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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

ACTING WITH BEATS: ONE

OVERALL OBJECTIVE: INTENTION What is your overall objective in the scene? It must be SINGULAR, IMMEDIATE, AND PERSONAL. If you make an entrance, it brings you into the space.

  • SINGULAR: You must be focused on one thing.
  • IMMEDIATE: It must be something you can get now.
  • PERSONAL:  It must be important to you.

OBSTICLE: WHAT IS IN MY WAY? You must be able to play the obstacle. It cannot be abstract.

  • EXTERNAL OBSTICLE: Focused on an object or person outside you: a corkscrew, a sound, the way a character looks at you.
  • INTERNAL OBSTICLE: Focused on something inside you: a fear, a memory, a desire. It must be specific. It can be an image in your mind. It can lead to expression in your body: sweaty armpits.

ACTION (TACTIC): What you do to get to your objective.

  • Advance toward the objective
  • Overcome an obstacle
  • Deal with current circumstance
  • Be expressed with an active verb
  • Connect with the other actor
  • Be conditioned by the relationship (which changes in the scene from minute or second to minute or second).
  • Change all the time.

YOUR OBJECTIVES MUST BE SPECIFIC AND PLAYABLE IN THE SCENE

  • Bad objective: to make her happy; to make her love me
  • Good objective: To  make her laugh at my funny face!

YOUR ACTIONS MUST BE VERBS – AND THEY MUST BE DOABLE IN THE SCENE! THE VERB MUST LEAD TO A RESULT YOU CAN CATCH IN THE SCENE. Here is an extensive list of playable verbs by Paul Kuritz. You can add your own. The more specifc your verb, the more specific your action

  • VERB: To amuse.
  • ACTION: I stick out my tongue and cross my eyes

THIS ACTION WILL LEAD TO A RESULT YOU WANT, OR NOT. IF IT DOESN’T, THEN WHAT? CHANGE ACTION? REPEAT ACTION?

BEATS: Every scene/moment must be broken down into beats!

  •  I’VE GOT TO_____________ (>)
  • HOW ­­­______________ (<)
  • SO I _____________(=)

Example 1: External

>Open this jar<How stuck it is!=I use my upper body and squeeze my hands as hard as I can<my hands hurt!>rest my hands=I stop twisting and shake out my hands

Example 2: Internal

>Get the boss behind that door to give me a raise<I don’t know what mood he’s in>I will get him to say “come in”>I knock softly on the door.

LINE: BOSS: Come in! What do you want? (shouts angrily)

< How angry he sounds! > My body stiffens> I won’t ask him now > I open the door gently> How he’s glaring at me!> I will sooth him>I smile and gently open the door:

LINE: (smiling) Just wanted to know if there’s anything you need, Mr. Tan.

IMAGES:

Images can motivate a moment from inside the actor: for example:

  • I knock softly on the door (Image: touching a hot stove)
  • How angry he sounds! (Image: Memory: my father shouting at me)

 


OBJECT EXERCISES

OBJECT EXERCISES

Who am I?

Where am I?

What time is it?

What surrounds me?

What are my relationships?

What are the given circumstances?

WHAT DO I WANT (objective)?

WHAT IS IN MY WAY (obstacle)?

WHAT DO I DO TO GET WHAT I WANT (ACTION)?

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?

ASSIGNMENT ONE

Rehearse and Perform a one-minute presentation based on the object exercises. You may use only one prop. You must enter into a specific space and exit for an organic reason. Please record your rehearsal process in your journal.

PARAH

It is strongly urged (required) that you attend a performance of this show. Let us try to arrange to go as a group.

PARAH (1st-6th Feb)

Who are the indigenes and who are the immigrants? Is there a grain of truth in even the most repellent stereotype? What power does a word have to shape reality? And is a civic nationalism possible in any society obsessed with race?Inspired by Yasmin Ahmad’s final film, ‘Talentime’, as well as Abdullah Hussain’s novel, ‘Interlok’, Parah is a timely exploration of how identities are contested in a young, pluralistic nation. Funny, provocative and moving, Pariah asks urgent questions about love, home and belonging.

Presenter: Instant Café Theatre Company

Genre: Stage Play

Date & Time: 1st, 2nd , 3rd , 4th , 5th, 6th February 2012 @ 8:30pm

4th & 5th February 2012 @ 3pm

Venue: Pentas 2, Ground Floor, The Kuala Lumpur Performing Arts Centre

Ticket Prices

Wednesday: RM38 flat-rate

Thursday – Sunday: RM48

CONCESSION PRICING RM38 (limited to 4 rows of seats = 76 seats)

*Concession price includes Student, Disabled, Senior Citizen and seats are allocated at the top row or ground row.

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.

WELCOME TO THTR 102

 

In this course, you will develop and hone your skills as an actor by working with dramatic texts. You will learn the basics of characterization, scene analysis, playing objectives, working with other actors, and working in the theatrical space. You will also learn how to prepare for public performance.

You will be expected to do a lot of rehearsing outside class, so it is important that you reserve time in your week (weekends as well) to prepare you assignments. It’s also a good idea to locate a private space for your rehearsal work. The Experimental Theatre is heavily booked.

You will also be required to document what you do in two ways:

  • A “sketchbook” that you bring to every class and rehearsal. This is a receptacle for any and all of your ideas, notes, drawings, costume and make-up ideas, quick thoughts, pasted scraps, nonesensical ramblings, observations, — whatever. This sketchbook is entirely private. You need not show it to anyone except me.
  • A polished Journal to be kept on a blog that makes sense of the course and the projects as you go along. I will expect at least two entries per week on the blog and will check on it frequently. You must link to this blog in the comments section below.

OFF WE GO!

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