10/31/2024 7:24:47 AM |
| Changed Course |
CATALOG INFORMATION
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Discipline and Nbr:
THAR 13A | Title:
STYLES PERF WORKSHOP 1 |
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Full Title:
Performance Workshop: Styles, Periods and Skills 1 |
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 | 8 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 13.1A
Catalog Description:
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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 two performances of a public showcase.
Prerequisites/Corequisites:
Course Completion of THAR 10B AND Concurrent Enrollment in THAR13AL
Recommended Preparation:
Limits on Enrollment:
Schedule of Classes Information
Description:
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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 two performances of a public showcase.
(Grade Only)
Prerequisites:Course Completion of THAR 10B AND Concurrent Enrollment in THAR13AL
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: | | |
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CSU GE: | Transfer Area | | Effective: | Inactive: |
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IGETC: | Transfer Area | | Effective: | Inactive: |
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CSU Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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UC Transfer: | Transferable | Effective: | Fall 1981 | Inactive: | |
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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:
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1. Prepare, rehearse, and perform material from plays requiring non-realistic styles,
period realism, and/or specialized performance skills at a beginning level.
2. Adapt their 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 as the relationship
of those forces to the acting techniques required.
Objectives:
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At the conclusion of this course, the student should be able to:
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.
Topics and Scope
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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 to Acting Standards of Professionalism
III. 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 one non-realistic style, preferably two
(e.g. Greek, Kabuki, Commedia dell 'Arte, Farce, Comedy of Manners,
Absurdism, Brechtian, Post Modernism, Political Satire, etc.)
- At least one from a period prior to the mid-20th century
(preferably one that requires period manners and movement)
- At least one comedic style
- At least one dramatic or tragic style
- At least one should require a special performance skill
(e.g. dialects, unarmed combat, playing a disability, interview-based, 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.
VI. 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
V. Performing Period Plays
A. Historical and theoretical context
B. Script and character analysis
C. Vocal demands of the style
D. Movement requirements of the style
VI. Specialized Performance Skills
A. Historical and/or theoretical context
B. Script and character analysis
C. Vocal demands of the style
D. Movement requirements
E. Techniques and terminology relating to the skill
VII. 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
VIII. Vocal Techniques
A. Articulation
B. Projection
C. Characterization
D. Stylization (verse, rhyme, etc.)
E. Pronunciation and dialect/accent
IV. Physical Techniques
A. Characterization
B. Movement and timing
C. Style-specific movement (period movement, etc.)
X. Preparing for the Showcase
[These topics are introduced in THAR 13.1A and
applied in the corequisite course, THAR 13.1AL.]
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
All topics above are covered in the lecture and lab portions of the course.
Topics are introduced during lecture instruction and actively expanded upon
during lab instruction.
Assignments:
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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), as well as supporting
material for each unit, as assigned. (Optional: Instructor may give one-three
short quizzes to assess reading comprehension).
4. Written Assignments for Each Unit: The student will complete written analysis
assignments for each unit, conducting research, answering character and
script analysis questions, and completing some form of script scoring. These
may be individual assignments and/or collaborative assignments with
scene/team partners. While assignment length varies according to the unit's style,
period, or skill focus, most require approx. 1000-1500 words per unit. Depending on
the requirements of a specific unit, students may also complete dialect scoring,
scansion, interview transcription, translation comparisons, or other preparation tasks.
5. Showcase Preparation - Students are registered for the course corequisite,
THAR 13.1AL, which encompasses the evening rehearsals and performances for
the course's public Showcase. In preparation, students spend the last weeks of
THAR 13.1A participating in the Showcase planning process - working with the
instructor to select Showcase material from the semester's work, reviewing and
polishing that material, making additional cuts, learning/rehearsing new material (when
necessary), and completing related planning tasks.
6. Attend two Theatre Arts Department productions (free ticket voucher provided).
Participate in class discussion regarding the style and acting demands within each
production and their relationship to course content. (Cast and crew members are
still able to meet this assignment.)
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, may be given a suitable alternative assignment (such as
viewing a filmed production in the same style).
All assignments above apply to both the lecture and lab portions of the course.
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 20 - 35% |
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 60 - 70% |
Class performances (scenes and/or monologues); showcase preparation | |
Exams: All forms of formal testing, other than skill performance exams. | Exams 0 - 5% |
Short reading quizzes (optional) | |
Other: Includes any assessment tools that do not logically fit into the above categories. | Other Category 5 - 15% |
Professionalism--attendance, promptness, and preparation | |
Representative Textbooks and Materials:
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Acting With Style. 3rd ed. Harrop, John and Epstein, Sabin. 3rd ed. Prentice Hall. 1999 (classic)
Style for Actors: A Handbook for Moving Beyond Realism. 3rd ed. Barton, Robert. Routledge. 2020
Scripts for each assigned scene or monologue.
Instructor prepared materials
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