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JOHN CABOT UNIVERSITY

COURSE CODE: "DR 101-2"
COURSE NAME: "Introduction to Theatrical Performance"
SEMESTER & YEAR: Fall 2014
SYLLABUS

INSTRUCTOR: Gabrielle Ford
EMAIL: [email protected]
 HOURS: TTH 6:00 PM 7:15 PM
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: TTH 12:00-1600
COURSE DESCRIPTION:
During this course students will learn to: collaborate creatively; employ basic acting techniques such as sensory work, the principles of action and, objectives; develop an expressive speaking voice; analyze the production process of placing a dramatic text on stage; critique and enact a variety of theatrical techniques; define specific terms relating to the study of drama and theatre; develop an appreciation for theatre as an art form and a reflection of society; understand the responsibility of an actor’s and director's work ethic, especially to one's fellow actors; maintain a gradable theatre hand book which contains the class by class discoveries throughout the course.
SUMMARY OF COURSE CONTENT:
This class will teach students the basic terminology and craft of acting, directing and producing. As a means of facilitating the students’ knowledge of and comfort with the craft of acting, this course will include improvisation, sound and movement exercises, and text work. Weekly homework assignments will call for rehearsal and weekly reading assignments will include written analysis. The course will commence with an intensive introduction to the craft of performance, which will focus on teamwork, discipline, physicality, memory, intention, voice and movement training. This will culminate in two gradable monologues (classic and contemporary), and a scene to be performed in front of the class. Over the semester the students will read four plays: The Cherry Orchard by Anton Chekhov (4 acts), Our Town by Thornton Wilder (3 acts), a 2 Act play of the student’s choice (there is a suggested reading list), Medea by Christopher Durang and Wendy Wasserstein (1 act), monologue selections from Spoon River Anthology, and Shakespearean sonnets.

The first week of each play will be dedicated to discussions of text and context. This will be followed up with homework assignment to gather background research of author and period. Each student will take on both acting and directorial viewpoints. As an actor the student is expected to write character bios, subtexts, memorize, rehearse and perform. As director each student is expected to research the author and period, block a scene on paper, analyze the text and build a visual library selecting costumes, architecture, objects and images, which portray a bird’s eye view of a play. 

During rehearsal, students will come together to prepare a scene to perform in class. This scene study will involve team work with acting and directing skills. Students will work towards a final performance - in exam week – of either two monologues or the ensemble scene. Throughout the course students develop a theatre hand book on the discipline of performance and complete a take home project on directing.

 

REQUIRED PLAYS TO BE READ IN CLASS

The Cherry Orchard by Anton Chekhov, a play in 4 acts

Our Town by Thornton Wilder, a play in 3 Acts

Student’s choice of a 2 Act play selected from suggested reading list of play available in the library or outside the library. The student may propose any 2 act alternative play for his take home project providing that the play has been published in English within the last five years.
 

Medea by Christopher Durand and Wendy Wasserstein (1 act)

Spoon River Anthology, a play in 1 Act

Shakespearean sonnets

RECOMMENDED ALTERNATIVE 2 ACT PLAY READING LIST

IN JCU LIBRARY

An American Buffalo by David Mamet 

The Water Engine by David Mamet

The Piano Lesson by August Wilson 

Ma Rainey’s Black Bottom by August Wilson

Painting Churches by Tina Howe

EASY TO FIND 2 ACT PLAY OPTIONS

Of Mice & Men by Horton Foote

Death of a Salesman by Arthur Miller

Bus Stop by William Inge

The Night of the Iguana by Tennessee Williams

Three Tall Women by Edward Albee

Curse of the Starving Class by Sam Shepard

Art OR God of Carnage by Yasmina Reza

 

MUSICAL OPTIONS:

· Sweeney Todd OR Sunday in the Park with George

· The Wiz OR Man of La Mancha

· West Side Story OR Grease

· Chicago OR Cabaret

· Next to Normal OR La Cage Aux Faux

OPTIONAL USEFUL TEXTBOOKS ABOUT THE CRAFT:

1) Adler Stella. The Art of Acting. (2000) Canada, Applause Books

2) Chekhov Michael. To the Actor: On the technique of acting. (1953) USA, Harper & Row

3) Thomas James. Script Analysis for Actors, Directors, and Designers, 4th Edition. (2009) USA, Focal Press

4) An Actor Prepares by Konstantin Stanislavski

5) Chubbuck Ivana. The Power of the Actor. (2004) USA, Gotham Books
LEARNING OUTCOMES:
On completion of this course, students will have learnt how to: facilitate communication, memory, presentation, confidence, self-awareness, self-reliance, and team work, through practice, textual analysis, interpretation and the written response; develop an expressive speaking voice through awareness and overcoming physical and vocal habits and limitations, including alignment, relaxation, breath support, resonance, tone and projection; recognize a variety of acting techniques, languages, and modes of theatrical representation; become confident independent learners as well as effective and responsive group members.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
The Cherry Orchard by Anton Chekhov, adaptation by Tom Stoppard GROVE press (2009)ASIN: B00EDZ4YT6     
REQUIRED RESERVED READING:
NONE

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Two monologuesYou will rehearse and perform a contemporary and classic monologue20%
Scene study You will rehearse and perform a scene for the class a scene20%
Take home paper which depicts a play from a Directorial standpointYou will write one take home paper; in response to one of the plays we are reading or from the suggested reading list. As Director each student should select a play, block a scene, provide textual analysis and build an archive which illustrates a visual interpretation, which evokes a directorial view point. Additionally there should be an explanation of the directorial choices you have made about this play.20%
Theatre HandbookThe theatre handbook is an essential documentation of the course which involves academic and practical research. It should be broken into two sections: As Actor you will note the personal discoveries you are making about performance, interpretation, relaxation and concentration. This will include creating a biography for the characters you will be playing. As Director you will be responsible to include research of author and period of each play read in class. The quizzes in class are to be incorporated into the handbook to chart the student’s progress 20%
Final PerformanceThe class will culminate in a gradable performance, which will demand individual and group work.20%

-ASSESSMENT CRITERIA:
AWork of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensive knowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the
BThis is highly competent level of performance and directly addresses the question or problem raised.There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.
CThis is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.
DThis level of performances demonstrates that the student lacks a coherent grasp of the material.Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.
FThis work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.
-ATTENDANCE REQUIREMENTS:
Attendance is mandatory. Students are expected to be in class before the reading of the roster. More than 2 absences results in an additional 3 page paper. More than 4 absences may result in a lowering of the final grade and 7 absences may result in a failing grade. Tardiness is equally unacceptable as it disturbs the lesson. If you enter the class after attendance has been taken you late arrival will be registered and 4 late arrivals will count as equivalent to one absence. Silent attendance is not sufficient: students are required to actively participate in class, to have their text books with them and to turn off electrical devices (computers, mobiles etc.). Students are also expected to remain in the class for the duration of the period.
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.
SCHEDULE

Class Readiness and Responsibility: You should always have your notebook/journal. When working on a text, please make sure you have a copy of the text with you. Punctuality: we only have an hour and 15 minutes, you should arrive early enough to begin on time. Whatever problems you may be experiencing outside, you are expected to leave them behind during class time. The professor is glad to help and available to discuss any issues or problems before or after class.

Week 1: Introduction. Theatre Games involve exercises that encourage confidence, listening, and working as an ensemble. There will be a viewing of the video WHAT IS THEATRE to give a sense of history. An introduction to Greek theatre with an initial reading of Medea by Euripides in class. Distribution of monologues from Spoon River Anthology.

READING:

Medea by Euripides

Excerpts from Spoon River Anthology by Edgar Lee Masters, Internet search: Public Domain Stories - Spoon River Anthology by Edgar Lee Masters

Week 2: Voice and Body Work: physical warm up; with a focus on centering and diaphragmatic support, an introduction to subtext and the creation of a character biography. We will continue to read Medea and begin to rehearse the selected monologues. The student is expected to memorize the monologue, build a visual archive of period including costume, house and bio of the Spoon River character.

READING:

Conclusion of Medea by Euripides

Task: internet reading and research of Method Acting, Strasberg in preparation for Chekhov’s The Cherry Orchard.

Week 3: There will be continued theatre games warm up (15 min). The presentation of subtext work and character bio assignment on Spoon River Anthology is due. There is an introduction to Script Analysis of The Cherry Orchard.

RESERVE READING:

The Cherry Orchard, by Anton Chekhov (Tom Stoppard translation).

Research project on Chekhov, his life and work.

Week 4: There is continued theatre games and warm up (15 min). There will be final Script analysis of The Cherry Orchard alongside a quick quiz on Chekhov. Introduction to 20th century theatre.







RESERVE VIEWING: WHAT IS ACTING

REASERVE READING: OUR TOWN by Thornton Wilder

Week 5: There will be continued theatre game warm up, rehearsals, script analysis on Our Town. The selection and casting of scenes to perform in class from one of these plays. Introduction to direction and discussion begins as well the possible selection of plays for his mid-term Take Home Directorial Project.

READING:

A 1 or 2 Act play of choice (please see suggested reading list)

Week 6: There is continued theatre game warm up and scene rehearsal.



An introduction to stage blocking. Rehearsals of scene selected.

RESERVE VIEWING

Film viewing of Oleanna and/or Glengarry Glen Ross by David Mamet.

READING: True and False Heresy and Common Sense for the Actor by David Mamet (p.60 to 71: Oral Interpretation, Helping the Play, Acceptance).

Week 7: Discussion of David Mamet and his contribution to modern theatre. Play Selection for Directorial Take Home project begins. The student builds a visual archive after his/her play selection. There will be a discussion of a through line in each play.

Week 8: There will be a continued theatre game warm up, final scene rehearsal and script analysis of play. The student must start to decide in what period he would like to present his 2 act play and where. There is an introduction to period work, to iambic pentameter and poetic scansion and a selection of a sonnet for presentation.

READING: Shakespeare sonnets.

Week 9: Continued theatre game warm up, rehearsal. The subtext work and scansion on Sonnets is due as well as the initial presentation of sonnet. Assignment to select an appropriate a piece of music to sing the sonnet as a vocal exercise.

RESERVE READING:

Gielgud, John. Acting Shakespeare (London: Pan Books, 1991),

Week 10: Final sonnet presentation.

DIRECTORIAL TAKE HOME PROJECT IS DUE.

Week 11: Continued theatre warm up, rehearsal of monologue. Directorial Take Home projects are returned and graded with suggestions and tasks assigned on how to improve the handbook for the oral presentation as a director. Class performances of selected scenes and / or the Spoon River monologues are due.

Week 12: Continued theatre warm up, rehearsal of scene, or monologue. Selection of directorial play to be presented persuasively are due as well as a selection of theatre or performance space which best matches the play. Medea by Wendy Wasserstein and Christopher Durang (a ten minute play) will be read in class and discussion of temporal and production differences of a 4 act, 3 act, a 2 act, and a 1 act play.

READING: Medea by Wendy Wasserstein and Christopher Durang

Week 13: The student must complete all his visual archive and period research he has collected to justify the place and period he has chosen to direct his play and consider practical production cost effectiveness for his final presentation as director.







Week 14: Final preparation as director of the oral persuasive project. In turn, each student is director and presents his project, research, archive, choices and reasoning to “the board”. The students likewise become the board and must prepare questions which challenge the director to think on his feet during his persuasive performance.

Exam Week: Public Performances