4/28/2024 11:48:15 PM	THAR 13.1A Course Outline as of Spring 2016	Changed Course
CATALOG INFORMATION
Discipline and Nbr:  THAR 13.1A	Title:  STYLES PERF WORKSHOP I
Full Title:  Performance Workshop: Styles, Periods and Skills I
Last Reviewed:4/12/2021

Units		Course Hours per Week			Nbr of Weeks	Course Hours Total
Maximum	3.00	Lecture Scheduled	2.00		17.5 max.	Lecture Scheduled	35.00
Minimum	3.00	Lab Scheduled	3.00		17.5 min.	Lab Scheduled	52.50
		Contact DHR	0			Contact DHR	0
		Contact Total	5.00			Contact Total	87.50
		Non-contact DHR	0			Non-contact DHR Total	0

Total Out of Class Hours:  70.00

Total Student Learning Hours: 157.50

Title 5 Category:  AA Degree Applicable
Grading:  Grade Only
Repeatability:  00 - Two Repeats if Grade was D, F, NC, or NP
Also Listed As: 
Formerly:  THAR 13.1

Catalog Description:

Introduction to three different acting styles, including non-realistic styles and period realism, as well as further study of acting theory and specialized performance skills.  Styles to be studied change each time the course is offered.  This combination instruction/performance ensemble course requires night rehearsals during the last two weeks of classes and culminates in an evening public showcase performance.

Prerequisites/Corequisites:
Course Completion of THAR 10B AND Concurrent Enrollment in THAR13.1AL

Recommended Preparation:

Limits on Enrollment:

Schedule of Classes Information
Description:

Introduction to three different acting styles, including non-realistic styles and period realism, as well as further study of acting theory and specialized performance skills.  Styles to be studied change each time the course is offered.  This combination instruction/performance ensemble course requires night rehearsals during the last two weeks of classes and culminates in an evening public showcase performance.

(Grade Only)
Prerequisites:Course Completion of THAR 10B AND Concurrent Enrollment in THAR13.1AL
Recommended:
Limits on Enrollment:
Transfer Credit:CSU;UC.
Repeatability:00 - Two Repeats if Grade was D, F, NC, or NP

ARTICULATION, MAJOR, and CERTIFICATION INFORMATION

Associate Degree:		Effective:		Inactive:
Area:
CSU GE:	Transfer Area			Effective:	Inactive:
IGETC:	Transfer Area			Effective:	Inactive:
CSU Transfer:	Transferable	Effective:	Fall 1981	Inactive:
UC Transfer:	Transferable	Effective:	Fall 1981	Inactive:
C-ID:

Certificate/Major Applicable: Certificate Applicable Course

COURSE CONTENT

Student Learning Outcomes:
At the conclusion of this course, the student should be able to:

1.   Prepare, rehearse, and perform material from plays requiring non-realistic styles,

     period realism and/or specialized performance skills at a beginning level for a

     public audience.

2.   Adapt his/her character development process and performance techniques to meet

     the needs of a play's specific style, period, and/or specialized performance demands

     at a beginning level.

3.   Identify and explain major historical, literary, and cultural forces that shaped the

     development of a play's specific style and/or period, as well the relationship of those

     forces to the acting techniques required.

Objectives:

In order to achieve these learning outcomes, during the course the student will:

1.   Demonstrate performance skills through a variety of non-realistic acting styles, period

      realism and/or plays requiring specialized performance skills (e.g. dialects, unarmed

      combat, period movement, etc.) at a beginning acting level.

2.   Identify the influence of historical events, literature and culture on the theatrical practices

      of various periods.

3.   Analyze and score scripts, applying style-appropriate and/or period-appropriate techniques.

4.   Conduct research and text analysis in preparation for roles from styles and periods of plays.

5.   Translate basic acting theories and analytical concepts into practical application

       through performance interpretations.

6.   Create and sustain the distinct physical, vocal, and behavioral components of multiple

       characters, while adapting to the performance requirements of specific styles, periods,

       and/or special performance techniques.

7.   Revise and enhance acting choices, objectively incorporating the feedback of others,

        and utilizing the rehearsal process as a period of creative exploration.

8.   Define individual acting obstacles and determine individual strengths.

9.   Critique the work of others, utilizing terms and concepts relating to the specific style,

      period, and/or specialized skill being performed.

10. Support the throughline of a composite showcase by sustaining energy,

      focus, and pacing, as well as creatively interpreting transitional business.

11. Work cooperatively and professionally within a high-stress environment

      to produce a collaborative work of art for public performance.

Topics and Scope

I.     Introduction to period and non-realistic acting styles

      A.  Defining style

      B.  Researching a style or period

      C.  Personal acting development when studying styles and periods

 

II.   Introduction of Style Units:

      Each time the course is offered, three different styles will studied and performed,

       selected by the instructor using the following criteria:

           -  At least two non-realistic styles

                   (e.g. Greek, Kabuki, Commedia dell 'Arte, Farce, Comedy of Manners,

                  Absurdism, Brechtian, Post Moderism, etc.)

           -  At least one from a period prior to the 20th century

           -  At least one comedic style

           -  At least one dramatic or tragic style

           -  At least one should require a special performance skill

                  (e.g. dialects, period movement, unarmed combat, playing a disability, etc.)

      Each style unit may focus on material from a single representative play, an

       individual playwright's body of work, or works by multiple playwrights.  A record

       of past units taught is kept on file by the department.  

 

III.   Performing Non-Realistic Styles            

       A.  Historical and/or theoretical context

      B.  Script and character analysis

      C.  Vocal characterization within the style          

       D.  Physical characterization within the style              

 

IV.  Performing Period Plays

      A.  Historical and theoretical context

      B.  Script and character analysis

      C.  Vocal demands of the style

      D.  Movement  of the style

 

V.  Specialized Performance Skills

      A.  Historical and/or theoretical context

      B.  Script and character analysis

      C.  Vocal demands of the style

      D.  Movement  of the style

       E.  Techniques and terminology relating to the skill

 

VI. Rehearsal and Performance Techniques

      A.  Rehearsing with peers

      B.  Script preparation

           1.  Excerpting and cutting

           2.  Timing

      C.  Staging

           1.  Developing a basic floorplan

           2.  Blocking in 3/4 thrust

           3.  Sight lines and upstaging

      D.  Rehearsal costumes and props

      E.  Performance costumes and props

 

VII. Vocal Techniques

      A.  Articulation

      B.  Projection

      C.  Characterization

      D.  Stylization (verse, rhyme, etc.)

      E.  Pronunciation and dialect/accent

 

VIII.  Physical Techniques

      A.  Characterization

      B.  Movement and timing

      C.  Style-specific movement (period movement, etc.)

 

IX.    Preparing for the Showcase

      A. Rehearsing a composite performance

            1. Order and shape of the performance

            2. Transitional and introductory material

            3. Cutting and excerpting

           4. Differentiating multiple characters

      B.  Incorporating production elements

           1.  Lights

           2.  Costumes and costume changes

           3.  Staging transitions

      C. Performance techniques in production

           1. Personal and group warm-ups

           2. Maintaining consistency and focus

           3. Handling nerves

           4. Handling audience responses

           5. Handling the unexpected

Assignments:

1.  Participation in group exercises during course of study.  Exercises may include:

     A. Discussions of acting theory based on assigned readings.

     B. Improvisations and style exercises.

     C. Vocal exercises for clarity, projection, dialect and style.

     D. Physical exercises for relaxation, flexibility, and control.

     E. Period movement and manners.

 

2.  Performance Assignments:

     The student will perform a scene and/or monologue for each of the three units of

     study for the course, each assignment demonstrating an understanding and

      competence in the specific acting style and/or specialized acting skill.  Each scene

     or monologue will be performed within a time limit suitable for inclusion in the

     Showcase (scenes - approx. 2-5 minutes; monologues - approx. 1-2 minutes).

 

3.  Read 3 plays (one for each performance assignment).

 

4.  Conduct assigned research and complete 3 written character analyses and/or

    script analyses.  Analyses may be individual assignments or collaborative assignments

    with scene partners.  Depending on the style requirements, may also be given scoring,

    scansion or other script preparation assignments.

 

5.  SHOWCASE - Participation in culminating public performances of representative scenes

     and monologues in the styles studied during the semester:

     A.  Prepare selected Showcase material, either reviewing class assignments or rehearsing

           new material.      

 

6.  Attend 2-3 Theatre Arts Department productions.  Participate in class discussion

     regarding the acting demands within each production and their relationship

    to course content.

 

7.  Professionalism and Attendance

     Adhere to the following standards of acting professionalism throughout the course:

     A.  Arrive promptly and prepared for all class meetings, outside rehearsals,

          and performances.

     B.  Maintain an amiable and supportive attitude when interacting with

          other members of the performance ensemble.

     C.  Participate actively in class discussions and exercises.

     D.  Work collaboratively with scene partners.

     E.  Perform each role in a conscientious and dedicated manner.

     F.  Respectfully follow director's instructions in Showcase

          preparation and maintain that direction in performance.

     G.  Strive to maintain good health and safety practices.

     H.  Follow the terms of the course syllabus.

 

8.  Optional Assignment:  Attend 1-2 professional productions in the style(s) being

    studied.  Discounted group tickets will be arranged; students provide

    their own transportation.  Students unable to attend the performance, either with the

    group or independently, will be given a suitable alternative assignment (such as

    viewing a filmed production in the same style).

Methods of Evaluation/Basis of Grade.

Writing: Assessment tools that demonstrate writing skill and/or require students to select, organize and explain ideas in writing.		Writing 15 - 25%
Character analysis; script analysis; research summary; script preparation assignments
Problem solving: Assessment tools, other than exams, that demonstrate competence in computational or non-computational problem solving skills.		Problem Solving 0 - 0%
None
Skill Demonstrations: All skill-based and physical demonstrations used for assessment purposes including skill performance exams.		Skill Demonstrations 65 - 75%
Class performances (scenes and/or monologues); showcase performances
Exams: All forms of formal testing, other than skill performance exams.		Exams 0 - 0%
None
Other: Includes any assessment tools that do not logically fit into the above categories.		Other Category 10 - 20%
Professionalism--attendance, promptness, and preparation; Showcase preparation assignment

Representative Textbooks and Materials:

Acting With Style by John Harrop and Sabin Epstein.  3rd ed., Prentice Hall: 1999 (classic)

 

Style for Actors: A Handbook for Moving Beyond Realism by Robert Barton.  2nd ed., Routledge: 2009.

 

Scripts for each assigned scene or monologue.

 

Instructor prepared materials

Print PDF