ACTING THEORY
LECTURER: Mary Angiolillo, Ph.D.
CLASS TIME: Thursdays, 8:30 am to 9:50 am, Room 3, FAMU
CONSULTATION: Arranged on request
CONTACT: 235.366.068 or 602.441.260
COURSE DESCRIPTION: This course keeps in mind the needs of the film
artist in her work with actors, offering explanation into the actor‘s
process. „Theory“ is condisidered those assumptions implicitly guiding
the actor‘s performance, assumptions which vary, in part, on the
training the actor receives. This course aims to cover essentials of
theories, both historical and contemporary, in order to help film
directors and other film artists communicate effectively with actors
from varying pedagogical and cultural backgrounds. Whenever possible,
in-class exercises will be used to illustrate different approaches to
acting.
COURSE OBJECTIVES:
- To gain an understanding of the major theoretical questions and
debates around the acting process.
-To recognize major trends in the development of acting as a science.
-To understand that acting processes are contextual, differing
according to culture, training approach and the context in which the
acting takes place.
- To learn vocabularies of different acting approaches that would
facilitate communication with actors.
.To experience varying approaches to acting through exercises in class
that might help the student choose an approach to acting training
suitable to her professional needs.
REQUIREMENTS: Regular, punctual attendace is very important (from the
first class). Each class builds upon the preceeding and the student
cannot receive credit for the course without having at least an
attendance of 70%. If a class is missed, it is the student‘s
responsibility to find out what was covered in class and to be prepared
for the next class. The best way to do this is to email me.
ASSIGNMENTS: Regular reading is assigned of articles in the class
reader. One take-home midterm is assigned based on responses to the
readings. Two other tests are held in class, based on lectures.
Occassionally, students are asked to prepare very short practical
homework assignments.
EVALUATION:
33% Attendace and participation in class exercises
33% Two in-class tests on readings/lecture
33% Take home midterm
GRADING POLICY: The two tests are graded based on the acquisition of
100 available points gained by correctly answering questions.
A+ 97-100 points A 93 to 96 points A- 90 to 92 points
B+ 87 to 89 points B 83 to 86 points B- 80 to 82 points
C+ 77 to 79 points C 73 to 76 points C- 70 to 72 points
D grades followthe same pattern
Below 60 percent is failing.
The midterm is graded based on self-application to the assignment (a
personal and specific response to the readings), the amount of material
covered (reference to at least four articles), and the clarity of the
response.
The portion of the greade based on attendance and class particpation
will be affected should the student have missed a number of classes or
arrived consistently late. This grade iwll take into account the
student‘s self application during in-class exercises. Students who are
consistently present both physically and mentally can expect to receive
an A for this portion oof the grade.
COURSE OUTLINE:
This course outline is preliminary. Sometimes there is a momentum in
one class over another to spend more time in a particular area of
acting training. Sometimes ideas come from students for class
exercises or class projects. For this reason it is important if you
miss a class to contact me about what was covered. The basic plan for
the course is as follows:
I. Theoretical Debates (2 classes)
Acting as „real“. Internal belief vs external technique. Historical
considerations. Stage vs. Film acting. The actor‘s resources.
II. Approaches to the Craft (10 classes)
A. Stanislavski, Meyerhold and the psychophysical
B. Lecoq, Asian martial arts: schools for immediate expressivity
C. Great gurus and their legacy: Brecht, Brook, Grotowski
D. Method Acting: Strasberg, Adler, Meisner
E. Robert Bresson‘s non-actor
F. Robert Cohen‘s comprehensive system
G. Judy Weston‘s applications to directing actors in film
III. Tests and Review: Two half period will be used for tests. The
last class also reviews course content.
REQUIRED READINGS:
A Reader in Acting Theory compiled by myself is available for purchase
or on reserve in FAMU‘s library.
RECOMMENDED READINGS:
Twentieth Century Actor Training by Alison Hodge, Routledge, 2000.
More than a Method: Contemporary Film Performance (Eds. Baron, Carson
and Tomasulo) Wayne State UP, 2004.
Screenacting (eds- Lovell and Kramer) Routledge, 1999.
Sanford Meisner on Acting by Meisner and Longwell, Vintage, 1987.
Acting (re) considered by Phillipp Zarrilli. Routledge, 2002.
Acting Power by Robert Cohen. (on reserve in library)
The Secret Art of the Performer by Eugenio Barba (on reserve in
library)
Directing Actors by Judith Weston, Weise productions, 1996. (on reserve
in libraray)