HomeMy WebLinkAboutTHR-1101 of 8
Bergen Community College
Division of Humanities
Department of Visual and Performing Arts
Course Syllabus
Basic Acting Techniques
THR 110
Basic Information About Course and Instructor
Semester and Year:
Course and Section Number:
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Instructor:
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Course Description:
Basic Acting Technique provides an introduction to acting methods, using improvisation, vocal
and physical exercises, and scene study. The course stresses the importance of self-discipline in
developing creativity and freedom in voice and movement. Assignments include the
presentation of scenes from various works during the semester. This course introduces
beginning 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 an
actor is emphasized. Improvisation, solo assignments, group projects ultimately lead to a fully
memorized scene that is presented at the end of the class.
3 lecture hours, 3 credits
No prerequisites and/or co-requisites.
Student Learning Outcomes: As a result of meeting the requirements in this course, students will be
able to:
● List Student Learning Outcomes and an appropriate assessment for each:
Student Learning Outcome: Means of Assessment:
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1. Understand and apply the basic principles of
acting.
warm-ups, improvisation, group projects,
vocal exercises
2. Explore various acting methods through
improvisation, group projects, and scene work.
Written Assignments, Class Discussion
3. Utilize techniques to create a character. Written Assignment, Class Discussion
4. Learn to analyze and break down a script into
objectives and “beats.”
In-Class Analysis, Scene Preparation Worksheet
5. Develop vocal and physical technique for
acting in live theatre.
warm-ups, improvisation, group projects,
vocal exercises
6. Block and perform a scene, within the context
of a rehearsal schedule similar to what is
practiced in the rehearsal of a play.
staging, memorization, and performance of a
scene
7. Appreciate the joy of acting as well as the
discipline involved in the craft.
warm-ups, improvisation, group projects,
vocal exercises
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 observe and evaluate each other’s work. They will learn
traditional blocking techniques and experience the rehearsal of a scene culminating in a
performance.
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 Constantin 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.
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 their 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.
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Course Texts and/or Other Study Materials
You should bring the following to class each day:
● Notebook (for daily journaling)
● Folder
● Pencil
● Pen
● Highlighter (optional)
● Socks or dance/non-street shoes (street shoes are not permitted in the Dance Studio)
● Optional: yoga mat for warm-up exercises
There are no books required for the course, but the following are books that you might find
useful as you continue your studies.
Recommended:
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, NY, 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 and Eva Mekler,
Penguin Books, 1980.
An Actor Prepares by Constantin Stanislavsky
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
matter as evidenced in improvisations, group projects, assignments, rehearsal and
performance of a scene, consistent attendance and quality class participation.
Assignment Type Percentage
Actor’s Journal (to be handed in
weekly/periodically)
30%
Assignments (includes preparation
for scenework, handouts, etc.)
50%
Attendance 10%
End-of-Course Reflection (based on
weekly journals)
10%
Total 100%
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Grading Scale
90-100 A
86-89 B+
80-85 B
76-79 C+
70-75 C
69 – 60 D
0-59 F
Unofficial Withdrawal E
Withdrawal W
Incomplete N
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
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
In this class, regular attendance is essential for progress and I will take attendance each day. Do
your best to be here and arrive on time. (Ideally, this means at least 5 minutes early.) Extensive
absences will significantly impact your ability to pass the course.
However, if you are feeling sick, stay home and send me an email so I know. Absences are not
“excused,” but they are understood. Your health and your family's health should be your
priority. If you are dealing with illness, sick family members, travel difficulties, increased
anxiety, childcare challenges, or any other issues, please reach out and we will figure out
accommodations. I can’t help you if I don’t know you need help.
Unauthorized Recordings: A student shall not without express authorization from the faculty
member and, if required by law, from other participants, make or receive any recording,
including but not limited to audio and video recordings, of any class, co-curricular meeting,
organizational meeting, or meeting with a faculty member.
SUPPORT SERVICES
Students are encouraged to use the student support services of the college.
Some of these are listed below.
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Center for Student Success
(Academic Counseling,
Academic Advising, Transfer
Services, Career Counseling)
A-118 https://bergen.edu/center-for-student-
success
Portal Help
(for Canvas, BCC email,
registration)
Portal is
located at
my.bergen.edu
https://bergen.edu/portalhelp
Tutoring Center L-125
https://bergen.edu/tutoring
English Language Resource
Center (for students whose first
language is not English)
Room C-212
201-879-5292
https://bergen.edu/tutoring/english-
language-resource-center
Writing Center (for all students) Room L-125
201-447-7489
https://bergen.edu/tutoring/writing-
center/
Office of Specialized Services
(Disability Services) Room L-116
201-612-5270
www.bergen.edu/oss
Sidney Silverman Library Room L-226
201-447-7970
www.bergen.edu/library
Library Resources
All students are encouraged to visit and use the BCC Library. There are particularly excellent
resources available to students studying the performing arts.
Databases
● Digital Theatre+
Theatre, opera, music, and dance from internationally renowned productions.
● Films on Demand - Music and Dance
With equal emphasis on recordings of live performances and documentaries, this
collection spans both time and space to cover a wide variety of music and dance from
around the world and throughout history. Opera, jazz, and classical. Ballet, modern, and
step dancing.
LibGuides
● Theatre and Dance LibGuide (BCC Library)
● Performing Arts LibGuide (BCC Library)
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Course Outline
This course outline is tentative and subject to change depending upon the progress of the class.
Wee
k
Topic/Activity Assignments/Events
1 Course introduction
Improvisations and exercises to begin to explore
the basic elements of acting and to build an
ensemble
Bring in a mat or a towel for the
progressive relaxation exercise in
Week 2
Week #1 Reflection due
2 Sense memory as a basic element for 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
Wear comfortable clothes for a
physically vigorous class
Week #2 Reflection due
3 Exploration of stage movement, trust, and
freeing the body
Discuss the areas of the stage, blocking, and
physical technique
Focusing on non-verbal communication
Complete “Body Awareness Checklist”
and “Vocal Awareness Checklist”
(handout)
Week #3 Reflection due
4 Playing an Action
Discuss acting terminology and 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
“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
Week #4 Reflection due
5 Playing an Action, cont.
“One Activity/One Objective”
assignment due
More improvisations for playing an objectives,
scenes of high emotion, and the importance of
the detailed setting
More cold readings also about this subject
Observe people in a
public place and how they
communicate or cover their inner
monologues; be prepared to discuss
what dynamic and physical
behavior was observed
Week #5 Reflection due
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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
Bring in scenes in order to select a
partner and a scene for the final
presentation
Week #6 Reflection due
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
Prepare an animal or real life study
From here to the end, always bring
the scenes for rehearsal
Week #7 Reflection due
8 Continue work on character
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 advanced open-ended
scenes
Bring rehearsal props for the scenes for
the next class
Week #8 Reflection due
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
Rehearse outside of class
Week #9 Reflection due
10 More advanced improvisations dealing with
organic blocking involving business, the use
of props, and “picturization”
See the rest of the scenes and rehearse again
using the instructor’s notes and the students’
observation to improve the scenes
Discover the beats within the scenes
Begin to memorize lines and blocking
Week #10 Reflection due
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11 Vocal workshop to work on strong vocal
technique
Scene rehearsal continues and
advanced improvisations
Be off book for the
Scenes
Week #11 Reflection due
12 Rehearse scenes outside of class Week #12 Reflection due
13 Scene work and second presentation of
scenes with more notes
No books for the scenes
Bring all costumes for the dress
rehearsal
Week #13 Reflection due
14 Dress rehearsal of the scenes with all final
props and costume pieces
Rehearse outside of class Bring a copy
of scenes for the instructor
15 Monologues End-of-Course Reflection Due
16 Last Day of Class
Monologues