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URGENT!

I STILL DO NOT HAVE BLOG ADDRESSES POSTED FROM THE FOLLOWING:

WEI LIM

MOHAMMED

ZHONG

Please post immediately or risk losing all credit for your journal.

If your blogs are not posted by Monday, I will not read them.

I would appreciate it if other students would direct these three to this posting.

 

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FINAL EXAMINATION AND EXPERIMENTAL THEATRE MATTERS

Due to heavy demand and the difficult examination, the following limitations are in effect:

  • Ms Pat’s classes have the space for most of this upcoming weekend (April 21-22). There are only two slots open: Sunday 8-10 AM and Sunday 6-10 PM. If you want to reserve either of those times, arrange with Ms. Shamala. You are, of course, free to work outside the Experimental Theatre.
  • The following weekend (April 28-28) the space is reserved by Ms Pat from 8-1130 AM on Saturday. All other times are free for you to use. Again, please arrange with Ms. Shamala but also copy your time slots to me.
  • Tuesday, May 1 (holiday) is reserved for tech/dress rehearsals for both THTR 101 (8  AM – NOON) and THTR 102. (NOON – 8 PM). THTR 102 Students: Please arrange slots (not more than 2 hours) with Stage Managers. Stage Managers, please let me know times for each scene. Stage Managers please liase between 101 and 102 so that there is mutual support. ALL PROPS, COSTUMES, MUSIC, LIGHTING, SETS MUST BE READY!!!!
  • POSTER should be out on MONDAY 23 of April.
  • Final Exam performance times on 2 May are: THTR 101: 3:30 PM- 4:30; THTR 102: 5-7 PM. Performance order for THTR 102 needs to be worked out.
  • Written Work: Journals, etc. are due the day after the performance: Thursday, May 3 by NOON in my office. It would be good if you could turn in with  your scene partners so I can give feedback.
  • If anyone has any question about anything: please ask Rey.

BREAK LEGS!

AGONG’S INSTALLATION HOLIDAY — OR NOT

Wednesday, April 11th is a holiday.

I have reserved the Experimental Theatre for the entire day. If you want to work, please work out your times and reserve with Ms. Shamalah.

The space will also be open to the THTR 101 students, so consult with them. It’s ok if more than one project is rehearsing in the space at the same time. Cooperate.

I will be available to assist you ONLY IF YOU ARRANGE A TIME WITH ME IN ADVANCE.

Duli Yang Maha Mulia Sultan Kedah Tuanku Almu’tasimu Billalhi Muhibbuddin Tuanku Alhaj Abdul Halim Mu’adzam Shah ibni Almarhum Sultan Badlishah as Yang di-Pertuan Agong XIV.

JOURNALS (MIDTERM)

I will be looking at your journals beginning today. Please make certain they are up to date and contain all the written work for your midterm scene.

NEUTRAL SCENE


 


A: Please

 

B: I can’t

 

A: Just try

 

B: I don’t know

 

A: Please

 

B: Can you

 

A: Don’t Even

 

B: But

 

A: No

 

B: You’re Mad  

 

A: Please  

 

B: Alright  

 

A: Ready  

 

B: You know 

 

A: What’s that?  

 

B: Here  

 

A: Okay  

 

B: Great   

MIDTERM EXAMINATION

In pairs (or group of three), develop a scene based on a phone conversation between two (or three) people in different places. Adhere to all the following:

  • Complete object exercises for both characters.
  • Beats for both characters.
  • Complete scored script.
  • Use of props and space.
  • Fourth wall (s)
  • listening: find the reaction beat(s).

Base the scene on your own shared experiences and characters based on your own observations. The situation and the characters should be vivid and clear.

During the two-person exchange, there must be a hanging up and a calling back.

Energy and projection will count. Make sure you are vocally and physically filling the performance space.

Make sure the scene is thoroughly rehearsed.

Time: 1 1/2 – 2 1/2 minutes (3 minutes for 3 some) strictly enforced.

Grade: all get same grade.

Dates: 3/7 and 3/9

ASSIGNMENT FOUR: PHONE CONVERSATION X 3

Create and perform a set of telephone conversations where you talk to three different people in the same scene. For each person on the other end, perform a different persona. Depending on your objective and who the listener is, change your tone, your body language, and even your language (Malaysians take on different identities with different languages and accents). In a sense, you will be performing three different characters — but all part of yourself.

1 1/2 – 2  minutes

The requirements for this are the same as Assignment Three:

  • Beat sheet
  • Object Ex
  • Script (scored)
  • Journal work.
  • Use of props and fourth wall.

ASSIGNMENT THREE: PHONE CONVERSATION: USING THE FOURTH WALL

Create and perform a telephone conversation based on your own experience. Consider and perform the following:

  • “Spotting:” the fourth wall above the audience. Using it as a place to focus and project.
  • Listening to the other voice: using visualization.
  • Using your words and pauses to further your objective and overcome obsticles
  • Using props other than the phone.

 

 

 

IN YOUR JOURNAL:

  • Script with scoring of beats
  • Object exercise sheet
  • Account of rehearsal process

ASSIGNMENT TWO

 

UTA

Rehearse and perform a 1 1/2 to 2 minute presentation based on Uta Hagen’s Object exercises.

  • Use three or more props.
  • A specific indoor space which you fully imagine — draw a map of it in your journal. Try to make the space interesting and try to use it.
  • In this scene, your super-objective must change between your entrance and your exit. The change should be on a specific beat and involve one or more of the props.
  • You must have a sheet of paper where you score specific beats (units of action). Remember that, in a play, every “something happening,” every event, is both the second half of the action it completes and the first half of the action it begins. (That is the sense in which action is like the sound of one hand clapping. It is also the reason plays keep going until the end.) When you define the limits (beginning and end) of a beat of action, you are not exactly identifying the end of one action and then the beginning of the next; you are rather identifying the pivot po int, the place at which the action turns or transform. (Chas Homes)
  • You may enter and exit, or be “discovered” on stage at the beginning (call “curtain”) or enter and remain on stage at the end call “curtain”.
  • Make your exit and entrance clear: Where have I come from? What have I just done? What do I want in the space?

THTR 102 COURSE DESCRIPTION AND COURSE OUTLINE

Credit Hours              :           3

Semester                     :           Winter 2012

Class Times                :           Mon, Fri,. 08:00 – 09:30

Instructor                   :           Rey Buono

E-mail:  rey.buono@taylors.edu.my

Tel: 016 2592245

Office                          :           ADP Staff Room #9

Consultation Times   :           Mon, Wed: 10:30 – 11:30 and by appointment

 

PRE-REQUISITE    :           THTR 101 

COURSE DESCRIPTION

This course is designed to build on the basic skills acquired in THTR 101. Students will work individually on open scene performances and in groups of two to three on performance ten minute scripted plays Students will acquire methods of characterization and presentation appropriate to modern realistic acting. They will also develop a working knowledge of scene structure, blocking, beat analysis, movement, pacing, use of properties, and scene presentation. Toward the end of the semester, work will focus on more advanced scenes.

COURSE OBJECTIVES

By the end of the course, students will

By the end of the course, students will

  • Develop the acting skills learned in THTR 101.with a focus on realistic acting
  • Be able to analyse a one-act playscript for performance.
  • Prepare a production book.
  • Work in pairs and groups  to produce a short play.

STUDENT LEARNING OUTCOMES

At the end of this course students willbe able to:

  • Achieve a basic understanding and mastery of the skills of realistic acting.
  • Acquire the skills of characterization
  • Be able to transform words on a page to actions on stage
  • Perform in front of audiences
  • Recognize the importance of ensemble

COURSE EVALUATION

 

Class work

35%

Mid Term Exam (Presentation)

10%

Final Exam (Presentation)

30%

Journal

25%

Total

100%

GRADING SCALE

Percentage Grade

Points per Credit Hour

Percentage Grade

Points per Credit Hour

97% – 100% A+

4.00

70% –   73% C

2.00

90% –   96% A

4.00

67% –   69% C-

1.70

87% –   89% A-

3.70

64% –   66% D+

1.30

84% –   86% B+

3.30

60% –   63% D

1.00

80% –   83% B

3.00

55% –   59% D-

0.70

77% –   79% B-

2.70

0% –   54% F

0.00

74% –   76% C+

2.30

The final grade for the course may be curved by moderating the students’ raw scores.

REQUIRED TEXTS

Excerpts from theatre practitioners and theorists.

Two full length plays to be determined in consultation with lecturer.

Assigned attendance at live performances in Kuala Lumpur

REFERENCE TEXT(S)

Hagen, Uta (1991) A Challenge for the Actor: New York; Scribners.

 

CLASS POLICIES

 

Attendance

PUNCTUAL ATTENDANCE IS REQUIRED AND STRICTLY ENFORCED.

  • 2 unexcused absences will result in the reduction of grade by one full point
  • Classes begin on time. Coming in after the beginning of class is a lateness.
  • 2 unexcused lateness = 1 unexcused absence.
  • If you are going to be unavoidably  late, you must inform stage manager.
  • This policy also applies to rehearsals outside class.

 

Journal

  • Students are required to keep a blog journal recording experiences and impressions in the class. The journal will also be used as a “sketchbook” for performance ideas. The journal should contain at least three substantial entries per week. At least one entry must be a record and reflection of class work done that week. Another should be an entry on your own rehearsal process outside class. A third may be open or on a specific assigned topic
  • By permission of the instructor, a student may substitute a written journal for a blog journal. But care should be taken not to lose it.

Blog:

The course also has its own blog: adpcenterstage.wordpress.com. Students are responsible for its content and should check it frequently.

Week

 

Topics

1

 

Introduction to the course Object Exercises

2

 

Object Exercises: Open Scenes

3

 

Developing Open Scenes for Performance

4

 

Begin work on 10 minute plays.

5  10 Minute Plays: Script analysis

6

10 Minute Plays: Beats and objectives

7

10 Minute Plays: final choices and performance preparation

8

Mid Term Performance Exam:

9

Begin advanced scene work

10

 

Text analysis and research

11-13

 

Develop advanced scenes

14

Advanced Scenes: performance choices, final blocking, costumes, lighting, props.

 

15

 Final Performance Examination
Total number of hoursNumber of class hours

Number of credit hours

45

45

3

 

 

COURSE SCHEDULE

Please note that the course instructor reserves the right to modify the work schedule as and when deemed necessary.

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