Fall 2011 Styles of Acting and Directing I MPAET-UE/GE.1099/2099 Section 001 3 points Mondays 6:45-9:00 PM Blackbox Theatre, Pless Hall Instructor: Amy Cordileone Email: amy.cord@nyu.edu Teaching Assistant: Brad Bussdieker Email: bwb243@nyu.edu Office: Pless Hall Annex, Rm. 223 Phone: 212. 998. 5273 Office Hours: Tuesdays 3-5 pm; by appointment only Appointments can be scheduled online. Course Description: Styles of Acting and Directing I is designed to support theatre practitioners as they deepen their understanding of style, context, audience, and point-of-view from the perspectives of actor, director, and designer. Using seminal plays from particular periods of artistic work (primarily from the western canon), participants will engage in research, direction, analysis, design, and performance. Course Objectives: · · · · · · To define style as it relates to theatrical production To link dramaturgy, point-of-view, and aesthetics To develop a personal play analysis process To hone theatre-making skills through studio work as actors and directors To exercise creative and analytic skills through written, visual, and aural responses to plays, readings, and performances To explore the relationship between style, culture, and context REQUIRED TEXTS__________________________________________________________________ All readings for this course will be posted on Blackboard and/or distributed in class. ASSIGNMENTS______________________________________________________________________ Periods and Plays: There will be 4 weeks of performances in this class. They will include scenework from the following periods and plays: Ancient Greece: Antigone (Sophocles, Trans. Plumptre) and Antigone (Adapt. Anouilh) Commedia dell’arte: Servant of Two Masters (Goldoni, Adapt. Congdon) and One Man, Two Guvnors (Adapt. Richard Bean) Spanish Golden Age: Life is a Dream (Calderón, Trans. Racz) and Sueño: A Play in Three Acts (Adapt. Rivera) Restoration Comedy: Sir Patient Fancy (Behn) and Restoration Comedy (Freed) All participants will be assigned to an ensemble; each ensemble will create and present artistic work based in only one period. Essentially, the ensembles will be solely responsible for producing scenework from the two plays listed within the given period. Scenework: For each of the assigned plays the, the ensemble will designate an artistic team of 3 (Dramaturgue, Director, and Designer) and an acting company of 3. Please note- it is possible that members of the artistic team may also need to function as a part of the acting company. As each ensemble is responsible for producing work from more than one play, all ensemble members will have the opportunity to function as part of an artistic team and an acting company. As a class, we will discuss and determine the responsibilities assigned to each of the roles within the ensemble. It is possible to enlist additional actors for scenes only after the ensemble has been cast. Detailed information and criteria for assessment will be given at a later date (listed on the course itinerary). Workshop: Additionally, each ensemble will function as a team of teaching artists for the plays and the period they are performing. The instructor and the teaching assistant will facilitate the first hour and 15 minutes of a class on the given period. The ensemble will then have the next hour to facilitate a workshop on the given plays, period, and style of the pieces. Presentations should include exploration of the research and POVs that have emerged from the play production process. Detailed information and criteria for assessment will be given at a later date (listed on the course itinerary). Written Narrative: Each member of an ensemble will individually produce a 5-page written narrative that includes synthesis of their understanding and experience of the group and individual work done within the assigned period (double-spaced, 11 pt font). This paper will be due one week after the scenework has been performed. The paper must include references to the individual’s contributions to both of the plays. The paper can (and likely should) address the following: Relevant socio-historical research References to assigned or independently undertaken readings (with a list of works cited) Effects of a play’s style on the choices of the ensemble and the individual Synthesis of the implications of style for a contemporary audience Thoughts on the rehearsal process and the techniques or approaches taken in production Obstacles encountered Discoveries made Forward vision (future planning) Final Project: As the survey of styles and periods covered in this course is extremely limited, the final project has been designed to widen participants’ aggregate understanding of global contributions to theatrical forms and therefore style. This is a small group assignment. More information to follow. Participation and Preparation: Styles of Acting and Directing I requires a substantial amount of reading, writing, individual research, as well as group work. The course requires personal motivation, passion for exploration, risk-taking, and most importantly, openness to new ideas, thoughts, and feelings. Because the class meets once a week, attendance and promptness are mandatory. Lateness and leaving early are not an option. An unexcused absence from class meetings will adversely affect the participant’s final grade in the course. Official university excused absences must be documented. If you know you will be missing class, advance written or email notification is required. As a class, we will regularly break into pairs and small groups. All participants have a commitment to their colleagues as well as the university. If you are unable to make the commitment to the course and to your peers, you should consider appropriately adjusting your courseload. Class participants will develop the criteria for assessment as a cohort. Total Points Possible: 100 Participation and Preparation: 10 Scenework: 30 - Instructor’s assessment of overall presentation (ensemble): 20 - Peer Assessment of contributions (individual): 10 Workshop: 20 - Instructor’s assessment of overall presentation (ensemble): 15 - Peer Assessment of contributions (individual): 5 Written Narrative: 15 Final Project: 25 University Grading Scale: 93% and up: A… 90-92%: A-… 88-89%: B+… 83-87%: B… 80-82%: B-… 78-79%: C+ 73-77%: C… 70-72%: C-… 68-69%: D+… 63-67%: D… 62% and less: F ACADEMIC HONESTY_______________________________________________________________ Students are responsible for knowing the University’s issued standards of academic honesty outlined in the student handbook. While the nature of this course demands that participants discuss ideas and opinions with classmates, all writing and other individual work should be original and appropriately cited. If this is unclear now or later in the semester, please make it a point to meet with me. The standard penalty for academic dishonesty consists of an automatic “F” for the course and notification of campus authorities. EMAIL AND BLACKBOARD__________________________________________________________ Each participant must have an active NYU email account that they check on a regular basis. This is the easiest way for the instructor to communicate with regarding last minute changes, questions, etc. The opposite is also true. Any questions or concerns should be voiced through an email contact initially. The Blackboard account for this course will be used this for communication, documents, assignments, resources, etc. DO YOU HAVE ANY PARTICULAR NEEDS?___________________________________________ Participants are highly encouraged to open a dialogue with the seminar instructor regarding particular learning needs, emotional, or physical needs that may influence interactions, student’s participation, and most importantly personal well-being. One important goal for the seminar is the creation of a safe and inclusive forum for learning and communication. Disclosure of any needs or circumstances is of course optional, and all participants can expect that any communications made will be kept in confidence. Note: Any student attending NYU who needs an accommodation due to a chronic, psychological, visual, mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the Moses Center for Students with Disabilities at 212 998-4980, 726 Broadway, 2nd Floor New York, NY 10003. OPEN DOOR POLICY_______________________________________________________________ If at any time participants feel unsafe or uncomfortable, please feel free to address these issues with the instructor. Making an appointment to discuss any concerns in person is recommended. This can be done via email or phone. Course Itinerary (Subject to Change) September 12 Introduction Review Course Outline Development of Shared Expectations Logistics and Wrap Up September 19 Coming to Terms with Terminology Breaking Down Style, Genre, Period, and More Play Analysis: Determining the world of the Play ** Ensembles Assigned *** Scenework assignment discussed in detail September 26 Activating a Vision with Style Moving Point-Of-View from Page to Stage Bringing Analysis and Research to Life **Workshop assignment discussed in detail October 3 Approaching Character through the Lens of Style Style as a link to time, text, and tempo Physical and Improvisational pathways to character development October 10 No Class- University Scheduled Break October 17 Theatre Traditions of Ancient Greece Socio-historical overview of the emergence of Drama Comedy, Tragedy, Catharsis, and The Chorus Workshop Presentation 1 October 24 Scene Presentation: Ancient Greece Antigone by Sophocles (Translation by Plumptre) Antigone by Anouilh ** Final Project discussed in detail October 31 Commedia dell’arte Socio-historical overview of Comedy and Italian Street Theatre Stock Characters, Mask Work, and Lazzi Workshop Presentation 2 November 7 Scene Presentation: Commedia dell’arte Servant of Two Masters by Goldoni (Translation by Congdon) One Man, Two Guvnors by Bean November 14 Spanish Golden Age Socio-historical overview of the Renaissance in Spain Morality, Religion, Identity, and Creativity Workshop Presentation 3 November 21 Scene Presentation: Spanish Golden Age Life is a Dream by Calderón (Translation by Racz) Sueño: A Play in Three Acts by Rivera November 28 The English Restoration Socio-historical overview of the Restoration Period in England Comedy and Self-Reflection Workshop Presentation 4 ** This class will be held in the Provincetown Theatre December 5 Scene Presentation: Restoration Comedy Sir Patient Fancy by Behn Restoration Comedy by Freed December 12 Final Presentations: Round 1 December 14 Final Presentations: Round 2 ** Please note this is a Legislative Day for NYU. Wednesday, December 14, will operate on a Monday schedule.