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At the conclusion of this course, the student should be able to:
1. Apply and demonstrate control of basic vocal acting techniques, including projection, articulation, and breath support.
2. Apply and demonstrate control of basic physical acting techniques, including relaxation, "relaxed readiness", and motivated action.
3. Develop and demonstrate ability to concentrate and maintain focus, awareness, and spontaneity while acting.
4. Demonstrate basic techniques of physical and vocal characterization.
5. Use direct observation and basic research techniques in creating a character.
6. Analyze a script and document that analysis, applying basic principles and techniques of Stanislavski-based psychological realism to develop a character.
7. Work collaboratively within partnered and/or ensemble acting situations in the development of characters, whether scripted or improvised.
8. Apply basic improvisational acting techniques, including listening, responding, being in the moment, focusing, "saying yes," and respecting one another.
9. Memorize, retain, and accurately perform scripted text.
10. Assess and critique a performance from an observer's point of view, applying constructive evaluation techniques in identifying the strengths and weaknesses of the acting within that performance.
11. Correctly use acting terminology and basic staging concepts during the rehearsal and performance process.
12. Rehearse, prepare, memorize, and perform a role in a partnered scene from a modern realistic play.
13. Rehearse, prepare, memorize, and perform a realistic monologue from a modern play following basic audition protocol and procedures.
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I. Introduction: What is Acting?
II. Ensemble Development
A. Trust and support
B. Give and take
C. Taking risks
D. Personal obstacles (e.g. inner critic)
III. Improvisation as an Acting Tool
A. Saying "yes"
B. Being in the moment
C. Impulses and stimuli
D. Listening and responding
E. Giving and receiving
F. Raising the stakes
G. Making your partner look good
H. Endowing objects and people
I. Avoiding indicating and anticipating
IV. The Actor's Instrument: Inner Resources
A. Concentration and focus
B. Sensory awareness, recall and imagery
C. Memory and emotional recall
D. Personalizing and substitution
E. Activating the imagination
F. Public solitude
V. The Actor's Instrument: The Body
A. Physical warmups
B. Breathing
C. Physical awareness
1. Tension and center
2. Spinal alignment and balance
D. Physical performance energy and "relaxed readiness"
E. Introduction to physical characterization
VI. The Actor's Instrument: The Voice
A. Vocal warmups
B. Diaphragmatic breathing
C. Supporting and rooting the sound
D. Vocal terminology and techniques
1. Articulation
2. Projection
3. Other vocal techniques (e.g. variation, tone, etc.)
E. Vocal performance energy
F. Introduction to vocal characterization
G. Working with written dialogue
VII. Stage Movement and Business
A. The areas of the stage
B. Stage positions
C. Basic blocking techniques and concepts
D. Motivating action
E. Creating and motivating business
F. Notating blocking in a script
VIII. Stanislavski's Theoretical Approach to Acting
A. A brief history
B. An introduction to Stanislavski's system
1. Truth, belief, and the "Magic If"
2. Character, relationship, and status
3. Objective, obstacles, and motivation
4. Text, subtext, and interior monologue
5. Strategy, tactics, evaluation, and beats (units)
6. Importance of action over emotion
7. Throughline and superobjective
IX. Acting With a Script
A. Given circumstances
B. Analyzing a script for character clues and dramatic function
C. Defining the action
D. Playing the action
E. Scoring a script - basic techniques
F. Techniques for memorization
X. Developing a Character
A. Character analysis - history, personality, behavior
B. Physical and vocal characterization
C. Direct observation - observing others for character inspiration
D. Basic character research
E. Abstraction
XI. Scene Work: The Rehearsal Process
A. Working with other actors
B. Relationship between actors as characters
C. The environment
1. Floorplan
2. Offstage life
D. Rehearsal tools
1. Rehearsal costumes
2. Rehearsal props
E. Preparing and maintaining your script
F. Recording notes and thoughts
G. Staging and rehearsing a scene
XII. The Performance
A. Working with props and costumes
B. Handling nerves
C. Dealing with audience responses
D. Pacing and performance energy
E. Leaving a performance behind
F. Evaluating a performance
1. Constructive evaluation techniques
2. Receiving criticism
3. Self-evaluation
XIII. Introduction to the Audition Process
A. Monologues
1. Qualities of a good audition monologue
2. Preparing an audition monologue
3. Presenting an audition monologue
a. Audition attire
b. Introducing and ending a monologue
B. Other aspects of auditions
1. What to bring
2. Audition forms
3. Basic audition protocol
4. Callbacks
5. Cold readings
XIV. Being in a Production*
A. Working with a director
B. The role of a stage manager
C. Rehearsal processes
D. Stages of a production process
E. Performing as members of an ensemble
F. Responsibilities of an actor
*All topics are covered in both lecture and lab portions of the course, except those sections marked by asterisks. Those marked topics are only covered in lecture.
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All assignments below apply to both Lecture and Lab portions of the course.
Lecture- and Lab-Related Homework and Assignments:
1. Reading Homework (ungraded)
The student will read approx. 20-40 pages per week, including:
a. Textbook, course reader, and/or other instructor prepared materials
b. Three to five scripts (including 1 for Class scene, 1 for risk scene, and 1-2 for contrasting monologue package)
2. Performance Assignments (4-6)
a. Partnered scene study assignments (3 minimum)
b. Instructor selected scene study: modern, contemporary realism post 1940 (3-5 minute 2 person or 5-7 minute 3-person)
c. Contrasting Modern Contemporary (post 1940) 2-3 Minute Monologue Package (2 or more monologues, 1-1.5 minutes each)
d. Additional Instructor Assigned Physical/Vocal Profiling Performance(s) (0-2)
3. Play Attendance as Homework:
a. Attend 1-3 Theatre Arts Department production(s) during the semester
b. Participate in class discussion regarding the acting demands within each production and their relationship to course content
4. Written Assignments:
a. 250 - 500 word brief written exercises for performance preparation
b. Production Critique (1) 250-500 words
c. Written Character Analysis assignment(s) (1 - 2) for monologue and/or scene, 250-500 words
d. Script scoring assignment(s) for monologue and/or scene (1-2)
5. Quizzes and Exam:
a. Quizzes on assigned reading to assess comprehension and application
b. Exam on acting terminology and concepts
6. Class Attendance and Participation
a. Arrive promptly and prepared for all class meetings
b. Participate actively in a variety of acting exercises, theatre games, and improv pieces, as well as class discussions