Instructor: Peter King

Acting

2016-17

Instructor: Peter King [email protected]

Wikipage: https://parkarts.pbworks.com/w/page/14426308/Acting

1 Table of Contents

Syllabus…………………………………3

Six Step Rehearsal Entry…...... 7

Journal Pages…………………………………8

Assessments Guidelines………………………9

Contentless Scene #1………………………………..10

Contentless Scene #2…………………………..………..11

Exposed (Neutral Scene)………………………………………..12

Crisis (Action Scene)……………………………………………………13

Sample Essential Actions…………………………………………………14

Anticipation (Object Scene)…..…………………………………………….15

Love (Endowment Scene)…………………………………………………………16

Revelation (Full Scene)………………………………………………………………..17

2 Acting Syllabus 2016-17

Wikipage: https://parkarts.pbworks.com/w/page/14426308/Acting

RATIONALE: this introductory course will focus on basic acting techniques and familiarize you with the fundamentals of living truthfully within imaginary circumstances.

OBJECTIVES: by the end of the course, you will have learned what it means to

 work effectively in ensemble;  be more aware of the world, of others, and yourself;  be fully present in-the-moment;  identify and develop the imaginary circumstances in a scene;  live truthfully within those imaginary circumstances;  identify and play actions;  make personal connections to your work on stage.

UNITS:

I. ENSEMBLE

Ensemble Ancient Games Trust Games

II. ACTING TRUTHFULLY

Playing Off Each Other Being Present In-the-Moment The Notion of Action: Acting is Doing Conflict = Goals and Obstacles Criminal Scenes One Line Scenes

III. PLAYING OFF THE PARTNER

Being Present in the Moment Word Repetition Game Silent Scenes One-Line Scenes Contentless Scenes

3 4 IV. WHAT DO I WANT? Playing Actions

Developing the Circumstances The Literal The Want The Action and its Cap The As Ifs Making Choices How to Rehearse Staging a Scene: Positions, Blocking Action Scenes

V. ENDOWMENT, STAGING, SPACE

Truth and the Senses Endowment and Fourth Wall Creating the Environment/Space Stage Terminology Staging Spike Heels Scene

IV. TACTICS, BUILDS, PACING

Expanding Tactical Range Obstacles Opposites Escalations One-line Scenes Full Scenes Final Self-Assessment

ATTENDANCE:

1. Class starts promptly. Warming up is essential to your work in acting. If you miss it, your work will suffer. You will need a late note if you arrive after class has started. 2. Your presentations will be presented according to the sign-up sheet. You don’t want to miss your scheduled day because you will put the entire class behind schedule. 3. Because acting takes place on a stage in front of others, any time you miss class, whether excused or not, your work and others will be affected. You can’t learn to act by reading a book. You must be present in class.

5 ASSIGNMENTS: You may view your assignments for this course by going to the Veracross website for this course or https://parkarts.pbworks.com/w/page/14426308/Acting. The course page will be updated every week or so.

REHEARSAL ENTRIES: Before each presentation you will complete a two-page REHEARSAL ENTRY in your google doc journal covering the “6 Steps” handout. You will not be allowed to present your work if you have not completed this entry. You will be receiving feedback on your rehearsal entries, and you need to KEEP ALL YOUR REHEARSAL ENTRIES clearly labeled in your google doc.

JOURNAL ENTRIES: You will be asked to create a google doc in which you take notes, jot down your brilliant ideas, and chronicle your work in this course every day we have class. Like an artist’s sketchbook, it will include lots of rough ideas you want to try in your rehearsals. I will check in and respond to your entries periodically, and they will be considered in your quarterly assessments.

WRITTEN ASSESSMENTS: You will be asked to do a written assessment at the quarter break and the end of the semester. IF I DO NOT RECEIVE YOUR SELF-ASSESSMENT BY THE DUE DATES, YOUR GRADE WILL GO DOWN A + OR – PER DAY LATE.

PERFORMANCE ATTENDANCE: All first semester acting students will attend the fall musical and all second semester acting students will attend the spring productions. Sign-up to usher and you’ll share the backstage excitement, as well as get in free!

SCENE NIGHT: Your final exam for this course is presenting your final scene for an invited audience of family and friends. Tuesday, Jan. 10 for 1st Semester and Thursday, May 25th, 7 – 8:30 p.m. for 2nd Semester. This is a fun, informal time to share your work. Don’t get uptight about this. OK?

MATERIALS:

 Blank paper, a paper journal, or an electronic device for Journal Entries. Please bring your “journal” to every class.  Props. When presenting exercises and scenes you must bring all necessary props.

ATTIRE: Wear clothing you are comfortable moving around in. We will be doing a lot of physical work in this class. When presenting scenes or exercises wear clothing suitable to the character and situation.

WORKING ENVIRONMENT: Please turnoff and DO NOT use cell phones. You may use laptops, tablets, and smart phones, but only for class related work. You may not realize it, but these devices interrupt you and everyone else in the room, jarring all of us out of “the depth of the moment” and forcing us to leave the imaginary circumstances of the play or scene we have worked so hard to create.

6 ASSESSMENT:

1. Participation 40% a. Timeliness b. Focus c. Commitment d. Engagement e. Ensemble – Trust and Respect of others f. Risk-taking 2. Presentations 40% a. Preparation – props, costumes, sets, lines, staging b. Application of technique – truth, action, as-ifs, playing off the partner 3. Written Assessments 20% a. Google doc journal b. 6-steps c. Self-assessments

7 The Six-Step Rehearsal Entry

1. WHO AM I? a. What is my background: social, economic, educational, religious, occupational, family? b. How do I want to be perceived, and how am I afraid I am perceived? c. What is my present state of being, physically and emotionally?

2. WHAT ARE MY CIRCUMSTANCES? a. What time is it? (Year, season, month, day, time) How does this affect me? b. Where am I? (Smells, sounds, shapes, colors, textures, weather, friendly/unfriendly, public/private, inside/outside) How does this affect me? c. What are the immediate circumstances? (What do you think the facts of the situation are? What do you think has just happened before this scene begins?) d. What is my “moment before”?

3. WHO IS MY TARGET? a. How do I see the target (my partner) when the scene starts? (i.e. as a stranger, jerk, authority figure, friend, etc.) b. What kind of relationship would I like to have with him or her? c. How do I see the target transform itself during the scene?

4. WHAT IS MY ACTION? (WHAT DO I WANT and NOT WANT?) a. STEP ONE: The Literal. What is the Literal Activity in the scene (Business and Dialogue)? b. STEP TWO: The Want. What does my character Want in the scene? c. STEP THREE: The Action. (Think in doubles) c.i. What is (are) my Essential Action(s) (Goal with the Partner/Target)? c.i.1. Get a stranger to find me attractive without scaring him off c.i.2. Get a jerk off my back without letting her know I detest her c.i.3. Beg a friend’s help without humiliating myself c.i.4. Make her understand I don’t love her without destroying her c.ii. What is (are) the CAP(s) to the action(s)? d. STEP FOUR: The As If. What is currently happening in my own life that is like my character’s action? It’s as if…

5. WHAT ARE THE STAKES? (What do I have to win and lose? Again, think in doubles.)

6. WHAT IS THE URGENCY? (Why must I do it NOW?)

8 JOURNAL PAGES

Your journal pages are like a sketchbook to an artist. Actors write down ideas for their scenes, characters, situations, conflicts. Actors take notes about what worked for them in rehearsal or during class exercises, and then they go back and use what they wrote to help them become better actors. Journal pages are just that – a place to fool around, a place to brainstorm, analyze, test and throw out ideas, free write about characters or what is happening in your scene. Most importantly, it is a place to wrestle honestly with your acting. You will be given time in class to write, but you are encouraged to write outside of class, as well.

Your journal pages will not be graded. It is a workbook for you, chronicling your ideas and progress, a place of inspiration for the future and reflection on your past work. Writing itself is a process of discovery, so when you write, you’ll discover, make connections, and document useful notes about acting.

At the end of each quarter, you will type up one or two entries that you found particularly important to you and share it with the class. Here are some suggestions as to what you might include in your journal pages:

 6-STEPS. Notes on any of the six steps that you will prepare for each presentation.  SELF-CRITIQUE. After each time you present, try writing a self-critique of what you did that worked well, and where you did not succeed.  OBSERVATIONS. Include specific, detailed descriptions of people, relationships, dramatic situations, and interesting environments.  EXERCISES. Notes on exercises that describe what happened and how you and others reacted. What useful information did you learn about acting? Can you recapture the thrill? Or other emotions? How can you use these games or exercises in your work?  ADVANCES. Especially take note of discoveries, revelations, and epiphanies about your work and how you intend to use your newfound knowledge in your acting.  REHEARSALS. Detailed descriptions of what choices you make and what you try in rehearsal can be very helpful. Make notes after you rehearse on what choices worked and which ones didn’t.  GOALS. List what you want to work on both as an actor and as far as your scene or presentation is going.  CHARACTER. Any notes about the characters you are working on in terms of actions, obstacles, personality traits, qualities, similarities you share, background, etc.  FREEWRITING. Taking ten to fifteen minutes just to write about what is happening in your life or in class without worrying about punctuation or grammar can unlock a lot. Even if it ends up being a lot of frustration, it is important to work through that so you can get to the acting.

9 ASSESSMENTS

A two-page self-assessment of your work will be due at the end of each quarter. This self- reflection is one of the most important things you will do as an actor and weighs significantly in your final grade. Honor yourself and the work you have done by taking the time to think critically about it. Make sure you include peer and teacher comments to support your opinions. The self-assessment includes the following elements:

A reflection on your strengths and weakness as an actor and participant. What were your biggest risks and biggest failures?

Evidence of growth. Site specifics from your journal pages, different presentations, or work in rehearsals or exercises that demonstrate how you have grown.

A critique of each of your scene presentations this quarter. Include comments from your peers that you think reflect accurately on your performance or process.

Goals. List at least two goals you have for the next quarter or for the future.

10 PLAYING OFF THE PARTNER

Contentless Scene #1 With a partner, memorize the following dialogue out loud with no interpretation or “fixed” reading. Keep it open and neutral. Once the scene has been memorized, we will switch partners and produce the scene with no prior rehearsal.

A: Hi!

B: Hello.

A: How’s everything?

B: Fine. I guess.

A: Do you know what time it is?

B: No. Not exactly.

A: Don’t you have a watch?

B: Not on me.

A: Well?

B: Well what?

A: What did you do last night?

B: What do you mean?

A: What did you do last night?

B: Nothing.

A: Nothing?

B: I said, nothing!

A: I’m sorry I asked.

B: That’s all right.

11 Contentless Scene #2 With a partner, memorize the following dialogue out loud with no interpretation or “fixed” reading. Keep it open and neutral. Once the scene has been memorized, we will switch partners and produce the scene with no prior rehearsal.

A: Hi!

B: Hello.

A: You all right?

B: Yes.

A: Are you sure?

B: Yes, I’m sure. A little headache, that’s all.

A: Oh, good. You want some aspirin?

B: No. Don’t be so helpful, OK?

A: You are upset.

B: Good Lord!

A: OK, OK. I thought you might want to talk.

B: About what?

A: About anything.

B: Well, I don’t want to talk.

A: Are you sure?

B: Yeah, I’m sure. (Starts to leave.)

12 Exposed (Neutral Scene) Presentation

Critical moments in theater are often about one character exposing or trying to expose another. Be creative in how you define expose. It doesn’t have to be about catching someone with his or her pants down. It might be that Karen is trying to get Henry to admit he loves her. This exercise helps you play off what your partner is giving you in the moment, and it helps you play out of specific GIVEN CIRCUMSTANCES.

I. With a partner type up a contentless scene of 16 – 20 lines in which something or someone is exposed in the manner of the two previous contentless scenes you have done. You will develop it into a one and a half to two-minute presentation. II. Develop specific GIVEN CIRCUMSTANCES where each character has a clear GOAL (Action) and clear OBSTACLE in the partner. Make up a plausible situation of your own. Here are some examples that you may you use if you wish.

A. You’ve just discovered you both are in love with the same girl/boy.

B. One of you is hopelessly in love with the other. The other is in love with your sister/brother. C. You are best friends and one of you has just been kicked out of school.

D. Father/mother and son/daughter at breakfast after she/he was out all night.

III. Define a clear LOCATION and exact TIME of day, month, and year. Draw a picture of your set showing where furniture or other scenic elements are located.

IV. Create very specific CIRCUMSTANCES: the facts of the situation that help determine both URGENCY (why you must get what you want NOW) and STAKES (what costs or pay-off will be). Determine PAST, PRESENT, and FUTURE circumstances.

V. Create strong ENTRANCES/EXITS. The scene begins when one person enters and ends when one person leaves. What have you just been doing when you enter? Can you be in the middle of doing something as you enter or exit? Why do you come in and where and why do you go out?

VI. Use and ENDOW at least three real props and place two objects on the FOURTH WALL.

VII. Above all, play TRUTHFULLY in-the-moment.

Rehearsal: Having decided on your situation, discuss all your circumstances (write down in journal). Next define your location by setting up chairs, beds, etc that you can act on and around. Make your setting as real as possible. Run the scene just trying to play off what the partner is giving you in-the- moment. Run the scene paying attention to the URGENCY and the STAKES. Make sure everything is logical and justified. Let the situation AFFECT you. Let the partner AFFECT you.

13 Crisis (Simple Action Scene)

Most scenes revolve around a crisis, in which both characters have clear opposing actions. In this exercise you will practice defining and playing clear actions on your partner.

In your journal on your own, write a twenty-line realistic scene that has two characters; uses four of the actions listed below (or make up your own) two for each character, has a clear location, has activity or business so both characters can endow two different props; has a clear winner;

Actions get a friend to divulge a secret get a pal to boost his/her self-confidence gain a friend's trust urge a friend to take a big chance get a stranger to open up beg for a friend's help convince a partner to go in on a deal force a friend to face his/her own problems lead a friend astray get a friend's comfort ask an elder's blessing make a acquaintance forgive me seek a potential ally's support force a friend to admit a lie make someone see things my way get a friend to take care of me get jerk off my back make a special person accept a change in our relationship get an adversary's undeniable respect gain someone's honest friendship gain a stranger's acceptance get a sibling to empathize with me win a friend's adoration encourage a child to be self-reliant show an antagonist I'm in control prove I'm worthy of a loved one's interest convince a loved one to accept a gift

14 Sample Essential Actions get a friend to divulge a secret get a chum to give me a break get a pal to boost his/her self-confidence force someone to see the errors of his/her ways gain a friend's trust convince a friend you're telling the truth urge a friend to take a big chance prevent a student from ruining his/her life get a stranger to open up force a stranger to apologize beg for a friend's help get a co-worker to do my bidding convince a partner to go in on a deal steer a friend away from the truth force a friend to face his/her problems trick a parent into believing a lie lead a friend astray extract a crucial answer get a friend's comfort get a friend to spill the beans ask an elder's blessing put a loved one on the right track make a acquaintance forgive me get an observer to share my anger seek a potential ally's support get a lover to assure me everything's ok force a friend to admit a lie get a "clinger" to let me go get a former lover to respect my boundaries get a colleague to let me off the hook. get a friend to take care of me get a friend to stand by me no matter what get jerk off my back get a delinquent to do my dirty work make a special person accept a change in our get a big shot to shut up relationship get a sibling wrapped around my finger get an adversary's undeniable respect get a friend excited gain someone's honest friendship get a rival to say I'm great gain a stranger's acceptance get an enemy to apologize get a sibling to empathize with me get a new friend to take the ride of her life win a friend's adoration get a friend to approve of my infidelity encourage a child to be self-reliant win a parent's approval on a controversial issue show an antagonist I'm in control get a rival to concede my higher status prove I'm worthy of a loved one's interest get an authority to recognize my merit convince a loved one to accept a gift show a boss how I really feel get a buddy to feel better get an elder to know how much I've grown change a judge's opinion of me get comfort from a reliable source knock a pompous jerk down a peg show a doubter what a great detective I am turn a potential enemy into a friend get a couch potato to envy my adventures get a family member to give me more room get a sleeper to wake up win a special person's affection alert a friend to a grave danger get an inferior to accept my authority get a competitor to concede his inferiority encourage a friend to be strong get a competitor to back down get a friend to avoid making a terrible mistake get an intruder to respect my riches get a dreamer to face reality regain a mentor's confidence demand a superior's proper attention talk sense into a lost soul encourage a friend to make a career change make an oppressor back down make a spy confess get a lover to drop the facade gain a parent's approval get a slacker to do her job seek a friend's advice get a friend to move on buy someone's silence get a loved one to feel safe get a lover to share my dream get a child to be brave

15 get a love to know she's broken my heart ask a friend to console me

16 Anticipation (OBJECT EXERCISE) Anticipation plays a huge role in our lives and often colors our behavior. Right now you are anticipating what this exercise will be like. You might be anticipating a big game or date later on this evening. In this exercise you will work toward truthful behavior on stage. Truthful is the operative word here. In this scene you are in private, which means all your focus should be on accomplishing your task, and none of your attention should be on the audience. Avoid the mistake of trying to entertain the audience.

Guidelines:

1. Create a simple 34 minute scene based on anticipation. 2. Select a simple activity with a clear goal that you perform regularly, in private. Choose a task that is truthful to your everyday reality, but create imaginary circumstances that make this day special in that you are anticipating some great event. 3. Establish the exact time of day, day of the week, month and year the activity takes place. 4. Decide on at least 5 different obstacles both physical and mental that will obstruct or impede the completion of your activity. These are simple problems that arise in doing your task and which you can deal with or compensate for. It is imperative that you, as in real life, attempt to overcome your obstacles. Whether you succeed or not is superfluous to the challenge of overcoming the obstacles. 5. Establish your sense of urgency: Decide why you have to do this activity and why you must do it now! This will determine how high your stakes will be in this imaginary circumstance. If you do not have a strong reason, you will not have the motivation to overcome your obstacles. 6. Decide on your circumstances: the facts of the situation that are determining or affecting your sense of urgency. The 'juicier' they are -- the more responsibility you have to live up to the truthful behavior dictating those circumstances, but the more fun you’ll have as an actor. Determine your past, present, and future circumstances. Remember, the task is routine but the circumstances are extraordinary. 7. Design a simple but effective groundplan for your scene showing where all furniture or landscaping is.

Rehearsals: First rehearse your activity without obstacles as you would normally do it. Keep your goal clear. Identify your relationship to the room and its contents. How do you feel and behave when you are alone in your room? Next, do the activity adding the obstacles and your circumstances. Finally, rehearse the sequence several more times over the course of the week noting adjustments and changes in your behavior.

Performance: Bring all the props you will need to live the 3-4 minutes on stage. In performance, forget your rehearsal. Know your physical action score upside down so you can focus on your goal and be surprised by the obstacles that appear in your path. Remember to turn in your 6-Step Rehearsal Entry.

17 Love (Endowment and Fourth Wall)

In this exercise you will create a two to three minute scene in which love plays a role. There are many kinds of love and many ways it can be expressed or hidden – you get to decide. You will be practicing physical and emotional endowments, as well as, establishing and maintaining your fourth wall.

Guidelines:

I. Follow the same guidelines you used for the Anticipation Exercise and create a 3 – 4 minute scene in which you struggle against obstacles in order to accomplish a very important task that is somehow related to love. II. Choose three different tangible objects to endow with specific physical and emotional characteristics. One of the objects must have a physical endowment, one must have and emotional endowment, and one must have both a physical and emotional endowment. Choose simple physical endowments that occur frequently in everyday life and strongly affect your behavior. For the emotional endowment, select objects with which you can create a strong emotional or personal connection. In other words, don’t choose objects that you really are connected to emotionally such as your favorite lacrosse jersey. III. Create a strong fourth wall using two different specific points of focus. IV. First rehearse the scene using the actual physical traits with which you will endow the objects physically. For example: if your endowment is wetness, use a wet towel in your first rehearsal and notice what adjustments you make, what senses become acute, how it affects you and what you naturally do to compensate for the wetness. Also rehearse the exercise with objects that have a strong emotional connection for you (even though these will not be the objects you use in the scene.) For example, use a photo of your girlfriend and notice how you respond physically to the emotion it evokes. When you perform, use a photo of someone you don’t know. V. Using your first rehearsal as a reference, rehearse the scene again, this time endowing the objects with the observed properties. VI. Take the risk of leaving your comfort zone and allowing yourself to be affected by your situation and the endowments. Remember don’t pump up your emotions, but don’t be afraid to let them happen. VII. Remember to have specific given circumstances, a clear action/goal, a clear set of obstacles, and to play truthfully. Keep your focus on your task, not the audience. Be creative with your imaginary circumstances and have fun!

18 Revelation (Full Scene) This exercise will ask you to analyze, rehearse, and perform a full scene from a play. Conflict is central to good theater, but ultimately it is the revelation that follows that makes for great theater. Pick a contemporary, realistic scene, 3 – 4 minutes in length that has a clear conflict and subsequent revelation.

I. Establish a good working relationship with your partner. Plan on rehearsing outside of class, as you will have limited time in-class. Anytime you want to workshop a portion of your scene, we’ll take a look at it in class. II. Define your circumstances clearly. List the facts of the situation. Write down the clues the text gives you. III. Define the location. Draw a groundplan of your set. Where do the off-stage exits lead? What is on the fourth wall? What is the most dynamic arrangement of furniture? IV. Memorize your scene in a neutral way. Most of this work should be done on your own so you don’t waste valuable time with your partner. Don’t make your in-class rehearsals about memorizing lines. V. Break the scene down into units of action. Draw a line across your script. VI. Write down the literal activity for each unit in the scene in one sentence. (Remember to try the pretzel test.) VII. Write down the Want for each unit. VIII. Define several possible essential actions for each unit in the scene, and test them in rehearsal until you find one, very strong, playable action for each unit in the scene. Write your actions for each unit in your script. Write down a clear cap for each action in your script. IX. Test several as ifs until you have one that really connects you to the material. Heighten it imaginatively if it is not powerful enough in terms of stakes or urgency. X. What obstacles does your character face? Does your action clearly attack that obstacle? XI. Define urgency. Why must you pursue your action now? Tie this in with your as if. XII. What are the stakes? What will you win or lose? In the scene? In the play? XIII. Endow props and use the Fourth Wall. Bring all props you need and whatever costume you can to help you become the part. XIV. In rehearsal test as many different tactics as possible. Especially look for opposites. Really connect and play off your partner in-the-moment. Win at all costs! Even when you're losing, never give up. Your life depends on it! XV. We will be presenting this scene for our scene night, so put everything you’ve got into making it brilliant! Get into it. Take ownership of your work and your scene right away so you avoid wasting time “talking” about or avoiding working on the scene. Jump right in!