Musical Theatre Scene Study (Sections II, III) Syllabus: 2018-19 Oakland School for the Arts – School of Theatre Instructor: Mr. Travisano
Class Location: Room 202 Instructor Contact: [email protected] Class Meeting Times: Tues (Periods 7, 8) & Thurs (Period 7) Instructor Office Hours: lunch/after school ______
ABOUT THE COURSE In this course we’ll explore methods and historical practice of musical theatre dating from the so-called Golden Age of the 1950s to next generation of musical creators who begin to push the genre in a new direction in the 1970s (creating what are referred to as “concept musicals”). Through a close examination of specific musicals you’ll gain an in depth knowledge of the acting theories and techniques required to create fully-realized characters. You’ll also gain practical knowledge of musical theatre performance by directing, choreographing, and performing scenes from musicals of this period. Based on student feedback, in this course we’ll focus more intently on acting as a component of the art of musical theatre performance. We’ll explore non-musicals from this period as the basis for exercises in theory and practice. In fact, we’ll begin the year in this particular section with an intensive acting workshop around the work of Tennessee Williams.
As we align with CTE (Career Technical Education, Performing Arts Pathway Standards B.1-6) throughout this course we’ll think about how you can apply what you learn in this class to what you can expect in a career or in college. You’ll do frequent observations and critiques of each other’s work and the work of established professionals from whom we can all learn. This is not a radical shift, just a better alignment with standards meant to make this course USEFUL in many contexts.
We’ll also consider the cultural contexts for the texts we use as material for exercises and assessments, and even consider how our own cultural contexts affect how, as actors, we use voice and text in the art of characterization. It should be said that we’ll begin the year by considering texts that, to our sensibilities today, may be concerning. In particular I refer to the works of Eugene O’Neill and Tennessee Williams, which are central to dramatic literature. They were first to truly plumb the messy depths of the mind and heart. Yet they also wrote at a time of strict binary gender norms and his point of view on matters of patriarchy is more retrograde than I’d like. But their work revolutionized acting technique and craft. I believe in wrestling with it.
In general, the era we’re focusing on (1950-1965) was one of enormous cultural change. In some ways the American musical was far ahead of its time. South Pacific and West Side Story tackled racism and white supremacy in ways that made audiences and critics grossly uncomfortable. Gypsy and Once Upon a Mattress relegated men to nearly invisible supporting roles and focused on female agency. And Fiddler on the Roof and How to Succeed in Business Without Really Trying challenged notions of patriarchy taken as gospel at the time. In other ways, the American musical served as an escape for white America. For example, there was no musical written about the civil rights movement during the civil rights movement. Yet to be taken seriously at an audition or in college, the musicals of this era form the backbone of the musical theatre genre. And they’re also, perhaps, America’s greatest contribution to world theatre of the time. It’s a brilliant and complicated legacy. ______
INQUIRY #1 Acting Intensive: Mid-Century American (Non-Musical) Theatre
THEORISTS/PRACTITIONERS Review: Constantin Stanislavski New: Stella Adler; Michael Chekhov
LEARNING GOALS: (1) To review the acting theories of Constantin Stanislavski and from last year (2) to add in the acting theories of Stella Adler and Michael Chekhov and be able to understand and apply their theories on acting craft to monologues and scenes from American theatre dating from 1940 to 1970 (3) to experiment with these theories with the delivery of songs from the American musical songbook from the same period
MAJOR ASSESSMENTS: (1) Summer Monologue Workshop (2) Summer Monologue Performance Assessment (3) Dialect Performance (American Southern) (4) Observation Write-Ups
TEXTS A Streetcar Named Desire by Tennessee Williams The Hairy Ape and Long Day’s Journey Into Night by Eugene O’Neill A Raisin in the Sun and/or The Sign in Sidney Brustein’s Window by Lorraine Hansberry An Enemy of the People by Henrik Ibsen, adapted by Arthur Miller Trouble in Mind and/or Florence by Alice Childress ______
INQUIRY #2 The American Musical in the Golden Age (1950-1965)
LEARNING GOALS: (1) To engage in a conversation about how musical theatre, reaching the height of its cultural dominance in post war America, influenced the popular culture of the day. (2) To develop your skills as a musical theatre performer by (a) developing comic acting techniques necessary for musicals of the first half of the century and (b) develop more complex characterizations necessary for musicals written in the post-World War II and Vietnam War periods.
MAJOR ASSESSMENTS: (1) Musical Comedy Song & Scene (2) Post-World War II Song & Scene (2) Individual Research Project (3) Directing/Choreographing Project
INDIVIDUAL RESEARCH PROJECT During the first semester you will complete an independent research project on a show, composing team, actor, or creative involved in this era of musical theatre (1950-1964). In this project you will explore the historical influence of the musical or individual you choose. This project will also entail a performance element.
TEXTS South Pacific (1949) Music by Richard Rodgers Book and lyrics by Oscar Hammerstein II (based on Tales of the South Pacific by James A. Michener)
Guys and Dolls (1950) Music and Lyrics by Frank Loesser Book by Abe Burrows
Wonderful Town (1953) Music by Leonard Bernstein Lyrics by Betty Comden & Adolph Green Book by Joseph Fields & Jerome Chodorov
The Pajama Game (1954) Music and Lyrics by Richard Adler & Jerry Ross Book by George Abbott & Richard Bissell
West Side Story (1957) Music by Leonard Bernstein Lyrics by Stephen Sondheim Book by Arthur Laurents Once Upon a Mattress (1959) Music by Mary Rodgers Lyrics by Marshall Barer Book by Jay Thompson, Dean Fuller & Marshall Barer
Gypsy (1959) Music by Jule Styne Lyrics by Stephen Sondheim Book by Arthur Laurents
Fiddler on the Roof (1959) Music by Jerry Bock Lyrics by Sheldon Harnick Book by Joseph Stein
Camelot (1960) Music by Frederick Loewe Lyrics and Book by Alan Jay Lerner
How to Succeed in Business Without Really Trying (1961) Music and Lyrics by Frank Loesser Book by Abe Burrows
Funny Girl (1964) Music: Jule Styne Lyrics: Bob Merrill Book: Isobel Lennart ______
GRADING The grading for this course will be different than you’re used to. Everything in this course will be graded on a scale of 1-4, scores which will enumerate your mastery of the topic at hand. A score of 4 indicates you have achieved acceptable mastery of the material or the skill being assessed. A score of 3 indicates you are nearing mastery but have a little more work to do in order to do. A score of 2 indicates emerging mastery, but it is likely you will need to get some extra help. A score of 1 indicates that you either did not meaningfully attempt the assessment or you clearly do not understand the concept being assessed. You can resubmit/re-perform all work that receives a grade below 4. I want you to work until you master the concept or the material. Some assignments will be given an accountability score (1 or 0), assessing you on your ability to turn in work on time. This score cannot be made up. But you still must turn in the work.
POLICIES AND PROCEDURES
Materials There are some materials that are recommended for this course. Please contact me if you have a financial need so that we can make sure you have access to what is listed here for no charge. 1. A journal. This is where you will take notes, record observations, and write reflections. 2. Pencils with erasers. 3. College-level dictionary. This can be a free phone app, but whatever dictionary you have MUST say “college.” 4. Set of multi-colored pencils or pens [especially crucial for in-class annotations] 5. A folder or binder that can hold handouts (those flexible, floppy, sturdy plastic ones are ideal). We’ll read a fair number of plays, and you’ll need to put them in a binder. [Note: You are welcome to pool resources with friends—just make sure you have access to these materials.]
Google Classroom You’ve already been invited to join the Google Classroom for this class. For reference, the code is p84zg8.
Attendance and Dress Policies 1. You are expected to be on time which means being in Room 202 by the bell at 1:35pm. I will give you time to change clothes after I take attendance. 2. If you are absent you will have as many days as you were out to make up assignments. 3. Late work is accepted (so I can assess your mastery of the skill) but you will receive a zero for Accountability. 4. If you are sick, PLEASE STAY HOME. Check the Google Classroom or contact me for updates on class work and homework. 5. You must come dressed per School of Theatre guidelines. This means athletic apparel in solid neutral colors with minimal logos, text, or graphics. You will receive an Accountability grade for appropriate dress per class session. 6. Attendance will be taken after each period. Class begins at 1:35pm. School lets out at 4:15pm, not before.
Behavior Expectations You’re expected to maintain a classroom atmosphere that is supportive and nurturing of risk. None of you is an expert on the material or on acting in general. Humility is a great thing to embrace as an actor.
Electronics Absolutely forbidden. Cell phones, iPods, earphones, and headphones should never be visible unless they are part of a lesson (trust me, you will know the difference).
Notification on Controversial Texts, Images, and Films Please note that some texts we will read/watch/listen to may contain material some may consider controversial. Due warnings will be given, but it is the responsibility of parent and student to preview texts or visual media. In addition, some texts will be religious in nature, though I presume no religious affiliation.
Important Note: All of us learn differently. Part of my goal as a teacher is to teach to everyone in the class equally. If you know you learn better a certain way, please let me know. For example, if you struggle with keeping papers and prefer digital or visa versa, let me know. I’ll try to always anticipate your needs, but if you are able to communicate them to me that helps us all work together better. When all is said and done, you are responsible for your learning.