and Behaviorals.
Week 5 9/22 Movement vocabulary. Different time, different place…your characters’ environment—a springboard for your imagination. Finding spatial givens from the text and the imagination.
Do Re Mi Spatial Grid.
9/23 Time, Place and Environs as they affect the physicalization of story and text. Why and how do we adjust our physical choices according to time and place givens?
“Changing givens” exercise.
Week 6 9/29 Movement vocabulary. Operative words-a source for ACTIONS!
10/1 Operatives and Actions con’t.
Week 7 10/6 First presentation of monologue using iconic inspiration (the mirror process). Putting it all together… Structurals, Behaviorals, Do Re Mi Grid (use of time, place and space in storytelling) and Operative words as forwarding action.
10/8 First Presents con’t. Notes and reworks.
Week 8 10/13 Movement vocabulary. Briefings on Rock Star Icons.
10/15 “ “ “
Week 9 10/20 Midterm. Present Monologue.
10/22 First Paper Due!
Week 10 10/27&29Movement vocabulary. Partners and scene assignments. Cold reading in class. Making cold choices “active”.
Read: pp.97-130 in The Expressive Body.
Week 11 11/3&5 Movement vocabulary. Scene environment(Do Re Mi). Physical action as objective—How do I use physicality to pursue my “wants”? The “language” of movement and space.
Week 12 11/10&12Movement vocabulary. Status(lead/follow,major/minor, hunter/hunted, pursuer/pursued) in physical choices-how does power shifting in a scene affect physical choice?
Week 13 11/17&19First Presentations of scenes.
Week 14 11/24 Scene Re-working…troubleshooting.
11/26 Thanksgiving Break
Week 15 12/1 Movement vocabulary. (movement vocabulary assessment).
12/3 Last class. Perform Rock Stars! Paper #2 Due.
***Process and Progression subject to change according to the needs and progress of the group***
Final Exam: Monday, December 15th from 8:00 to 10:00 a.m. Final presentation of scene. Journals Due.
Grading
100 possible points. Scores will be totaled and graded on a curve. All points are awarded based on prompt and effective completion of the stated requirements.
40 pts Class-work. Evaluation is based on the student’s regular participation, completeness of preparation and concentration during exercises.
10 pts Journal including Rock Star Case Study
10 pts Mirror Process monologue
10 pts Written Assignment #1:
10 pts Written Assignment #2:
5 pts Command of Movement Vocabulary and Technique
15 pts Final Scenes
Monologues and scenes are adjudicated based on completeness of physical choices and ability of student to develop a lasting recognizable, physicality as observed by the instructor on a continuum basis.
Assignments & Schedule
Ø Various out of class observation assignments throughout semester as necessary for class work.
Ø Keep a movement observation journal. In addition to class notes and other acquired pertinent information to your movement study the journal has 2 components:
1. Personal Observation & Assessment of your movement discoveries, difficulties and questions. Due: Mon., Dec. 15th.
2. Case Study of a Rock (or Music) Icon of your choice. Select an individual who will hold a fascination for you throughout the semester. By viewing and studying varied documentation of this performer, observe, analyze and assess their movement, gestures and physical presence on an ongoing basis throughout the semester. Try to compare and contrast between the individuals "pedestrian" and "performance" life. The purpose of this extended movement study is to exactly replicate the iconic persona of the individual to be demonstrated in a lip sync performance performed by you at the end of the semester. Document the progress of your replication journey in your journal.
Rock Icon Performance: Wed. Dec 3rd.
Ø Iconic gesture exercise: Iconic Inspiration for Character Development (a.k.a. “Mirror Process”). Choose a physically challenging monologue and find an iconic inspiration (a full figure in picture form…not just the face or torso) for the character.
Bring two copies (one is for me to keep) and your picture inspiration to class (keep in mind you must be able to bring this picture with you to class every day for the duration of this unit) Due: Monday, Sept.15th.
Ø Icon inspired monologues presented in class. First sharing: Week of Oct. 6th
Ø Iconic monologue midterm sharing: Oct. 22nd and 24th.
Ø Paper #1 Due Wed. Oct. 22nd.
Ø Scene Partners assigned and begin work on scenes Oct. 27th.
Ø Observed rehearsals of final scenes Nov. 17th, 19th, 24th.
Ø Mon., Dec.1st movement vocabulary assessment..
Ø Paper #2 due Wed., Dec. 3rd.
Ø Rock Icon Case Study Performed Wed. Dec.3rd.
Ø Final Exam scene presentation and Journal Due: Mon., Dec. 15th 8-10a.m.
Written Assignments
Paper #1 After viewing To Gillian on Her 37th Birthday(10/2 through 10/5 in the Scene Dock),4.48 Psychosis(10/2-10/5 in MCC),and Dark of the Moon(10/9-10/12 in the Bing) choose one of the performances and discuss the physical world created by the ensemble. Think in terms of material introduced, discussed and experienced in class. I’m especially looking for your observations regarding physical characterization and the actors’ use of physical environment as a storytelling tool. The paper should be three to five pages in length. Due: Wed., Oct. 22nd.
Paper #2. Attend The Dream of the Burning Boy (10/23 through 10/26 in the Scene Dock), Summer Brave (10/30 - 11/2 in MCC) and Cat Among the Pigeons (11/6- 11/9 in the Bing) and Anna in the Tropics (11/20- 11/23 in MCC), choose one and write a proposed alternative physical approach (character based and environmental/spatial) that you think would serve another production of the play you viewed. This exercise is to encourage lateral imaginative thinking in a physical approach to any text. After assessing the approach taken physically in the production and using your growing knowledge of the physical principles we’re exploring in 215, can you imagine and then propose an alternative approach that could be just as effective? Due: Wed., Dec.3rd.
**Note about Written Assignments: Hard copy of all paperwork is required. If you email your paper outside of class time, placement of the hard copy is to be placed in my DRC mailbox. **
Attendance and Time Requirements
1. Students are expected to be in class: dressed, and ready to work by 10:00 a.m. sharp.
2. Attendance is mandatory.
3. Three episodes of tardiness equal 1 absence.
4. Late work will be accepted at the discretion of the instructor and then will be reflected in the grade by docking no less than 2 points per day. Hard
5. copies of all paperwork are required. DRC administrative office personel must date stamp late papers before being placed in my mailbox.
6. Check your email regularly for scheduling changes and other timely information.
Textbooks, Materials and Classroom Rules
o Required texts: The Expressive Body, by David Alberts
Course Reader - Movement for the Actor, by Lucille S. Rubin
o Recommended texts for further study: The Body Speaks, by Lorna Marshall,
An Acrobat of the Heart, by Steven Wangh, On the Technique of Acting, by Michael Chekhov
o Instructor may supply necessary handouts and excerpts from suitable texts as needed.
o A Notebook/ Journal for documenting of process, progression and Iconic Studies throughout the semester.
o Students must dress in movement attire. To maximize safety and learning potential, it is utmost importance to be able to observe physical technique and form during movement vocabulary. Sweats, yoga pants, leotards, tights, gym shorts etc. are appropriate. Attire should be fitted to avoid saggy, baggy pockets that can “catch” during the work. No Jeans. No belts. Barefeet preferred. A towel is recommended.
o No food, coffee, tea, soda allowed in the studio. Bottled water is welcome and recommended.
o Character studies and scenes require attire and props to support movement choices and to define the physical world as specified by the text (see “Goody Bag” addendum to syllabus). There will be no miming of the physical elements of the work. The reality of doing principle is paramount in Movement II.
o Cell phones are to be turned off for the duration of class.
o Electronic capture of any portion of class is strictly prohibited without prior approval of the instructor.
Note from the Instructor
The principles introduced in Movement II are processes that take time to absorb and understand. Do not become impatient. Remain positive and curious about the work. Remember the results are not instantaneous. Your commitment to a physically oriented process is of much greater importance than a definitive result. Resist judgment and expectation of any particular outcome. Explore. Play. Be fearlessly inventive within the parameters given. Each student works and learns in a unique manner.
Disability Services
Students requesting academic accommodations based on a disability are required to register with Disability Services and Programs (DSP) each semester. A letter of verification for approved accommodations can be obtained from DSP when adequate documentation is filed. Please be sure the letter is delivered to me (or to TA) as early in the semester as possible. DSP is open Monday-Friday, 8:30-5:00. The office is in Student Union 301 and their phone number is (213) 740-0776.
Academic Integrity
Dishonesty in any form harms the individual, other students, and the School of Theatre. Therefore, USC policies on academic integrity will be enforced in this course. Papers suspected of containing plagiarized material (the unacknowledged or inappropriate use of another’s ideas, wording, or images) will be verified for authenticity by the School of Theatre through Internet services. I expect you to familiarize yourself with the academic integrity guidelines found in the current Scampus.
This syllabus serves as your contract for course #215a, Fall Semester 2014.
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