Beginning Acting
Syllabus
| SYLLABUS for BEGINNING ACTING TH 106 Dr. Amy Seham Spring 2004—MWF 10:30-12:30 Office: FAC 221, ext. 7460 aseham@gac.edu Office hours: Tues/Thurs 2:30-3:30 and by appointment T.A. Nick Dillenburg Course Description: Beginning Acting is an Arts Participation course designed to teach the basic skills, concepts, and methods of modern realistic acting technique. Beyond that, however, the class will provide students the opportunity to strengthen those powers of concentration, focus, analysis, imagination, creativity and empathy that are critical to every art form. Required Texts: Audition Michael Shurtleff Acting is Believing McGaw/Clark PLEASE MAKE A HABIT OF BRINGING THESE TEXTS TO CLASS, AS WE MAY OFTEN REFER TO THEM. Required Performances: Good News! Feb. 19-29 Anderson Theatre Scenes from an Execution May 6-8 Anderson Theatre Outside Production TBA Minneapolis Specific Goals: ® Develop confidence, spontaneity, sensitivity, and imagination through improvisational exercises. ® Develop dynamic energy flow through relaxation and concentration. ® Expand physical and vocal range, flexibility, creativity, and stamina. ® Develop analytical skills through written critiques, peer and self-analyses. ® Explore realistic acting through scenework and monologues. Learn to make clear, well-informed, interesting and compelling CHOICES in the work. ® Develop self-confidence, trust, and sensitivity to self and others through an interactive and cooperative work process. Attendance: ATTENDANCE WILL AFFECT YOUR GRADE! Theatre means being there. You can not learn this material by merely reading a book and taking a test. Attendance is critical -- as with any rehearsal or performance. Plan to be on time, dressed in comfortable clothes and low-heeled shoes that allow you to move, sit on the floor, bend, or do anything the exercises require (no short /tight skirts !). You will be expected to participate fully and enthusiastically in class exercises and to rehearse and memorize performance projects outside of class time. ® After two unexcused absences, your overall grade will be reduced (from B+ to B, for example) and will continue to be reduced with additional absences. Missing half the class periods of the semester is automatic failure. The ONLY excused absences are those with a doctor's note, or dean's note. Job interviews, rides to the airport, all-nighters, sports travel are never excused absences. Leaving early or returning late from spring or Easter breaks are NOT excused absences. Tell your families now not to plan on it! If you believe your sports or job interview obligations will require excessive absences, consider dropping this class now. Grading: Grades will not be based on “talent” but on discipline, preparedness, hard work, a positive attitude, respect for others, imagination, and attention to detail. Grades indicate the following: F= assignment not fulfilled D= careless, sloppy, or poorly prepared work C= satisfactory work B= assignment distinguished by clarity, energy, insight, or originality A= assignment shows all the above qualities to an unusually high degree. Grade breakdown: Class participation/attendance 20% Exercises and homework assignments 15% Monologue 15% Scene 15% Critiques 20% Final 15% Papers: Two self-analyses, two peer critiques, and one review of the acting in an outside theatre production will be required. Specific instructions will be provided. Whenever possible, FRIDAYS will be reserved for work on improvisational technique and workshops. This syllabus is detailed for your convenience. It is up to you to be responsible for assignments listed without additional reminders. This syllabus may be adjusted by the professor if time constraints demand it. You will be informed of any changes. SCHEDULE (subject to change or adjustment) Week 1 Feb 9-13 Introduction Homework—for Wednesday, read Believing, Chapt. 1-2(Terminology) and Audition pp 1-33 For Friday—Stretches and improv WEDNESDAY– Perform an early “Audition piece.” Week 2 Feb 16-20 Performing a simple action Performing a score Homework: For Monday read Believing Chapters 3 and 4 For Friday-- Write and Perform an emotion score for one of the exercises in Chap. 4-- Choose a monologue -- submit for approval by FEBRUARY 27 (American Realism) See Good News! February 19-29 Anderson Theatre Week 3 Feb 23-27 Discuss Acting choices in Good News! Twelve Guideposts Homework: For Monday Read Audition pp. 33-87 Submit monologue for approval by Wednesday Homework: For Wednesday read Believing Chapters 5 and 6. Prepare and perform concentration activity. Friday – Stretches and improv Week 4 March 1-5 Guideposts Discuss beats, subtext— BLANK SCENES Homework: For Monday Read Audition pp. 87-143 AND 187-195 For Wednesday -- Hand in copy of approved monologue marked with beat break-down AND completed CHARACTER ANALYSIS sheet. Be prepared to discuss your choices. Friday – Guest Artist Workshop Week 5 March 8-12 Discuss blocking, place, environment FOR Monday, Read Believing Chapters 7-9. Prepare "inner monologue" exercise page 125 to perform on Monday. ***Monologues due for critique Wednesday and Friday Week 6 March 15-19 Monologues due for critique Monday and Wednesday Substitution, Personalization, Justification Homework: For Monday, Read Believing Chapters 10-12. Friday: Catch-up, Stretches and improv See Building Bridges show Saturday am. Week 7 March 22-April 2 Monologues due for a grade Monday and Wednesday For Friday-- Hand in TWO COPIES of peer critique/one copy of self-analysis. Scenes assigned. Memorize over break. YES! WE HAVE CLASS ON FRIDAY!!!! Week 8 April 3-12 SPRING BREAK Week 9 APRIL 14-16 (No Monday) Rehearsal techniques Homework: Read Audition pp. 143-187 Meet with partner outside of class to rehearse. Work on beats and blocking. Friday – stretches and improv Week 10 APRIL 19-23 Monday: perform the score of your scene — no lines. Homework: Read Audition pp. 195-217 Wednesday and Friday Scenes due for critique. Schedule one session with prof and one session with TA. Rehearse with your partner. Week 11 APRIL 26-30 Monday and Wed -- Scenes due for critique. Schedule one session with prof and one session with TA. Rehearse with your partner. Friday Improv Workshop ALL Read Audition pp. 217-259 Week 12 May 3-7 Monday Scenes due for critique. Schedule one session with prof and one session with TA. Rehearse with your partner. Wednesday and Friday Scenes due for a grade. ALL Choose scene or monologue for final project by Monday May 10. SEE Scenes from an Execution Week 13 May 10-14 Discuss Acting in Scenes from an Execution Choose scene or monologue for final project by Monday May 10. Hand in Two copies of peer critique/one copy of self-analysis of scene Make sure final project approved. Schedule coaching with prof and with TA on final project. Friday Improv workshop and stretches Week 14 MAY 17-19 (no Friday) Schedule coaching with prof and with TA on final project Critique of outside play due Final improv workshop Wednesday. Final Exam is a performance of your final scene or monologue at scheduled exam time (Saturday, May 22 110:30 am) AND a short paper discussing your work process for the final project and analyzing how you have progressed as an actor through the semester. The exam/performance is scheduled for at 3:30. You are welcome to invite friends to attend. |