Department of Dramatics Core Course-I : Theory of Drama Paper-I

Home , Gujarati theatre, Hasmukh Baradi, Marathi theatre, Scenography, Theatre technique

Department of Dramatics ACADEMIC Faculty of Performing Arts, The M.S. University of Baroda YEAR 2012-13 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected]

Bachelor of Performing Arts: Dramatics

Year I Core Course-I Credit 3

Semester I : Theory of Drama Paper-I Hours 45

“Literature, Theatre History and Play Analysis”-I

To make students aware about –Drama as distinct form of Literature & The origin and OBJECTIVE development of Drama in Gujarat and Hindi belt.

COURSE CONTENT

Introduction to The Form of Drama. 11Hrs. UNIT I A. Drama as an integrated and inter – disciplinary at form. Drama & Religion, Drama & other arts. Drama and other forms of literature: Drama &Novel, Drama & Poetry. B. Elements of Drama: 1. Western – Theme, Plot, Character, Diction etc. 2. Indian – Vastu, Gana, Abhinaya, Rasa. Various forms of Drama. 11 Hrs. UNIT II Various forms of western drama - Tragedy, Comedy, Melodrama, Farce, Tragic-comedy Greek Tragedy and Comedy.

Introduction to Regional Theatre- Gujarati. 12 Hrs. UNIT III A. A study of origin, development and fall of old Professional Gujarati Theatre. B. Study of any play of the masters of Golden era of Old Professional Gujarati Theatre. Introduction to Regional Theatre- Hindi. 11 Hrs. UNIT IV A. A brief study of origin and development of Hindi Drama. B. Study of any one-act Hindi Play.

REFERENCES Theory of Drama by A.Nicoll; Natya Kala by Dhirubhai Thakar; Natya lekhan by Dhananjay Thakar; Natak desh videsman by Hasmukh Baradi; Gujarati theatre no Itihas by Baradi Hasmukh Gujrati natak by Satish Vyas; Sanskrit Natya Sidhhant by Ramakant aTripathi Hindi Natak Udbhav aur Vikas by Dr.Dashrath Oza; Bharatiya Rangmanch ka vivechnatamk Itihasby Dr,Agyat; natya pryog na mulayakan na siddhanto by Dhanjay thekar

Bachelor of Performing Arts: Dramatics

Year I Core Course 2 Credit 3 Semester I Theory of Drama Paper- II: Acting Techniques and Theory - I Hours 45

To introduce students to concept & understanding of Stage Acting. OBJECTIVE To enable the students apply concepts of Acting in practical. To help students use the concept of Acting for self exploration & developing Positive expression & communication process. COURSE CONTENT An Actor’s Art Component -1  Definition of acting, acting & other performing arts.  Nature of Acting – both art & science.  General requirements of an actor 11 hrs UNIT I  Objective of art of acting & Actor’s place in theatre Training the Talent.  Requisites for success in art of acting – Role of talent and training – Physical Mental, Emotional  Characteristics of good acting. 11 hrs UNIT II  Parameters of talent and training. Component -2 TRAINING OF THE VOICE  Introduction to Voice & Speech.  Introduction to breathing & Voice Apparatus.  Vocal registers and their place, 12 hrs UNIT III  Correct Breathing - The physical basis for acting, voice producing organs & their important functions SPEECH TRAINING AND VOCAL EXPRESSION  Components of speech  Volume, Pitch, Voice projection.  Force, Stress, Emphasis& Pause, 11 hrs UNIT IV  Articulation, Enunciation & Pronunciation.  Intonation& Inflection,

REFERENCES Acting is Believing: Charls McGaw Art of Speech: Kethlin Rich Basic Speech: Jon Eisenson

Bachelor of Performing Arts: Dramatics

Year I Core Course-III Credit 3 Semester I Hours 45 Theory of Drama P-III “Production, Direction & Theatre technique”-I

To introduce student to concept and understanding of Production, Direction & Theatre technique OBJECTIVE To enable the students application of Production, Direction & Theatre technique To help students use the concept of Production, Direction & Theatre technique in modern theatre. COURSE CONTENT Role of director in modern theatre 11Hrs. UNIT I Direction and his relationship with other theatre artists such as Play Wright Actor / Set designer / Light designer /Costume designer / Music composure and sound arranger / Make-up man. Theatre management 11 Hrs. UNIT II Duties and Responsibilities of: Stage Manager, Wardrobe In-charge Property in-charge, Set designer and executor, Light designer and operator, Cosmic designer, Make-up artist, Music and Background effect In-charge, Show organization in-charge. Detailed study of stage geography –Proscenium stage. 12 Hrs. UNIT III -Study of importance of theatre architecture with special reference to Proscenium Theatre. Acting area and its division into various parts - relative importance of various parts. Principles of play production. 11 Hrs. UNIT IV PRINCIPLES OF PLAY PRODUCTION 1. Motivation 2. Composition 3. Movement 4. Picturisation 5. Emotional key 6. Tempo & Rhythm

REFERENCES The complete Play Production handbook-Carl Allansworth Modern Theatre Practice-Hubert. C Heffner Art of Play Production-John Dolman Play Production-Milton Smith Fundamental of Direction-Dean Alexander General Principles of play direction- Gilmore Brown Play Production-Henning Nelms

Bachelor of Performing Arts: Dramatics

Year I Core Course IV Credit (L1+P8)=5 Practical Paper- I: Acting-I Semester I Hours 15+120 = 135

VOICE & SPEECH, MIME & MOVEMENT & IMPROVISATION [THEORETICAL Component -1 ASPECT].  Quality of voice. 15 UNIT I  Incorrect methods of breathing.  Importance of Mime to improve actor’s skill.  Technique of Improvisation VOICE & SPEECH (PRACTICAL ASPECT)  Breathing Exercise  Omkar and Pranayam. 40 UNIT II  Exercises for Voice Projection  Pronunciation of vowels, consonants and difficult words.  Tongue twisting exercises, difficult stanzas and chhand (meter)

Component -2 MIME AND MOVEMENT (PRACTICAL ASPECT)

 Elementary knowledge of basic exercises of Mime through music. 40 UNIT III  interpretation and expression demonstrating through character.

IMPROVISATION (PRACTICAL ASPECT)

 Sensory experience and Emotional experience 40 UNIT IV  Exercise for energy and flow of imagination  Actor and character in different situations.  Simple improvisation and from inputs - words, phrases, instrumental music, stage props etc.

REFERENCES

Department of Dramatics ACADEMIC YEAR Faculty of Performing Arts, The M.S. University of Baroda 2012-13 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected] Bachelor of Performing Arts: Dramatics Year I Core Course-V Credit (1L+3P)=4 Semester I Hours 105hrs. Practical Paper –II –Play Production-I To introduce student to concept and understanding of Production, Direction & Theatre technique OBJECTIVE To enable the students application of Production, Direction & Theatre technique To help students use the concept of Production, Direction & Theatre technique in modern theatre. COURSE CONTENT Theory Th Prac. UNIT I THEORY: Study of the script. Interpretative values 15hrs. Process note. (SET, PROPERTY, LIGHT, COSTUME , MAKEUP, MUSIC )

Media of the Director : Media of the Director : 45hrs. UNIT II 1. The script : a) What is a play–Analysis and Improvisation (b) The foundation and © of the play script: Given circumstances and dialogue. c) The core of the play script: Dramatic action and characters. d) Idea and Rhythm – mood beats. e) Director’s preparation. Media of the Director :(The Actor) The demonstration and exercises of the different body position: The body in relation to the audience, Terminology of body position, body position and stage position. (The Stage) The demonstration and exercises of Stage areas and their relation with actors and other non verbal elements  Rehearsal, preparation for demonstration and presentation. UNIT III St.Cr: Drawing and practical, Proscenium Theatre (St.cr) . 45Hrs Drawing instruments & their uses. A. Different types of projections Ground-plan, Elevation, Isometric, Rostrums individual, with composition. What is director and Why is director? Drawing and practical. Floor unit furniture etc. Wall unit [flats, front and rear projection], Box

set [without furniture] Covering & Handling the floor & wall unit, Stair

case. Proscenium Theatre (St.cr) Proscenium Theatre [Ground Plan, Front Elevation) Terms – Apron, Tormentor, Teaser, Sightlines, Cyclorama, Pivot – point, Flies, Curtain, Acting area etc. Proscenium Theatre: Visit to the local theatre 15hrs. 90hrs.

REFERENCE Stage Scenery-A.S.Gillette Fundamental of Direction-Dean Alexander General Principles of play direction- Gilmore Brown The craft of Play Directing-Curtis Canfield Play Production-Milton Smith Scene Design and Stage Lighting By W. Oren Parker

Bachelor of Performing Arts: Dramatics

Year I Core Course- I Credit 3 Theory of Drama Paper-I – Semester II ‘Literature, Theatre History and Play Analysis’-II Hours 45

To make students aware about the Indian traditional theatre and Early Western Drama, OBJECTIVE its origin and Development.

COURSE CONTENT

Introduction to traditional theatre forms of India. 11Hrs. UNIT I A. Introduction to different Traditional Theatre forms of India. B. Detailed study of any two traditional theatre forms of India, other

than Bhavai. Brief study of plays based on traditional theatre forms of India. 11Hrs. UNIT II A. Study of any “Bhavai Vesh.”

B. Study of any modern play based on traditional theatre forms of

western region. Introduction to western theatre- Greek and Roman. 12Hrs. A. Origin and development of Greek Drama. B. Contribution of Aeschylus, Sophocles, Euripides, Aristophanes, UNIT III Menander.

C. Seneca and Roman Drama

Introduction to western theatre-till Elizabethan theatre. 11Hrs. A. Religious drama and performance during the Middle ages - Mystery and Morality plays. UNIT IV B. Study of Romantic Tragedy and Comedy - Shakespeare

C. Study of any Greek or Shakespearean play

REFERENCES Pashchtya Natya Sahity na swaroopo by Nanda kumar pathak World Drama by A.Nicoll Indian Traditional Theatre-Multipal strems by Kapila Vatsayan[Eng. Hindi.Guj.] Bhavai by Sudahaben Desai Bhavai by Krishnakant Kadkiya Bhartiya aur Pashchtya Rangmanch by Sitaram Caturvedi.

Bachelor of Performing Arts: Dramatics

Year I Core Course 2 Credit 3 Theory of Drama Paper- II: Acting Techniques and Semester II Theory -II Hours 45

TRAINING THE BODY AND INNER RESOURCES Component -1 a. Gesture & Pose-laws of gesture economy, fitness, facial expression

through imagination & concentration. 12 hrs UNIT I b. Various kinds of Movements c. Introduction to improvisation d. Mime as a stylized art. THE ACTOR AND THE PLAY  Analysis of the Role UNIT II  Process of Building the Character in General 11 hrs Component -2 ACTOR’S RELATIONSHIP WITH OTHER ARTISTS  Playwright - understanding the meaning of the play - Understanding the role.

 Director - understanding Director’s interpretation of the play 11 hrs UNIT III  Working with co-actors, actresses. STUDY OF AUDIO- VISUAL ELEMENTS IN RELATION WITH ACTING  Set & props, lights, costume & make-up, UNIT IV  Music & Sound effects. 11 hrs

REFERENCES Basic Speech: Jon Eisenson Art of Speech: Kethlin Rich Mime The Technique of Silence: Richmond Shapard

Bachelor of Performing Arts: Dramatics

Year I Core Course-III Credit 3

Semester II Theory of Drama P-III Hours 45 “Production, Direction & Theatre technique”-II

Scenery and Properties. 11Hrs. UNIT I A.STUDY OF IMPORTANCE OF SETTING IN PLAY PRODUCTION. Principles of set designing. B. IMPORTANCE OF STAGE-PROPERTY IN PLAY PRODUCTION. Various kinds of properties. Stage Lighting. 11 Hrs. UNIT II STUDY OF IMPORTANCE OFLIGHTING IN PLAY PRODUCTION Various functions of light designing. Different types of lighting equipment i.e. flood, spot- Fresnel, Plano convex etc. Costume & Make-up. 12 Hrs. UNIT III IMPORTANCE OF COSTUMES IN PRODUCTION Principles of costume designing IMPORTANCE OF MAKE-UP IN PLAY PRODUCTION Principles of Make-up designing- Different tools of Make-up. Music & Sound effects. 11 Hrs. UNIT IV IMPORTANCE OF MUSIC IN PLAY PRODUCTION. Various types of stage music. IMPORTANCE OF SOUND EFFECTS IN PLAY PRODUCTION. Various types of sound effects.

REFERENCES Scene Design and Stage Lighting By W. Oren Parker Theatrical design and production technique- Micheal Gillette Fundamental of Direction-Dean Alexander General Principles of play direction- Gilmore Brown The craft of Play Directing-Curtis Canfield Play Production-Henning Nelms

Bachelor of Performing Arts: Dramatics Year I Core Course IV Credit (L1+P6=)4 Practical Paper- I: Acting -II Semester II Hours (15+90=)105

VOICE & SPEECH, BODY MOVEMENT & IMPROVISATION [THEORETICAL ASPECT]. Component -1  Qualities of good speech  Defects in speech & speech disorders. 15 UNIT I  Introduction to Old Mime & Modern Mime  Theatre Games & Improvisation VOICE & SPEECH (PRACTICAL ASPECT)  Exercise for voice modulation (Pitch, Volume, Inflection etc.)  News reading, Addressing the audience, Announcement (of play or UNIT II Cultural programmes etc) 30  Dramatic reading of selected scenes from various kinds of Literature such as essays, stories, autobiography, dramas etc., such as from old professional Guajarati "Theatre Modern Gujarati and Hindi Theatre, or contemporary Indian theatre - translated, adapted 9in Hindi from other Indian languages.  Preparation of five poetries - Gujarati, Hindi. Component -2 MIME AND MOVEMENT (PRACTICAL ASPECT)

 Mime as a stylized art, and knowledge of Mime and Movements and its

technique. UNIT III  Exercises in observation, concentration, relaxation, imagination etc. 30

through music IMPROVISATION (PRACTICAL ASPECT)  Handling different props in justifying manner.  Actor’s imagination of different birds, animal, insects and inanimate UNIT IV objects. 30  Improvisation with given condition and without prior planning. (individual and pair)  Simple yogic exercises in body posture respiration, in lying, sitting and standing position. REFERENCES

Bachelor of Performing Arts: Dramatics

Year I Core Course-V Credit (1Th+8Pr)=5 Semester II Hours 135hrs

Practical Paper –II –Play Production-II

St.Cr: Scenery Properties./Stage Lighting Ward robe /Make-up / Music 60hrs. UNIT II A: Various exercise for detail study of Principles of set designing. B: Introduction to lighting gadgets-Their handling and operation -Stage lighting equipments -Lighting Board -Socket system, plugging, connection, distribution etc. A. Introduction to Ward robe Proper handling and preservation of costumes in ward robe B. Introduction of make-up kit - straight make-up. C. Practical with music operation system  Rehearsal, preparation for demonstration and presentation.

UNIT III Direction: 60hrs The actor The demonstration and exercises of theatre’s, (Non verbal) conventions and their inter relation with each other. Learn and work on Principles of play production – Motivation. Composition, Business, Movement, Emotional Key, Tempo & Rhythm. 15hrs 120hrs  Rehearsal, preparation for demonstration and presentation.

REFERENCES Stage Scenery-A.S.Gillette Fundamental of Direction-Dean Alexander General Principles of play direction- Gilmore Brown The craft of Play Directing-Curtis Canfield Play Production-Milton Smith Play Directing- Francis Hodge-Michel McLain Scene Design and Stage Lighting By W. Oren Parker

Department of Dramatics ACADEMIC Faculty of Performing Arts, The M.S. University of Baroda YEAR 2013-14 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected]

Bachelor of Performing Arts: Dramatics

Year II Core Course I Credit 3

Semester III : Theory of Drama Paper-I – Hours 45 “Literature, Theatre History and Play Analysis” - III

To make students aware of Ancient Sanskrit Drama and Modern Indian OBJECTIVE Theatre Including Gujarati Theatre.

COURSE CONTENT

Introduction to Sanskrit Drama 11Hrs. UNIT I Introduction to “Natyashastra”. Origin of Sanskrit drama. Major Sanskrit playwrights

Plot structure in Sanskrit drama 12Hrs.

UNIT II Plot structure in Sanskrit drama. Karyavastha, Artha Prakruti, Sandhi Artho Pakshepak Study of any Sanskrit play. Modern Indian Theatre 11Hrs. UNIT III Brief history of Modern Indian Theatre with special reference to Bengali and Marathi theatre.

New Gujarati Theatre 11Hrs.

UNIT IV Brief history of development of New Gujarati Theatre. Study of contemporary trends. Detailed study of any modern Gujarati, Marathi or Bengali Play.

REFERENCES Natya Manjari saurabh by G.K.Bhatt Bharat aur Bhartiya Natya Kala by Surendra nath Dixit Sanskrit natako no parichay by Dr.Tapasvi Nandi Gujarati theatre no Itihas by Baradi Hasmukh Bengali Theatre by Karimoy Raha Marathi theatre by Shanta Gokhle Bharatiya Rangmanch ka vivechnatamk Itihasby Dr,Agyat;

Department of Dramatics ACADEMIC YEAR Faculty of Performing Arts, The M.S. University of Baroda 2013-14 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected]

Bachelor of Performing Arts: Dramatics

Year II Core Course 2 Credit 3 Theory of Drama Paper- II: Acting Techniques and Semester III Theory -III Hours 45

DETAILED STUDY OF THE METHOD IN ACTING BY STANISLAVSKEY Component -1  The Stanislavsky System  Actor’s Internal Preparation UNIT I  The Method of Physical Action- 12 HRS Elements of an Action- Magic if, Given Circumstances, Imagination, Concentration of Attention, Truth and Belief, Communion, Adaptation, Tempo-Rhythm, Emotional Memory  Actors External Preparation  The Actor’s Physical Apparatus: Body and Voice DETAILED STUDY OF WORK ON THE ROLE BY STANISLAVSKEY  Creating The Role UNIT II  Building a Character 12 HRS Component -2 STYLES OF ACING – WESTERN (EARLY PERIOD)  Greek Actor & Roman actor  Elizabethan Acting 11 HRS UNIT III  Acting in Commedia Del’arte

 Acting in Moliere’s Farce STYLES OF ACTING – WESTERN (MODERN PERIOD) UNIT IV  Realistic & Non Realistic – an Introduction only 10 HRS

REFERENCES 1 An Actor Prepares: C. S. Stanislavsky. 2 The Ancient Greek & Roman Theatre: Peter .D. Arnott.. 3 Building A Character: C. S. Stanislavsky 4 Creating a Role : C. S. Stanislavsky 5 World Drama: Allardyce Nicoll 6 History of Drama:_____ 7 The Stanislavsky System: Sonia Moore

Bachelor of Performing Arts: Dramatics

Year II Core Course-III Credit 3

Semester III Theory of Drama P-III Hours 45 “Production, Direction & Theatre technique”-III

Procedure of direction in detail 11Hrs. UNIT I Selection of the script TO Grand Rehearsal and 1st show

Rehearsal Technique 11 Hrs. UNIT II What is Rehearsal – Purpose of rehearsal? Various stage of rehearsal and the method the director follows in this stages i.e. Reading/ Blocking / Polishing / Tempo & Rhythm / Technical rehearsal & Grand Rehearsal. Set designing. 12 Hrs. UNIT III Procedure of set designing: Study of the script TO Technical Rehearsal.

Various types of sets

Unit/ Minimum / Screen / Cvclorama / Prism /Book / Reversible / Formal / Permanent / Curtain and wing /Gause curtain I Light. Various stages Revolving / Sliding / Elevator / Jack knife. UNIT IV Light designing & stage lighting instruments 11 Hrs. Procedure of light designing: Study of the script TO Technical rehearsal Operation. Stage lighting instruments Intensity control [dimmers] Auto transformer dimmer / Resistance dimmer / Electronic dimmer. Projection lantern / Profile spot / Water effect/ Ultra violet lamp / Tube:

REFERENCES Scene Design and Stage Lighting By W. Oren Parker Stage Scenery-A.S. Gillette Guide to stage Lighting- G.N. Dasgupta The craft of Play Directing-Curtis Canfield Play Production-Milton Smith

Bachelor of Performing Arts: Dramatics Year II Core Course IV Credit 1+4=5 Practical Paper- I: Acting- III Semester III Hours 15+120=135

VOICE & SPEECH , BODY MOVEMENT & IMPROVISATION [THEORETICAL ASPECT]. Component -1  Purpose of Speech  Barriers to Communication 15 HRS UNIT I  Detailed study of Mechanisms of Voice Producing Organs & their important Function: Motor, Vibrator, Resonator & Articulator.  Introduction to Body Movement & its types  Importance of Movement & Improvisation in developing Actor’s skill. VOICE & SPEECH [PRACTICAL ASPECT]. 1. Breathing Exercises 2. Omkar and Pranayam 40 HRS UNIT II 3. Basic Exercises for voice cultivation and pronunciation. 4. Exercises in laughing, smiling, whispering, weeping, crying, yelling, [of

fear, joy, pain, suffering and ecstasy] Grunts and Groans. 5. Exercises in Universal language of sounds. Component -2 BODY MOVEMENT [PRACTICAL ASPECT]. 1. Angika Abhinaya : Anga, Upanga & Prnnga, Tools of an Actor 2. Body Exercises: Yoga in relation to theatre, Exercises pertaining to 40 HRS UNIT III Head, Eyes and Body extension movements. 3. Rhythmic Movements [Advanced]. IMPROVISATION [PRACTICAL ASPECT]. UNIT IV 1. Building up a climax through response and stimulus of different characters in pairs and groups. 40 HRS  Action and Reactions  Mirror games. 2. improvisation based on the Stanislavsky’s method of elements of physical action. 3. Improvisation based on Stanislavsky’s Elements of an action. Viz. Truth & Belief, Communion, Adaptation, Given Circumstances, Imagination. REFERENCES

Bachelor of Performing Arts: Dramatics

Year II Core Course-V Credit (1L+3P)=4

Semester III Practical Paper –II –Play Production-III Hours 105hrs.

Theory: Th. Prac. UNIT I Theory: Fundamental of design [Indian and Western]. Historic overview 15hrs. of lights. Scene shifting plot & chart. Preparing Lighting chart and cue- sheet. Theory: Budgeting a Play & Rehearsal schedule St.Cr: Technical drawings/ Lighting: 45hrs. UNIT II 1. Ground plan and Elevation of floor and wall units. Different types of Joints and Arches. 2. Orthographic projection - stair case

1. Ground plan and Elevation of Thrust stage. *Dep’t. Play box+

Lighting: A:Purpose of lighting [principles of light] B: Basic principles in electricity: Volts / Amperes! Ohms / Watts. Conductor, Non-conductor, C: Functions of stage lighting.  Rehearsal, preparation for demonstration and presentation. Direction: Fundamentals of Direction. 45hrs. UNIT III Composition, Movement, Rhythm & Tempo  Rehearsal, preparation for demonstration and presentation. 15hrs. 90hrs.

Bachelor of Performing Arts: Dramatics

Year II Core Course- I Credit 3

Semester IV : Theory of Drama Paper-I – Hours 45 “Literature, Theatre History and Play Analysis”-IV

To make student aware of the development of Western Theatre during OBJECTIVE 17th Century and also about the Form of One-Act play both Western And Gujarat. COURSE CONTENT

Western Theatre[Tragedy] – 17th Century Theatre of Reason - Racine. UNIT I Tragedy in Restoration era. 1660-1720

Western Theatre [Comedy] – 17th Century UNIT II Comedy in Restoration era. 1660-1720. Study of any play of this era (by Moliere, Racine or Ben Johnson.

Form Of One Act play. UNIT III A. Form of one act play. B. Origin and development of western one act play.

Gujarati one act play. Contribution of Gujarati playwrights in the development of Gujarati one UNIT IV act play. Study of any Guajarati One-Act Play :Pre-Independence

REFERENCES

World Dram by A.Nicoll Pashchtya Natya Sahity na swaroopo by Nanda kumar pathak Ekanki by Nanda kumar pathak Ekanki nu swarup ane Gujarati Ekanki by Jayant Kothari. Bhartiya aur Pashchtya Rangmanch by Sitaram Chaturvedi.

Bachelor of Performing Arts: Dramatics

Year II Core Course 2 Credit 3 Theory of Drama Paper- II: Acting Techniques and Semester IV Theory -IV Hours 45

DETAILED STUDY OF BHARATA’S THEORY OF ACTING Component -1 a. Detailed study of Four Abhinayas Angika Abhinaya, Vachik Abhinaya 12HRS UNIT I Aharya Abhinaya, Satvika Abhinaya, b. Study of Chitrabhinaya & Samanyabhinaya

DETAILED STUDY OF BHARATA’S RASA THEORY  Study of Navrasa  Detailed study of various Bhavas & their Vibhavas & Anubhavas 12 HRS UNIT II  Vyabhichari or Sancharibhava Component -2 ACTING IN REGIONAL THEATRE  Old professional Gujarat theatre  Contemporary Gujarat theatre 11 HRS UNIT III  Famous actors of Gujarat ACTING IN FILK THEATRE OF GUJARAT  Old Traditional Bhavai: Angika, Vachika, Aharya, Satvika,  Urban Form of Bhavai- an Introduction 10 HRS UNIT IV  Famous Bhavai Actors

REFERENCES Bharata Natya Manjari- G K Bhatt. The History of Gujrati Theatre- vinod Meghani. National Book Trust. Studies in Natyashastra-with special Reference to Sanskrit Drama – G H Tarlekar. A Study of the Techniques of Abhinaya in relation to Sanskrit Drama- Dr. Mrs. Shreni P Pardya. Bhavai – Mansukh Joshi.

Bachelor of Performing Arts: Dramatics

Year II Core Course-III Credit 3

Semester IV Theory of Drama P-III Hours 45 “Production, Direction & Theatre technique”-IV

UNIT I Costumes & Make-up 11Hrs. PROCEDURE OF COSTUME DESIGNING: Study of the play TO Wardrobe HISTORY OF COSTUME(INDIA ONLY) Types OF MAKE-UP Liner / Plastic / Grease Paint. Types of director & various direction methods. 11 Hrs. UNIT II What is director - His place in theatre? Duties and Responsibilities of Creative director. Description of various types of director such as Rubber stamp director/ Trainer director [Talim Master] Stage Manager director / Writer director / Actor- Director / Technician director / Easy go lucky director / Dictator - director. Music : 12 Hrs. UNIT III Recording system –various equipments

Contemporary Indian designer and Director 11 Hrs. UNIT IV Study of Indian designer and directors after in dependence till today.

REFERENCES

Scene Design and Stage Lighting By W. Oren Parker The Book of Make-up - Costume in antiquity- Jameslaver Music in theatre-Ronald The craft of Play Directing-Curtis Canfield Play Production-Milton Smith

Bachelor of Performing Arts: Dramatics Year II Core Course IV Credit L1+P3 =4 Semester IV Practical Paper-I: Acting -IV Hours 15+90=105

VOICE & SPEECH, BODY MOVEMENT & IMPROVISATION [THEORETICAL ASPECT]. Component -1  Voice Modulation, Diction, Intensity, Restraint  Pace or Rate, Duration, Tone Colour 15 HRS UNIT I  Understanding Space through Movement & Improvisation.  Logical relationship & link between thought and action in different characters. VOICE & SPEECH [PRACTICAL ASPECT]  Preparing chorus from various plays.  Preparing Blank verse[ ], folk songs, 30 HRS UNIT II shloka, chhand (meter} and poetries.  Study of Dialects and Intonations.  Acting in Radio Plays. [Reading].  Preparing five - monologues or soliloquies or scenes from classics / modern classics. Component -2 BODY MOVEMENT [PRACTICAL ASPECT]  Various kinds of Movements and Gestures.  Concept of Rasa Navarasa, Facial expression. 30 HRS UNIT III  Different body movements of animate and inanimate objects [Individual, pair and in groups] IMPROVISATION [PRACTICAL ASPECT]  Improvising a story.  Treating a poem as a soliloquy. 30 HRS UNIT IV  Complicated yogic exercises in body postures.  Respiration, In lying, sitting and standing.  Improvisations based on Stanislavsky’s element of an Action viz; Tempo & Rhythm & Emotional Memory

REFERENCES

Bachelor of Performing Arts: Dramatics

Year II Core Course-V Credit (1Th+8Pr)=5 Semester IV Hours 135hrs

Practical Paper –II –Play Production-IV

OBJECTIVE To introduce student to concept and understanding of Production, Direction & Theatre technique To enable the students application of Production, Direction & Theatre technique To help students use the concept of Production, Direction & Theatre technique in modern theatre. COURSE CONTENT Theory: Th. Prac Theory: Production script. History of costume(India only) 15hrs UNIT I Theory: Introduction to Scenography.

St. Cr: Make-up/ Costume/ Music. 60hrs UNIT II 1. Character Make-up. 2. Costume color plate. Recording system –various equipments(Faculty Audio studio) Study of recording studio and system of recording.  Rehearsal, preparation for demonstration and presentation.

Direction: Fundamentals of Direction. 60hrs UNIT III Pantomimic dramatization. Emotional key, Picturisation. 15hrs 120hrs.  Rehearsal, preparation for demonstration and presentation.

REFERENCES The Book of Make-up - Costume in antiquity- Jameslaver Music in theatre-Ronald Fundamental of Direction-Dean Alexander The craft of Play Directing-Curtis Canfield Play Production-Milton Smith

Department of Dramatics ACADEMIC Faculty of Performing Arts, The M.S. University of Baroda YEAR 2014-15 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected]

Bachelor of Performing Arts: Dramatics

Year III Core Course- I Credit 3

Semester V : Theory of Drama Paper-I – Hours 45 “Literature, Theatre History and Play Analysis”-V

To make student aware of Modern Western Drama and creative OBJECTIVE Writing for stage, Screen and Radio.

COURSE CONTENT

Modern western drama. 11Hrs. UNIT I The Naturalistic revolt. Form of Realistic Drama: Ibsen, Chekhov, Bernard Shaw. Study of a playwright through analysis of his play

Modern western drama 12Hrs. Non Realistic Movement. Form of Non- Realistic Drama: UNIT II Symbolism and Expressionism - Pirandello, Strindberg. - Study of a playwright through analysis of his play

Modern western drama 11Hrs. UNIT III -Epic Theatre- Bertolt Brecht -Theatre of Absurd - Beckett, Ionesco. Study of a playwright through analysis of his play Principles of Stage play writing; Screen play and Tele play Writing. 11Hrs. UNIT IV Creative writing: Short play for Stage, Screen & Radio Dramatic poem Street play.

REFERENCES Modern Drama in Theory and Practice –Vol-I-II-III by J.L.Styan Pashchtya Natya Sahity na swaroopo by Nanda kumar pathak Raadio Natak by Vinod Josi Patkatha Lekaha by Manohar Shayam Joshi Europe ni Rangbhumi by C.C.Mehta. Lok Rang By Dr.Bhanavat

Department of Dramatics ACADEMIC YEAR Faculty of Performing Arts, The M.S. University of Baroda 2014-15 Nr. Sursagr, Nyaymandir, Vadodara - 01, Gujarat, India Ph. +91 (0265) 2410194, email: [email protected]

Bachelor of Performing Arts: Dramatics Year III Core Course 2 Credit 3 Theory of Drama Paper- 2: Acting Techniques and Theory -2 Semester v Hours 45

STYLES OF ACTING (ORIENTAL – JAPANESE) Component -1 11 Hrs  Acting in Noh Drama UNIT I  Acting in Kabuki Drama

MODERN SCHOOLS OF ACTING - I 12Hrs  Representational school of Acting: Coquelin & Diderot UNIT II  Stanislavsky’s concept of Creative Acting  Bertolt Brecht’s theory of Alienation in acting

Component -2 MODERN SCHOOLS OF ACTING - II 1 Hrs

 Grotowsky’s theory of Poor-Theatre / Laboratory Theatre – UNIT III Holy Actor.  Vakhtangov & Meyerhold’s idea of acting  Peter Brook’s theory of Universal Language of Sound and Gestures VIEWS OF EMINTENT ACTORS ON ART OF ACTING (WESTERN) 10 Hrs

 Study of views of famous American, Russian & European stage Actors UNIT IV

REFERENCES 1 The Kabuki Theatre of Japan: A. C. Scott 2 Japanese Theatre in Highlight: Francis Haar 3 Experimental Theatre: Phillip B Zarrilli 4 Modern Drama in Theory & Practice-3: J. L. Styan 5 Actors on Acting: Toby Cole & HelenKrich 6 Acting, a Handbook of The Stanislavsky Method: Toby Cole, 7 The Penguin Dictionary of The Theatre: John Russell Taylor.

Bachelor of Performing Arts: Dramatics

Year III Core Course-III Credit 3

Semester V Theory of Drama P-III Hours 45 “Production, Direction & Theatre technique”-V

Evolution of director. 11Hrs. UNIT I A. Indian theatre and B. Western theatre

Principles of Line & Colours. 11 Hrs. UNIT II Basic principles of Line & Colours in Setting, Lighting, Costume, Make-up and their inter-relation with each other

Styles in Setting. 12 Hrs. UNIT III STYLES OF SETTING: Realistic and Non-Realistic

Styles in production. 11 Hrs. UNIT IV STYLES IN PRODUCTION: Realistic and Non Realistic

REFERENCES Scene Design and Stage Lighting By W. Oren Parker Theatrical design and production technique- MicKheal Gillette Directing the play-Toby Cole and Helen Krich Chenoy General Principles of play direction- Gilmore Brown T he Art of Play production-John Dolman Jr. Play Production-Milton Smith

Year III Core Course IV Credit (L1+P4=)5 Practical Paper- I:Acting -V Semester V Hours 15+120=135

VOICE & SPEECH, BODY MOVEMENT & IMPROVISATION [THEORETICAL ASPECT]. Component -1  Actor’s realization of Centre of Pronunciation & Vocal Energy  Strengthening of Vowel & Consonant Sounds 15 UNIT I  Analysis & Interpretation of Characters through movement  Building life sketch of the Character through Movement & Improvisation. VOICE & SPEECH [PRACTICAL ASPECT]  Preparing long poems as soliloquies or monologues in different Rasas  Changing the mood and rhythm of the poems as an exercise. 40 UNIT II  Poetry Recitation expressing it by using various elements of acting

Component -2 BODY MOVEMENT [PRACTICAL ASPECT]  Communicating various feelings and thoughts through body  Body Movement in Indian Classical & Folk Theatre. 40 UNIT III

IMPROVISATION [PRACTICAL ASPECT]  To prepare a complete life sketch of the character by work on role analysis through improvisation. 40 UNIT IV  Simple situations to be improvised through acting in individual, pairs and groups to develop a play.  scene work- To prepare scenes through movements, Gestures, Voice patterns and speech for selected scenes for different plays.

REFERENCES

Bachelor of Performing Arts: Dramatics

Year III Core Course-V Credit (1L+3P)=4

Semester V Practical Paper –II –Play Production-V Hours 105hrs.

Theory: Critical appreciation of performance. Th. Prac. UNIT I A: Playwright approach and Director’s approach Interpretation and 15hrs. Treatment. B: Theory of Lines and colour.

St. Cr: Scenic design. / Line & Colours. 45hrs. UNIT II Principals of composition, Composition and space composition and unity, Rhythm and movement in composition. Various exercises of Lines And colors.  Rehearsal, preparation for demonstration and presentation.

Dir: Innovative production technique. 45hrs UNIT III Work on innovative production technique of different types of short- Plays/ scenes / in various modes [tragedy, comedy, farce] of presentation on different spaces [open stage, arena, ]  Rehearsal, preparation for demonstration and presentation. 15hrs 90hrs

REFERENCES Scene Design and Stage Lighting By W. Oren Parker Stage Scenery-A.S.Gillette Fundamental of Direction-Dean Alexander General Principles of play direction- Gilmore Brown The craft of Play Directing-Curtis Canfield Play Production-Milton Smith

Bachelor of Performing Arts: Dramatics

Year III Core Course- I Credit 3

Semester VI : Theory of Drama Paper-I – Hours 45 “Literature, Theatre History and Play Analysis”-VI

To make student aware of the form of Sanskrit Drama and Asian Drama/ Theatre OBJECTIVE As well as Puppet theatre.

COURSE CONTENT

Sanskrit Drama UNIT I A. Study of Dasharupakas. Brief study of Uparupakas. B. Study of any Sanskrit Rupaka

Role of ‘Vidusaka’ in Sanskrit Drama – UNIT II In theory according to “Natyashastra”, In practice on the basis of plays: Swapnvasavadattam, Mruchhakatikam, Malvikagnimitra Introduction to Asian theatre. UNIT III General History of Chinese and Japanese Drama Detailed study of a play Chinese-Japanese– Puppet Theatre

UNIT IV –Origin, development. Different forms. [Indian-Asian-western]

REFERENCES Dasg Rupak aur Bhartiya Natya kala- Hajariprasad Dvivedi Das Rupak- Dr. VasantBhatt Natya Manjri Saurabh-G.K.Bhatt Puppet Theatre-Mahipat kavi Japan ni Rangbhumi-C.C.Mehta.

Bachelor of Performing Arts: Dramatics

Year III Core Course 2 Credit 3 Theory of Drama Paper- 2: Acting Techniques and Theory -2 Semester VI Hours 45

DETAILED STUDY OF ACTING IN SANSKRIT THEATRE WITH REFERENCE TO STAGE 12 Hrs Component -1 CONVENSIONS

UNIT I  Stage Conventions – Natyadharmi & Lokadharmi  Zonal Division Kakshyavibhag – Vritti and Pravritti

STYLES OF ACTING (ORIENTAL AND CHINESE ) 11 Hrs

 Acting in Peking Opera UNIT II  Training of an Actor in Peking Opera

Component -2 GENERAL CHARACTERISTICS OF ACTING IN INDIAN TRADITIOONAL THEATRE 12 HRS

 With special reference to application of four aspects of Abhinaya UNIT III

VIEWS OF EMIINENT ACTORS ON ART OF ACTING (INDIAN) 10 hrs  Study of views of Indian Stage Actors on art of Acting (5 Actors) UNIT IV REFERENCES 1 Bharata Natya Manjari: G K Bhatt 2 Traditional Indian Theatre-Multiple Streams: Kapila Vastsayan 3 The Natyasastra of Bhartmuni Tr. By Board of Scholors 4 Peking Opera: Rewi Alley 5 The Cambridge Guide to Asian Theatre: James Brendon 6 Theatre India & Rang Prasang: National School of Drama Publication 7 Contemporary Indian Theatre: Sangit Natak Academy Publication

Bachelor of Performing Arts: Dramatics

Year III Core Course-III Credit 3

Semester VI Theory of Drama P-III Hours 45 “Production, Direction & Theatre technique”-VI

Modern trends in play production 11Hrs. UNIT I Stanislavsky to Peter Brook.

Role of experimental theatre 11 Hrs. UNIT II Content - Form - Different stages of development.

Modern theatre, architecture: 12 Hrs. UNIT III Greek / Roman / Elizabethan / Thrust stage / Proscenium / Arena / Open stage.

Sanskrit theatre architecture. 11 Hrs. UNIT IV Study of architecture and types of Sanskrit theatre

REFERENCES The Experimental Theatre- James Roose Evans The Director and Stage- Naturalism to Grotowsky- Edward Braun The Theatre of Bharata and some Sanskrit aspects of Sanskrit play production- Goverdhan Panchal General Principles of play direction- Gilmore Brown Play directing-Analysis, Communi....-Francis Hodge-MiChael Mclain

Year III Core Course IV Credit (L1+3P=)4 Practical Paper –I: Acting -VI Semester VI Hours 15+90=105

VOICE & SPEECH, BODY MOVEMENT & IMPROVISATION [THEORETICAL ASPECT]. Component -1  Analysis & Interpretation of Soliloquies/ Monologues & Scenes from classical plays both Indian & Western 15 UNIT I  Body Movement theories propagated by different theatre practitioners.  Concept of Improvisation propounded by Stanislavsky & Brecht  Actor’s Script for a role in Scenes & plays. VOICE & SPEECH [PRACTICAL ASPECT]  Recitation of a play in verse/blank verse - Rhythmic Prose.  Soliloquies from classical plays/ Monologues from well known plays- Sanskrit, 30 UNIT II Shakespearean, Greek, Modern classics.  Recording of scenes or act of the play or one act play - using all the elements of a Radio Play. Component -2 BODY MOVEMENT [PRACTICAL ASPECT]  Physical, Mental and Emotional movements through music,  Basic exercises in plasticity of the body through music and without 30 UNIT III music.  Movement in Western Classical Plays. Viz. Greek, Shakespearean IMPROVISATION [PRACTICAL ASPECT]  Re-interpretation of stories through improvisation.  Improvisation of themes in folk theatre form. 30 UNIT IV

REFERENCES

Bachelor of Performing Arts: Dramatics

Year III Core Course-V Credit (1L+8P)

Semester VI Practical Paper –II –Play Production-VI Hours 135hrs

Theory: Th Prac. UNIT I Theory: The concept of design[Design & Play, the theatre, as a visual art, 15hrs Design idea] Theory: Understanding the content and form of a play.

St. Cr: Stage lighting /Make-Up. 60hrs UNIT II Design a light for non proscenium production. Make-Up. Liner Make-Up, Grease paint Make-Up, Plastic Make-Up.

 Rehearsal, preparation for demonstration and presentation.

Dir: Innovative production technique. .60hrs. UNIT III Work on innovative production technique of different types of short stories in various modes [tragedy, comedy, farce] of presentation on different spaces [ thrust stage]  Rehearsal, preparation for demonstration and presentation. 15hrs 120hrs

REFERENCES Scene Design and Stage Lighting By W. Oren Parker The Book of Make-up - Costume in antiquity- Jameslaver Play Directing- Francis Hodge The craft of Play Directing-Curtis Canfield Play Production-Milton Smith