REQUIRED TEXTS:
 
 Shurtleff, Michael.  Audition.  Bantam Books: New York, 1980.
 Gotanda, Philip Kan.  The Wash.  Samuel French Publishers, Inc., 1990.
 

COURSE OVERVIEW & OBJECTIVES

 Fundamentals of Acting is a course for actors who want to develop their interaction and responsiveness through work with theatre games, improvisation, and scene work.  With completion of this course the student should be able to interpret dramatic literature and shape it into clear, sensitive, and imaginatively interesting behavior.  Above all, the student should gain a respect for acting as a profession worthy of mature dedication.

REQUIREMENTS:

1.  ATTENDANCE AND LATENESS:  Students are expected to attend every class on time and contact the instructor prior to class should conflicts arise.  Repeated lateness will also lower grades.
 Students are expected to attend the two Theatre Arts mainstage performances.

2.  ETIQUETTE:  Eating, drinking, and smoking are prohibited within the working area unless required in a scene or monologue.  Students are expected to respect the work of other students by quietly observing their scenework and providing them with supportive feedback.  Also, students should wear clothing that does not restrict movement.

3.  PERFORMANCE ASSIGNMENTS:  Students are required to perform one monologue and two scripted scenes.  These are critiqued, worked in class, and later brought back for final presentation.

4.  WRITTEN ASSIGNMENTS:  Students write two short (2-3 pages) creative papers: 1) Character analysis for Scene #1 - the imagined history of the character; and
 2) Personal Monologue - based on a past relationship.

5.  EVALUATIONS and EXAMS:  Four unannounced written evaluations determine the student's comprehension of assigned reading materials (Shurtleff and The Wash) and Theatre Arts Mainstage productions.
 The Mid-Term exam is based on the text and grades students on their ability to synthesize the readings into well organized interpretations of the actor's process.  The presentation of the student-written monologues serves as the Final Exam.

6.  GRADES:  Final grades will reflect the student's progress in acting on scenework, exercises, and monologues, but also includes the student's ability to incorporate lessons and take direction, to participate actively in class, and to develop the discipline required of a working actor.  Makeups for all exams, written assignments, and performances will forfeit 20% of their total grade.
 

  2 Written Assignments (10 points each)    20
  Scene #1      10
  Scene #2      20
  4 Evaluations (5 points each)  20
  Mid-Term Exam       10
  Final Exam      10
  Attendance & Participation      10
     100 points

SUGGESTED READINGS:
 

 Tony Barr   Acting for the Camera
 John Barton  Playing Shakespeare
 Robert Benedetti  The Actor at Work
 Cecily Berry   Voice and the Actor
 Robert Cohen  Acting Professionally
 Uta Hagen   Respect for Acting
 Nancy King   Theatre Movement
 Kristin Linklater  Freeing the Natural Voice
 Charles McGraw  Acting is Believing
 Sanford Meisner  Sanford Meisner on Acting
 Michael Shurtleff  The Working Actor's Scenebook
 Fred Silver   Auditioning for the Musical Theatre
 Viola Spolin  Improvisation for the Theatre
 C. Stanislavski  An Actor Prepares

 DAILY SCHEDULE:

AREA "A" - Creativity and Spontaneity Skills
(Theatre Games, Improvisation, Voice and Movement Work)

Introduction
Body Awareness
Vocal Awareness

Relaxation & Concentration
Guideposts (Read Guideposts 1 to 4 - Shurtleff)
Observation

Objectives vs. Obstacles
Guideposts (Read Guideposts 5 to 8 - Shurtleff)
TBA (To Be Announced)

Holiday - No Class
Action Beats (Read Guideposts 9 to 12 - Shurtleff)
Improvisation
 

AREA "B" - Critical Thinking and Problem Solving
(Script Analysis and Scenework)

Script Analysis    (Read The Wash)
Given Circumstances
Mar.   1  TBA  (See Theatre Arts Production #1)

Character Analysis
Work Scene #1  (Scene Analysis - Intentions)
Scenework (Off Scene Improvs)

Mid-Term Exam (Shurtleff's Guideposts)
Scenework (Subtext & Neutral Scenes)
TBA (Rehearsal Day)

Dress Run Scene #1   (Character Analysis Due)
Pacing and Diction
Final Scenes (Scene #1)
 
 
AREA "C" - Self Knowledge and Expression
(Monologues and Real Life Scenes)

Personal Awareness   (Read Chapters 1 and 2 in Shurtleff)
Monologue Work (Research)
Monologue Work (Writing)   - Woman's Play Fest - Mar 28-30
 

SPRING BREAK APRIL 1 - 6

Real Life Scenes  (Read Chapters 3 to 6 in Shurtleff)
Neutral Scenes (Scene Selection #2 Due)
TBA
 

AREA "D" - Interaction Skills
(Scenework)
Cold Readings of Scene #2
     (Read Chapters 7 to 10 in Shurtleff)
Scenework #2  (Monologues Due)

Non-verbal Scenework
Listening Skills (Offbook for first half of Scene #2)
TBA

Relationship
Subtext
Scenework (Blythe Spirit opens - May 3 - 12)

Monologue Rehearsal
Work on Scene #2 (Offbook for complete scene)
TBA (Rehearsal Day)

Dress Run for Scenes (Read Chapter 11 in Shurtleff)
Final Scenes