Course Syllabus for THR BFA470: ACTING TECHNIQUE 3
The Authentic Response
Instructor: Bill Watson
Semester: Fall 2016
Time: MWF 2:00-5
Room: T6
Office ART 232
CEL: 414-232-1905
e-mail:
Office Hours: M/W 1:00-2:00
TEXTS: Chekhov, Anton (Schmidt, tr.) The Plays of Anton Chekhov
Goleman, Daniel: Social Intelligence
COURSE OBJECTIVES:
The objectives of this course are to begin the development in the actor of a strong personal process of acting; a process that begins to develop a theoretical framework for the actor’s work as well as provide strong technique, analytical ability, and practical application
The course will develop five primary areas of acting process work, culminating in the analysis and performance of a cutting from a performance text.
Mindfulness - Processes will be developed to help aid in a surrender to and acceptance of the happenings of the moment, a gentle, sustained focus of attention inward, a heightened sensitivity and the ability to observe and name the contents of consciousness.
Improvisation - Actor improvisations structured to bring actors to high stakes moments of choice where the use of spontaneous “strategies” and behavioral structures will emerge for discussion and analysis.
Giving and Receiving Energy - Exercises designed to strengthen and deepen the process of giving and receiving energy with a partner.
Analysis of Structures of Action- Analyze, understand and play from a strong sense of the action of scene and play and develop structure in the work
Research – To develop in the actor a process of Objective and Affective research necessary to develop character
Personalization - To develop and release in the actor a deeply connected use of self in the playing of character.
Aspects of Psychology – To develop an understanding of many aspects of human behavior and their neuro-biological roots and their application to character and dramatic story
When the only tool you have is a hammer, every problem looks like a nail
- Abraham Maslow
We will also examine and explore Dramatic Action in the development of the actor’s work and in the performance of scripted scenes drawn from 19th Century European Realism.to provide an understanding of the fundamentals of the actor's/performer’s process. We will utilize improvisational exercises, the reading & analysis of playscripts, viewing of performance, working, period research, character development and rehearsing and performing scenes.
METHOD & REQUIREMENTS:
We will accomplish these course objectives through the following methods:
IMPROVISATION:
Utilizing improvisation to -
•Clarify and make more tangible, aspects of given circumstances:. environment, relationships, inner monologue, etc.
•Isolate, clarify, strengthen and layer elements of the deep Action of the play: action, objective, pre-occupation, beat structure
•Strengthen cooperative elements of the actors work: spontaneity, honest talking and listening.
MINDFULNESS:
Utilizing work in mindfulness -
•Strengthen the ability to observe one's own inner workings in moment to moment experience
•Strengthen the ability to observe the inner workings of others in moment to moment experience
•To become more "present" in all aspects of the work
TEXT WORK:
•Analysis of given circumstances and action of a scenario and a text
•Dramatic playscripts examined and analyzed for subjective and objective information: given circumstances; action/objective; character; relationship; environment
•In addition, other analytical models will be applied to performance throughout the semester.
PERFORMANCE
•There will be multiple in class performances of partnered scenes; realized performances of written texts that successfully matches the actor’s sense of self to the parameters of character and action as understood through the actor’s analysis
•Preparation of assigned exercises and scenes - with outside rehearsal, & timely learning of lines
•Attendance and active participation in all group exercise work.
Attendance and Class Policies:
An Acting class is a participatory class. You cannot makeup the work or do it at home. You must be here at all times to successfully pass this class
You are allowed 2 absences - period - more than three absences and your grade will be lowered one full letter grade (100 pts.) and continue to be dropped a letter grade for each 2 after that. Use them at your own discretion if you wish, but if you've used them up playing around or leaving early for Thanksgiving and then get sick, you're out of luck. Be prudent, but better yet - come to class.
•3 LATENESSES = 1 ABSENCE - Role is taken at the top of class. If you miss role, you're late. If you're ten minutes late, you're absent.
•Late written work will be DOCKED A FULL GRADE
•Professional work habits and disciplined, respectful behavior are the expectation in the Theatre as they are in this class. This means you accord respect to your fellow Theatre artists and to the scenes that you work in. Pay attention to your classmates when they work. Focus on their work so you can provide worthwhile and constructive commentary. Leave your rehearsal, classroom and performance to work. DO NOT COME TO CLASS OR REHEARSAL IN AN ALTERED STATE. Unprofessional and undisciplined behavior tells me that you're not serious about your work and that you don't belong in the Theatre.
•Missed scene rehearsals with scene partners will not be tolerated. MISSING REHEARSALS OR CONSISTENT LATENESS IS GROUNDS FOR DROPPING A GRADE AND EVEN FAILING THE CLASS.
•Missing an in-class presentation or scheduled work session will drop your grade (but not your partner's) 100 pts.
•Missing the performance of your projects will fail you in the class.
•You will be treated as actors in the Theatre, not just students and you have a different responsibility to this class than you do to your others, as far as your presence is concerned. The Theatre is an ensemble art and cannot succeed as a collection of individuals doing individual work.
PREPARATION:
Strong and complete preparation of assigned work is the essential for success in this class. Any scene work brought into class for work in a given day MUST be memorized, the play must be read, the actors must have rehearsed and made and set choices for behavior, blocking and business. When bringing in a monologue for work in class, the first time seen, it must be memorized and the play read and analyzed. All subsequent times the work must demonstrate the incorporation of notes and feedback from the previous times. If work is brought into class without sufficient preparation – lines not learned, the play not read or partners not rehearsed with – you will be asked to sit down and counted absent for the day. If you have to be sat down a second time you will be dropped from the class. Effective and professional rehearsals with scene partners are also critical for success. Standing up or failing to rehearse with scene partners will result in lowered grade and even dismissal from the class.
PARTICIPATION:
There is the potential for a certain amount of risk of injury in any participatory acting class (just as walking down the street carries some risk with it), and I will at all times stress safety and work to control and minimize the risk in all the work that we do. Take prudent care in the way you work, and understand that by getting physically active there is some potential risk. If physical demands placed on you in the course of in class work, feel unsafe to you, you are always entitled, indeed obligated to speak up and/or step out of the exercise. If scene partners engage in risky behavior you are also entitled, indeed obligated to do the same.
UNIVERSITY POLICIES AND PRCEDURES:
http://www.uwm.edu/Dept/SecU/SyllabusLinks.pdf
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GRADING
This is a performance class in acting and, the expectations of discipline, professionalism and preparedness are much higher for a B or an A than they are for a C. Successful completion of the criteria for this class will earn a very worthy C grade. Achievement of a B or an A requires superior success above and beyond the basic criteria of the class. In addition, as a performance class, results matter. You will be evaluated on both the degree of rehearsal, preparation and hard work you put into your semester and on the degree to which that hard work results in exciting, deeply honest, and personally committed quality acting.
Criteria:
Your work will be evaluated from these more or less equal criteria:
•The quality of your in class exercises: commitment, personal connection, theatrical honesty, genuine give and take with partner(s) and group
•The development of your process - which entails your preparation, discipline, attitude, and commitment to extending personal barriers, give and take with partner(s) and group, responsiveness to coaching, the depth and creativity of your choices, and the development you show over the course of the semester.
•The quality of the finished product of your in-class showings, including the process, rehearsal, development and performance of the work and how that process shows development in the same criteria used to evaluate your process and exercise work.
Grade Distribution 1000pts
•Personalization work 75 points
• Audition work 75 points
• In class exercise and improvisation 50 points
•Preparation and presentation of performance projects 350 points
Rehearsal preparation 100 points
Application of techniques, notes and Master 100 points
Class material
Mid semester Showing 50 points
Final Showing 100 points
•Reading, Research 250 points
Action Score 100pts
Research paper 100pts
Reading responses 50pts
•Attendance, participation, discipline, discussion
attitude, development 200 points
COURSE BIBLIOGRAPHY
Ball, William, ( 19 ), A Sense Of Direction; New York, Drama Book Publishers.
Barba, Eugenio, (1995), The Paper Canoe, New York, New York, Routledge
Benedetti, Robert, (1976), The Actor at Work, Englewood Cliffs, NJ; Prentice-Hall.
Brook, Peter, (1978), The Empty Space; New York, Atheneum;
Chaikin, Joseph, (1972),The Presence of the Actor; New York, Atheneum
Cole, Toby & Chinoy, Helen Krich (eds) (1970), Actors on Acting, New York: Crown Publishers.
Goleman, Daniel, (2006), Social Intelligence New York: Bantam-Dell
Gordon, Mel, ed., On The Technique of Acting: The First Complete Edition of Chekhov’s classiscTo The Actor (1991), New York, Harper Collins
Gross, Roger, (1974), Understanding Playscripts; Bowling Green, Bowling Green University Press.
Hagen, Uta, (1991),A challenge for the Actor; New York, Charles Scribners & Sons.
------(1973), Respect For Acting, New York, Macmillan
Hanh,Thich Nhat (1975),The Miracle of Mindfulness, Boston, Beacon Press
Hornby, Richard, (1977), Script into Performance: a Structuralist Approach; New York, Paragon House.
------(1992), The End of Acting: A Radical View, New York, Applause Books.
Huston, Hollis, (1992), The Actor’s Instrument, Body, Theory, Stage; Ann Arbor, University of Michigan Press;
Johnstone, Keith, (1979), Impro;: Improvisation and the Theatre ; New York, Theatre Arts Books
Kurtz, Ron, (1990) :Body Centered Psychotherapy: The Hakomi Method, Mendocino, Life Rhythm
Langer, Suzanne, (1953), Feeling and Form; New York, Charles Scribner & Sons.
Mehrabian, Albert, (1971), Silent Messages; Belmont, Wadsworth Publishing Co.
Meisner, Sanford & Longrell, Dennis (1987), Sanford Meisner on Acting; New York, Vintage.
Roach Joseph P., (1993),The Player’s Passion: Studies in the Science of Acting; Ann Arbor, University of Michigan Press.
Shurtleff, Michael, (1978), Audition;; New York, Walker & Co.
Toporkov, V.O., (1979), Stanislavski in Rehearsal: The Final Years, New York, Routledge Chapman & Hall
Stanislavski, Konstantin,(1936),An Actor Prepares; New York, Theatre Arts Books.
------, (1949) Building a Character; New York, Theatre Arts Books.
------, (1961), Creating a Role; New York, Theatre Arts Books.
------, (1948), My Life In Art, New York,Theatre Arts Books.
Watzcawick, Beavin, & Jackson, (1978), Pragmatics of Human Communication; New York, W.W. Norton & Co.
Zarilli, Phillip B., (ed)(1995), Acting (Re)Considered, Routledge; New York.