Stephen F. Austin State University School of Theatre Intermediate Acting - THR 321:001 & THR 321L:020 Spring Semester 2011

Section 001: 2:00 - 2:50 M Allen Oster, Professor Lab 020: 2:00 - 3:50 W & F Office: Griffith Fine Arts Center 222 Griffith Fine Arts Bldg. 100 Phone: 468-4003 (Theatre Office) Downstage Theater 468-1119 (Office) Office Hours: 11:30 -1:00 & 3:00 - 4:00 M, E-mail: [email protected] 12:30 - 2:00 T & R, or by appointment.

In order to avoid any misunderstanding about course description, requirements, and expectations, the following criteria is outlined for your information.

Course Description and Objective: The overall objective of Intermediate Acting is designed to give the student actor the opportunity to further explore the acting process through modern dramatic literature and to continue his/her development of a method (system or process) for building an honest and believable character. Texts: THE ACTOR’S ART by Bryer and Davison IN THE COMPANY OF ACTORS by Carole Zucker (Two copies of these texts are available under my name in the Reserve Section of Steen Library. Also, one copy of each text is available in the stacks.) Script # 1 – TBA Script # 2 – TBA (the scripts will be made available to you, as well as, other handouts) Attendance Policy: See handout regarding Departmental Attendance Policy. FYI: After 3 unexcused absences, each unexcused absence thereafter will drop your grade 4% points. For example, if your final grade is 83.63 and you have 4 unexcused absences, your final grade will be dropped to a 79.63. Grading: Grades are based on a 100% point system. 90-100 is an A, 80-89.99 is a B, 70-79.99 is a C, etc. A 79.99 is not a B but is a C. The following is the grade and % point system: 10% 15% 20% 25% 30% A: 9 – 10 13.8 -15 18-20 22.5-25 27.3-30 B: 8 -8.9 12.3 - 13.7 16-17.9 20-22.4 24.3-27.2 C: 7 -7.9 10.8 - 12.2 14-15.9 17.5-19.9 21.3-24.3 D: 6 - 6.9 9.3 -10.7 12-13.9 15-17.5 18.2-21.2 F: 0 - 5.9 0 - 9.2 0-11.9 0-14.9 0-18.1

COURSE REQUIREMENTS: Major Assignments and Grade Distribution: (the dates of assignments are tentative depending on the size of the class) 1) Scene of Script # 1. Feb. 14, 16, 18, 21, 23... ……………………………….………………….15% 2) Character Analysis for Script # 1 typed, double-spaced, and due on day of your presentation)...... 10% 3) Scene of Script # 2. May 2, 4, 6.……………..………………..……………..…..…………..….20% 4) Dramaturgical Research paper of Script #2 (to be completed by the scene partners – typed, double-spaced and due on day of your presentation. One grade will be given to all students involved in each group)....……...... 15% 5) Biologue (RESTRICTED TO 15 MINUTES) – Mar. 9, 11, 21, 28, 30, Apr. 4, 6, 8…….……..30% 6) Participation, attendance, improvement, attitude, exercise performance. Includes 2% for completing a course/instructor evaluation…………...... 10%

Additional Information: During the course of the semester, individual "help" sessions can be arranged to provide the student a more personalized situation for his/her progress and development. A letter grade reduction per day (including weekend days) is in effect for late assignments and papers. Students are encouraged to audition for SFA School of Theatre Main Stage and Student productions and are expected to attend as many productions as feasible. Please inform the instructor if you are uncomfortable with any exercise or script, subject matter, and/or language and material. Please be prompt for class and performances. Excessive tardiness and absences will affect your grade. PDAs, cell phones and other electronic devices should be turned off and put away during class time. AFTER THE FIRST OFFENSE, EACH SUBSEQUENT OFFENSE WILL CONSTITUTE 1% FROM YOUR FINAL GRADE. The final class meeting will be Friday, May 13 at 11:00 a.m.

Academic Integrity (A-9.1) Academic integrity is a responsibility of all university faculty and students. Faculty members promote academic integrity in multiple ways including instruction on the components of academic honesty, as well as abiding by university policy on penalties for cheating and plagiarism.

Definition of Academic Dishonesty Academic dishonesty includes both cheating and plagiarism. Cheating includes but is not limited to (1) using or attempting to use unauthorized materials to aid in achieving a better grade on a component of a class; (2) the falsification or invention of any information, including citations, on an assigned exercise; and/or (3) helping or attempting to help another in an act of cheating or plagiarism. Plagiarism is presenting the words or ideas of another person as if they were your own. Examples of plagiarism are (1) submitting an assignment as if it were one's own work when, in fact, it is at least partly the work of another; (2) submitting a work that has been purchased or otherwise obtained from an Internet source or another source; and (3) incorporating the words or ideas of an author into one's paper without giving the author due credit. Please read the complete policy at http://www.sfasu.edu/policies/academic_integrity.asp

Withheld Grades Semester Grades Policy (A-54) Ordinarily, at the discretion of the instructor of record and with the approval of the academic chair/director, a grade of WH will be assigned only if the student cannot complete the course work because of unavoidable circumstances. Students must complete the work within one calendar year from the end of the semester in which they receive a WH, or the grade automatically becomes an F. If students register for the same course in future terms the WH will automatically become an F and will be counted as a repeated course for the purpose of computing the grade point average.

Students with Disabilities To obtain disability related accommodations, alternate formats and/or auxiliary aids, students with disabilities must contact the Office of Disability Services (ODS), Human Services Building, and Room 325, 468-3004 / 468-1004 (TDD) as early as possible in the semester. Once verified, ODS will notify the course instructor and outline the accommodation and/or auxiliary aids to be provided. Failure to request services in a timely manner may delay your accommodations. http://www.sfasu.edu/disabilityservices/.

Acceptable Student Behavior Classroom behavior should not interfere with the instructor’s ability to conduct the class or the ability of other students to learn from the instructional program (see the Student Conduct Code, policy D-34.1). Unacceptable or disruptive behavior will not be tolerated. Students who disrupt the learning environment may be asked to leave class and may be subject to judicial, academic or other penalties. This prohibition applies to all instructional forums, including electronic, classroom, labs, discussion groups, field trips, etc. The instructor shall have full discretion over what behavior is appropriate/inappropriate in the classroom. Students who do not attend class regularly or who perform poorly on class projects/exams may be referred to the Early Alert Program. This program provides students with recommendations for resources or other assistance that is available to help SFA students succeed.

Program Learning Outcomes: This course applies at an introductory level to the following Program Learning Outcomes as identified by the School of Theatre:

The student will be able to analyze a script in ways that are necessary to a theatre practitioner or scholar/critic. (All degree plans.)

The student will demonstrate an understanding of the component areas of theatrical creation, process, production, performance, and study, and their interrelationships. (All degree plans.)

The student will demonstrate competence in one or more theatre specialization(s). (BA)

The student will demonstrate collaborative and/or leadership competencies appropriate to participate or take a leadership role in an effective theatrical production. (All degree plans.)

The student will be able to complete and document a major project as a stage manager, as a designer or technician, or as an actor or director, demonstrating advanced competence in the student’s specialty. (BFA)

The student will be able to present an effective presentation appropriate to the student’s specialization. (BFA)

Student Learning Outcomes: Students who successfully complete this course will be able to: · analyze a dramatic text and interpret a character (PLO: A) · explain the fundamental concepts of modern acting theory (PLO: B) · employ the vocabulary required of the actor (PLOs: A, C) · articulate a basic personal artistic process (PLOs: C, D, E, F) · translate critical analysis into specific oral and physical choices (PLOs: A, C, E, F) · demonstrate the ability to work cooperatively on a creative/interpretative project (PLOs: B, D)

Biologue of an Actor project Browse through one of the two texts, The Actor’s Art (for American students) or In the Company of Actors (for ATA students). Select three actors who intrigue you and read about him/ her. Make use of any other books, periodicals, internet sources. videos, films, etc. that you can find. Keep notes with the following in mind: you are to prepare a 15 minute talk on the life and career of the person. For this talk, you are to assume the role of a fictional person who figured into the subject's life, such as a close friend, fellow actor, director, dresser, agent, stagehand, etc. In other words, choose a point of view and share some insight into the subjects' life and career. You may include your persona's impressions, how you figured into their life, admirable and not so admirable traits, but above all, YOU SHOULD SHED LIGHT ON THEIR PROCESS AND WORKING METHODS, successful and not successful roles (why?) and the subject's impact, if any, on other actors and/or the theatre world. REMEMBER: the majority of your talk should focus on your subject's connection in the theatre, NOT film, TV, or radio. Use your imagination! Be selective and focus your talk. Don't simply present a chronological listing of the events of the subject's life. Prepare and hand in a brief outline of your talk. Avoid memorizing a "set" monologue. Speak "extemporaneously." You may use note cards (limit to 3), but try to speak directly and conversationally without reading from the cards. THINK OF YOUR TALK AS A PERFORMANCE IN WHICH YOU ARE A CHARACTER . . . . . A PERSON WHO IS OR WAS ASSOCIATED WITH YOUR SELECTED SUBJECT. Know your subject thoroughly. You will not have time to talk about all the information you have gathered but be prepared to answer questions from the class and the instructor regarding your subject and your character during a "question and answer" period. This “Q & A” session will last, usually, about 15-25 minutes and be sure to remain in character. This project is worth 30% of your grade. Your 3 choices of the subject (an actor) is due Monday, January 31. I suggest you start immediately with research, reading and developing a character after your choice has been approved.

FYI: You may request another actor other than the ones in the 2 texts BUT you need to get my approval prior to January 31.

Intermediate Acting 321 Information regarding the Dramaturgical Projects

Each group will be responsible for all the material. Papers must be typed, double-spaced and arranged (in order) in a folder. Information should cover the entire play. One grade will be given to all students in each group…...SO be responsible to each other. The following concerns should be addressed in your project papers.

1- A brief character sketch of each character in the scene. (At least, 8 sentences for each character)

2- Definitions and pronunciations of words not familiar to an average high school student. (only those words used in the scene)

3- Biographical information about the playwright. Include a brief discussion of the playwright’s influence and contribution to the Theatre.

4- A brief history of the production of the play. (include at least 3 reviews of different professional productions. Make sure the review is a copy of the actual review from the periodical. Not your typed copy of the review)

5- Discussion of the social, economic, moral and political structure during the time frame of the play.

6- Any other information you feel would be useful to actors, designers, and directors.

The Actor’s Art In the Company of Actors

Zoe Caldwell Eileen Atkins

Hume Cronyn Alan Bates

Jessica Tandy Simon Callow

Blythe Danner Judi Dench

Ruby Dee Brenda Fricker

George Grizzard Nigel Hawthorne

Julie Harris Jane Lapotaire

Eileen Heckart Janet McTeer

Cherry Jones Stephen Rea

James Earl Jones Ian Richardson

Stacy Keach Miranda Richardson

Shirley Knight Fiona Shaw

Nathan Lane Antony Sher

Jason Robards David Suchet

Maureen Stapleton Janet Suzman

Eli Wallach Penelope Wilton

Anne Jackson

Other suggestions Glenn Close Maggie Smith Colleen Dewhurst Vanessa Redgrave

Character Analysis for Intermediate Acting 321

Please respond to ALL the questions in essay form. The paper must be typed and cover appropriate information required. This will be due on the day you present your scene. (Create appropriate, believable information/background material that may not be provided by the playwright, the text or you.)

What are the traits that influence your action?

1- Those specified by the writer. 2- Those reported by the other characters. 3- Those that can be inferred from the action.

What are your social traits?

1- Your background and education. 2- Your socioeconomic class. 3- Your attitudes and behavior toward each of the other characters.

What are your psychological traits?

1- Are your mental Processes fast or slow? a. Rigid or flexible? b. Complex or simple? 2- Are you intuitive and global or analytical and verbal? 3- What moral, religious, or political values influence your choices?

SCHOOL OF THEATRE ATTENDANCE POLICY

A career in the fine arts demands dedication and discipline; preparation for this career requires conscientious development of effective work habits. To this end, regular and punctual attendance is expected for all classes, laboratories and other activities for which a student is registered or assigned.

I. It is University policy to excuse students from class attendance for certain reasons related to health, family emergencies, student working the Performing Arts Series, and other situations of similar importance.

Excused absences from Theatre classes will only be granted upon presentation of written documentation upon the first day of the student’s return from the teacher, sponsor or physician involved. In the case of absences caused by University-sponsored events, inclusion in the University's public listing of such absences will constitute an official excuse. It is the student's responsibility to inform the instructor that he/she has scheduled the planned official absence.

II. A total of 7 excused and/or unexcused absences in Tuesday - Thursday classes or 10 excused and/or unexcused absences in Monday - Wednesday - Friday classes, will result in the student receiving a failing grade. Excessive unexcused absences will affect your grade.

III. The student will be allowed a maximum of two unexcused absences in Tuesday - Thursday classes or three unexcused absences in Monday - Wednesday - Friday classes.

IV. In the case of missed classes, the student will be held responsible for the successful completion of assigned work and/or projects.

V. In Theatre 150/350 Production Laboratory a total of 5 unexcused absences will result in the student receiving a failing grade.

AUDITIONS for 2011 Spring Semester Student Productions

Friday, Jan 21, 4:00 - 6:30 p.m. FA 303 Studio Hour COME INTO THE GARDEN, MAUDE by Don Nigro Directed by Janette Bauer Needed: 2 female, 1 male

FA 100 Public Full Length OH DAD, POOR DAD, MAMA’S HUNG YOU IN THE CLOSET AND I’M FEELIN’ SO SAD by Arthur Kopit Directed by Kelsey McMillan Needed: 4 female. 4 male

FA 300 Studio Hour PHILIP GLASS BUYS A LOAF OF BREAD by David Ives Directed by Mai Le Needed: 2 female, 2 male

Monday, Jan. 24, 4:00 - 6:30 p.m. FA 100 Public One Act TOM AND JERRY by Jim Geoghan Directed by Jonathan Garcia Needed: 0 female, 3 male

FA 303 Studio Hour WHILE THE AUTO WAITS by Walter Wykes Directed by Emily Gibson Needed: 2 female, 2 male

FA 311 Studio Hour BREAKING THE CHAIN by Michael Bigelow Dickson & Val Smith Directed by Katrina Tarson Needed: 2 female, 1 male

Tuesday, Jan. 25, 4:00 - 6:30 p.m. FA 303 Studio Hour GRAY MATTER by Jeanette D. Farr Directed by Arrie Tucker Needed: 1 female, 1 male

FA 100 Public One Act CONTRIBUTION by Ted Shine Directed by Waldron Archer Needed: 2 female, 1 male

Wednesday, Jan. 26, 4:00 - 6:30 p.m. FA 100 Public Full Length STOP KISS by Diana Son Directed by Miguel Maymì Needed: 3 female, 3 male

FA 303 Studio Hour RED GOD by Kevin Bushek & Bronne Bruzgo Directed by Kory Pullam Needed: 0 female, 3 male