Syllabus and Outline
Class Meetings Monday & Wednesday
Instructor: Randy Reinholz
Required texts:
3:30 PM – 4:45 PM Location : DA 102
Office: DA 205
Office Contact: (619) 594-0229 reinholz@mail.sdsu.edu
http://ttf.sdsu.edu/
Office Hours: Monday & Wednesday 11:30-12:30, 1:00 - 2:00 or by appointment
The Intent to Live: by Larry Moss
ISBN 0553381202
Glass Menagerie by Tennessee Williams
ISBN 9780822204503
Our Lady of 121st Street by Stephen Adly Guirgis
ISBN 0822219654
Candy & Shelley Go To the Desert by Paula Cizmar
ISBN 0822201798
Recommended texts: A Challenge For The Actor by Uta Hagen
An Actor Prepares by Constantin Stanislavski
The First Six Lessons, by Richard Boleslavsky
ALL THEATRE DEPARTMENT STUDENTS ARE REQUIRED TO BUY SEASON TICKETS
FOR THE SDSU PRODUCTION SEASON
Sylvia - September 25 – October 4
Into The Woods - October 30 – November 8
Doctor Faustus Lights the Lights - December 2 - 6
Course Description: A study of essential acting techniques through the practical application of exercises created and developed by Constantin Stanislavski, Uta Hagen, and/or Sanford Meisner.
Analysis of the literary text in the process of creating characters. Scene study and role preparation in significant contemporary texts.
Course Objectives:
1. To build on the principles of Acting I, by developing the actor’s confidence and capabilities within the discipline of the dramatic structure through in-depth textual analysis and the application of discoveries made during in-class exercises and rehearsals to memorized acting scenes.
2. To heighten the discipline and resolve necessary for creative character development through the completion of written scores, and play and character analysis, by coordinating and participating in periodic out-of-class rehearsals, and by maintaining an actor’s journal.
3. To exercise a discerning critical awareness by responding truthfully and constructively to performance work viewed in and out of class.
4. To discover the joy of acting.
By semester’s end, students shall be able to:
1.
Identify characters’ dramatic struggles within texts of varying lengths.
2.
Interpret plot and character specifics not expressly written in the text.
3.
Produce a physically, psychologically and emotionally believable performance before an audience.
4.
Demonstrate a range of dynamics in relationship to voice and movement.
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5.
Describe the structure of the acting process and define the associated vocabulary.
6.
Illustrate the ability to respond spontaneously using both memorized and non-memorized text.
Course Requirements:
1. Attendance: Attendance is mandatory. Two unexcused absences will result in the reduction of
2.
3. the student’s grade by one full letter grade. Additional unexcused absences can result in the student receiving a grade of “F” for the course.
Lateness: Lateness is not tolerated in the professional Theatre and is likewise unacceptable in this acting class. Class begins promptly. Actors on performance days are expected to be warmed up and ready to perform at the beginning of class. Students repeatedly late to class
(twice) will be denied admittance and these absences will be logged as unexcused absences.
If you will miss or be late, please call me.
Assignments on Time: All Assignments, performed and written, are to be completed on time. In addition, Reading Assignments are to be read by the due date listed in the course outline.
The grade for written Assignments not handed in at class but less than 24 hours late will be reduced one third of a letter grade. (Example: from A- to B+, from B to B-.) Those late by 24 to
48 hours will be reduced by a full letter grade. (Example: from A- to B-, from B+ to C+.) Those late by 48 hours to one week will be reduced by two full letter grades. (Example: from A to C, from B+ to D+.) No written Assignment will be accepted later than one week past its due date.
The Journal will not be accepted late.
Performance Assignments cannot be “made-up." Assignment dates may be exchanged, but only by agreement of all parties involved and only with prior consent of the instructor.
4. Performance Assignments -- Acting Scenes: Each student will prepare and participate in the inclass rehearsals and performance scenes.
5. Written Assignments: Students will complete two written assignments, 3- 5 pages each, one for each of the plays performed. Written Assignments are typewritten and include a bibliography for at least three sources of practical research. Each Assignment will consist of an analysis the play, a description of the character arc and a written score of the acting scene. The paper should include reflections on: class discussions, exercises, in-class rehearsal work, in-class performances, and evaluation of scene partners.
6. SDSU production responses – Please write a 1-2 page paper of each production during the semester. Paper should track one or two specific actor performances in the production and address play analysis, character arc, and possible research for the role.
7. Class progress and performance: Everyone is expected to participate in discussion as well as performance, in periodic out-of-class rehearsal and in the discussion critiques of the in-class performances. Everyone is further expected to take risks, and strive for compelling acting. This is only done in a supportive environment and it is everyone’s responsibility to build and maintain that environment.
Evaluation Procedure:
1. Performance Assignments - Acting Scenes
2. Performance of monologues
3. Larry Moss Quiz
30%
10%
10%
A = 91 - 100%
B = 81 - 90%
4. Written Assignments
5. Daily progress and performance
20%
18%
C = 71 - 80 %
D = 61 - 70 %
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6. SDSU production responses
Possible
12%
100%
F = 60% or below
Weekly Course Outline
Week One
Monday, August 24 First Class Meeting - Introduction to the course
Assignments: Class discussion: Play analysis, character arc, scoring a scene and practical research for the actor.
Reading Assignment due next week: The Intent to Live: by Larry Moss
Wednesday, August 26 Actors attend General Auditions August 27 or 28
Week Two
Monday, August 31
Discussion: Continue play analysis, character arc, scoring a scene and practical research for the actor.
Ensemble building exercises
Assignments:
Brief discussion of The Intent to Live read The Intent to Live: by Larry Moss
Wednesday, September 2 Quiz of The Intent to Live: by Larry Moss
Ensemble building exercises
Assignments: Read Glass Menagerie by Tennessee Williams
Written Assignment #1 is due week 9: Glass Menagerie.
Week Three
Monday, September 7 Off Labor Day
Wednesday, September 9 Class discussion: Reading Assignment Glass Menagerie Due Today:
Discussion: Theme, Conflict, and Action in Glass Menagerie.
Performance Assignment #1 Glass Menagerie starting next week.
Choose scene partners for next week
Week Four
Monday, September 14 In-class reading and discussion: Glass Menagerie
Breaking down your scene. Bring a copy of your scene to class – you will write on the page
Wednesday, September 16 Create presentation schedule for Glass Menagerie
In class rehearsals for Glass Menagerie
Week Five
Monday, September 21 In-class rehearsal: Glass Menagerie
Wednesday, September 23 In-class rehearsal: Glass Menagerie
Sylvia – September 25 – October 4
You must see it and write a two-page response for class in journal
Week Six
Monday, September 28 In-class rehearsal: Glass Menagerie
Wednesday, September 30 In-class rehearsal: Glass Menagerie ( off book)
Reading Assignment contemporary scripts Our Lady of 121st Street by Stephen Adly Guirgis
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Week Seven
Monday, October 5
Due Today:
And Candy & Shelley Go To the Desert by Paula Cizmar due week 9
In-class rehearsal:
Turn in paper for
Glass Menagerie (
Sylvia off book)
Wednesday, October 7 In-class rehearsal: Glass Menagerie ( off book)
Week Eight
Monday, October 12
Wednesday. October 14
Dress Rehearsal for Glass Menagerie
Performance Glass Menagerie
Assignment: Read contemporary scripts Our Lady of 121st Street by Stephen Adly Guirgis
And Candy & Shelley Go To the Desert by Paula Cizmar
Week Nine
Monday, October 19 In-class reading and discussion of contemporary scripts
Due Today: Written Assignment #1 Glass Menagerie
Wednesday, October 21
Week Ten
Monday, October 26
Wednesday. October 28
In-class rehearsal: Assign Acting Scenes from a contemporary script
Exercises to include Meisner work and seeing each other
Assign presentation schedule for a contemporary script
In-class rehearsal: a contemporary script
Into The Woods – October 30 – November 8
You are required to see it and write a two-page response for class in Journal
Week Eleven
Monday, November 2 In-class rehearsal: a contemporary script
Wednesday, November 4 In-class rehearsal: a contemporary script
Week Twelve
Monday, November 9
Due Today:
Wednesday, November 11
In-class rehearsal: a contemporary script (off book)
Turn in paper for Into The Woods
OFF VETERANS DAY
Week Thirteen
Monday, November 16 In-class rehearsal: a contemporary script (off book)
Wednesday, November 18 In-class rehearsal: a contemporary script (off book)
Week Fourteen
Monday, November 23 PERFORMANCE contemporary script
Wednesday, November 25 Off Thanksgiving
Week Fifteen
Monday, November 30 Discuss performing a monologue – in class exercises. Bring monologues from contemporary scripts
Due Today: Written Assignment #1 contemporary scripts
Wednesday, December 2 Randy Reinholz in New York Guest teacher in class
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Announcements, rehearse monologues
Doctor Faustus Lights the Lights – December 2 - 6
You are required to see it and write a two-page response for class in Journal
Week Sixteen
Monday, December 7 Announcements, rehearse monologues
Wednesday, December 9 Announcements, rehearse monologues
Due Today: Turn in paper for Doctor Faustus Lights the Lights
Monday, December 16 Present Monologues 3:30 – 5:30
Extra credit can only be obtained three ways and will be equal to one half of one letter grade:
 By reading and writing a 3 page response to A Challenge For The Actor by Uta Hagen or The Actor
And The Text by Cicely Berry or by attending and writing about 3 professional productions.
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