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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 YourselfYou 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, they’re copyright free (that’s why I can post them). Don’t 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 you’ll get the feedback from the class. Don’t memorize the lines, not till you went through some analysis, dramatic breakdown and develop your idea about the character and movement (floor plan). Don’t 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 can’t make up your mind, I’ll 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 you’ll get rid of the papers in your hands sooner. No-no Things: Nobody needs to know that you forgot your line. We don’t care for words, we are into acting. Don’t stop. Don’t apologize, don’t curse yourself outloud. Do it later at home.
Do it: If you don’t like somebody’s performance in class, speak up your mind. You don’t have to butcher your classmates; imagine yourself doing their material -- how would you have done it? That’s a constructive criticism for you! Besides, if you don’t speak in class, you do disservice to all, including yourself. You don’t learn how to articulate your ideas. 200X Aesthetics, the BasicsNext: 221 Intermediate Acting, Biomechanics WWWilde Class List, must subscribe! Film Studies, Film Minor Scene Selection, Plays online:
Part II. Playing Episodes Part III. Building Images SummaryThis is a sample, for updates -- read act.vtheatre.net directory!Questions* All acting students are required to keep a journal in order to record observations, class notes, character work, script analysis, etc.Notesacting2 group
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Mondays, Wednesdays, Fridays TIMES: 1-2:00
Theatre 101 : Green Room
OFFICE HOURS: by appointment
OFFICE PHONE: 474-7754
HOME: 455-6149
email ffaga@uaf.edu
Acting 121 Web Page "http://act.vtheatre.net"
Texts: Library on reserve
Grading:
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.
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