HomeMy WebLinkAboutTHR-110
Bergen Community College
Division of Business, Arts and Social Sciences
Course Syllabus
Basic Acting Technique THR-110
Date of Most Recent Syllabus Revision: _________________
Course Typically Offered: Fall ___ Spring ___ Every Semester X Other _____
Syllabus last reviewed by: BCC General Education Committee October 19, 2010
Curriculum Committee ________________________
Basic Information About Course and Instructor
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Course Description
Basic Acting Technique provides an introduction to acting methods for the novice actor,
using improvisation, vocal and physical exercises, and scene study. In a supportive
environment, new actors are encouraged to develop their talents and learn the basics of
the craft of acting. The class culminates in the performance of scene which is open to
the public
2 lectures, 2 lab 4 credits
No prerequisites and/or co-requisites.
Student Learning Objectives: As a result of meeting the requirements of this course,
students will be able to
1. Understand and apply the basic principles of acting
2. Explore various acting methods through improvisation, group projects, and scene
work
3. Utilize techniques to create a character
4. Learn to analyze and break down a script into objectives and “beats”
5. Develop vocal and physical technique for acting in live theatre
6. Block and perform a scene, within the context of a rehearsal schedule similar to what
is practiced in the rehearsal of a play
7. Appreciate the joy of acting as well as the discipline involved in this craft
In support of the above-mentioned goals, the course will explore various acting
methods, using warm-ups, improvisation, group projects, vocal exercises, and the
staging, memorization, and performance of a scene. Students also watch and evaluate
each other’s work. They will learn traditional blocking techniques and experience the
rehearsal of a scene over six weeks culminating in a performance open to the public.
Objectives will be assessed as follows:
1. Group projects, the solo objective activity assignment, and the final scene impart to
the students the basic principles of acting for the stage, utilizing the acting methods of
Constantine Stanislavsky, Sanford Meisner, and Stella Adler, among others.
2. Improvisation takes place in nearly every class exploring the different aspects of
acting, such as sense memory, playing an action, connecting, creating a character, and
acting in scenes of high emotion. Group projects involve ensemble work, non-verbal
communication, and the dynamics of stage movement. A performance of a scene is the
final goal of the course.
3. Students should be able to create a character physically and emotionally through
many techniques, including studying the text, understanding the character’s life previous
to the scene and his relationships with others, researching the historical context of the
scene, identifying the objectives and actions, stage business, costuming the character,
and playing fully to discover inner emotional life of the character.
4. Students will break down a script beat by beat in rehearsal, be given specific notes on
their work, and receive feedback from the others in the class. This beat work enables
them to discover the objectives, inner monologue, and the arc of the scene.
5. A rehearsal schedule similar to one for a full-length play will guide the students in
the development of their scenes, teaching them the rules, discipline, and structure of a
professional rehearsal.
6. A classroom dynamic that encourages taking risks and enjoying this art form is
established. Ultimately, a close and harmonious ensemble should form over the 15
week semester.
Course Content
Basic Acting Techniques introduces novice actors to the elements of acting including
sense memory, stage movement, playing an action, connecting, the inner monologue,
substitution, making moments of high emotion, creating a character, blocking, script
analysis, beat work, and the building of a scene in a traditional rehearsal schedule. The
discipline and professional decorum involved in being and actor is emphasized.
Improvisation, solo assignments, group projects ultimately lead to a fully memorized
scene that is presented to the public at the final class.
Technological Literacy
Technological literacy and/or information literacy is one expectation of this course.
Students will be encouraged to use such technology in group projects.
Course Texts and/or Other Study Materials
Required: At least on of the following or any collection of scenes foe the stage:
“Play The Scene, The Ultimate Collection of Contemporary and Classical Scenes and
Monologues”, by Michael Schulman and Eva Mekler, St. Martin’s Griffin, New York,
N.Y. 2004
“Great Scenes and Monologues for Actors”, by Michael Schulman and Eva Mekler, St
Martin’s Paperbacks, 1998
"Contemporary Scenes for Student Actors", by Michael Schulman
& Eva Mekler, Penguin Books, 1980
Recommended:
Acting Is Believing”, by Charles McGaw, Kenneth L. Stilson, & Larry D. Clark
"Acting: Onstage and Off", by Robert Barton
"Acting through Exercises", by John L. Greenback-Tedesco
"Advice to the Players", by Robert Lewis
"Irreverent Acting", by Eric Morris
"Respect for Acting", by Uta Hagen
"Speech for the Stage", by Evangeline Machlin
"The Actor at Work", by Robert Benedetti
"The Actor's Scene Book", by Mack Owen
"The Craftsmen of Dionysus", by Jerome Rockwood
"Working up a Part", by H.D. Albright
Grading Policy
The final grade in this course will be determined by a student’s overall mastery of the subject matt er
as evidenced in improvisations, group projects, assignments, rehearsal and performance of a scene,
consistent attendance and quality class participation. There will be one mid-term exam, one final
exam, 2 final projects, and weekly assignments.
Class improvisations, warm-ups, evaluation of each other's work,
and assignments 40%
3 Group Projects 15%
Scene rehearsals in class * 15%
Final scene presentation ** 20%
Class participation and class decorum 10%
Criteria for Evaluation: Attendance and participation
a. consistent attendance**
b. participation in warmups, improvisations, and group projects
c. completed assignments
d. rehearsals and performance of a memorized scene
e. quality classroom responses
f. overall demonstration of comprehension of the course material
90-100 = A 86-89 = B+ 80-85 = B 76-79 = C+ 70 - 75 = C 65-69 = D
E =Unofficial Withdrawal W =Official Withdrawal INC=Incomplete 0–64 = F
Class participation is an integral part of this class. Students are graded each class for their
work in warmups, improvisation, solo assignments, rehearsal and performance of a scene.
Their evaluations of other students work are also a part of the grade. Professional decorum,
including punctuality, preparation for assignments and scenes, and focus, are also an element
of the grade.
Attendance Policy
BCC Attendance Policy:
All students are expected to attend punctually every scheduled meeting of each course in
which they are registered. Attendance and lateness policies and sanctions are to be
determined by the instructor for each section of each course. These will be established
in writing on the individual course outline. Attendance will be kept by the instructor for
administrative and counseling purposes.
Students will be evaluated on attendance and participation in class using the following
criteria: consistent attendance; evidence of studying text and assignments; completed
daily assignments; quality classroom responses.
Bergen Community College Academic Policies:
Bergen Community College is committed to academic integrity – the honest, fair and
continuing pursuit of knowledge, free from fraud or deception. Please review the
college catalogue or student handbook for further information on this topic.
Bergen Community College has adopted an internal grievance procedure to provide for
prompt and equitable resolution of complaints alleging any action prohibited by federal
regulation implementing Section 504 of the Rehabilitation Act of 1973, as amended, and
the Americans with Disabilities Act of 1990. (ADA). Please review the college
catalogue for further information on this topic.
Bergen Community College is committed to providing its students and employees with
an academic and work environment free from sexual harassment or discrimination.
Please review the policy prohibiting sexual harassment in the college catalog.
Please review the statement on acceptable use of BCC technology in the college catalog.
Faculty hold 3 office hours per week, and as requested by students, by appointment.
Students are encouraged to seek out their faculty member for academic needs.
Student and Faculty Support Services
All students are encouraged to visit and use the BCC Library. There are particularly
excellent electronic references in the area of music available to our students.
Students are encouraged to use the student support services of the college. These
services include: the Writing Center, the music-computer Lab, the Tutorial Center, and
the Office of Specialized Services.
The Distance Learning Office – for
any problems you may have
accessing your online courses
Room
C-334
201-612-5581
psimms@bergen.edu
Smarthinking Tutorial Service On Line
at:
www.bergen.edu/library/learning/tutor/smart/index.asp
The Tutoring Center Room
L-125
201-447-7908
The Writing Center Room
L-125
201-447-7908
The Online Writing Lab (OWL) On Line
at:
www.bergen.edu/owl
The Office of Specialized Services
(for Students with Disabilities)
Room
S-131
201-612-5270
The Sidney Silverman Library –
Reference Desk
Room
L-226
201-447-7436
Course Outline:
Note to Students: This Course Outline and Calendar is tentative and subject to change, depending upon
the progress of the class
Basic Acting Technique Course Outline:
Week Topic/Activity Learning
Objectives Assignments/Events
1
Course Introduction
Improvisations and exercises to begin
to explore the basic elements of acting
and to build an ensemble
1,2,7
Bring in a pillow and a
mat or a blanket for the
progressive relaxation
exercise in week 2
2
Sense memory as a Basic Element of
Acting
A progressive relaxation and
concentration exercise opens the class
leading to improvisations involving
the sense memory and its use as an
acting technique
Early script work to demonstrate sense
memory in the text of a play
1,2,5,7
Wear comfortable clothes
for a physically vigorous
class
Write a page or two of a
detailed observation of
something in life using
the five senses
3
Exploration of stage movement, trust,
and freeing the body
Discuss the areas of the stage,
blocking, and physical technique
Group Project #1 focusing on non-
verbal communication
1,2,3,7
4
Playing an Action
Discuss acting terminology & various
methods of acting, including the
Stanislavski and Meisner methods
Improvisations to understand the
above techniques and to learn to play
strong objectives and actions
Cold readings with discussion of beats
and objectives
1,2,4,7 One Activity-One
Objective Exercise:
Prepare a solo
presentation in which the
actor performs a series of
activities in a specific
environment using props,
without communication
with another person(s) by
phone or computer
5
Playing an Action, continued
“One Activity/One Objective”
assignment due
More improvisations for playing an
objectives, scenes of high emotion,
1,2,4,7 Observe people in a
public place and how
they communicate or
cover their inner
monologues; be prepared
and the importance of the detailed
setting
More cold readings also about this
subject
to discuss what dynamic
and physical behavior
was observed
6
Connecting and the Meisner technique
Improvisations demonstrating moment
to moment communication,
concentration, the inner monologue
(subtext) and the Repetition Exercise
Script work with open-ended scenes
and longer scenes dealing with a
strong subtext
1,2,4,7 Bring in scene books in
order to select a partner
and a scene for the final
presentation
7
Creating a character
Techniques for the development of a
character are discussed and explored
though improvisations and group work
Select partners and scenes for the final
presentation and draw up a floor plan
and list props needed for the scene
The first read-through of these scenes
as the first step of the rehearsal
process begins
1,2,3,4,6 Prepare an animal or real
life study
From here to the end,
always bring the scenes
for rehearsal
8
Continue work on character
Animal or real life studies due
Complete first read-through and
discuss how to create blocking for a
scene
Outline what happens in a regular
rehearsal schedule and the
responsibilities of the actor
Block more advances open-ended
scenes
1,2,3,4,6 Bring rehearsal props for
the scenes for the next
class
9
Physical technique & stage movement
Group Project #2
Block the scenes
Begin to see all of them in the early
stages of rehearsal, emphasizing
blocking and how it relates to the
relationships and the objectives of the
characters
1,2,3,4,5,
6, 7
Rehearse outside of class
10
More advanced improvisations dealing
with organic blocking involving
business, the use of props, and
“picturization”
See the rest of the scenes and rehearse
1,2,3,4,5,
6.7
Begin to memorize lines
and blocking
again using the instructor’s notes and
the students’ observation to improve
the scenes
Discover the beats within the scenes
11
Vocal workshop to work on strong
vocal technique
Scene rehearsal continues and
advanced improvisations
1,2,3,4,5,
6, 7
Be off book for the
scenes
12
Scene work and second presentation
of scenes with more notes
No books for the scenes
1,2,3,4,5,
6,7
Rehearse outside of class
Bring in suggestion of
costumes
13
More scene work
Group project #3 – blocking scenes
from “Story Theatre”
3,6,7 Bring all costumes for
the dress rehearsal
14
Dress rehearsal of the scenes with all
final props and costume pieces
6,7 Rehearse outside of class
Bring a copy of scenes
for the instructor in order
to assist the lighting
technician who will be
manning the lighting
board during the final
performance
15 Presentation & evaluation of the
scenes open to the public
1,6, 7