ࡱ> NPM? ,jbjb !D}}n&l$$$$$$$8<,Lx"rtttttt, !$($$,((($$r(8,d,$$$$r(( |$$^  @b^tM"(M"^(Acting I: Foundations A word aptly spoken is like apples of gold in settings of silver. Proverbs 25: 11 F&PA 0141-108-01 Instructor: Peter Novak (novakp@usfca.edu) Office: Loyola Village 206A Class: M 2:155:45 Office Phone: 5286 Location: Gill Theater Office Hours: T 9-12 and by appt. Teaching Assistants: Office LM 338D John Patrick (JP) Higgins  HYPERLINK "mailto:johnpatrickhiggins@hotmail.com" johnpatrickhiggins@hotmail.com Rachel Scott  HYPERLINK "mailto:RScott7096@aol.com" RScott7096@aol.com Nate Wheeler  HYPERLINK "mailto:ntwheeler@hotmail.com" ntwheeler@hotmail.com Matthew Worley  HYPERLINK "mailto:dmworley@excite.com" dmworley@excite.com Course Description: This is a first-year acting course, designed to introduce you to the ideas and practices of the role of the actor. The class begins with simple exercises designed to help you understand the complicated interactions of the human condition. As we advance through improvisational exercises and in-class demonstrations, we will introduce you to both representational (Realism, Naturalism) as well as presentational forms of acting. Both internal and external processes will be introduced and students will learn to develop their craft through concentrated and collaborative work with other students as well as the teaching assistants and instructor. Most importantly, students will begin to understand their role as an artist for others. Course Goals: Develop a sense of individual artistry as an actor Develop a critical and working vocabulary of acting and theater techniques Question prevailing methodologies and motivations for acting Explore basic elements of dramatic action and human relationships Introduce techniques of scene and character analysis At the completion of this course you should: Understand the historical development of the role of the actor Know and be able to use terminology related to acting and actors Be familiar with a number of acting exercises and improvisations and understand how they contribute to actor training Demonstrate themes and ideas relevant to the course texts and productions Demonstrate the social, political, and economic context surrounding these works Articulate and defend your arguments through a studied, engaged, and informed process of reflection as well as action Required Texts Angels in America: Millennium Approaches by Tony Kushner Angels in America: Perestroika by Tony Kushner Course Requirements: Attendance. Learning occurs through discussion and performance exercises. Students who miss class or who are late deprive other students of the possibility of valuable learning opportunities and disrupt the creative atmosphere of the course. As a result, absence and tardiness will have a profound effect on your grade. Each absence will result in the lowering of your final grade by 1/2 letter grade per absence. Two instances of tardiness are equal to one absence. Students who arrive before 15 minutes of class have elapsed should see the instructor after class to be marked tardy. Students who arrive after 15 minutes of class time has elapsed will be marked absent.. Notice that the above policy makes no distinction between excused and unexcused absences; they affect your work in the course equally. If, however, you find yourself facing exceptional circumstances or some sort of emergency (an unanticipated medical or personal problem that requires immediate attention) during the semester, please see me about possible accommodations. Such situations might include prolonged illnesses or family crises such as major illness, death or other unusual circumstances. In these cases, we will work together to see if you can preserve your participation in the course, but you should be aware that in some cases, dropping the course is the best alternative. Your job is to let me know as soon as possible what your situation is so that we can develop a good strategy for dealing with it. No food or drink is allowed in class (except for water). No gum chewing. No cell phones, beepers, pagers, or other electronic devices, please. Class participation is mandatory. If you are not prepared to perform on the date that you are scheduled to perform, you may have an extension with these caveats: 1) you must reschedule a time OUTSIDE of class to perform the piece 2) you recognize that for every day the performance is delayed you will be marked down one full letter grade 3) performances more than three days late will automatically be given an F. Outside Performances: There are three mandatory outside events. The first is the RAT Conference scheduled October 3-6th. Please make sure you have very few conflicts that week (including rehearsals, work, and homework). Class that week will be cancelled in order for you to complete work early in the week and attend the RAT Conference. A schedule of the conference will be available shortly and posted on the web. Please consult that as the semester progresses. The second mandatory performance is of the Visual and Performing Arts production of Tartuffe scheduled November 7-9, and 13-17. You will have written assignment for this event that will be distributed and discussed in class. The third is a Full Spectrum Improvisation Workshop facilitated by Joya Cory (outside of class time) on September 13 (Friday) from 1-6 pm and 1/2 day on Saturday (from 10-1 or 2-5 pm). Exercises will be drawn from the work of Mary Overlie, Keith Johnstone, Viola Spolin, Anna Halperin, Richard Seyd, Michael Chekhov and others. Focus is on ensemble and paired work with physical and emotional life in scene work. Grading: Grades are based on class participation, fulfillment of physical and written assignments, responsibility to your partners and the rehearsal process, commitment to growth, and attendance. This is interdisciplinary, process-driven work; writing and physical work are equally important. If you do not know where you stand at any point in the semester, please schedule an appointment. A grade: Work is committed, focused and sustained, with obvious growth. The maintenance of effective working relationships with partners, TAs, and the Instructor with all assignments is satisfactorily completed on time. Student shows clear excellence in mastering the objectives ofthe assignment, both individually and in working with theirpartner. Critiques generally focus on strong aspects of thework. The workshows careful preparation and commitment. B grade: The basic fulfillment of all requirements is met with some growth. Student shows strong competence in fulfilling the objectives of the assignment. Critiques generally focus primarily on strongareas of work, with several specific areas of improvementsuggested for subsequent work. This work is strong, has been well prepared and showsgood potential for improvement. C grade: Student satisfies the requirements of the assignment.Critiques generally focus on weaker areas of work, withstronger aspects identified and reinforced. The objectives inthis work are considered obtainable by any student at this level of training. Students generally have some difficulties with memorization, sense of staging, etc. Thiswork generally needs further preparation and attention. D grade: Student produces minimum requirements for project, which generally includes presentation of work. Critiques focus onlack of preparation, lack of understanding of assignment, andunwillingness to give maximum effort. This work may havesignificant memorization problems, poor attitude displayed in class resulting in a below average performance.This work needs much more preparation and commitment. Grading: 93100 A 7376 C 9092 A- 7072 C- 8789 B+ 6769 D+ 8386 B 6368 D 8082 B- 6062 D- 7779 C+ 59F Class Sessions Subject to Change: Week One: August 26th Introductions, Syllabus, Definitions, The Pledge, Suspending Judgment, Outward focus, Contradictions, talking/listening Week Two: September 9th (No class on September 2: SF Mime Troupe performance) List of 10, Warm-ups, Discussion of SF Mime Troupe, Language and Behavior, Motivation and Intent, Objectives and Obstacles, Expression, Context (given circumstances), Intention and Perception, Attributes of Movement and Gestures Full Spectrum Workshop Friday, September 13 and Saturday 10-1 Week Three: September 16 Warm-ups, Objective/Obstacles continued, Functions of Movements and Gestures, Expressing emotion, Present-positive expression (positive objectives), Tactics Killer/Victim Blank Scene Week Four: September 23 Facial Expressions, Direct/Indirect Gaze, The RAT Race handout in class, Camera, The Face, The body (Body Types), Movement, Monologues Chosen (in consultation with TAs) Week Five: September 30 Attendance at RAT Conference Week Six: October 7 RAT conference A Tale of two (or more) Methods Meisner/Stanislavsky Sense Memory, Emotion Memory Emotion and Acting Theory Monologue work (memorized) Week Seven: October 14 Presentation of Monologues (Midterm) Critiques and Re-works Week Eight: October 21 Monologues performed again Angels in America: Textual Analysis Week Nine: October 28 The rehearsal process: Scoring a script Angels in America: Scene work with TAs Week Ten: November 4 (Tartuffe opens this week) Presentation of Angels scenes Critiques and reworks Week Eleven: November 11 Speak the speech as I pronounced it to you. Inflections, Pitch, Tone, Volume, Speech Acts Week Twelve: November 18 Presentational Styles Paper Bag Princess Exercises in Style Tartuffe critique due Week Thirteen: November 25 Exercises in Style Week Fourteen: December 2 Exercises in Style Final Exam: Monday, December 9 at Noon. 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