I decided to do the opening scene from Act I of David Mamet's GlenGarry GlenRoss, but I need a partner as it is a two-person scene. Warning - the following contains harsh language (I always wanted to say that in a blog).
Wednesday, April 16, 2008
Tuesday, April 1, 2008
Script Score
Scene Score Assignment
Score your scene with the following rubric. Notes should connect to the scene moment-to-moment. Remember that you want your work on the scene to put you in a state of readiness for action and discovery. Your notes should always be fluid and open to new insights and possibilities. Ask questions and list multiple choices where possible.
Given Circumstances: Identify places in the script where the G.C. have an influence, particularly the G.C. that launch you into the scene.
Environmental Dynamics: Define areas of the stage in terms of their effect or influence on your character. Where is it safe? Where is there danger? Where is escape? Comfort? Unease?
Somatic Components: What's going on in your body? Where do you manifest stress? Joy? Etc..
Thought Cues: Identify the points at which the thoughts and responses are cued by another's words or actions.
Choices: Note choices made at new transactions: opportunities for intimacy, games, etc.
Existential Position: IOK/YOK; IOK/YNOK; INOK/YOK; INOK/YNOK. Note places where this is evident.
Ego State Changes: note changes (e.g. Child to Adult) and what triggers the changes.
Actions/Objectives: Note changes in objective, accomplished or failed objectives. State strategic actions such as "to lull" "to frighten" etc.
Blocking: Note blocking and motivation (e.g. escape, confide, cajole, etc.)
Inner Life: Note inner monologues and subtext at key moments such as silences and beat changes.
Extras: anything you find useful to note.
Thursday, March 27, 2008
Day 17 & 18
Tuesday, March 25
Absent: Robert
Scenework: Chip & Kathlyn. Will remount a final run on April 8.
Thursday, March 27
Absent: Sarah
Scenework: Mitchell & Paige. Completed. Taylor & Katherine. Completed.
NOTE: Please arrive for your scene ready. We cannot take time in class for warm-ups, but warm-ups are important. I want you physically limber, vocally open, verbally articulate.
*Do not use the scene to warm up*
One More Thing.
Reduce time period of awkward silence to 45 sec.-1 minute in opening of funeral scene (pg.95-8).
March 27th,
1) Mark areas where you should put emphasis on certain moods during periods when it's evident those moods should be expressed.
2) Mark standing positions.
2) Mark standing positions.
Tuesday, March 25, 2008
Rubric Ideas
My ideas for the rubric are as follows:
1. Mark every time your character has a choice.
2. Mark when your character is taking or giving.
3. Mark states (Adult, Child, Parent) and mark when it changes.
1. Mark every time your character has a choice.
2. Mark when your character is taking or giving.
3. Mark states (Adult, Child, Parent) and mark when it changes.
Day 16
absent: Taylor (ex), Sarah, Paige
Scenework from Carly & Robert.
We discussed the ways in which Toby's drunkeness enables him rather than disables him. We saw how he hits his "zone" with verbal wit - "freeing" his angry inner child.
Celia snapping fingers at Toby, a useful parental gesture.
We worked the game play with C & T around the news of the forthcoming interview with "Plastic Brides."
In the Toby/Sylvie scene, we worked the initial encounter and the softening of Sylvie as Toby entertains her leading into a nice moment of intimacy.
Upcoming:
Tuesday, March 25: Chip & Kathlyn / Paige & Mitchell
Thursday, March 27: Taylor & Katherine
Tuesday, April 1: Virgina & Tyler / Virginia & Ari
Thursday, April 3: Sarah & Jeffrey / Sydney & Jacob.
Scenework from Carly & Robert.
We discussed the ways in which Toby's drunkeness enables him rather than disables him. We saw how he hits his "zone" with verbal wit - "freeing" his angry inner child.
Celia snapping fingers at Toby, a useful parental gesture.
We worked the game play with C & T around the news of the forthcoming interview with "Plastic Brides."
In the Toby/Sylvie scene, we worked the initial encounter and the softening of Sylvie as Toby entertains her leading into a nice moment of intimacy.
Upcoming:
Tuesday, March 25: Chip & Kathlyn / Paige & Mitchell
Thursday, March 27: Taylor & Katherine
Tuesday, April 1: Virgina & Tyler / Virginia & Ari
Thursday, April 3: Sarah & Jeffrey / Sydney & Jacob.
Tuesday, March 18, 2008
Day 15
Absent: Kathlyn, Robert, Ari
Scenework: Sydney and Jacob. Worked cigarette action in monologue.
Note: I need your final scenes off-book and as fully staged as possible, with costumes, set, and props.
Assignment: suggest a rubric for scoring your script that makes use of the different ideas we've been exploring as well as earlier scoring concepts you have found useful.
Script Score should be useful for performance and include cues to stage choices and action. For example, you might identify a change in ego state from A to C and list possible choices justified by that transition (smoking a cig, stomping a foot, etc).
Post your suggestions to the blog.
Scenework: Sydney and Jacob. Worked cigarette action in monologue.
Note: I need your final scenes off-book and as fully staged as possible, with costumes, set, and props.
Assignment: suggest a rubric for scoring your script that makes use of the different ideas we've been exploring as well as earlier scoring concepts you have found useful.
Script Score should be useful for performance and include cues to stage choices and action. For example, you might identify a change in ego state from A to C and list possible choices justified by that transition (smoking a cig, stomping a foot, etc).
Post your suggestions to the blog.
Friday, March 14, 2008
Day 14
Absent: Kathlyn
Game: Streets & Alleys. Jeffrey & Sarah were "it".
Worked Jeff & Sarah in "A Funeral."
Note the importance of taking time with the opening action as Miles approaches Celia.
We saw how the initial social transaction becomes more layered and "gamey" as the scene progresses.
Game: Streets & Alleys. Jeffrey & Sarah were "it".
Worked Jeff & Sarah in "A Funeral."
Note the importance of taking time with the opening action as Miles approaches Celia.
We saw how the initial social transaction becomes more layered and "gamey" as the scene progresses.
Day 13
Day 13
Game: Red Light / Green Light. Variations: Teacher & Class; Boss & Employees; Preacher & Congregation; King & Peasants
Work-thru with Ari and Virginia on "A New Woman". We noticed ways in which Celia is attempting to maintain an Adult position and resist being drawn into the old games with Toby.
Schedule for upcoming final scenes:
3/13: Sarah & Jeffrey
3/18: Sydney & Jacob
3/20: Chip & Kathlyn / Carly & Robert
3/25: Paige & Mitchell
3/27: Taylor & Katherine
4/1: Tyler & Virginia / Ari & Virginia
4/3: Sarah & jeffrey redux
Game: Red Light / Green Light. Variations: Teacher & Class; Boss & Employees; Preacher & Congregation; King & Peasants
Work-thru with Ari and Virginia on "A New Woman". We noticed ways in which Celia is attempting to maintain an Adult position and resist being drawn into the old games with Toby.
Schedule for upcoming final scenes:
3/13: Sarah & Jeffrey
3/18: Sydney & Jacob
3/20: Chip & Kathlyn / Carly & Robert
3/25: Paige & Mitchell
3/27: Taylor & Katherine
4/1: Tyler & Virginia / Ari & Virginia
4/3: Sarah & jeffrey redux
Friday, February 15, 2008
Day 8
Absent: Ash
Guest Instructor: Mondy Carter. Mondy will be running class next week, Feb. 19 & 21.
We worked with several moments of silence.
General considerations:
Earn the silence. Bring pace and energy up to the moment. Too many pauses, and halts will deflate the important moment you are after.
Use the space. As the space decreases your options diminish. You literally have nowhere else to go.
Rule of 3: repeat, repeat, replace.
When your character is in an altered state (ie. drunk, crazy) beware of trying to play the condition. Remember: the drunk person is trying to act sober and the crazy person thinks himself sane.
As we move forward, it is time to assess our characters. We have all been watching Lionel, Sylvie, Celia, and Toby in a variety of situations. Lets begin to amass our understanding of these people.
Assignment: write your observations of each of these characters in relation to the other. Confucius reminds us that we are defined by our role(s) in life: father, daughter, teacher, student, and so on. How then are our characters defined by one another?
For your midterm work, please write up profiles of your characters as they are in relation to one another. For example: "When Lionel is with Celia, he..." "When Sylvie is with Toby, she..."
Discuss the ways in which other characters trigger or shape your character. For example: "Toby 's drinking tends to cause Celia to be..." "When Sylvie makes sarcastics remarks, Lionel becomes...."
Please have these observations for me in writing on our last class of the term: Feb 28.
Guest Instructor: Mondy Carter. Mondy will be running class next week, Feb. 19 & 21.
We worked with several moments of silence.
General considerations:
Earn the silence. Bring pace and energy up to the moment. Too many pauses, and halts will deflate the important moment you are after.
Use the space. As the space decreases your options diminish. You literally have nowhere else to go.
Rule of 3: repeat, repeat, replace.
When your character is in an altered state (ie. drunk, crazy) beware of trying to play the condition. Remember: the drunk person is trying to act sober and the crazy person thinks himself sane.
As we move forward, it is time to assess our characters. We have all been watching Lionel, Sylvie, Celia, and Toby in a variety of situations. Lets begin to amass our understanding of these people.
Assignment: write your observations of each of these characters in relation to the other. Confucius reminds us that we are defined by our role(s) in life: father, daughter, teacher, student, and so on. How then are our characters defined by one another?
For your midterm work, please write up profiles of your characters as they are in relation to one another. For example: "When Lionel is with Celia, he..." "When Sylvie is with Toby, she..."
Discuss the ways in which other characters trigger or shape your character. For example: "Toby 's drinking tends to cause Celia to be..." "When Sylvie makes sarcastics remarks, Lionel becomes...."
Please have these observations for me in writing on our last class of the term: Feb 28.
Day 7
Absent: Tyler, Ash
Jean-Louis Barrault: "The greatest moments of drama happen in silence."
Harold Pinter: "Silence occurs when it suddenly becomes impossible to speak."
Alan Ayckbourn: "The best plays have at least silence."
We began to look at the moment of silence, its effect and structure.
Consider: Sound = Movement; Silence = stillness. By working with combinations of sound, movement, stillness, and silence we create greater or lesser moments of silence.
What happens in a silence? Suspense, Decisions, Reflection. The silence gives us all a chance to feel the events. When we listen to words, we are always on some level, in our heads, decoding the language and thinking of meaning and sense. In silence, we immerse in the emotions of the moment. The silence also gives the actor an opportunity to listen to the audience and to refresh connections between audience and stage and among fellow actors.
For the actor, the pressure of performance can increase our sense of time. The management of time, as we have seen, is important craft for comedy. Generally, the audience will stay with a moment of silence longer than we think if that moment is well-made and full.
We looked at invented moments-of-silence. Assignment: identify a moment in your scene for presentation on Thursday.
Jean-Louis Barrault: "The greatest moments of drama happen in silence."
Harold Pinter: "Silence occurs when it suddenly becomes impossible to speak."
Alan Ayckbourn: "The best plays have at least silence."
We began to look at the moment of silence, its effect and structure.
Consider: Sound = Movement; Silence = stillness. By working with combinations of sound, movement, stillness, and silence we create greater or lesser moments of silence.
What happens in a silence? Suspense, Decisions, Reflection. The silence gives us all a chance to feel the events. When we listen to words, we are always on some level, in our heads, decoding the language and thinking of meaning and sense. In silence, we immerse in the emotions of the moment. The silence also gives the actor an opportunity to listen to the audience and to refresh connections between audience and stage and among fellow actors.
For the actor, the pressure of performance can increase our sense of time. The management of time, as we have seen, is important craft for comedy. Generally, the audience will stay with a moment of silence longer than we think if that moment is well-made and full.
We looked at invented moments-of-silence. Assignment: identify a moment in your scene for presentation on Thursday.
Sunday, February 10, 2008
Day 6
Absent: Ash, Carly
Time & Space
We began with some simple movement work on guarded/unguarded postures and eye contact. Work to create a sense of "atmospheric pressure" and examine the use of space. We worked "A Christening" with Mitchell and Paige, playing with the tensions of the offstage spaces: child in the tombstones vs. child in the pews.
In re: Time. Our acting lab gives us the opportunity to take time. An important element of comic acting is timing. The comic actor needs to manipulate and manage time on stage, using stillness and silence to gauge
the audience. We will explore this with another activity in the coming week.
Time & Space
We began with some simple movement work on guarded/unguarded postures and eye contact. Work to create a sense of "atmospheric pressure" and examine the use of space. We worked "A Christening" with Mitchell and Paige, playing with the tensions of the offstage spaces: child in the tombstones vs. child in the pews.
In re: Time. Our acting lab gives us the opportunity to take time. An important element of comic acting is timing. The comic actor needs to manipulate and manage time on stage, using stillness and silence to gauge
the audience. We will explore this with another activity in the coming week.
Monday, February 4, 2008
Day 5
We began with ball tossing, getting us in step and rhythm as a group.
Structured improvisation:
1) Play traditional games: chess, Jenga, cards, etc..
2) Conversation from standard topics: the weather, food, etc..
3) Select a life position: IOK/YOK; IOK/YNOK; INOK/YOK; INOK/YNOK
4) Select an ego state: Parent or Child.
Note: as we go forward with this work, we are trying to look through the text towards elements of character transactions in order to build our "actors' tool kit."
We finished with a backward reconstruction of a scene, noting how the end choices become more fully informed as we work "upstream" and discover the logic of the scene.
Assignment: work with this backwards method as you prepare your scenes. Building from the end backwards puts you n a better position to move towards strength as your scene develops.
Tuesday, January 29, 2008
Day 4
Absent: Ari
We began with a simple game of duck-duck-goose. Noted the effect of the game on our emotions. Brief discussion of the subtle influence that a "game situation" has on our posture, readiness, and strategic thinking.
Clapping game warm-up for attention, focus, energy.
Reading of "A Gardener Calls," the opening scene in Intimate Exchanges.
We began with a simple game of duck-duck-goose. Noted the effect of the game on our emotions. Brief discussion of the subtle influence that a "game situation" has on our posture, readiness, and strategic thinking.
Clapping game warm-up for attention, focus, energy.
Reading of "A Gardener Calls," the opening scene in Intimate Exchanges.
Notice the opening struggle in Celia as she decides to smoke. In terms of the Berne Ego States of Parent/Adult/Chld we see her Child win out. Notice how the scene follows with her mostly n a Child state when with Lionel.
We read through the scene, alternating reading teams. Notice the sense of sureness in Lionel and the sense of unsureness in Celia. Celia works from an "I'm Not OK" position. Lionel is "OK". Lionel's posture changes when Sylvia enters. We see him get hooked by her game of aloofness and the tease of "other arrangements."
We saw a good example of crossed transaction with Lionel's remark "You need crazy paving."
From there the transactions appeared complementary as the two conversed on an Adult to Adult level, socially, and a Child to Child level, internally, while they discussed what Lionel would do for her.
Consider: When Celia has finished her lengthy disclosure to Lionel regarding the difficulty she has as Headmaster's wife, Lionel has choices in the manner he responds. He could choose intimacy and respond in an open, honest way either from an Adult state or even a Nurturing Parent state (more on this to come.) Instead, Lionel chose to play a game.
Berne suggests that games substitute for intimacy.
Friday, January 25, 2008
Day 3
We did a re-enactment exercise today, re-creating the few moments of idle time before the formal beginning of class. In the course of solving the problem of re-enactment a few ideas were discussed:
the importance of knowing the reasoning behind our actions;
getting back in touch with our original instincts or impulses;
the paradox of being mindful about mindless behaviors.
We discussed some of the basic transactions in our "accidental script"
The basic unit of social action = a stroke. Derived from "stimulus hunger" and "recognition hunger".
What "strokes" were exchanged in our scene?
Remember: a stroke need not be pleasurable. For example, if the child can't get a hug, getting spanked is the next best thing, much better than being completely deprived of attention.
A simple transaction consists of a stimulus and a response.
"Hi!"
"Hello!"
Berne describes a progression of transactions beginning with
common rituals (Such as the "Hello" transactions), thence to
"past times" such as the habitual conversations we use to fill time: "some weather, huh?",
next
we moved towards games or intimacy.
Games have rules, strategies and payoffs.
We'll examine the idea of games more closely as we begin work on Intimate Exchanges next week.
ASSIGNMENTS:
Read Berne: Introduction
Notify me of your scene partners before next Tuesday's class.
Bring your scripts.
the importance of knowing the reasoning behind our actions;
getting back in touch with our original instincts or impulses;
the paradox of being mindful about mindless behaviors.
We discussed some of the basic transactions in our "accidental script"
The basic unit of social action = a stroke. Derived from "stimulus hunger" and "recognition hunger".
What "strokes" were exchanged in our scene?
Remember: a stroke need not be pleasurable. For example, if the child can't get a hug, getting spanked is the next best thing, much better than being completely deprived of attention.
A simple transaction consists of a stimulus and a response.
"Hi!"
"Hello!"
Berne describes a progression of transactions beginning with
common rituals (Such as the "Hello" transactions), thence to
"past times" such as the habitual conversations we use to fill time: "some weather, huh?",
next
we moved towards games or intimacy.
Games have rules, strategies and payoffs.
We'll examine the idea of games more closely as we begin work on Intimate Exchanges next week.
ASSIGNMENTS:
Read Berne: Introduction
Notify me of your scene partners before next Tuesday's class.
Bring your scripts.
Tuesday, January 22, 2008
Day 2
All present today, thank you!
We began with deep breathing and stretching: Sun Salutation.
We then did a variety of walks with the following cues:
Scale of 1-5:
Weight: Heavy to Light
Space: Small to Large
Time: Slow to Fast.
We did some equations or "combinatorics" with these elements. For example
Weight 4 + Space 2 + Time 1.
We next let certain common metaphors influence our walks:
walking on eggshells
head in the clouds
heart of gold
weight of the world on your shoulders
butterflies in your stomach
snake in the grass
cool cat
timid as a mouse
bull in a china shop
Next we did some walks inspired by the various character masks (personae).
We then told the story of 3 Pigs "channeling" the different personae.
Finally we watched a character improv:
Ash and Jeffrey chose a persona and enacted a brother and sister meeting at the airport prior to a family reunion.
Ash and Jeffrey next chose a second persona for the "child" they became when arriving at home with Mom & Dad.
Kathlyn and Chip joined in as Mom & Dad.
We watched and discussed the simple transactions in the scenes.
Discussion of the concept of a "stroke economy" in which certain behaviors are selected to elicit strokes (either positive or negative) to satisfy a character's "stroke hunger." Example: Chip as Dad gleefully embraces Kathlyn as Mom. Mom shrugs him off and mildly abuses him with her bad atittude. This wins a stroke for Dad. Some attention is better than none.
Something we did not discus is the idea of permissions. Mom in this scenario gets something too. She gets permission to dump on everybody.
As we look at the concepts of Berne's T.A. such as the stroke economy, earning permissions (what Berne calls "cashing in stamps") and the Parent/Adult/Child ego states within any given character, we can make connections to concepts from Stanislavski's approach to acting concerning Justification, Logic, Consistency, and Motive Forces.
IMPORTANT ANNOUNCEMENT:
NC Stage will present a staged reading of Oedipus The King Friday & Saturday at 7:30pm and Sunday at 2 pm. UNCA students receive a discounted ticket of $5. Yours truly is in the cast. See you there!
We began with deep breathing and stretching: Sun Salutation.
We then did a variety of walks with the following cues:
Scale of 1-5:
Weight: Heavy to Light
Space: Small to Large
Time: Slow to Fast.
We did some equations or "combinatorics" with these elements. For example
Weight 4 + Space 2 + Time 1.
We next let certain common metaphors influence our walks:
walking on eggshells
head in the clouds
heart of gold
weight of the world on your shoulders
butterflies in your stomach
snake in the grass
cool cat
timid as a mouse
bull in a china shop
Next we did some walks inspired by the various character masks (personae).
We then told the story of 3 Pigs "channeling" the different personae.
Finally we watched a character improv:
Ash and Jeffrey chose a persona and enacted a brother and sister meeting at the airport prior to a family reunion.
Ash and Jeffrey next chose a second persona for the "child" they became when arriving at home with Mom & Dad.
Kathlyn and Chip joined in as Mom & Dad.
We watched and discussed the simple transactions in the scenes.
Discussion of the concept of a "stroke economy" in which certain behaviors are selected to elicit strokes (either positive or negative) to satisfy a character's "stroke hunger." Example: Chip as Dad gleefully embraces Kathlyn as Mom. Mom shrugs him off and mildly abuses him with her bad atittude. This wins a stroke for Dad. Some attention is better than none.
Something we did not discus is the idea of permissions. Mom in this scenario gets something too. She gets permission to dump on everybody.
As we look at the concepts of Berne's T.A. such as the stroke economy, earning permissions (what Berne calls "cashing in stamps") and the Parent/Adult/Child ego states within any given character, we can make connections to concepts from Stanislavski's approach to acting concerning Justification, Logic, Consistency, and Motive Forces.
IMPORTANT ANNOUNCEMENT:
NC Stage will present a staged reading of Oedipus The King Friday & Saturday at 7:30pm and Sunday at 2 pm. UNCA students receive a discounted ticket of $5. Yours truly is in the cast. See you there!
Tuesday, January 15, 2008
Day 1
Present: Sydney, Taylor, Jeffrey, Mitchell, Virginia, Ari, Ash, Robert, Kathlyn, Tyler, Charles, Paige, Katherine, Carly, Jacob, Sarah
Re: our class objective.
We will work with Berne's theories of script analysis in creating a role. Aykbourn's play Intimate Exchanges gives us an opportunity to see the same characters make different life choices with widely differing outcomes. How are all these scenarios consistent with the character?
Caveat: Although Berne's analytical work is concerned with clinical psychology, we are focused on the practical applications of his ideas for our work as actors. While it is important in any art form for the artist to be engaged in a process of self-discovery and self-knowledge, we will not concern ourselves with therapy. Our concerns are aesthetic and any therapeutic considerations must be pursued by the student outside of class. However, I encourage all acting students to participate in some form of personal counseling for the purpose of expanding their own mental and emotional health and well-being.
Class narrative (what we did today):
We began with introductions.
Simple warm-ups included: free-style stretching and yawning. "Choreographed" yawns: spine roll and diagonal stretches. Breathing exercise: fist to chin, elbows open and close, ten slow breaths.Cross-patterning exercises inspired by Brain Gym™: elbow to opposite knee, arm & leg crossing, "air drawing" of triangle and square. Some voice and articulation exercises: affirmative hum connected with internal questions. Note: keep warm-up exercises thoughtful, find ways to keep your mind engaged. Articulation: tell the story at the same time you practice the speech sounds.
Mask exercises. Persona=Mask. We mirrored the mask physically and vocally. Mask dialogues re: Beauty & The Beast. Mask activities: Painting, sandwich making.
Discussion of apparent inner state of the mask (psychology, emotion) mood changes, age, status.
Special Request:
Please send me a sample of a scene you scored for Acting 111. This will not be graded.
Thanks!
I mentioned Brain Gym™ today. Here are a couple of links for more information. One is the official Brain Gym™ site.
The other is an article from Wikipedia. I feel there is some merit to the work, but I accept the criticism.
Re: our class objective.
We will work with Berne's theories of script analysis in creating a role. Aykbourn's play Intimate Exchanges gives us an opportunity to see the same characters make different life choices with widely differing outcomes. How are all these scenarios consistent with the character?
Caveat: Although Berne's analytical work is concerned with clinical psychology, we are focused on the practical applications of his ideas for our work as actors. While it is important in any art form for the artist to be engaged in a process of self-discovery and self-knowledge, we will not concern ourselves with therapy. Our concerns are aesthetic and any therapeutic considerations must be pursued by the student outside of class. However, I encourage all acting students to participate in some form of personal counseling for the purpose of expanding their own mental and emotional health and well-being.
Class narrative (what we did today):
We began with introductions.
Simple warm-ups included: free-style stretching and yawning. "Choreographed" yawns: spine roll and diagonal stretches. Breathing exercise: fist to chin, elbows open and close, ten slow breaths.Cross-patterning exercises inspired by Brain Gym™: elbow to opposite knee, arm & leg crossing, "air drawing" of triangle and square. Some voice and articulation exercises: affirmative hum connected with internal questions. Note: keep warm-up exercises thoughtful, find ways to keep your mind engaged. Articulation: tell the story at the same time you practice the speech sounds.
Mask exercises. Persona=Mask. We mirrored the mask physically and vocally. Mask dialogues re: Beauty & The Beast. Mask activities: Painting, sandwich making.
Discussion of apparent inner state of the mask (psychology, emotion) mood changes, age, status.
Special Request:
Please send me a sample of a scene you scored for Acting 111. This will not be graded.
Thanks!
I mentioned Brain Gym™ today. Here are a couple of links for more information. One is the official Brain Gym™ site.
The other is an article from Wikipedia. I feel there is some merit to the work, but I accept the criticism.
Syllabus
DRAM 212: Acting II
3 credit hours • January 14 - May 28, 2008 • TTh, 1:45-3:00 pm
Instructor: David Novak (adjunct)
E-Mail: novateller@aol.com
Office Hours: by appointment
Catalogue Description
A scene study class that includes introduction to character analysis; approaches to the
acting of realistic and some nonrealistic drama; and techniques of emotional, physical,
and psycho-logical scene preparations. Prerequisite: DRAM 111.
Overall Objective
To explore the creation of a role via Transactional Analysis game theory.
Course Narrative
We will seek to formulate a holistic approach to character and to create a methodology for effective script analysis by applying Berne’s Transactional Analysis to a study of Alan Aykbourn’s “Intimate Exchanges” and various modern plays.
Methods
Readings, lectures, scene study, performance, and coaching.
Core Texts
Games People Play by Eric berne
Intimate Exchanges by Alan Ayckbourn
Various additional scripts t.b.d.
Assignments & Requirements
Students are expected to attend and participate fully in discussions and class activities.
Each student is expected to participate in a class Web Log of responses and thoughts on class work.
Note: as of this writing not all course materials have arrived. As a result, reading assignments cannot be determined.
Attendance
Attendance is mandatory. Two absences are granted for the semester. Beyond that, a 2 point deduction will be taken from the final grade (for each additional absence).
Grading Policy:
Attendance = 10%
Participation = 20% (in class and online)
Scene Work = 45%
Final Project = 25%
*Extra Credit may be available as opportunity permits.
3 credit hours • January 14 - May 28, 2008 • TTh, 1:45-3:00 pm
Instructor: David Novak (adjunct)
E-Mail: novateller@aol.com
Office Hours: by appointment
Catalogue Description
A scene study class that includes introduction to character analysis; approaches to the
acting of realistic and some nonrealistic drama; and techniques of emotional, physical,
and psycho-logical scene preparations. Prerequisite: DRAM 111.
Overall Objective
To explore the creation of a role via Transactional Analysis game theory.
Course Narrative
We will seek to formulate a holistic approach to character and to create a methodology for effective script analysis by applying Berne’s Transactional Analysis to a study of Alan Aykbourn’s “Intimate Exchanges” and various modern plays.
Methods
Readings, lectures, scene study, performance, and coaching.
Core Texts
Games People Play by Eric berne
Intimate Exchanges by Alan Ayckbourn
Various additional scripts t.b.d.
Assignments & Requirements
Students are expected to attend and participate fully in discussions and class activities.
Each student is expected to participate in a class Web Log of responses and thoughts on class work.
Note: as of this writing not all course materials have arrived. As a result, reading assignments cannot be determined.
Attendance
Attendance is mandatory. Two absences are granted for the semester. Beyond that, a 2 point deduction will be taken from the final grade (for each additional absence).
Grading Policy:
Attendance = 10%
Participation = 20% (in class and online)
Scene Work = 45%
Final Project = 25%
*Extra Credit may be available as opportunity permits.
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