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Office Hours:
2:10 - 3:00 M, W, F
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Office Hours:
2:10 - 3:00 M, W, F
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Every challenge we face can be solved by a dream.
David Schwartz
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Theat361 (Performance II: Directing) is an intermediate course that builds upon the foundation of Performance I: Directing. As a follow-up to Theat261, the workshop environment is designed to provide the student-director with a high level of experimentation in solving more advanced problems as well as learning the staging skills necessary for directing in thrust theatre configurations. The overriding objective of Performance II: Directing is to focus on scene work drawn from contemporary plays. By sharpening skills and gaining confidence with contemporary, representational material, the intent is to create a firm foundation for the more stylistic, presentational material dealt with in Directing III. Beginning with silent scene work, and progressing to challenging, contemporary scripted material, Performance II Directing culminates in the direction of a one-act play. Even more so than Performance I, this course demands a team playing, ensemble, interactive commitment, and because of this, attendance at all classes is expected.
Since acting and directing are inextricably related disciplines, Performance II: Directing is scheduled at the same time as Performance II: 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 II with a highly practical, experientially based, learning laboratory.
Although the Acting and Directing components of Performance II are two separate courses of study, the intent is create a combined performance group that functions as a dynamic ensemble. With everyones combined ideas and energy, you will accomplish much more than you ever could alone. |
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1. |
Architects scale (in inches/feet) |
2. |
A prompt book (a notebook for your final play) |
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In addition to posting convenient items such as the syllabus and links to other theatrical places of interest on the web, the site includes:
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- 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).
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There are three official rehearsal areas that may be used throughout the term:
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The Wadleigh Theatre
Daggy 145
Dagy 319
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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:
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- All set pieces and props are returned to their storage areas.
- No food or glassware for any reason is brought into the Wadleigh Theatre.
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Project F: |
Beat It |
(Due Apr. 14) |
......... |
15 pts. |
Project G: |
Poster Design |
(Due Apr. 21) |
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10 pts. |
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DATE
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CLASS ACTIVITY
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READINGS
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WEEK 1 |
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Tues. |
Jan. 11 |
Thurs. |
Jan. 13 |
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Orientation |
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Workshop Exercises |
Read Text, pp. 1-15 |
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WEEK 2 |
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Tues. |
Jan. 18 |
Thurs. |
Jan. 20 |
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Discussion: Fat Pig |
Read play carefully:
Quiz at beginning of class |
Exercises: The Shape of Things |
Read play carefully
Quiz at beginning of class
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WEEK 3 |
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Tues.
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Jan. 25
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Thurs.
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Jan. 27
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SCENE 1: SILENT SCENE
Select one of the following |
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Listed as Scenes 1-4 in text
See pp. 17-42.
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SCENE 1: SILENT SCENE
(Continued)
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WEEK 4 |
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Tues. |
Feb. 1 |
Thurs. |
Feb. 3 |
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Thrust Theatre Workshop |
Read pp. 235 - 242 |
Leading Centers Workshop
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Read pp. 235 - 242 |
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WEEK 5 |
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WEEK 6 |
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Tues. |
Feb. 15 |
Thurs. |
Feb.. 17 |
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NO CLASS: ACTF |
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NO CLASS: ACTF
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WEEK 7 |
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Tues. |
Feb. 22 |
Thurs. |
Feb.. 24 |
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SCENE 3: MIDTERM SCENE
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Direct a 5 minute Scene from Fat Pig or Shape of Things using Thrust Staging. |
MIDTERM SCENE
(Continued) |
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WEEK 8 |
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Tues. |
Mar. 1 |
Thurs. |
Mar. 3 |
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Discussion: The Water Children
PROJECT A: Final Play Choice |
Read play carefully:
Quiz at beginning of class |
Cast Final Plays
Exercises: Speech and Dabate |
Read play carefully:
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WEEK 9 |
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Tues.
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Mar. 8
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Thurs.
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Mar. 10
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SCENE 4: SILENT SCENE
Select one of the following |
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Listed as Scenes 5-7 in text
See pp. 43-63.
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SCENE 4: SILENT SCENE
(Continued)
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SPRING VACATION: Mar. 14-18 (Mon. Fri.)
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WEEK 10 |
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Tues. |
Mar. 22 |
Thurs. |
Mar. 24 |
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PROJECT B: Point Conception |
Read pp. 243 - 252
pp. 269 - 275 |
Playing Against the Obvious &
Status Workshop |
Read pp. 215 - 218 |
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WEEK 11 |
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WEEK 12 |
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Tues. |
Apr. 5 |
Thurs. |
Apr. 7 |
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Organize Final Play Festival |
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Rehearsal for Final Scenes
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WEEK 13 |
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Tues. |
Apr. 12 |
Thurs. |
Apr. 14 |
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SCENE 6: FINAL SCENE |
Direct a 5 minue Scene from The Water Children using Thrust Staging. |
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Listed as Project D in text
see pp. 259-267
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WEEK 14 |
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WEEK 15 |
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WEEK 16 |
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THE FINE PRINT OF YOUR CONTRACT |
- Much of the time the class will be divided into teams. Directing students will at times be asked to act in other directors scenes.
- Watching plays is a wonderful way of learning more about directing. Students are expected to attend all one-act play, evening performances.
- Students are expected to function as Crew Heads for the Final Plays of other directors when needed.
- No make-up scene work will be permitted.
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- Grading will be based on the following 200 point scale:
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Silent Scene #1 (Stop Kiss) ........ |
10 pts |
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Justified Patterns .............................................. |
15 pts |
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Midterm Scene (Stop Kiss) ....... |
20 pts |
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Silent Scene #2 (Fool for Love) ........................ |
10 pts |
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Playing Against the Obvious............................. |
15 pts |
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Final Scene ........................................................ |
20 pts |
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One-Act Play...................................................... |
30 pts |
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A, B, C (10 points each) .......................... |
30 pts |
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(5 Fat Pig, 5 Shape of Things, 10 Water Ch. |
20 pts |
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- Participation and Critiques ...................................................
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10 pts |
- Directors Talk About Directing (Discussion Board) ..........
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20 pts |
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Attendance at all classes is essential and expected. For each missed class 3 points will be subtracted from your total number of available points.
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A ....... 191 - 200 |
B+ ....... 171 - 180 |
C+ ....... 141 - 150 |
D+ ....... 111 - 120 |
A- ..... 181 - 190 |
B .......... 161 - 170 |
C .......... 131 - 140 |
D- ........ 100 - 110 |
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B- ......... 151 - 160 |
C- ......... 121 - 130 |
F .............. 0 - 99 |
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Using three or more actors, pick one of following types of silent scenes to direct. |
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- Silently Familiar/Silently Strange
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Follow the dictates of the exercise specified in the text (pp. 17-42), except base your who, what, and where around Fat Pig or The Shape of Things. |
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Scene 2: Justified Patterns |
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Working with a co-director, together you will direct two scenes. In the first scene, select a single pattern from those provided in the text on p. 81. Create a ground plan, and a situation from the world of Fat Pig or The Shape of Things that justifies your selected pattern. In the second scene, working with the same material, create a very contrasting scene by either selecting a different pattern, or working with the same pattern in a different way. |
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Working with thrust staging, direct a 5 minute scene from Fat Pig or The Shape of Things. The scene will be performed twice, once silently, and once with words. |
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Using three or more actors, pick one of following types of silent scenes to do. |
- Breaking Silent Boundaries
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Follow the dictates of the exercise specified in the text (pp. 17-42), except base your who, what, and where around The Water Children |
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Scene 5: Playing Against the Obvious |
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Focusing on the concept of playing against the obvious, select a scene from The Water Childrens. In justifying the dialogue, the overall objective is to explore the complex interplay between text and movement. Exploring the ramifications of movement coming either before or after a line is for most student directors an eye-opening experience, but with this exercise the director is given many new doors to open in experimenting with the fascinating relationship between the visual and the verbal parts of the performance. |
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Your final weekly scene showcase. Direct a 5 minute scene from The Water Children. |
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Direct a one-act play (no longer than 30 minutes) for thrust staging. |
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PROJECT A: Final Play Choice |
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Performance is to be no longer than 30 minutes. A cover sheet and a complete copy of the script are required. |
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PROJECT B: Point Conception |
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In addition to finding a picture and a musical selection that epitomizes your Final Play; the intent is to simulate a production meeting in which the director discusses his production concept with the set and costume designer. Members of the workshop will assume the actual roles of the designers, and other interested personnel. See pp. 269-275 in text for details. |
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PROJECT C: The Directing Book |
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Create a prompt book (your directors notebook) for your final production. See pp. 277-283 in the text for a complete explanation of how to create an effective Prompt Book. |
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PROJECT D: Beat It (Extra-Credit) |
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On a Xeroxed copy of your script, separate the climax of your Final Play into beats, drawing lines at the exact places in the text where the changes occur. Number and phrase each of the beats. See pp. 259-267 in text for details. |
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