THR 274 Acting 1 Syllabus
Instructor: Graham Paul
Location: Kittredge Theatre stage and/or Bryson Gymnasium
Class meets: 9:30-10:50 Tuesdays, Thursdays, and Friday 2 for 16 weeks
Texts: Hodge, Twentieth Century Actor Training
supplementary readings on reserve or as handouts
Office Hours: MWF1 8:00-9:30 a.m. and 1:00-2:00 p.m.; TTh 1:00-2:00 p.m.; or by appointment
Voice mail: Ext. 3041
Email: gpaul@warren-wilson.edu
website: http://www.warren-wilson.edu/~theatre
Statement of goals of this course:
The actor is an artist whose materials include the body, the voice, and the mind. In this class, you will be introduced (or reintroduced, as the case may be) to some basic techniques for increasing the range and flexibility of these tools. Together, we will explore different acting techniques, styles, and forms. It is my expectation that through these experiences you will not only develop your craft as actors but also deepen your understanding of some of the issues surrounding the theatrical art form. For instance, there is often disagreement among theatre practitioners as to what aspects of acting are most worth pursuing, what the aims of theatre are, and even what theatre is. In our readings, in our scene work, and in our exercises, we will attempt to explore these issues and understand something of what differentiates theatrical styles, texts, and techniques, and what they have in common. Along the way--but perhaps most important of all--we will become more adept at collaborating in small and large groups as we explore aspects of leadership and group dynamics.
We will investigate a variety of approaches to acting techniques in this course, including those described by Jerzy Grotowski, Konstantin Stanislavski, Vsevelod Meyerholt, Sanford Meisner, Bertolt Brecht, Michael Chekhov, and others. You will read selections on acting by these seminal teachers of acting. Skills we will work on improving may be grouped under the following broad categories:
**Physical responsiveness
**Vocal responsiveness
**Imaginative/emotional responsiveness
Another way of describing what we will be doing is to say that we will be working on approaches to acting that are physically-based, psychologically-based, or text-based. Of course, we will only begin to work on developing skills related to these areas; the work we begin in THR 204 Acting I will be deepened and broadened in THR 205 Acting II, which should be considered the second part of this course sequence and which will be offered in the Spring.
A final note: Few, if any, students in this class may be considering acting as a profession (and if you are one of those few, think carefully ). However, for the purposes of the course, I will assume that you are all very serious students of acting and treat you accordingly. Specifically, in this course you can expect to learn:
**to execute and to lead a series of warmup and workout exercises
**lasting about 20 minutes and including physical and vocal exercises
demonstration: a workout session led by the student **to demonstrate a basic understanding of the acting techniques under consideration
**demonstration: 1) short response essays and discussions on reading assignments
2) in-class performances of scenes geared to specific techniques
3) acting critique and self-evaluation essays to collaborate effectively with others in acts of collective creation
**demonstration: 1) rehearsal logs of specific performance assignments
2) in-class performances of scenes and projects
**to respond openly, imaginatively, and spontaneously to acting partners
**demonstration: participation in in-class exercises, rehearsal, and performances
**to give, receive and utilize criticism effectively in performing and writing
**demonstration: 1) in-class critiques of scenes, scene revisions, and projects
2) acting critique and self-evaluation essays to think and articulate ideas about issues related to acting, theatre, and performance
**demonstration: 1) in-class discussions
2) all written assignments
**to perform in public with focus, discipline, pleasure, and pride demonstration: participation in Dance/Act I
**Performance assignments: You will be assigned a number of short performance exercises and scenes. These assignments will need to be prepared with your partner (s) outside of class. You will also be expected to perform for the public as part of Dance/Act II at the end of the semester (Friday, December 9). You are also STRONGLY encouraged to audition for all the theatre productions this fall: the readers’ theatre production of A Midsummer Night’s Dream (auditions Tuesday, August 23); one or more of the productions comprising S.H.O.R.T.S., the festival of short theatre pieces (auditions TBA); Our Town (auditions in late November, dates TBA).
Written assignments: You will be asked to write two 3-5 page papers and several concise papers in the course of the semester:
**a one-page (or longer) response to a written prompt about your understanding of and experience with live performance (graded: check-minus, check, check-plus)
**150-250-word responses to each reading assignment (graded: check-minus, check, check-plus)
**similarly concise responses to any workshops you attend
**a three- to five-page critique of the acting in either The Syringa Tree or S.H.O.R.T.S (graded on a 59 to 100-point scale)
**a one-page (or longer) response to the acting in two of the three productions you are required to see (not required for the production for which you write the longer acting critique)
**a three-to five-page essay discussing your strengths and weaknesses as an actor, with reference to the readings and experiences in the class (graded on a 59 to 100-point scale)
**Reading assignments: You will be given a number of reading assignments (see schedule). Many of the assignments will be from the text, Twentieth Century Actor Training. Other assigned materials will be placed on reserve in the library or distributed in the form of photocopies. I recommend that you take notes, especially with reserved readings, because you will be asked to respond to the readings in discussion and short response essays, and I’ll want you to incorporate responses into some of your longer essays.
**Assigned performances and workshops: You will be required to attend two Warren Wilson Theatre productions and one North Carolina Stage Company production: Readers’ Theatre production of Shakespeare’s A Midsummer Night’s Dream, 8:00 p.m. Saturday, Sept. 17, Kittredge Theatre The Syringa Tree, North Carolina Stage Company, Wednesday, Sept. 28-Sunday, Oct. 16 (ticket prices: Wed, 9/28 $5.00; Thurs, 9/29 $12; then Wednesdays $15; Thursdays $18; Fridays $20; Saturdays $22. S.H.O.R..T.S: Short, Hysterical, Orchestrated, Real Theatre Stunts, 8:00 p.m. Thursday-Sunday, November 17-20, Kittredge Theatre
You will also be required to attend 2-4 workshops conducted by area professionals (dates TBA; location probably Kittredge Theatre)
Note: Some of these outside activities may take the place of regularly scheduled class meetings.
Class format and policies:
**Format: Each session will begin with taking roll and a brief physical and vocal workout. These exercises may at times be strenuous. Important: If you have any physical conditions which affect your ability to perform these exercises, you must inform me at once. I expect you to work hard to become stronger and more flexible, but I certainly do not expect you to put yourself at risk. I will pay close attention, but only you can truly judge what may not be advisable for you to do. The rest of the normal class period will be devoted to acting exercises, scene presentation and critique, and to general discussion of the reading and collection of response papers. It is important to note that in most acting classes, much more can be learned by watching other actors work that by focusing only on one’s own activities.
**Dress: Please wear appropriate workout clothing:
sweat clothes, shorts, or tights and leotards. Jeans, other tight pants,dresses, skirts, and hats are not appropriate because you need to be able to move quite freely. We will work barefoot. You will have a few minutes at the beginning of each class to change out of street clothes, if necessary.
Tardiness: Lateness to a class is as unacceptable as lateness to a rehearsal, and you are likely to be reported as absent. Repeated tardiness will severely affect your participation grade and perhaps your ability to remain in the class. I will take roll at the beginning of each class meeting. If you are late, you will not be able to sign in; in that case, you must see me after class. If you are chronically late, you might not be permitted to join the class and may be considered to be absent without excuse. Class begins promptly at 9:30 a.m.!
Disruptions: Leaving class to go to the bathroom or for other non-emergency reasons disrupts the class and signals disrespect for the instructor and other students. Attend to your needs before class. Do not leave class early unless you request and receive permission before class begins unless you have a sudden emergency. Cellphones or similar devices must be turned off during class.
Late performance or written assignments: Performance assignments must be performed at the assigned times (remember, opening night is never postponed!). Late papers may be penalized up to five points a day (including weekends).
Plagiarism and intellectual honesty: Evidence of intentional plagiarism, should it appear, will result in a failing grade for the paper and probably for the course, and will be reported to the office of Academic Affairs for further action. Unintentional plagiarism or under-documentation will require that the assignment be repeated as often as necessary until the problem is eliminated.
Grading: You will be graded on each performance assignment, and these grades will be averaged for the performance component of the grade; likewise for the written component. Weekly particpation grades will be averaged with the short reading-response essay average for the participation component. Each student will be asked to suggest a grade for the final project, which will be considered a performance assignment, and the average of all suggeted grades will be included in that component.
Grading criteria : (I use a 59 to 100-point scale for all grading.)
Written assignments are expected to be submitted in proper (MLA) format and to be free of mechanical errors. Papers will be graded on these criteria and on the degree to which they fulfill the goals of the assignment in a thoughtful, well-organized manner.
Criteria for grading performance assignments are listed below. At times, you may be asked to submit simple written assignments at the time of your performance.
I will record a participation grade at the end of each week, and these grades will be averaged together for the participation component. Any points for extra credit will be added to that average. Your participation grade will be affected by the degree of commitment you demonstrate in your daily work and performances; you will be penalized for absence, lateness, lack of focus, and any disruptions.
Breakdown for final grade (excluding unexcused absences):
**Performance component: 40%
**Written component: 30 %
**Participation component: 30%
Extra Credit: It is possible to earn extra credit to improve the participation component of your grade by attending additional live theatre performances and writing response papers. Performances must be okay’d by me in advance.
Special needs:
If you have a learning disability and might require special accommodations at any time in this course, it is your responsibility to inform me during the first week of classes. Documentation of your learning disability must be on file with Cathy Clark, Assistant Dean of Student Life. Requirements for disability documentation can be found on the Warren Wilson Internet site. To access the information, go to: http://www.warren-wilson.edu/accommodations/. Students with special needs are encouraged to contact Lyn O’Hare, Coordinator of Academic Support Services (ext 3012, lohare@warren-wilson.edu); Lyn can offer good help to students with special needs.
Also be aware that our workout sessions will involve strenuous physical effort. Please let me know if you have any temporary or permanent physical condition which may be aggravated by exercise or which will affect your ability to participate fully. Please do not push yourself to the point of injury in an attempt to demonstrate your enthusiasm for the work.
Attendance policy: As with all courses at Warren Wilson (as stated in the College catalog), attendance is required. Attendance in this course is particularly important because this is essentially a participatory learning experience: You can’t learn if you’re not there. In addition, you will have scene partners who are dependent on you presence. You are expected to be in class unless you are so ill that you cannot attend other classes and your work crew assignment. You must leave word for me at extension 3041 if you are too ill to attend class. If you are forced to miss a class, you are responsible for informing me of the reason; otherwise, I must consider the absence unexcused. Each unexcused absence will lower your final course grade by 1/3 of a letter grade; three such absences will lower your final grade the equivalent of one full letter grade. Absence from the public performance at the end of the semester for any reason will most likely result in failing the course.
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Criteria for grading scenes:
"A" work (90-100 pts.): The scene is exceptionally well-prepared (lines will memorized, movement and vocal choices solid and well-rehearsed). The actors have collaborated very well and made unusually strong choices which reveal the action of the scene in very interesting ways. The scene incorporates and explores the principles and techniques under consideration. The physical and vocal work is committed and shows progress resulting from the daily workout. The actors seek and accept criticism eagerly and demonstrate a willingness to learn. Paperwork is turned in on time and is exceptionally thorough.
"B" work (80-89 pts.): The scene is well-prepared, the actors have made clear choices, and they are making efforts to incorporate and explore the principles and techniques under consideration, even if not always successfully. They appear to have collaborated successfully. The physical and vocal work shows continued improvement. The actors are open to criticism. Paperwork is turned in on time.
"C" work (70-79 pts.): The scene is adequately prepared, with no problems which fatally interrupt the action. However, the choices are either unclear or demonstrate a very inadequate understanding of the material and the technique being presented. The actors may not have been able to collaborate successfully. The physical and vocal work lacks commitment. The actors are open to criticism, though they may react defensively. Paperwork may be cursory or late.
"D" work: (60-79 pts.)The scene is unacceptable because of lack of preparation, and the performance breaks down and cannot proceed smoothly. Lines may not be learned adequately, props are not furnished, choices are unclear and do not show adequate thought. Collaboration has failed due to lack of effort on the part of one or more actors. Physical and/or vocal work is sloppy. The actors are unable to accept criticism gracefully. Paperwork is missing.
"F" work (59 pts.) : The student fails to appear for the performance or cannot perform or get through the scene due to lack of preparation.
We will investigate a variety of approaches to acting techniques in this course, including those described by Jerzy Grotowski, Konstantin Stanislavski, Vsevelod Meyerholt, Sanford Meisner, Bertolt Brecht, Michael Chekhov, and others. You will read selections on acting by these seminal teachers of acting. Skills we will work on improving may be grouped under the following broad categories:
**Physical responsiveness
**Vocal responsiveness
**Imaginative/emotional responsiveness
Another way of describing what we will be doing is to say that we will be working on approaches to acting that are physically-based, psychologically-based, or text-based. Of course, we will only begin to work on developing skills related to these areas; the work we begin in THR 204 Acting I will be deepened and broadened in THR 205 Acting II, which should be considered the second part of this course sequence and which will be offered in the Spring.