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Home , A Lie of the Mind, Biloxi Blues, Broken Glass (play)

Introduction to Acting – THEA - 175G Fall 2012 Monmouth College T/TH 9:30 am-10:45 am (.5 credit hours)

INSTRUCTOR: C.D. Adamson, ABD Office: Wallace Hall, 305 Phone: 309-457-2398 Email: [email protected] Office Hours: MWF 2:00-3:00 pm & T, Th 11:00am – 12:00pm Or by appointment

TEXT : A Practical Handbook for the Actor . Melissa Bruder, etc. ISBN: 0-394-74412-8

DESCRIPTION: An introduction to the and history of stage acting combined with practical exercises and performances of short scenes.

OBJECTIVES: 1. To develop a foundation of acting skills 2. To develop self-discipline and control 3. To foster understanding of selected acting theories 4. To learn methods of character analysis and determination of intentions 5. To expand personal awareness through exercises and improvisation 6. To develop responsibility, punctuality, cooperation and dedication 7. To appreciate the art and practice of theatrical performance

EXPECTATIONS: 1. Wear clothing which will not constrict your movement, and which you can wear doing exercises while lying on the floor. Please refrain from wearing any clothing that would distract your classmates or be inappropriate attire for a classroom setting. 2. Please prepare for class with adequate sleep and nourishment. No eating/drinking in class. 3. Arrive on time and maintain concentration and energy for the entire class period. 4. Learn and practice the art of constructive feedback. Give feedback honestly, and take it graciously. 5. Respect your fellow artists and our work space. Leave the space clean and tidy after each use. 6. You are responsible for locating your own performance material. Please familiarize yourself with the Theatre Section in the Hewes Library. They also offer inter-library loan should you require the use of it. 7. Arrange sufficient rehearsal time outside of class to adequately prepare your presentations. 8. ABSOLUTELY NO CELL PHONES OR OTHER ELECTRONIC MEDIA/DISTRACTIONS. USE OF THESE WILL RESULT IN THE INSTRUCTOR ASKING YOU TO LEAVE CLASS AND RECEIVE ZERO POINTS FOR THE DAY.

ACADEMIC INTEGRITY : You are expected to complete your own written and solo performance assignments based on your own ideas and creativity. You are expected to be a dependable and exemplary scene partner. Any instance of dishonesty will result in no credit being given for the assignment, and will be reported to the Dean of Faculty; a second instance will result in a failing grade for the course.

ACADEMIC SUPPORT: TEACHING & LEARNING CENTER: The Teaching and Learning Center offers various resources to assist Monmouth students with their academic success. All programs are FREE to Monmouth students and are here to help you excel academically. Our services are not just for struggling students, but designed to assist all students to get better grades, learn stronger study skills, and be able to academically manage your time here.

Visit us at the 2 nd floor of Poling Hall from 8am-4:30pm or on line at http://www.monmouthcollege.edu/academics/support/tlc

We can also be reached at: [email protected] or 309-457-2257

We want to help you – it’s COOL to get the help early!

DISABILITY SUPPORT SERVICES : Monmouth College wants to help all students be as academically successful as possible. It is the goal of Monmouth College to accommodate students with disabilities pursuant to federal law, state law, and the college’s commitment to equal educational opportunity. Any student with a disability who needs an accommodation should speak with the Teaching and Learning Center. The Teaching and Learning Center is located on the 2 nd floor of Poling Hall, 309-457-2257, or http://www.monmouthcollege.edu/life/disability-services

GRADING : Attitude, Growth, and Participation 34% Performance Presentations 33% Written Work 33%

The Grading scale is the standard 90%-A; 80%-B; 70% - C; 60%-D; 59%-F At any point in the semester, you may confer with your instructor on your grade.

ATTITUDE: Includes participation in class, support of others, cooperation and responsibility. Willingness to try new things, imaginative preparation, and personal discipline are also assessed. Growth means that your mastery of skills taught increases as the semester progresses. Participation is necessary to develop your skills, so make a commitment to participate to the best of your ability. We do many exercises in class to practice different aspects of acting. We also conduct oral critiques of scene work. Participation also includes appropriate use of rehearsal time outside of class.

ATTENDANCE: Attendance in class is mandatory. Participation, discussion and rehearsal are an integral part of this course. You are required to be prepared for and be an active participant in class. After three unexcused absences, your grade will be reduced by one letter grade. (For example, if you have a B, it would become a C.) Three unexcused late arrivals will equal one unexcused absence. Documentation for excused absences will be required. (See Undergraduate Catalogue for appropriate excused absences.) 9 unexcused absences equals an automatic failure of the course.

In the event of an excused absence, you remain responsible for: 1) contacting me immediately and 2) all work missed, including rescheduling projects, make-up assignments, etc. All absent students are expected to get proper notes, information, announcements, etc., from class members who were in attendance. Class Participation Class participation is required and is a major portion of your final grade for this course. Class participation means showing up for class ready to work . If you are not feeling well due to illness, please let me know. If you are not feeling well due to lifestyle choices that are within your control, you will more than likely lose participation points for those days. Participation is critical to your success in this course. Just attending class does not constitute full participation points. Participation means paying attention, interacting, contributing to class discussion, volunteering, etc. Please see me if this definition is not clear to you.

Assignment Evaluation: The Instructor will provide you will rubrics to show how performances are assessed.

Performances Performances will be graded on an individual basis. Students are responsible for securing copies of your own material. You must have a copy of your material on the day we begin the assignment and turn that copy into the instructor. Points will be deducted from your scene grade if you do not have a copy of the scene on the due date for rehearsals.

The first scene is an open scene with you and another partner(s). I will explain this process in class.

The second performance assignment is a monologue. The monologue must be chosen from a PLAY that has literary merit. YOU MAY NOT USE television, film or stand-up comedy as a resource for this assignment. A copy of the monologue and prior approval must be given to the instructor.

Your final performance (and “Final” in terms of academic requirement.) will be your performance of a monologue and a written character analysis. This is explained later in the syllabi and will be explained in detail in class.

For each performance – you will have two chances at it. Your grade will be an average of the two performances – SO, this does not give you license to “slack off” the first performance. You should shoot for “A” performances on both.

Script and Character Analysis Script and character analysis must be based on knowledge of the ENTIRE PLAY, not just the individual scene. Script analysis must be turned in the day of performance and may be subject to review before that day. It is easier to keep up with the script analysis is you work on it as you go. This is an invaluable acting tool. Use it wisely!!!

MC Productions Monmouth College productions – you will not be attending a live performance as this is only a half semester course and there is no production in performance during this time period at Monmouth. We may, time permitting, watch a recorded Broadway performance.

Papers You will turn in ONE play critique from a play you have read from the list on this syllabus. It is up to YOU to find the script, etc. The instructor will provide a rubric for writing the play critique.

In addition, you will do a character analysis (type-written) and turn this in at your final performance of your monologue (final for the class). This will also be explained and outlined in class.

Finally, you will be doing peer evaluations throughout the semester. These will be explained. The peer evaluations are your written response to in-class performances. You will take notes during each performance so that you can later type up your thoughts to be turned in as indicated by the instructor.

Rehearsals Although some rehearsal time is provided for during class, it is NOT sufficient time to prepare an “A” level performance. Be prepared to work on your assignments outside of class with your partner and/or self. Please respect your partner(s) times and be on time for rehearsals outside of class. If you feel your scene partner is acting irresponsibly or not pulling their weight, please let the instructor know in advance of your performance. Additionally, please use your class rehearsal time in a constructive manner. If I determine through absence rates or other indicators that the rehearsal time is not being used, then I will schedule written work to be done during class time.

NOTE Absolutely NO CELL PHONES, PAGERS, I-PODS , any electronic device that will distract from class are allowed. I know this is on here twice, it’s that important to stress.

***DISCLAIMER***: In this course, you may be subjected to plays and/or literature or films that contain adult language, lifestyles, nudity, implied adult behavior, etc. that are against and/or different than your personal or religious beliefs. The course is designed to expose you to these different elements purposely in order to gain an understanding of cultures and performance art different than your own. It is by no means a platform to “convert” you to these lifestyles/cultures or even ask that you agree with them. They are solely there for study and discussion . If you are easily offended or have deep religious beliefs that would make you uncomfortable with being exposed to these ideas, please drop the class immediately. Make-up or alternate assignments will not be made.

GRADING Play Report/Critique 50 points Open Scene 1 st Attempt 50 points Open Scene 2 nd Attempt 50 points Final Performance 100 points Final Character Analysis 100 points Participation Grade 200 points (Instructor discretion)

TOTAL POINTS 650 points

SCALE 650 – 585 – A 584 – 520 – B 519 – 455 – C 454 – 390 – D 389 – 0 - F

This course is a two credit course (.5) which normally meets for 3 days per week. I expect you will dedicate to this course the hours listed below. Understand these are weekly averages (some weeks will demand more than others; some students will need more time than others).

In class activities 2 days x 50 minutes + 3 hour final = 3 hours per week

Reading and homework assignments Course readings, preparing homework assignments 2 hours per class hour = 1 hours per week

Writing assignments Play Critique, Play Report, Open Scene Written Work Acting Scene Written Work, Character Analysis 16 hours total = 2 hours per week

Other assignments (could include rehearsal for scenes, etc.) Article Reviews, Preparation of Presentations – 16 hours total 2 hours per week

Study for exams – 7 hours = 1 hour per week

Total: 9 hours per week

COURSE CALENDAR DATE IN -CLASS ASSIGNMENTS T 8/28 Introduction/Syllabus/Overview Job of the Actor and Technique – Texts Th 8/30 Physical and Exercises T 9/4 Analyzing a Script Pick a script for doing a In-class exercise of character play critique/report analysis/script analysis Th 9/6 Truth and Externals/Writing a Character Analysis Warm-ups T 9/11 Preparing, Troubleshooting and Tools Open Scenes Th 9/13 Play Report Due Present in Class T 9/18 Improvisation Day/Making Choices on your feet/Listening/Observing/Playing off your partner/Apply to Open Scenes Th 9/20 Stanislavskian approach to Monologue Choices Due acting/exercises T 9/25 Working in the Real World – Chapters 8-10 Th 9/27 Working in the Real World – Chapters 11-12 T 10/2 Rehearsal techniques – Exercises Playing different choices/opposite, etc. Th 10/4 First Performance of Monologues/Feedback T 10/9 NO CLASS – FALL BREAK Th 10/11 FINAL EXAM DAY – Final Day of Class – Perform Monologues/Character Analysis DUE/Feedback

PLAYS ACCEPTABLE FOR ANALYSIS IN INTRODUCTION TO ACTING

Coward, Noel BLITHE SPIRIT PRIVATE LIVES

Durang, Christopher BABY WITH THE BATHWATER THE MARRIAGE OF BETTE AND BOO BEYOND THERAPY

Edson, Margaret

Friel, Brian FAITH HEALER TRANSLATIONS

Hansberry, Lorainne A RAISIN IN THE SUN TO BE YOUNG, GIFTED, AND BLACK

Hellman, Lillian THE CHILDREN’S HOUR THE LITTLE FOXES

HENLEY, BETH CRIMES OF THE HEART THE MISS FIRECRACKER CONTEST THE WAKE OF JAMEY FOSTER

Kushner, Tony : MILLENIUM APPROACHES ANGELS IN AMERICA: PERESTROKIA

McDonagh, Martin THE BEAUTY QUEEN OF LEENANE THE LIEUTENANT OF INISHMORE

McNally, Terence CORPUS CHRISTI FRANKIE AND JOHNNY IN THE CLAIRE DE LEUNE LIPS TOGETHER, TEETH APART THE LISBON TRAVIATA LOVE! VALOUR! COMPASSION!

Miller, Arthur BROKEN GLASS

O’Neill, Eugene DESIRE UNDER THE ELMS LONG DAY’S JOURNEY INTO NIGHT A MOON FOR THE MISBEGOTTEN

Reza, Yasmina ART

Shaffer, Peter LETTICE AND LOVAGE THE ROYAL HUNT OF THE SUN

Shanley, John Patrick DOUBT

Shepard, Sam CURSE OF THE STARVING CLASS A LIE OF THE MIND

Simon, Neil BILOXI BLUES THE LAST OF THE HOT LOVERS THE STAR SPANGLED GIRL,

Uhry, Alfred DRIVING MISS DAISY THE LAST NIGHT OF BALYHOO

Wasserstein, Wendy AMERICAN DAUGHTER UNCOMMON WOMEN AND OTHERS THE SISTERS ROSENSWEIG Wilder, Thornton OUR TOWN THE MATCHMAKER THE SKIN OF OUR TEETH

Williams, Tennessee CAT ON A HOT TIN ROOF THE GLASS MENAGERIE A STREETCAR NAMED DESIRE SUDDENLY, LAST SUMMER

Wilson, August JOE TURNER’S COME AND GONE MA RAINEY’S BLACK BOTTOM TWO TRAINS RUNNING

Wilson, Lanford 5th of JULY THE HOT L BALTIMORE TALLEY AND SON TALLEY’S FOLLY