<p> Request for Designation as a Creative Expression (CE) Course in Explorations</p><p>Name____Alan Litsey/Michael Flowers______Course number and title_____THA 120 Beginning Acting______</p><p>Departmental endorsement______Yes______</p><p>Has this course been submitted for any other Explorations designation? __To be submitted as a first year seminar course______</p><p>Please list which of your course assignments or activities addresses each of the guidelines, state briefly how this is accomplished, and attach a syllabus for the course.</p><p>Criteria for creative expression courses include the following:</p><p> Focuses on selecting, interpreting, evaluating, and using knowledge of creative concepts, media, symbol systems, structures, and functions in communicating complex ideas and/or concepts </p><p>Performance Project #1 Performance Project #2 Essay #1 Essay #2 Take Home Essay </p><p>Using knowledge of creative concepts: Two performance projects require the student to articulate and demonstrate a basic understanding of performance tools and techniques, including character Goals, Tactics, Obstacles and Expectations (GOTE). Evaluation criteria are noted on the syllabus. </p><p>The first essay component requires each student to examine rehearsal collaboration and problem solving within the context of GOTE. </p><p>The second essay requires students to examine a character GOTE, Prior and Given Circumstance and cultural context. </p><p>The Take Home Essay requires each student to reflect on their learning process, with specific examples, within the context of GOTE. </p><p>Evaluating creative concepts: Students are also required to respond to their peers’ work within the context of GOTE. Structures and functions in communicating complexity: Students must also learn basic collaborative skills necessary to function as an actor working within a creative community. This includes but is not limited to: development of a common language, development of tools for functioning as a creative team member, development of an understanding of the function and responsibilities of an actor within the context of the theatre, development of basic character analysis tools.</p><p> Requires students to demonstrate the ability to respond to ways that creative concepts represent and communicate the context in which they were designed, such as aesthetic, cultural, historical, philosophical, social, and theoretical aspects. </p><p>Demonstrate the ability to respond to ways that creative concepts represent and communicate the context in which they were designed: Students study basic tools that reflect playwright intention within the context of theatre production, including: Idea, Cultural Context, and Character Analysis. Student understanding of these concepts are evaluated in each written project, as well as performance project rehearsals and presentations. </p><p>Return this form as one electronic file with a syllabus appended to [email protected] by 30 May 2011.</p><p>BEGINNING ACTING THA 120</p><p>TEXTS: Acting One. Robert Cohen. Mayfield Publishing. Fifth Edition. </p><p>Instructor: Alan Litsey ext. 4788. Email: [email protected] Cell: (205) 332-0439 COURSE OBJECTIVES:  The exploration of theatre as an expression of the human condition, within the context of Character, Idea, Craft, Cultural Context.  The enhancement of confidence, clarity, and creativity in communication and performance skills.  The development of character analysis, concentration, and character relationship skills.  The development of a basic comprehension of the Stanislavsky technique, in theory and practice. </p><p>THE SPIRIT OF THEATRE IS COMMUNITY: ...Your attitude toward your work is just as important as your talent. You must start out with enthusiasm, and learn to cooperate, to work for a common objective. One person cannot make a play into a work of art; it is the group that can. An actor who is interested only in his personal success is destructive of theatre. The theatre must have actors with a code of ethics and a sense of discipline, just as it must have actors with talent who have mastered their professional technique. Stanislavsky said, 'Every interference with collective work and every attempt to strike for personal profit or success hurts the whole; it is a violation of the personal and artistic ethic of an artist...Creativity is possible only in the right atmosphere.' He even went so far as to say that those who violate that atmosphere commit a crime against art. You must respect each other each other's interests. - Sonia Moore COURSE REQUIREMENTS: Performance Project #1 20% Performance Project #2 20% Essays (2) 10% each Exam on Reading 10% Final Take-Home Exam 15% Class Participation 15%</p><p> Attendance to BSC Theatre Departmental Production Students are responsible for accessing course materials via Moodle and their BSC email account.  Theatre Productions: Students are required to document attendance per the Honor Code.</p><p>Reading and discussion of Cohen’s text: Students are expected to be prepared to discuss the assigned reading the first class of each week. ATTENDANCE POLICY:</p><p> Don't miss class. Students are expected to attend every class meeting. Attendance will affect the final grade.  Extenuating circumstances will be dealt with on an individual basis.  Students are expected to arrive on time. If you are late to class, do not enter the classroom.  Students are expected to stay in class for the entire class period. If you leave class during the class period, do not return. You will be counted absent for that class period.  Bring to class only what you need for that class, nothing more. Cell phones may not be brought into the classroom.</p><p>Our mutual respect for the process and each other is essential. It is each student’s responsibility to sign in on the roll each class to document their attendance. </p><p>ESSAYS AND TAKE-HOME FINAL: Each essay, and the take-home final, must be typed, and double-spaced. Each paper must be three and no more than five pages, typewritten, double-spaced. Please note: only two grammatical errors and one misspelling will be accepted. Unacceptable work will be returned, unmarked for correction. Late paper policy: One half grade per day.</p><p>WRITING LAB: It is strongly suggested that students submit their first paper to the Writing Lab. Location: Humanities Center 102. Phone: x4852. Hours: Sun 5-9, Mon-Thu 2-9. Appointments Available on Sign-Up at Writing Center Bulletin Board. http://www.bsc.edu/academics/arc/writing.cfm WEEK ONE: Introduction to the course READING: Introduction, Chapter 1</p><p>WEEK TWO: Introduction to Objective READING: Chapter 2, 3</p><p>WEEK THREE: Begin Performance Project #1 Objective and Activity Work; Prior and Given Circumstances; Theatre and Social Context Character Goals; Tactic and Counter-Tactic READING: Chapter 4, 5</p><p>WEEK FOUR: Performance Project #1 Character Goals; Tactic and Counter Tactic READING: Chapter 6, 7</p><p>WEEK FIVE: Performance Project #1 Working with an acting partner; Working with objects READING: Chapter 8, 9</p><p>WEEK SIX: Final Presentations for Project #1 October 8: Rehearsal Observation Essay due READING: Chapter 10, 11</p><p>WEEK SEVEN: FALL BREAK WEEK EIGHT: An introduction to scene work Play analysis Scenes and Partners Assigned October 22: All actors must have read their assigned play by this date. READING: Chapters 12, 13, 14</p><p>WEEK NINE: Scene script analysis Scene Rehearsals READING: Chapter 24, 25, 26, 27</p><p>WEEK TEN: Scene Rehearsals WEEK ELEVEN: Scene Memorization Deadline Scene Rehearsals</p><p>WEEK TWELVE: Scene Rehearsals</p><p>WEEK THIRTEEN: Scene Rehearsals</p><p>WEEK FOURTEEN: Scene Rehearsals Character Analysis Essay due</p><p>WEEK FIFTEEN: Scene Rehearsals</p><p>ACTING TAKE-HOME FINAL DUE: FINAL SCENE PRESENTATIONS: all students are expected to participate on the designated date. NO SMOKING, NO FOOD and NO DRINKS other than water permitted in Theatre One at ANY time. Cell phones and pagers are not allowed in class. </p><p>Voice Mail: Please note that messages left by voice mail do not constitute contact with the course instructor. If you cannot attend class or are unable to complete a course assignment, you must contact the course instructor personally. Voice mail message will not suffice to explain an absence or missed assignment. Any absences or missed assignment should be explained in person to the course instructor. Honor Code: Your signature on all submitted work is a statement of your understanding of and compliance with the Honor Code. Failure to abide by the honor code will result in a grade of “F” in the course. </p><p>SCENE EVALUATION GUIDELINES</p><p>Typical characteristics of the "A" scene:</p><p> Student meets deadlines: including reading of the play and memorization.  The goals of the characters are always clear, and connected to the play.  Stakes of the scene are consistently strong.  Tactics and transitions are physically and emotionally clear.  There is a strong variety of interesting and surprising choices.  An extraordinary sense of “communion” and listening to the acting partner(s).  Distinctive freedom and ease in the performance process, reflective of extraordinary care in preparation and rehearsal.  Distinctive insight in the character choices. </p><p>Typical characteristics of the "B" scene:</p><p> Student meets deadlines: including reading of the play and memorization.  The goals of the character clear, connected to the play.  Tactics and transitions are overall clear, there many be some minor questions of clarity.  A good sense of “communion” and listening to the acting partner(s).  While the actor may not display distinctive freedom and ease, the work reflects confidence and strong preparation in and out of class time. </p><p>Typical characteristics of the “C” scene:</p><p> Meeting of deadlines may be inconsistent.  The scene includes moments that are clear and engaging, the overall focus is inconsistent. The goals of the characters are not always clear.  Tactics and transitions are not always clear. Still, the student demonstrates an understanding of the overall behavior of the character.  The actor may have moments of listening and connecting to the partner, but is inconsistent.  The actor may have moments of uncertainty onstage, but overall demonstrates an acceptable level of preparation. </p><p>Typical characteristics of the "D" scene: </p><p> Student does not meet course deadlines.  The goals of the characters in the scene are overall unclear.  Tactics and transitions are overall unclear.  The actor is only infrequently intention about connecting and listening to the acting partner.  The actor demonstrates little or no growth in the process. </p><p>Typical characteristics of the "F" scene:</p><p> Student does not meet course deadlines.  The goals of the character are unclear.  The tactics and the transitions in the scene are unclear.  The actor is not intentional about listening or connecting with an acting partner.  The actor does not demonstrate an acceptable work ethic or understanding of the scene. </p>