SYLLABUS–THE 452/5452
Advanced Play Directing
Spring 2016
Course Description:
This course is designed to give the student practical experience in directing a
dramatic presentation. The student, under the supervision of the instructor, will
cast, design, and produce one act of a play and will perform all the tasks necessary to
direct actors, produce programs, build sets, and publicize the production. (3 semester
hours)
Professor:
Phyllis W. Seawright, Ph.D.
Office Hours:
9:30-11:00 MWF
1:30-3:00 M
11:00-3:00 T
Aven 110A
925-3453
seawrigh@mc.edu
Moodle page will be useful, and Faculty Web Page have some documents posted
there as well.
Prerequisites: THE 125, Introduction to Theatre, and THE 451, Play Directing, or
permission of instructor.
Disclaimer:
I reserve the right to modify this syllabus as the need arises.
Required Material:
Text : Fundamentals of Play Directing, Alexander Dean and Lawrence Carra,
th
5 ed., Waveland Press, Inc., Long Grove, Illinois, 1989, reissued 2009.
Paperback.
ISBN 13: 978-1-57766-648-6
ISBN 10: 1-57766-648-8
One 3-ring binder with pockets for the director’s notebook.
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Rationale:
Students trained in the disciplines of language arts, speech and mass
communication, and Christian studies will frequently find themselves in charge of
dramatic presentations. The director of any drama must coordinate all the elements
of the physical production while conveying the message of the text. The basic
elements are all the same: the message of the text, the players, the setting, advance
publicity to bring in the audience, and the final assessment of the play’s impact. And
while the artistic emphasis may be different, the principles a student learns while
organizing a dramatic production also apply to coordinating any major event in a
business, corporate, or industrial setting.
Accordingly, a student in Advanced Play Directing may gain experience
through several options:

as assistant director for the main production of the semester

as director of a one-act play

as director of a revue (a collection of scenes)
Course Objectives:
The primary objectives of this course are:
*
to give you a working vocabulary of the conventions of theatre;
*
to teach directing techniques.
*
to help the director identify his/her strengths and weaknesses as a
director.
*
to teach techniques in composition, movement, rhythm.
*
to learn auditioning techniques.
*
to teach rehearsal techniques.
*
to learn all aspects of a theatre production.
*
to analyze scenes & characters.
ACADEMIC INTEGRITY:
Mississippi College students are expected to be honest. Please refer to the
Mississippi College Undergraduate Bulletin for a discussion of plagiarism and
cheating. Also refer to university Policy 2.19.
PROCESS & PRODUCT MAKE UP YOUR TOTAL GRADE.
***I must approve your play selection; my chairman must also approve it.***
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COURSE POLICIES:
Evaluation
Your work in this course will be graded on the following scale:
A = 93-100
reserved for exceptional work
B = 85-92
above average work
C = 78-84
average work (the norm)
D = 70-77
below average work
F = below 70
failing work
Specific components:
Class work:
--Play Reviews and discussions 15%
(You will attend my show and each other’s shows, debrief, and then write about
them.)
--Class Participation 10%
(includes no use of cell phones unless upon my authorization. Broadly, you will be
ready to present findings and discuss assignments when they are due.)
Your Production Work:
--Director’s Notebook 15%
(did you keep up with all materials and present them to me on time, organized, and
complete? This will include your PRE-show preliminary play analysis of your
show. See complete list at the end of this syllabus.)
--Auditions/Rehearsals 10% (Were you prepared for auditions? Did you hold the
required number of rehearsals per the published schedule? Were you & your actors
ready on the days I attended?)
--Technical Elements 10% (of your show in performance)
--Business Elements 10% (managing production & publicity costs)
--Production Elements 10% (did you meet all requirements?)
--Production Analysis 10% (post-show debrief of your own show, oral and written)
Overall Production 10% (was the show polished, professional, and engaging?)
Total
100%
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Written Assignments
You will have several written projects (play evaluations, descriptions, and
various class activities) due in this class. I will grade your written projects on style
as well as content.
*
All written assignments should be typed and double-spaced in
"Standard U.S. English."
*
Each paper should have your name, class, and the assignment
name in the upper left-hand corner of the first page.
Attendance
This is a performance class. The success of the entire class depends on your
attendance. Your final grade will be reduced by 2 points for every unexcused
absence after 3 unexcused absences.
You will also be required to attend the major production, and then to write a critical
analysis from the viewpoint of the director, as if you had directed it: note
movement, pacing of each scene, overall rhythm, etc. No substitutions for this
project will be accepted.
Twelfth Night by William Shakespeare, directed by Phyllis W. Seawright
The 2015-2016 Mississippi College Shakespeare Festival production
Jennings Hall Courtyard (or Alumni Gym if inclement weather)
Thursday, March 31, 2016, 10:00 a.m. school matinee
Friday, April 1, 2016, 10:00 a.m. school matinee
Friday, April 1, 2016, 7:00 p.m.
Saturday, April 2, 2016, 7:00 p.m.
Sunday, April 3, 2016, 2:30 p.m.
If you fall in love, will you lose your identity or find out who you really are? Shakespeare
presents the question through his trademark comic mayhem. We present the play in our own
Globe Theater, the romantic courtyard of Jennings Hall.Tickets: $7 for students, $10 for adults.
Groups of 20 or more are $4 each. One chaperone is free for every 10 students in youth groups;
bus driver is free. (Ticket price includes refreshments at intermission.) For more information
contact Phyllis W. Seawright at 601.925.3453 or seawrigh@mc.edu .
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And here’s the information for your own production:
Spring Scenes
Aven Little Theater in Aven Fine Arts Building
April 14 & 15 at 7:00 p.m., OR April 21 & 22: Y’all decide.
Advanced Play Directing students present one-acts from great masterworks of the drama.
***Tickets: Free admission, but a freewill gift will be much appreciated.
[This is TBA. I will discuss how and if we can do your chosen plays this way IN CLASS.]
*******
Make-Up Policy
Performances
Students with un-excused absences cannot make up
presentations. Students with excused absences will make-up
presentations the day they return to class.
Papers and Daily Grades
Directing is about accepting responsibility. Papers and
performances will be counted 10 points off for EVERY CLASS
DAY that they are late. Nothing will be accepted over one week
past its due date.
INSTRUCTIONAL PROCEDURES/TECHNIQUES:
Lecture
Class Activities
Readings
Class Discussion
Scenes/ One Act Play
Presentations
Examination
Directing exercises
Oral/ written critiques
GRADUATE STUDENTS:
This course may be taken for graduate credit. All graduate students should
follow the Graduate Orientation Manual and the Communication Department
Graduate Handbook in their entirety.
The graduate student will be required to write a research paper. The topic
will be subject to the professor’s approval and must be 12-15 pages in length.
The paper must follow the APA 4th edition style. Other directing projects
may be required as well.
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Online Learning Component: In addition to traditional classroom-based learning, this class
uses the course management system MCMoodle to facilitate learning online. You have access to
MCMoodle by virtue of your enrollment in this course. MCMoodle can be accessed at
http://moodle.mc.edu. Your assigned MC email address and password serve as your login
information. You are expected to be able to navigate MC Moodle and complete any activities
assigned through MCMoodle by the instructor. Tutorials on how to navigate MC Moodle are
available on the MCMoodle home page and on the department’s website. You may also contact
your instructor for help. IN addition, my Faculty Web Page contains much useful information.
Other Policies:
A. If you are a student athlete, please give me advance notice for preparing your grade and attendance
reports. If anybody needs special accommodations for taking tests, please tell me well in advance
of the test date. I discourage a student from taking an incomplete grade in an introductory-level
class. IF YOU ARE A GRADUATING SENIOR, you are not automatically exempt from
my final exam. It is my prerogative to decide that. Please consult the current MC
undergraduate catalog, and then talk to me.
B. Early Alert System
Mississippi College has adopted the practice of finding students early in the semester who
may be exhibiting behaviors that could ultimately have a negative impact on their
academic progress. These behaviors are often called “red flag” behaviors and include,
but are not limited to, excessive absences, poor test grades, and lack of class participation
or evidence of non-engagement. Identifying these behaviors early gives the instructor
the opportunity to raise the “red flag” on behalf of a particular student so that the student
can take the appropriate action to redirect his/her progress. The system alerts the
student, the student’s advisor, and the Office of Student Success.
These messages are intended to help a student recognize an area of concern and to
encourage him/her to make some choices to improve the situation. When a student
receives an Early Alert message, the student should quickly make an appointment to talk
with his/her professor about the situation. Also, students can make full use of the Office
of Student Success to set academic goals and connect to campus resources.
C. Students with Disabilities
In order for a student to receive disability accommodations under Section 504 of the
Americans with Disabilities Act, he or she must schedule an individual meeting with the
Director of Student Counseling Services immediately upon recognition of their
disability (if their disability is known they must come in before the semester begins or
make an appointment immediately upon receipt of their syllabi for the new semester).
The student must bring with them written documentation from a medical physician and/or
licensed clinician that verifies their disability. If the student has received prior
accommodations, they must bring written documentation of those accommodations
(example Individualized Education Plan from the school system). Documentation must be
current (within 3 years).
The student must meet with SCS face-to face and also attend two (2) additional follow up
meetings (one mid semester before or after midterm examinations and the last one at the
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end of the semester). Please note that the student may also schedule additional meetings
as needed for support through SCS as they work with their professor throughout the
semester. Note: Students must come in each semester to complete their Individualized
Accommodation Plan (example: MC student completes fall semester IAP plan and even if
student is a continuing student for the spring semester they must come in again to
complete their spring semester IAP plan).
Student Counseling Services is located on the 4th floor of Alumni Hall) or they may be
contacted via email at mbryant@mc.edu . You may also reach them by phone at
601-925-7790. Dr. Morgan Bryant is director of MC Student Counseling Services.
SYLLABUS (tentative): More detailed assignments will be given in class.
Remember: Be responsible AND flexible; have a backup plan for everything we do.
Week 1--Jan. 11-15
M
--Discuss your basic goals of directing a play in this advanced-level class.
Evaluate what you covered and what else you need to work on now. Determine the
performance schedule. Set audition dates. Overview the syllabus. Review Chapters
1-10 in text.
Goals:
blocking
picturization
concept
style
thinking as a director: artistic goals, personnel management, $$ matters,
developing your actors, etc.
rehearsal processes and techniques: having a goal every day, using
improvisation
W
--I need your chosen playscript by TODAY.
--Review requirements for the director's notebook: old-fashioned cut & paste
pages really are best. Get an artist’s sketchbook, copy your script, and get busy.
--Review spine, concept, and style.
--Discuss plays to read, beginning with this list:
***Assignment: By next Wednesday, Jan. 21, read and write short play
analyses on the following:
Antigone,
Everyman,
The Taming of the Shrew,
Tartuffe,
A Doll’s House and
A Streetcar Named Desire.. (all are free on the internet, except for Streetcar.)
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Alternate titles: Oedipus the King, The Rover, Death of a Salesman.
Week 2--Jan. 18-22
M
MLK holiday
W
***I will go over your chosen script with you today.
BE TRUE to the TEXT of a script. Develop the CENTRAL VISUAL
IMAGE and the CENTRAL METAPHOR.
Discuss the 6 plays assigned, then hand in the analyses.
Choose your play!!!
Discuss what you will look for in the actors at your auditions and how to run
auditions.
Discuss Ch. 11 & 12.
Draft your audition notice.
**My auditions are this week. Extra credit for helping to run those.
Week 3--Jan. 25-29
M
Post your audition notices. (Get approval, run copies, send via campus
email.)
Discuss Ch. 13, 14, & 15
W
M
Present your “sides” for your auditions.
Bring in your scene from your play; discuss how to direct your actors with:
--blocking
--playing the objective
--finding the spine of each character for that scene, then discussing how those
spines tie into the overall spine
***YOUR PLAY ANALYSIS IS DUE. (the big one, on your entire play.)
Week 4--Feb. 1-5
--I will discuss your script analysis and remaining areas to develop.
--Discuss the style of your play and your directorial concept.
--Discuss production schedules.
W, or TBA:
***AUDITIONS for Spring Scenes***
Schedule auditions for your most likely rehearsal times. I will be there to assess
how you run them. You may ask a friend to help you! Discuss when to post your
cast list.
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Week 5--Feb. 8-12
M
--Discuss casting, and post.
--Discuss casting rationale.
--Discuss publicity plan.
--Discuss set design.
--Discuss setting up your blocking notes.
W
--****Present your director's notebook with pages ready to write blocking
notes. (a copy of your script, trimmed & taped into a sketchbook)
--Discuss costumes, props, sound effects, and lighting plots.
Discuss the major elements of directing: composition, picturization, movement,
rhythm and pantomimic dramatization (chapters 6-10). Apply these elements to
your chosen scene.
--Turn in a draft of your rehearsal schedule. We’ll check it, then you can
copy it and hand it out to your actors.
--Hold your read-through this week; have your actors begin their character
analyses. Possibly do some improvisations in another rehearsal.
Week 6--Feb. 15-19
M
--Discuss blocking notes, press releases, posters.
--Present publicity plan.
W
F
--Work Day: Have 2 rehearsals this week.
Mississippi Communication Association meets today in Jackson(?)
Week 7--Feb. 22-26
M
Turn in your press release; I’ll check it; we need to be ready before Andy
Kanengiser calls for it!
Present your current blocking notes and discuss strategies.
Present your poster design.
W
Work Day. Take rehearsal photos of your cast, in action.
Week 8—Feb. 29-Mar. 4
M
--Discuss keeping attendance and $ stats. (stage management!)
--Discuss the play program--design, required info., deadline
W
Work Day
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[SPRING BREAK--MARCH 7-11]
Week 9--Mar. 14-18
M
Get posters printed.
Present draft of program.
Discuss ticket management.
--****Present revised tech plots for lighting and sound effects.
--****Present revised plots for costumes and props.
Send your press release to Andy Kanengiser, if he has not already asked for it.
W
Work Day
Week 10--Mar. 21-25
--I will attend one or two of your rehearsals. Let me know when to attend.
M
Work Day: Put up posters.
W
Work Day
Week 11--Mar. 28-April 1
M
Easter Holiday: no rehearsals today in Aven Little Theater.
W
Work Day
My show is this weekend!!!!
Mar.31at 10:00/Ap. 1 at 10:00 & 7:00/Ap. 2 at 7:00/ Ap.3 at 2:30
Week 12--Apr. 4-8—
Schedule your dress/tech for this week, to run the shows back-to-back in real time.
Take photos now!
M
Help me finish the strike for my show; pull your props & costumes.
W
Work Day--check in, TBA, house management, ticket table, cash box.
Week 13--Apr. 11-15: Production Week for Spring Scenes
M
--meet to discuss final production details.
W
--Work Day
Shows Thursday and Friday at 7:00, April 14 & 15.
Following the shows on Friday night, strike as much as possible before your cast
party.
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No cast parties will be held in Aven Little Theater the following week.
Week 14--Apr. 18-22
M
--Debrief on your play; turn $$ in to Miss Vicki. Clean up backstage; letter
grade penalty for the semester if not done.
--Reviews of each other’s shows are due.
W
Notebook due.
Week 15--Apr. 25-27: Meet to go over your notebook, by appointment.
[If your shows run April 21 & 22, we’ll finish up this week and meet on the exam
day to go over your notebooks.]
PRODUCTION GUIDELINES
Each director will direct one act from a play OR a complete one-act play, 25-35 minutes duration.
Acts must have a minimum of 2 characters, up to a maximum of 5 characters. No more, no less.
Your scene will be directed in open thrust or arena/ theater-in-the-round.
You may choose from the following historical theatrical periods: Greek, Renaissance,
Restoration/Romanticism, Early Modern, Contemporary. I do not recommend Absurdism.
AUDITIONS WILL BE OPEN TO ALL STUDENT ACTORS ENROLLED AT MC. If you run
into a problem, we’ll discuss it. By sticking to the above guidelines, there should be plenty of
actors to spread across the shows.
REHEARSAL GUIDELINES
You must have at least 2 rehearsals per week. All rehearsals in Aven Little Theater must be outside
of my rehearsals (usually 3:00-5:00 or 5:30) or our theater class times. (You may schedule
alternate rehearsal times and places on your own.) I will attend one rehearsal during the designated
weeks at your regular rehearsal time or during this class time. Closed weekend /final technical and
dress rehearsals must be arranged in conjunction with other class members and with my schedule
also.
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DIRECTOR’S NOTEBOOK
You will be required to produce a Director’s Notebook at the close of the semester. This Portfolio
will be produced as a result of your production activities from beginning to end. Advice: make
notes throughout the process and particularly during the rehearsal process. Record your thoughts
on all aspects of the process.
The Portfolio must include each of the following sections (I have another list as well, to merge
with this one):
1. Your Directing Philosophy: Discuss your process for directing, both personal and
public—considerations; challenges; problem solving, etc.
2. Overview Play Analysis of sample plays for classroom study (Use Checklist of One-Act
Requirements)
3. Cast & Crew contact sheet
4. Your Casting Rationale for this show
5. Rehearsal Schedules—Planning and actual calendar, incorporating crew & tech runs
6. a. Detailed Play Analysis for your play (Use Play Analysis Guidelines for Directors), and
include the following:
Playwright biography
plot summary
character analysis
beat analysis: divisions and descriptions
an adjective title for each beat
a verb
an image
emphatic words
summary
diagram of beat tempos (looks like a mountain range or a seismograph)
ground plan
set design
b. Plots for
costume
props
lights
sound
7. Directorial Analysis using all the elements from this class: composition, picturization, choice of
stage (challenges and considerations), scenery (limited—challenges and considerations),
properties, lights, costumes, make up, style and the audition, rehearsal and strike challenges and
considerations)
8. Character analysis BY the actors
9. Director’s scripts: (1) rehearsal script and (2) final with detailed blocking, color coded
(This means a photocopy of the script with detailed blocking notes and sketch of set design
indicating the actors’ placement. It’s also useful to have one sketch showing the
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blocking zones for a whole scene: that way, you can SEE whether you over-utilize one area
too much and neglect another area.)
10. Rehearsal notes
11. Audition Notice
12. Audition forms (blank and actual forms filled out by your actors)
13. Publicity Plan
14. Program and Poster
15. Director’s post-production thoughts:
How did your characters evolve during the rehearsal process?
How did your initial ground plan change to fit blocking?
How did the spine and style of your show grow into or beyond your initial vision?
What would you have done differently?
Did the audience respond well to your show?
Did you LIKE the results?
16. All props & costumes cleaned & returned; set & backstage completely cleared. (Failure to
complete this step will result in a lower grade overall.)
*NOTE FOR 5451 & 5452: For graduate students, the research paper and additional
assignments would also be included in this notebook.
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