North Seattle Community College
Professor : Dawson Nichols When : MWF, 9:00 – 10:20
E-mail : gregory.nichols@seattlecolleges.edu
Phone : 206/934-0196
Where : Library Building 1132A (Theatre)
Office Hours : M & W, 11:30 – 12:30 & by appointment
Acting is simply doing things – making actions. You do things all day long, so you are already an actor. The art of acting simply adds four steps to this natural process of doing things.
First , acting demands that you consciously plan the things that you do. That is, your words and actions are memorized.
Second , in the western tradition of theater, audiences expect performers to behave naturally . This generally means that you behave in a believably realistic manner as your character and that you pretend the audience isn’t there.
Third , it demands that you do things in a way that is outwardly expressive .
Finally , acting demands that you perform your actions in front of an audience .
That’s it. Acting is the art of planning your actions and performing them naturally and expressively in front of people.
Of course, these things are simple to describe but difficult to do. Planning everything that you do and say takes a lot of concentration, especially if you want to appear natural. Appearing natural in a way that is outwardly expressive is extremely difficult because most of us naturally prevent outward expressions of our ideas and emotions. Being expressive means sharing ourselves with others, and this makes us feel vulnerable, so generally we avoid it. We certainly don’t seek an audience to watch us at these vulnerable times. Yet this is precisely what actors do; and this is why acting is difficult. It isn’t natural. In fact, it’s about the most unnatural thing a person can do. Still, it has to appear natural.
This course will introduce you to the art of acting. You will develop your powers of observation, concentration, and imagination. You will gain experience speaking and acting with expression and ease. You will learn script analysis, staging, and characterization.
Experience is a kind of knowledge and in this class you will learn experientially, by doing.
Through rehearsing and performing in a live context you will develop skills and confidence to accompany the critical thinking you will develop through script research and analysis.
Procedure – Many of the skills in this class are scaffolded, meaning that they build on one another. Concentration, for example, is a foundational skill. In acting, concentration means not only the ability to focus one’s attention, it means being present with another performer – physically, intellectually, and emotionally. This is tremendously difficult, and so we will spend a number of weeks building these skills so that when we can have success when we arrive at monologues and scene work. We will perform exercises, seminar on the text, engage in improvisations, and take the time necessary to prepare ourselves properly for the work of acting.
This is a class that will demand active participation by all students. After the first week, all classes will begin with physical warm ups and concentration exercises. On days when reading is

due, groups will seminar in order to come to a deeper understanding of the reading. Following these conversations the class will engage in exercises designed to give students the opportunity to learn acting principles experientially. We will analyze scripts, learn staging, rehearse, and finally perform monologues and scenes.
Assessment : For ease of scoring, this course will consist of 1000 points.
Exercise Reflections (4 x 5% each)
Character Analysis (3 x 5% each)
20%
15% or or
200 points
150 points
Scene analyses (2 x 5% each)
Personal Anecdote
Character Monologue
Scenes (10% on first scene, 15% on second)
Participation (Attendance, Attitude, Attempt)
10% or 100 points
5% or 50 points
5% or 50 points
25% or 250 points
20% or 200 points
Total 100% or 1000 points
900 OR MORE = A 875-900=A850-874=B+ 800-850=B 775-799=B750-774=C+
700-749 = C 675-699=C- 650-674=D+ 600-649=D 575-599=D- <574=F
Assignments
Exercise Reflections: You will write formal reflections on 4 of the class exercises. The form for this is located at the back of this syllabus.
Character Analyses : We will perform a practice character analysis in class, following which you will perform a character analysis on your monologue and two scenes. The form for this is also located at the back of this syllabus.
Scene Analyses : We will perform a practice scene analysis in class, after which you will perform an analysis on each of your assigned scenes. Due dates are in the schedule.
Personal Anecdote: You will write, memorize, and perform a 1-minute monologue about a personal anecdote. More information will be given closer to the assignment due date.
Character Monologue: You will analyze, memorize, rehearse and perform a short monologue from a play. More information will be given closer to the assignment due date.
Scenes : You will analyze, memorize, rehearse and perform two short scenes with one or more partners. More information will be given closer to the assignment due date.
Extra Credit: You may see up to two additional live performances for up to 50 extra credit points each. For each performance you will need to submit an extra credit analysis for one of the performers you saw. The form for this is at the back of the syllabus.
All written assignments must be typed and stapled. No emailed assignments will be accepted.
You are expected to come to all classes prepared and ready to participate. If you expect to be absent from a class, please give me prior notice. All late material will be graded at 75% and must be arranged with me prior to the original due date . No late materials will be accepted more than a week after the original due date and no materials whatsoever will be accepted after the last scheduled class.
This is an analog class and no electronics are allowed . That means no cell phones, headphones, computers, etc. Please turn off and put away (out of sight) all electronic devices

prior to class. This means that you should come prepared with a pencil or pen and paper .
Old technology, I know, but still useful.
Special Accommodations: Please see me if you feel you need special accommodations in order to participate in this class. I will make every effort to ensure that anyone wanting to participate is able to do so. NSCC is committed to ensuring that classes are available to everyone.
Required Text – An Actor Performs , second ed. by Mel Shapiro (available in the bookstore).
Required Performance – You are required to see the NSCC Spring production, Julius Caesar, on the first weekend (Friday or Saturday, May 25 or 26, at 7:30 pm). You may see additional productions for extra credit, as described above.
Day Subjects Reading Due
Assignments Due
(and announcements)
Monday
Wednesday
Friday
Week 1 – April 2
Introductions, Syllabus,
Intrinsic v. extrinsic motivation, How we learn,
Student Semiotics
Reading Plays 101, Basic
Vocabulary – Script &
Stage, Concentration
Category Speed Dating
(What is your favorite…?)
Warm ups, Readiness and
Neutral, Seminar Process,
Concentration Exercises
Shapiro – Introduction
(xxi-xxviii)
Week 2 – April 9
Monday Concentration
Speak and move naturally and expressively as yourself in casual situations.
Anecdote Assignment
Wednesday Vocal Expression Exercises
Improv
Friday Streetcar Handed Out
Vocal Exercises
Shapiro – Chapter 1:
The Basics in Action
(4-15)
Shapiro – Chapter 2:
More Basics (16-25)
Week 3 – April 16
Monday
Wednesday
Friday
Presentation &
Representation w/
Anecdotes
Vocal Expression Exercises Shapiro – Chapter 3:
Autodrama (26-32)
Text Reading Shapiro – Chapter 4:
Reading the Text
Objectively (33-47)
Auditions for Julius
Caesar - 2:30or6:30 pm
Anecdote Scripts Due
Anecdotes Memorized
Anecdotes Performed
Exercise Reflection #1
Due

Day Subjects Reading Due
Monday
Wednesday
Friday
Monday
Streetcar Reviewed
Body Expression Exercises
Body Expression Exercises
Week 4 – April 23
Shapiro – Chapter 5 &
6: Language: The
Music of the Play &
Reading the Text
Subjectively (48-81)
Death of a Salesman Handed Out
Monologues Discussed
Week 5 – April 30
Imagination Exercises
Imagination Exercises
Shapiro – Chapters 7 &
8: The Imaginative
Process (84-111)
Wednesday
Friday
Monday
Wednesday
Friday
Week 6 – May 7
Death of a Salesman Reviewed
Imagination Exercises
Monologue Work
Imagination Exercises
Monologue Exercises
Monologue Work
First Scenes Assigned
Scene Analysis Instruction
Scoring– Beats and Tactics
Shapiro – Chapters 9 &
10: Characterization
(114-136)
Week 7 – May 14
Monday Improv – Imagination & Expression
TOGETHER
Scene Analysis Work
Scene Work
Wednesday Improv & Scene Work
Friday Improv & Scene Work
Relating
Shapiro – Chapter 11:
Putting it Together
(137-146)
Shapiro – Chapter 12:
Putting it Together 2
(147-159)
Week 8 – May 21
Monday Scene Work
Relating
Wednesday Scene Work
Friday Second Scenes Assigned
Assignments Due
(and announcements)
Streetcar Reading Complete
Exercise Reflection #2 Due
Monologue Choices Due
Exercise Reflection #3 Due
Monologues Memorized
Monologue Character
Analysis Due
MONOLOGUES
PERFORMED
Exercise Reflection #4 Due
Scene 1 Character Analysis
Due
Scenes Memorized
Scene 1 Scene Analysis Due
SCENE 1 PERFORMED
See Julius Caesar tonight or tomorrow night
Monday
Wednesday
Friday
Week 9 – May 28
Memorial Day – No School
(Analyze and memorize)
Final Scene Work – Being in character and present with the other actor(s) – relating authentically using imagination and expression.
Shapiro – Chapter 13:
Comedy (162-179)
Scene 2 Character Analysis
Due

Day Subjects Reading Due
Assignments Due
(and announcements)
Monday
Wednesday
Final Scene Analysis
Character Equalizers
Final Scene Staging
Friday Final Scene Work
Week 10 – June 4
Shapiro – Chapter 15:
Interviews &
Afterward (196-214)
Week 11 – June 11
Scene 2 Scene Analysis Due
Scene 2 Memorized
Monday
Wednesday
Friday
Final Scene Work
Final Scene Work
Final Scenes Performed @ normal class time

Exercise Reflection Form
This form is intended as a template only, to show you what information must be included in your reflection. The actual reflection must be typed by you and the answers should be clearly labeled . Your reflection must be physically turned in – electronic submissions are not acceptable . I expect you to write roughly 500-800 words, and no question should be answered with fewer than 100 words.
The purpose of this reflection is to encourage you to be intentional about the learning in this class. Your learning. It is my belief that this is the best way to get you to take charge of your own education – to learn how you learn and to learn how to improve it.
Student:
Date:
Exercise Reflection #:
1. Exercise: Give a brief description of the exercise. What was it, what were the rules and directions, how did it procede.
2.
Objective: What was the objective of the exercise? What skills were involved? These may have been explicitly stated or they may have become apparent during the exercise. You needn’t limit yourself to one.
3. Self Assessment: How did you perform in this exercise? Were you able to assess your facility with the skills involved? Were you able to identify or develop strategies that will improve these skills? Feel free to compare your performance to others, but be aware that criticizing others is not the point here.
4. Connections: How does this exercise relate to the art of acting? If possible, use specific examples.
5. Extensions: What other exercises might help you to develop the skill(s) involved with this exercise? This is brainstorming, so use anything you can think of – from sports, other academic disciplines, personal experience, etc.

Character Analysis Form
This form is intended as a template only, to show you what information must be included in your analysis. The actual analysis must be typed by you and the answers should be clearly labeled .
The analysis must be physically turned in – electronic submissions are not acceptable . I expect you to write roughly 500-800 words, and no question should be answered with fewer than 50 words.
Date: Student:
Play Analysis (#)
Play Title:
Setting (time and place):
Playwright:
Character you will be analyzing:
1. Synopsis: Give a brief synopsis of the play (100-200 words). A synopsis is not a description.
A synopsis tells briefly what happened in the play. It summarizes the plot (not the story!) in ten or twelve sentences.
2.
Character Arc: Describe in broad terms what happens to the character you are analyzing during the course of the play. What is her/his condition at the beginning of the play, what does s/he want, what does s/he do, what happens, what is her/his condition at the end of the play?
3. Given Circumstances:
Describe the circumstances of the character’s life that are demanded by the play. This can include age, ethnicity, where the character lives, what s/he does for a living, who s/he loves, etc.
4. The Character Speaks - 4 quotes: Provide four quotes from your character and for each describe what character trait this quote evinces.
5.
Other Characters Speaks - 4 quotes: Provide four quotes from other characters and for each describe how this quote shows something about your character. These quotes can be things that other characters say about your character or they can be reactions to your character.
6. The Character Acts: Provide four actions that your character performs and for each describe what character trait this action demonstrates. Remember, an action is not an event or even an activity. An action is a discrete act that is seen on stage.
7.
Personal Connection: Think about the character and find points of connection between yourself and the character. These can be physical, moral, psychological, social status – anything.
Find and discuss at least three points of connection.

Extra Credit Analysis Form
In order to complete this analysis you must first see a live performance . Movies and videos are
NOT acceptable.
This form is intended as a template only, to show you what information must be included in your analysis. The actual analysis must be typed by you and the answers should be clearly labeled .
The analysis must be physically turned in – electronic submissions are not acceptable .
I expect you to write roughly 500-800 words, and no question should be answered with fewer than 50 words.
Student:
Extra Credit Analysis
Date:
Theater: (Where you saw the production)
Play Title:
Playwright:
Setting (time and place):
Character Name:
Actor:
1. Synopsis: Give a brief synopsis of the play (100-200 words). A synopsis is not a description.
A synopsis tells briefly what happened in the play. It summarizes the plot (not the story!) in ten or twelve sentences.
Now choose an actor from the production whose performance you can analyze. The rest of your questions will refer to this actor.
2. Was the actor expressive with her/his body? Give specific examples.
3. Was the actor expressive with her/his voice? Give specific examples.
4. Was the actor natural? Was s/he meant to be? Give specific examples.
5. Did the actor work effectively with other performers? Give specific examples.
6. If you had been playing this role, what would you have done differently?

Seminar Procedure
A seminar is an organized group discussion centered on a specific text that harnesses the brainpower of the group in order to provide each individual with a deeper understanding of the text. In order for a seminar to work effectively, participants must conscientiously prepare by first reading the text on their own.
When preparing for a seminar, make sure that you read the text carefully – taking notes, underlining, reading back over those sections that are not immediately clear to you.
Allow yourself time for reflection too. After you have done this, go back and mark short passages that you would be interested in discussing with the group . What you bring to the group is up to you, but useful selections are often passages that:

Seem important to the author or you

Seem to directly relate to the course or course materials

Seem confusing or troubling
Once this solitary preparation is complete you are ready to seminar. After breaking into small groups, present your passages to one another . Taking turns, have each person read the selection s/he chose and explain why s/he chose it. Everyone else should listen and take notes, but at this stage there should be no discussion. These are meant to be solitary presentations that lay the groundwork for discussion later.
Now that everyone has had a chance to share a passage, take a minute to reflect on what you’ve heard. Anyone can contribute in any order, but try to include everyone. Concentrate on what has been shared so far. Your reflections are up to you, but observations might include:
Connections or differences between the passages
Connections between the passages and the whole work
Connections between the passages and the course or other course materials
Once everyone has had an opportunity to share a passage and then to reflect on the passages that others have shared, open the seminar up to a general discussion of the text. Remember that in seminar the entire group is responsible for exploring the text, and it is everyone’s responsibility to be inclusive. Each participant should:

Actively listen to everyone

Allow others to complete their thoughts without feeling rushed


Speak openly to everyone
Keep thoughts on topic and brief enough to allow others time to share
Those who naturally dominate discussion must teach themselves restraint and those who are reserved or taciturn must learn to be more assertive and share their insights. Remember that during seminar we are engaging in collaborative learning . This is not a forum for anyone to lecture or show how much they know. In seminar we harness the mental power of the group in order to come to a larger understanding of the ideas under consideration. Each participant must honestly seek to share what s/he knows and to learn from every other member of the seminar.

DRA 121 Nichols 10
Speak and move naturally and expressively as yourself in casual situations
Speak and move naturally and expressively as yourself in emotional situations
Speak and move naturally and expressively as a character in casual situations
Speak and move naturally and expressively as a character in emotional situations
Some scenes are performed to stretch the actor in terms of character and emotion.
Some scenes are performed to help the actor develop ease and naturalness.
Look at your actions and your tactics – what kind of play is this? What is the audience interested in?
State objectives clearly and succinctly.
Objectives should not be easy to achieve. Drama is about tension – overcoming obstacles.
Working in teams from the very beginning, stage small plays with scripts in hand. One director for the actors. After discussion of blocking, of course.
Give blank scene and checklist
Actors must come up with a conflict, characters, tactics, blocking, gestures