[ archive ] Take notes in class (use your journal, keep it with you all the time). If you don't understand some terminology, go to Glossary. Also, each topic in this syllabus is connected with the appropriate page, but the pages are designed for all levels of acting and directing. If you to miss the class, you won't know how much you should know and you will read it all. Don't miss classes.
If you have a legitimate reason for not being in class, you call in, leave a message or email me.
The Master-File with monologues and scenes is in the Library on reserve (select the pages, copy them and put back).
If you don't show up for rehearsals with your partners, they drop you -- they get the grade, you don't.
For Homework and Journal keeping instructions go to the 221 page.
If you want to see a sample of the test on Acting Theory, please, go to Forms & Samples page.
HOW TO WORK with Yourself
You can print out the entire directory and use it as a textbook, or mark the selections you need and print them only. Follow the links in each class and read the pages related to the topics. If you need more information, use the outside links on my pages, or search the Net and library. You can use the monologues and scenes I have on my site, theyíre copyright free (thatís why I can post them). Donít waste your time on search for a perfect-for-you monologue/scene. Go with the instinct, do the "cold reading" in class; you can change your mind later, when youíll get the feedback from the class. Donít memorize the lines, not till you went through some analysis, dramatic breakdown and develop your idea about the character and movement (floor plan). Donít go through useless read-through in class; we are here to work on your piece, even for cold reading you should have some ideas about the role. Throw them at us, try and test your design!
If you canít make up your mind, Iíll select the text for you. We want to have a good performance, not a great literature presented. (Usually they are together, but if a monologue is above your head, go for something you understand and feel for).

Do you have somebody at home or dorm to perform for? Torture them -- tape-recorder is good, but humans are better. Use them to feed you lines, this way youíll get rid of the papers in your hands sooner.

No-no Things: Nobody needs to know that you forgot your line. We donít care for words, we are into acting. Donít stop. Donít apologize, donít curse yourself outloud. Do it later at home.
No-no: Donít get into this ďtalent stuffĒ -- am I talented, I am no good, bad, do I have a potential, I suck, stink and etc. The class is not an academy award, youíre here to get as much as you can out of yourself. Let the others judge you.

Do it: If you donít like somebodyís performance in class, speak up your mind. You donít have to butcher your classmates; imagine yourself doing their material -- how would you have done it? Thatís a constructive criticism for you! Besides, if you donít speak in class, you do disservice to all, including yourself. You donít learn how to articulate your ideas.

200X Aesthetics, the Basics

Next: 221 Intermediate Acting, Biomechanics

WWWilde Class List, must subscribe!

Film Studies, Film Minor

Scene Selection, Plays online:
Hamlet -- for monologues and scenes see SHOWS directory!

Fall 2003: Five Approaches to Acting, David Kaplan (textbook)

Part I. Getting to the Task

Part II. Playing Episodes

Part III. Building Images


This is a sample, for updates -- read directory!


* All acting students are required to keep a journal in order to record observations, class notes, character work, script analysis, etc.


acting2 group

"Never get caught acting!" Lillian Gish

THR 121-F01 Fall 2002



Mondays, Wednesdays, Fridays TIMES: 1-2:00
Theatre 101 : Green Room
OFFICE HOURS: by appointment
OFFICE PHONE: 474-7754
HOME: 455-6149

Acting 121 Web Page ""
Texts: Library on reserve
Midterm 20%
Final 30%
Journal 15%
Monologue 10%
Scenes 10%
Improv 10%
Test 5%

Monologues: 1-2 pp. 5 min. Scenes: 10 min (2-3 characters). Journal: min. 3 times a week, 2-3 pp. each time. One scheduled conferences before Midterm and one after. Each missed class without a note - reduced grade.

[0] Self-Introduction Spectator Composition and Exposition
[2] Acting: System and Method. "Character" and Improvization. Monologue. Resume.
[3] Actor's Text. Resume due. First Monologue presentations.
[4] "History." Monologue breakdown: Actor's Text II.
[5] "Circumstances"
Improv: Situation.
[6] "Setting" and Improv: Character. Scenes selection due. "Improvisation" as Rehearsal Methods and Actor's Home Work
[7] "Action": Scenes breakdown due. "Objective and Obstacles". Journals due. Second Monologue presentations and discussions
[8] Monologues: Run-though and Scene selection
[9] Analysis: Character and Scenes. "Inner Images"
[10] Scene Study: Structure and Blocking "The Score"
[11] Scene Study: Prop. Overview. Written test on Acting Theory. Improv as Scene Development. Scenes selection
[12] Scenes presentations and discussions.
[13] BioMechanics.
[14] Acting Cycles. Scenes (3 Sisters, 12th Night, Mikado, Hamlet -- see 200X for links to the texts). Second Monologue Graded
[15] Biomechanics Improv [Must see "Lysistrata"]
[16] "The Importance of Being Earnest" Scenes Improv.
[17] 12th Night and Biomechanics.
[18] Comedy Study.
[19] Comical, Physical Action.
[20] Prop and Comedy.
[21] Commedia Style
[22] Shakespeare and Stand-Up comedy.
[23] Scenes presented. Shakespeare (12th Night) and Chekhov (3 Sisters) assignments.
[24] Hands. Masked Actor.
[25] Body. Break it down in segments.
[26] Head and face.
[27] Cast Idea
[28] Type Casting
[29] Self-Directing: Actor's Homework
[30] Blocking: Mise-en-Scene
[31] [See Theatre UAF shows and take notes, write in your journals]
[32] 3 Sisters, in class, assigned scenes work.
[33] 22/11 3 Sisters, Scenes & Monologues -- Discussion. Objective, super-objective, role. Virtual Theatre and Actor, Concentration and Method, Film Acting.
[34] Scenes presentations before memorization.
[35] Shakespeare Scenes in class.
[36] Scenes Run-Through.
[37] Scenes Memorized.
[38] Rehearshals.
[39] Run-Through.
[40] Scenes on Stage.
[41] Last Class
Finals. Journals due II. Scenes for grade. Open for the public.
Check Theatre UAF Master Calendar for our Fall productions. Come to audition!
Theatre Majors must have Theatre UAF Advising Handbook.
Now, go to YOUR CLASS PAGES Fundamentals of Acting!
On your first day in class all of you have "A"s! Try to keep up good grades!
@1999-2002-2003 *

"The most important thing in acting is honesty. If you can fake that, you've got it made." George Burns

Learning Outcomes (min):

1. Students will have a working understanding of the major principles of acting and acting as an art and will increase their ability to express themselves artistically and communicate effectively.

2. Students will have an understanding of the components that create dramatic tension: objectives, obstacles, tactics, and stakes and will be able to utilize the components of dramatic tension in both improvisation and scene study.

3. Students will be skilled in the use of relaxation exercises and bodily expression.

4. Students will explore and understand the need for intense focus and concentration when performing.

5. Students will be able to analyze and dissect scripts for beats, objectives, and characterization.

6. Students will read and analyze the full text of any play that they are performing a scene or monologue from.

7. Students will be able to write a character biography.

8. Students will understand the importance of and strive to achieve sensory and emotional awareness and recall.

9. Students will be able to create a character based on observation, physical exploration and script analysis.

10. Students will have a working knowledge of stage directions and blocking.

11. Students will participate in ensemble and trust building activities.

12. Student will see and comment on a large variety of theatrical productions.

13. Students will be able to effectively criticize their own work and that of others.

Fall 2003: 5 Approaches to Acting (textbook), David Kaplan

Part I. Task (Method)
Chapter 1. Stanislavsky
Chapter 2. Obstacles
Chapter 3. Stanislavsky's Legacy

Part II. Episodes

Chapter 4. Brecht
Chapter 5. Combining Episodes
Chapter 6. Meyerhold

Part III. Images

Chapter 7. Masks
Chapter 8. The Language of Mask

Part IV. The World of the Play

Chapter 9. Comparison
Chapter 10. Rules

Part V. Telling a Story

Chapter 11. Storytelling
Chapter 12. Dramatic Action
Chapter 13. Shakespeare

Part VI. Comparing Approaches
Chapter 14. Comparing
Chapter 15. Choosing an Approach
Chapter 16. Combining Approaches