New York University
Department of Music and Performing Arts Professions
Program in Educational Theatre
Pless Annex 23
82 Washington Square East, 2nd Floor
Physical Theatre & Improvisation
E17.1113/2113
Tuesday: 6:45 - 8:25pm
Education Building, Room 304
Professor: Dr. Nancy Smithner
Teaching Assistant: Gyana Arias
Office telephone: 998-5250 email: ns23@nyu.edu
Description: Physical Theatre is the study of physical, vocal and improvisational exercises
designed to free the creative imagination and develop performance skills.
Objectives: The study of the art of improvisation through the layering of words, sound and
movement. Focus on vocal and movement techniques and tools including atmosphere, imagery,
gesture, isolation, abstraction, timing, rhythm, spatial awareness, character development, body
graphics, and the theories of Yakim, Delsarte and Laban. The creation of original material will
also be studied.
Class Format: Each class will include a thorough physical warmup, the study of movement
techniques, and improvisations. Please come dressed to move, or bring comfortable clothing
to change into.
Required Reading:
Montanaro, Tony. Mime Spoken Here: The Performers Portable Workshop. Maine:
Tilbury House, 1995.
Other articles and selections may be distributed at the instructor’s discretion
throughout the semester, from the following readings:
Artaud, Antonin. “On the Balinese Theatre.” in Kirby, E.T. Total Theatre: A Critical
Anthology. NY: Dutton, 1969.
Barba, Eugenio & Nicola Savarese, eds. The Secret Art of the Performer. London: Routledge,
1991.
Barral, Mary Rose. The Body in Interpersonal Relations: Merleau Ponty. NY: Lanham, 1984.
Bresler, Liora, ed. Knowing Bodies, Moving Minds: Towards Embodied Teaching and Learning.
Dordrech: Kluwer Academic Publishers, 2004.
Callery, Dymphna. Through the Body: A Practical Guide to Physical Theatre.
London: Nick Hern Books Limited, 2001.
Felner, Mira. Apostles of Silence: The Modern French Mimes. NJ: Associated
University Presses, 1985. Introduction: “Mime, An Art in Search of a Definition.”
Peters, Michael. "Education and the Philosophy of the Body: Bodies of Knowledge and
Knowledges of the Body." Knowing Bodies, Moving Minds: Toward
Embodied Teaching and Learning. Dordrecht: Kluwer Academic Publishers,
2004. 13-27.
Rolfe, Bari, ed. Mimes on Miming. CA: Panjandrum Press, 1978. Reading selection TBA.
Shawn, Ted. Every little Movement: A Book about Francois Delsarte. NY: Dance Horizons,
1963.
Yakim, Moni. Creating a Character: A Physical Approach to Acting. New York:
Back Stage Books, 1990.
Zaporah, Ruth. Action Theatre: The Improvisation of Presence. Berkeley, CA:
North Atlantic Books, 1995.
Zarrilli, Philip. Acting (Re)Considered. London: Routledge, 1995.
Requirements: Evaluation will be based on all of the following components:
(1) Attendance: is extremely important as this is predominantly a performance course. More
than one absence will affect the final grade. Lateness to class is disruptive to the functioning
of the group ensemble, and continued lateness will be duly noted.
(2) Participation: Students will be expected to participate fully in all aspects of the course -discussions, improvisations and composition work.
(3) Presentation: Students will sign up to give a short class presentation (no longer than 10
minutes) on a subject which relates to physical theatre which must be confirmed with the
instructor by September 20th. Suggested topics might include an influential practitioner of
physical theatre, a period of theatre history which incorporates physical theatre, an art form
which compares or relates, or a style or aspect of physical theatre from one of the books in the
bibliography. Topics representing global forms of physical theatre are also encouraged.
Presentations will be held during the class sessions of September 27th, October 25th, and
November 22nd. There are three essential requirements for this assignment:
a) Your presentation must have a visual component, whether you are using media,
pictorial or auditory aids, or demonstrating or teaching a particular technique or method.
If you need media equipment, please let us know in advance, and arrive early on your
presentation date to familiarize yourself with the technology.
b) You must have a handout that represents the subject of your presentation, either by
summarizing the topic, or for use in engaging the class in the subject matter. You should
NOT, however, read from the handout, but use it as a resource for your colleagues in
order to illuminate and/or retain knowledge about your subject.
c) Your presentation must be no longer than 10 minutes and must convey, in a concise
summary, the essence of your topic. It is a great challenge to do so, but is also an
invaluable opportunity for the class to understand the breadth and depth of physical
theatre in the field.
(4) Research Paper: A five to seven page research paper on the same subject as the
presentation is due one week after your presentation date. Any subject chosen should be
related or compared to physical theatre in the body of the paper. If you would like feedback
on your writing, you may make arrangements with the professor hand in a draft prior to the due
date. The requirements for the paper are as follows.
a) The paper must be presented as a proper research paper, following the regulations of
the MLA guide or an equivalent research style, such as APA and follow correct
referencing procedures. You must identify what style format you will be using by
including on your heading or title page:
Name, Date
Course Name
Style Format
b) You must also title your paper, and it must be typed and double-spaced.
c) You must include a bibliography of at least four sources. At the very minimum, two of
these sources must be books or articles – they cannot be all internet sources.
d) You must include one paragraph reflecting on your class presentation in terms of
discoveries, challenges and/or how you might alter or change it, or what you learned from
your teaching/presentation.
(5) Review: Students must view, and consequently analyze and critique a production which
uses some aspect or techniques of physical theatre (2 pages). The review should focus on the use
of movement in the performance, and include rich descriptions and examples of the physical
work. Title of show and venue must be included in the document. Due December 20th, or can
be handed in at any time during the semester.
(6) Book Analysis: Students will write an analysis of the required text, Mime Spoken Here: A
Performer’s Portable Workshop. You must analyze and critique the entire text in a summary, but
may then focus on any theme or section which inspired thought, was useful, or otherwise (3
pages). Depth of thought is essential. You might also compare, contrast and make reference to
other readings and source materials that are distributed in class. Due October 18th.
(7) Performance: Solo and group compositions will be assigned throughout the course of the
semester. The final project will be a composition done in character and costume, due on
December 20th, the last day of class, in lieu of a final exam. Attendance is required on this day
by all students. Please note: on Dec. 20th, class will be held until 10:00pm in order to
accommodate all final performances.
PLEASE NOTE: ALL PAPERS MUST BE SUBMITTED TO THE PROFESSOR IN
HARD COPY, unless arranged otherwise due to extenuating circumstances. Late papers
will be reflected in the final grade.
Assessment: Students will be assessed on the above criteria accordingly:
Attendance & Participation: 25%
Presentation:
15%
Performance:
15%
Book Analysis Paper: 15%
Show Review:
10%
Research Paper:
25%
Other: Students are encouraged to take notes on the exercises presented in class immediately
following the class session or the next day, in order to maintain a record of valuable teaching
resources and performing and rehearsal techniques. Questions are welcomed by the instructor
and individual appointments can be scheduled to discuss the work in progress.
Do You Have Any Particular Needs?
Please let me know if there is anything I should be aware of regarding you and a particular need
or characteristic, such as a medical condition, an early pregnancy, a sensory or hidden disability,
etc. that may influence our interactions, your participation, or your personal well-being. I want to
make the course as inclusive as possible, so I’d appreciate your communication to keep me
informed of your needs. This disclosure is, of course, optional.
Open Door Policy
It is my every intention to create a safe environment and a comfortable learning community for
everyone in the class. If at any time you feel unsafe or uncomfortable, please feel free to address
these issues with me. I would suggest setting up a time to speak with me during our office hours,
but if my available times conflict with your other obligations, please email me with other
possible times that might work for you, and we’ll make an appointment.
Blackboard
As we continue to participate in the fast paced development of technological resources in the
new millennium, Blackboard at NYU continues to develop new and innovative ways for students
to utilize a web-based interface to enhance their learning experience. One of the most important
aspects of the Blackboard is the additional time it allows for students to interact with course
materials, post responses to the readings and respond to their peers’ postings, access external
links on the internet, and discuss challenges and best practices.
http://www.nyu.edu/its/faq/blackboard/students/index.html#help
Physical Theatre Presentations Fall 2011
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September 27
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October 25
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November 22
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