Office Hours:
9:00-10:00 M, W, F
Office Hours:
9:00-10:00 M, W, F
TERRY CONVERSE
converse@wsu.edu
Fall 2010
Teaching Assistants:
Dani Dodge dani.dd@live.com
Malinda Childers: mm.childers@hotmail.com Kayla Bieber: kbieber@wsu.edu
Every child is an artist.
The problem is how to remain an artist after he grows up.
—Picasso

Description

Texts

 Supplies

Website

Schedule

Evaluation

DESCRIPTION:

Since acting and directing are inextricably related disciplines, Performance I: Directing is scheduled at the same time as Performance I: Acting in order to provide mutually beneficial training opportunities for both acting and directing students. At times the Directing and Acting classes will be held separately, but frequently they will be brought together to experiment with mutually challenging director/actor, collaborative exercises. Simultaneous scheduling provides both the acting and directing students of Performance I with a highly practical, experientially based, learning laboratory. Structured in a workshop format, the intent of Performance I: Directing is to study the principles, procedures, and practices of stage direction. Beginning with a non-verbal approach to composition and movement study, and progressing to more formal text work, the various exercises culminate in the direction of a ten-minute play for public performance.

Although the Acting and Directing components of Performance I are two separate courses of study, the intent is create a combined performance group that functions as a dynamic ensemble. With everyone’s combined ideas and energy, you will accomplish much more than you ever could alone.

As does theatre itself, this course demands a highly interactive, team playing commitment and, because of this, attendance at all classes is expected.
TEXTS:
1. Directing for the Stage:
A Workshop Guide of Creative Exercises and Projects.
Colorado Springs: Meriwether Publishing Ltd., 1995 (ISBN: 1-56608-014-2).
2. On-Line Course Packet.
Cover sheets, rhearsal exercises, handouts, etc.
3. Various ten-minute play collections. These collections are for optional purchase since they are all available on reserve in Holland. For a complete listing of these collections, see: Ten Minute Play Collections.
SUPPLIES:
1. Architect’s scale (in inches/feet)
2. A prompt book (a notebook for your final play)
3. Journal Notebook (optional)
THEAT. 261 WEBSITE:

In addition to posting convenient items such as the syllabus and links to other theatrical places of interest on the web, the site includes:
  • A CONTACT SHEET (including phone numbers and hypertexted e-mail addresses of class members. This password to enter your information is: <playscript>.   
  • An on-line discussion board used for your DIRECTORS TALK ABOUT DIRECTING postings. You need to have a minimum of one posting for each of the nine scenes performed in class. The overall intent of this activity is to literally amplify and add to our in-class discussions. Your postings can be either new threads or follow-up responses).
The URL is:
http://www.wsu.edu/~converse/new261/index.html
Both E-mail and Web access
are required for Theat.261.
REHEARSAL SPACE:

There are two official rehearsal areas that may be used throughout the term:
The Wadleigh Theatre
Daggy 145
Dagy 319

Sign up each week on the official bulletin board outside of the Green Room. Rehearsal spaces are limited to one hour per week, and your time is forfeited if your group is not rehearsing by five minutes after the hour. It is your responsibility to see that:
  • All set pieces and props are returned to their storage areas.
  • No food or glassware for any reason is brought into the Wadleigh Theatre.
EXTRA CREDIT PROJECTS:
Project D: Beat Analysis (Due Nov. 17) ......... 10 pts.
Project E: Prompt Book (Due Dec. 10) ......... 10 pts.
Project F: Journal (Due Dec. 10) ......... 10 pts.
Project G: Lighting Design (Due Dec. 3) ......... 10 pts.
Project H: Program Design (Due Dec. 3) ......... 10 pts.
MASTER SCHEDULE
DATE
CLASS ACTIVITY
READINGS
WEEK 1
Mon. Aug. 23
Wed. Aug. 25
Fri. Aug. 27
Orientation
Workshop Exercises Read Text, pp. 1-15,
Read Packet, pp. v - xix
Workshop Exercises
WEEK 2
Mon. Aug. 30
Wed. Sept.1
Fri. Sept. 3
Workshop Exercises
Workshop Exercises Read Text, pp. 21-24,
No Class (Labor Day)
WEEK 3
Mon. Sept. 6
Wed. Sept. 8
Fri. Sept. 10
Rehearsal for Scene 1
SCENE 1: SILENT TENSION Listed as Scene 1 in text
See pp. 21-24.
SCENE 1 (continued) Read Text, pp. 25-31,
WEEK 4
Mon. Sept. 13
Wed. Sept. 15
Fri. Sept. 17
Rehearsal for Scene 2
SCENE 2:
SOUNDS OF SILENCE		 Listed as Scene 2 in text
See pp. 25-31.
SCENE 2 (continued) Read Packet, pp. 25 - 38.
WEEK 5
Mon. Sept. 20
Wed. Sept. 22
Fri. Sept. 24
Rehearsal for Scene 3
Listed as Scene 3 in text
See pp. 33-38.
SCENE 3 (continued) Read Packet, pp. 39 - 63.
WEEK 6
Mon. Sept. 27
Wed. Sept. 29
Fri. Oct. 1
Justified Movement Workshop, Part 1 Read Text, pp. 65-110,
Justified Movement Workshop, Part 2
Working with Actors Workshop #1
WEEK 7
Mon. Oct. 4
Wed. Oct. 6
Fri. Oct. 8
Rehearsal for Scene 4
SCENE 4:
FREE 'N FIXED		 Listed as Scene 11 in text
See pp. 83-88.
SCENE 4 (continued) Read Packet, pp. 5-8, p. 25.
WEEK 8
Mon. Oct. 11
Wed. Oct. 13
Fri. Oct. 15
Rehearsal for Scene 5
SCENE 5:
MOSAIC MOVEMENT		 Listed as Scene 12 in text
See pp. 89-96.
SCENE 5 (continued)
WEEK 9
Mon. Oct. 18
Wed. Oct. 20
Fri. Oct. 22
Rehearsal for Scene 6
SCENE 6:
FULLY FIXED		 Listed as Scene 13 in text
See pp. 97-106.
SCENE 4 (continued)
WEEK 10
Mon. Oct. 25
Wed. Oct. 27
Fri. Oct. 29
PROJECT A: 10 Min. Play Choice DUE
Working with Actors Workshop #2 		(cast Scene 8: Brecht Test)
See pp. 157-176
(cast Ten Minute Play)
Ground Plan Workshop Read Text, pp. 111-156,
Workshop Exercises
WEEK 11
Mon. Nov. 1
Wed. Nov. 3
Fri. Nov. 5
Rehearsal for Scene 7
5:00 PM Extra Auditions (if needed)		 Listed as Scene 20 in text
See pp. 149-154.
SCENE 7:
TIME TO LET GO		 Listed as Scene 20 in text
See pp. 149-154.
SCENE 7 (continued)
WEEK 12
Mon. Nov. 8
Wed. Nov. 10
Fri. Nov. 12
PROJECT B: Music & Painting Listed as Project E in text
See pp. 269-275
NO CLASS (Veteran's Day)
Organize Ten-Minute Play Festival
Working with Actors Workshop #3
WEEK 13
Mon. Nov. 15
Wed. Nov. 17
Fri. Nov. 19
SCENE 8:
THE BRECHT TEST		 Listed as Scene 23 in text
See pp. 173-176.
SCENE 8 (continued)
Ex Cr: PROJECT D: Beat It		 Listed as Project D in text
See pp. 259-267
SCENE 8 (continued)

THANKSGIVING VACATION: NOV. 22-26 (Mon. — Fri.)
WEEK 14
Mon. Nov. 29
Wed. Dec.1
Fri. Dec. 3
Dress Rehearsal (Evening Class) 7:00 - 11:00 PM
Dress Rehearsal (Evening Class) 7:00 - 11:00 PM
Dress Rehearsal (Evening Class) 7:00 - 11:00 PM
WEEK 15
Sat. Dec. 4
Sun. Dec. 5
Mon. Dec. 6
Tues. Dec. 7
Wed. Dec. 8
Thurs. Dec. 9
Fri. Dec. 10
TECH. REH: (10:00 AM. - 11:00 PM.
TECH. REH: (10:00 AM. - 11:00 PM.
PERFORMANCES (Plays 1 - 5) performaces begin at 7:00 PM
PERFORMANCES (Plays 6 - 10)
PERFORMANCES (Plays 11 - 15)
 & in-class Critiques (M-Tu Plays)
after perf. critique of Wed. plays)
PERFORMANCE (Plays 15 - 20) FINAL STRIKE All attend Strike—no exceptions
PROJECT C: Critique
Directors Talk About Directing
Ex Cr: PROJECT E: Prompt Book
Ex Cr: PROJECT F: Journal		 & in-class Critiques (M-Tu Plays)
Listed as Project F in text
See pp. 277-283
THE FINE PRINT OF YOUR CONTRACT
  1. Much of the time the class will be divided into teams. Team members will act in each other’s scenes. At times the teams will be composed of Perf. I Directors only, while at other times the teams are composed of Perf. I Actors only.
  2. Watching plays is a wonderful way of learning more about directing. Students are expected to attend all ten-minute play, evening performances.
  3. Students are expected to function as Crew Heads for the Final Plays of other directors when needed.
  4. No make-up scene work will be permitted.
EVALUATION:
(Online Gradebook at: http://lms.wsu.edu//)
  1. Grading will be based on the following 200 point scale:
  • Scene 1:
Silent Tension................................................. 10 pts
  • Scene 2:
Sound of Silence............................................. 10 pts
  • Scene 3:
Silently Familiar/Silently Strange.................. 15 pts
  • Scene 4:
Free 'n Fixed.................................................. 10 pts
  • Scene 5:
Mosaic Movement......................................... 10 pts
  • Scene 6:
Fully Fixed...................................................... 15 pts
  • Scene 7:
Time to Let Go............................................... 15 pts
  • Scene 8:
The Brecht Test............................................. 25 pts
  • Scene 9:
The Ten Minute Play.................................... 30 pts
  • Projects:
A, B, C (10 points each)....................... 30 pts
  • Participation & Critriques................................................
10 pts
  • Directors Talk About Directing.......................................
20 pts

Attendance at all classes is essential and expected. For each missed class 3 points will be subtracted from your total number of available points.
A ....... 191 - 200 B+ ....... 171 - 180 C+ ....... 141 - 150 D+ ....... 111 - 120
A- ..... 181 - 190 B .......... 161 - 170 C .......... 131 - 140 D- ........ 100 - 110
- B- ......... 151 - 160 C- ......... 121 - 130 F .............. 0 - 99
SCENE AND PROJECT NOTES:
Scene 1: Silent Tension
Using two actors from your team, create a scene with clearly established characters, situation, and location in which the tension between characters is so strong that they are unable to speak. The who, what, and where must be clearly communicated by the silence.
Scene 2: Sounds of Silence
Using a musical underscore, create a two character silent scene where both characters are so overwhelmed with emotion as to be bereft of speech. In addition to using music as a means of tapping into the emotional core of the scene, plan also to use the communicative power of body positions to reinforce fully the “sounds of silence.”
Scene 3: Silently Familiar / Silently Strange
Create a two character silent scene in which something familiar becomes something strange. Justify the situation and the silence by strategically bringing into play the differences between right and left. The scene will be presented two ways: first, as originally staged and second, as a mirror staging of the scene.
Scene 4: Free 'n Fixed
Character A has a “fixed” set of 14 movements which must be followed exactly as given, whereas character B is “free” to move as needed. Character B’s “free” movements should be interrelated with character A’s movements in whatever ways seem effective. The challenge is to create a two character scene in which the integrated movements of both players fully justify the situation, characters, and lines.
Scene 5: Mosaic Movement
Both character A and B have a “fixed” set of movements which must be followed exactly as given, although it is totally up to the director to decide exactly how to integrate the two separate sets of character movements into a cohesive, meaningful scene.
Scene 6: Fully Fixed
You are provided with a ground plan and detailed blocking, but no lines, for a three person scene. Create a situation, characters, and accompanying lines that justify the given blocking. Cast, rehearse, and perform the scene.
Scene 7: Time to Let Go
You are provided with almost everything!—a specific situation, characters, dialogue, and moment for moment motivation. What more could you possibly want? A Ground Plan? Well, since everything else is provided, you are called upon to create the perfect ground plan, and stage a sensational scene to show it off.
Scene 8: The Brecht Test
Bertolt Brecht believed that blocking was the backbone of the production; ideally he felt that the blocking should be able to tell the main story of a play—and its contradictions—by itself, so that a person watching through a glass wall unable to hear what was being said would still be able to tell the main story of the play. To test Brecht’s idea, the director will present an open scene silently as a visual pantomime and then regularly with the dialogue.
Scene 9: The Ten Minute Play
Your final showcase. Direct a ten-minute play.
PROJECTS
PROJECT A: The Ten Minute Play Choice
Your final showcase. Direct a ten-minute play.
PROJECT B: Music and Painting Choices
Find a picture that epitomizes your production. If your play were a picture, what specific picture would it be? Also find a musical selection that epitomizes your production. If your play were a piece of music, what specific music would it be.
PROJECT C: Critique
A short critique of your ten minute play (ca. 2-3 typed pages).
EXTRA CREDIT PROJECTS
PROJECT D: Beat It
On a Xeroxed copy of your script, separate the play into beats, drawing lines at the exact places in the text where the changes occur. Number and phrase each of the beats.
PROJECT E: The Directing Book
Create a prompt book (your director’s notebook) for your final production. See pp. 277-283 in the text for a complete explanation of how to create an effective Prompt Book.