FA 48Q.01 Spring 2015
Özlem Turhal de Chiara
SCENE STUDY AND CHARACTER DEVELOPMENT THROUGH
LITERATURE
This course is designed to introduce the student to acting
through the adoption of characters from one of three selected
novels/plays. It will focus on applying the basic principles of
character development and scene study. It will concentrate on
teaching body, voice, and speech awareness and control, along
with character and script analysis. The student will learn to read
the novels with his/her body and embody the chosen character
using all senses, and through intensive character study with a
partner.
After getting into the spine of the character students will interact
with other characters through scene study. Intensive work will
focus on the spine of the character and vocal expression, with
interaction between characters, culminating in a final class
performance.
Course Learning Outcomes
Upon completion of course, students will have acquired the
following acting skills and abilities: Realize an objective
through physical and emotional transference, in depth character
analysis and subsequent character development. Use of written,
oral and visual methods of research in order to express oneself
using all aspects of emotional and physical creativity.
Analyse and evaluate information and synthesize it into
character development.
.
Week 1
Introduction
The students will be briefly introduced to the novels/plays from
which they will be asked to choose a scene and their characters.
General outlines of the class will be talked over. Required
materials will be announced.
Week 2
Johan Huizinga, “Homo Ludens” Part I Nature and
Significance of Play as a Cultural Phenomenon
What is a “Simple” Scene?
Objective-Super-objective
Goals and Obstacles
Week 3
Lenard Petit, The Michael Chekhov Handbook For The Actor
Michael Shurtleff, Audition Guidepost 1: Relationships- how to
create them on stage
Being partners. “Relationship” will be explored.
Week 4
Transpersonal actor, Ned Manderino
Action vs. Activity
What is action (inner/outer)? What is activity? A scene will be
chosen from the list and it will be explored through the actions
(a list will be handed out). The beats of the scene will be
assigned through the objectives and actions of the character.
What does the character want to achieve in the novel/in this
scene? What stops him/her?
How to break down a scene. What is a “beat”?
Breaking down the text into segments through the objectives of
the character.
Introduction to “Spine”
The students will announce which scene they have chosen to
explore in the class and discuss their reasons why they chose
this material with their partners.
Week 5
Edward Dwight Easty “On Method Acting” - Creating The
Outer Character
Michael Chekhov, To The Actor
Spine of the character (Outside-in approach)
The students will find the physical traits of the character from
the novel. The spine of the character (literally) will be formed
with the givens. How he/she walks, use of his/her hands, legs,
how he/she carries his/her head will be investigated. The student
will demonstrate the spine of his/her character in class
Listening: The gestures of listening
Week 6
Edward Dwight Easty “On Method Acting” - Animal Exercises
Picture/Portrait of the characters
PICTURE: A painting that represents the appearance of the
character being worked on along with the other character
depending on the student’s perception of the scene. It doesn’t
have to match by all means, the general feeling will do. It needs
to “visually” represent the characters’ relationship being worked
on and there has to be two persons in the painting in a similar
relationship as in the chosen scene.
Animal of the character
ANIMAL: Which animal does the student feel his/her character
would have been? Why?
Week 7
Midterm
Week 8
Archetypical gestures. The super objective of the characters will
be explored.
Week 9
Sonia Moore “Stanislavsky System”-Tempo Rhythm
Tempo Rhythm
The students will be asked to bring five simple consequent
movements (e.g. to get a pen and start to write something, to
pick up an object from the floor and look at it etc.) to study in
detail the tempo and the rhythm. The movements will be done in
the class with the given tempos.
Explore the scene through tempo-rhythm.
Week 10
Rehearsal
Week 11
Performance
Requirements:
Scene work must demonstrate an exploration of the following:
-Given Circumstances
-Actions and objectives
-Sensory Realities
-Spine of the character
-Atmosphere, time and cultural differences
Students will submit a copy of their scene with beats and actions
defined at presentation.
Class Guidelines:
Student must attend all classes.
Absences and lateness will affect the grade.
All written assignments must be typed and double-spaced.
Food is not allowed in class.
Class space must be left clean.
Students will be supportive by not leaving class or talking
during teacher’s discussion of work.
Discussion of the work by students will be at the discretion of
the teacher.
References: Homo Ludens, Johan Huizinga Part I Nature and
Significance of Play as a Cultural Phenomenon
Lenard Petit, The Michael Chekhov Handbook
For The Actor
Michael Chekhov, To The Actor
The Invisible Actor, Yoshi Oida
Michael Shurtleff, Audition
On Method Acting, Edward Dwight Easty
Aspects of the Novel, E. M. Forster
Stanislavsky System, Sonia Moore
Transpersonal actor, Ned Manderino
Suggested Novels: TBA
Assessment Criteria:
% 30 Attendance-Reading- Class participation
% 20 Mid Term
% 30 Homework material
% 20 Final