USCSchool of
Dramatic Arts
GESM 110: The Actor at Work
Section # 35315R
Spring 2016—Tuesdays & Thursdays—11 am – 12:50 pm
Location: MCC 102; for Studios MCC 108
Instructors: Sharon Marie Carnicke and Mary Joan Negro
Office: Dr. Carnicke DRC 116B; Prof. Negro JEF #204
Office Hours: Office hours by appointment.
Contact Info: For Dr. Carnicke, contact either carnicke@usc.edu or
medinam@usc.edu; For Professor Negro, contact negro@usc.edu
Assistant Instructor (AI): to be announced.
Course Description and Overview
Because of its close ties to playwriting and directing, acting is often considered an interpretive skill. But
acting is its own independent art form, through which actors craft performances using techniques that
differ from those of other artists, with whom actors frequently collaborate. As such, acting is a discrete art
that can be studied and evaluated on its own terms. This seminar investigates major theories and
techniques that characterize twentieth and twenty-first century acting in the United States. Students will
examine primary texts about acting theories; will closely analyze performances that embody these theories;
and will engage in basic studio exercises that explore the techniques of acting’s craft. The Studio exercises
will uncover how actors explore the meanings and visions in plays; how intellectual study of texts uncover
the “subtexts” of the characters’ thoughts; and how the craft of acting involves disciplined rehearsal and
the training of voice, speech, and movement. Thus, students will develop respect for the complexity of
acting as they learn to articulate how the actor’s art is distinctive and to evaluate performances.
Learning Objectives
The course will fulfill the following four learning objectives in the Arts Category:
1. Analysis will be assessed through two critical papers, one that evaluates a performance and one
that researches an actor.
2. Making will be incorporated into weekly studio exercises and a final assignment that includes a
reflective essay on acting.
3. The Context of acting as an art will be explored through lectures and class discussions on the
history and theories of acting.
4. The course overall will prompt students to build life-long Engagement with the art of acting by
becoming informed spectators.
Class Meetings:
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This seminar involves lectures, discussions on the required readings and viewings of filmed
performances, as well as practice-based studio workshops.
Required reading is due on the listed date; always bring the assigned readings to class with you.
Students are required to participate fully in all studio exercises. Talent or prior experience in acting will
not be necessary to succeed; but the instructors expect from all students an honest and disciplined
commitment to the studio work.
Studio exercises will frequently use the Ten-Minute Plays at the back of the Course Reader—4 am
(Open All Night), Krakower; The Field, Robert Spera; Tape, Jose Rivera; Saddam’s Lions, Jacob Juntunen;
and Forty-Minute Finish, Jerome Hairston. Therefore, always bring your Reader to the studio classes.
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Turn off all cell phones during class sessions. If your phone is on during examinations, you will be asked
to leave the room.
Required Readings and Supplementary Materials
THE FOLLOWING REQUIRED PAPERBACKS HAVE BEEN ORDERED FOR YOU AT THE USC BOOKSTORE:
Course Reader: The Actor at Work
Constantin Stanislavski, An Actor Prepares (Routledge).
Sharon Marie Carnicke, Stanislavsky in Focus (2nd ed., Routledge).
Rosemary Malague, An Actress Prepares (Routledge).
Actors at Work, Tichler and Kaplan, eds., (Faber & Faber)
VIEWINGS OF CLIPS AND TWO FULL FILMS, AVAILABLE THROUGH NETFLIX OR AMAZON:
Rhapsody (1954), starring Elizabeth Taylor
La Vie en Rose (2007), starring Marion Cotillard
Description and Grading Breakdown of Assignments/Examinations:
1.
Reflection Paper (20% of the final grade). Two to three cogent and well-written typed pages that
analyze and reflect upon the acting in a filmed scene (to be assigned in class).
2.
A 6-7 page research paper on an actor, who is interviewed in The Actor at Work. The paper should
include the following components: a brief biography, a discussion of how the actor learned the
techniques of acting, and a close analysis of at least one filmed scene. In addition to the interview
in The Actor at Work, the paper should reference at least two other sources such as a serious book,
scholarly article, and/or other substantive interviews. Citatations from Wikipedia will NOT be
accepted. (20% of the final grade). If you wish to choose an actor other than one in The Actor at
Work, please get one of the instructors permission. You will then need a minium of three sources
(other than Wikipedia).
3.
One graded Studio assignment. This assignment includes an in-class component and a one-page
typed paper that reflects upon how your experience with the assignment expands upon your
understanding of the art of acting. (20% of the final grade.) Details on this requirement, including
how it will be graded, will be made clear in class.
4.
An in-class Midterm Examination on the history and art of acting (20% of the final grade).
5.
A Final Examination (20%). Details will be announced in class and there will be a formal review in
the last class.
IMPORTANT NOTE: The Final Examination will take place according to the USC Final Examination
Schedule. The date and time is given on this syllabus; make all travel plans with this date in mind.
Description of Grading Criteria:
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No late work will be accepted. If illness or an emergency interferes with the completion of
assignments, contact me or the Assistant Instructor at least 24 hours before the due date.
The final course grade is determined by the average of all five assignments/examinations, weighted
equally, based on the following scale:
Excellent: A (4 ) = 100-96; A- (3.7) = 95-90
Good: B+ (3.3) = 89-86; B (3) = 85-84; B- (2.7) = 83-80
Syllabus for COURSE-ID, Page 2 of 4
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Average: C+ (2.3) = 79-76; C (2) = 75-74 ; C- (1.7) = 73-70
Poor: the D range (.7-1.3) = 60’s; F (0) = 59 and below
“Excellent” means that clear understanding of the class material is coupled with original and creative
insight; “good” means that the class material has been understood clearly; “average” means that the
class material has been generally understood, but gaps in understanding remain; “poor” means that
there are identifiable gaps in the understanding of class material; “failure” means that gaps in the
successful completion of work is coupled with poor understanding of class material.
When the average falls between two grades, the final grade will be weighted toward the positive end
of the scale for students whose attendance and participation in class have been good, but will be
weighted toward the negative end of the scale for those with poor attendance and participation.
Course Schedule—Weekly Breakdown:
I: What is acting anyway?
Jan. 12
Jan. 14
INTRODUCTION TO THE COURSE (I hr) and Studio (1)
A BRIEF HISTORY OF ACTING (with illustrative clips from Cirque de Soleil and Birdcage)
Jan. 19
Jan. 21
Studio
WHAT DO WE SEE WHEN WE WATCH ACTING:
Clips for discussion will include John Barrymore in Dr. Jeckyll and Mr. Hyde against Edward
Norton in Primal Fear;.
Screening and discussion of a clip from Smoke which will be the basis for the Reflection Paper
(Assignment 1).
II: Stanislavsky’s System and the Hollywood Studio Coaches
Jan. 26
Jan. 28
DUE: First Reflection Paper.
INTRODUCTION TO STANISLAVSKY
Lecture, Clips about Stanislavsky, and Studio Exercises on the Early Stanislavsky System.
DISCUSSION OF STANISLAVSKY
READ : In Course Reader--Carnicke, “Stanislavsky’s System: Pathways for the Actor”; and An
Actor Prepares.
NOTE: Friday, Jan. 29, is the last day to add this course or to select the "P/NP" option.
Feb. 2
Feb. 4
Feb. 9
CLASSIC STANISLAVSKY MOVES TO HOLLYWOOD
READ in Course Reader--Lillian Albertson, Motion Picture Acting
VIEW: Rhapsody—analyze selected scenes.
READ: In Course Reader--Carnicke, “Elizabeth Taylor: My Kind of Acting”
Feb. 11
Continue DISCUSSION OF RHAPSODY (30 mins.)
STANISLAVSKY IN TWO CULTURAL CONTEXTS: RUSSIA AND THE UNITED STATES (1hr 30 mins)
READ and DISCUSS: Stanislavsky in Focus.
Continue discussion of Focus (1 hr); and Studio on Late Stanislavsky Exercises (1 hr).
Feb. 16
Feb. 18
Review for midterm Examination (1hr); Studio class (1 hr).
Midterm Examination.
III: The American Method
Feb. 23
OVERVIEW OF THE METHOD
Syllabus for COURSE-ID, Page 3 of 4
Feb. 25
Read: In Course Reader—Lee Strasberg, Selection from A Dream of Passion
VIEW: Clips of Method classes and scenes from Ellie Parker.
THE METHOD GURUS: LEE STRASBERG, STELLA ADLER, SANFORD MEISNER
READ: An Actress Prepares
NOTE: Feb. 26 is the last day to drop this course without “W” or to change “P/NP” to a letter grade.
March 1
A CLASH OF ACTING TECHNIQUES
VIEW AND DISCUSS: Scenes from Hondo ( John Wayne and Geraldine Page)
READ: In Course Reader—Carnicke, “The Screen Actor’s ‘First Self’ and ‘Second Self’: John
Wayne and Coquelin’s Acting Theory”; Interview with Geraldine Page, “The Bottomless Cup”
IV: Putting it all together….
March 3
ANALYSIS OF AN AWARD WINNING PERFORMANCE
VIEW: Marion Cotillard in La Vie en Rose.
Prompt for Assignment 2—the research paper based on The Actor at Work—will be handed
out and discussed.
March 8
March 10
Continue Discussion of Cottilard (1 hr); Studio Exercises (1 hr)
Studio.
March 14- March 20
Spring Break!!!! HOORAY!!!
March 22
March 24
Studio Class ; Graded Studio Assignment will be clarified.
Studio
March 29
DUE: RESEARCH PAPER ON AN ACTOR
Discussion of your findings.
March 31
Studio Class
April 5
April 7
Studio class.
Studio class.
NOTE: Friday, April 8, is the last day to drop this course with a mark of "W."
April 12
April 14
Studio class.
Studio class.
April 19 /21
DUE: ACTING ASSIGNMENT.
Half of the class to present on Tuesday; half of the class on Thursday.
April 26
Class Conclusions
READ: In Course Reader--“Balancing Acts” (debate between Kristin Linklater and Anne Bogart)
and Rhonda Blair, “Image and Action: Cognitive Neuroscience and Actor Training.
April 28
Review for the Final Examination.
Final Examination Date:
Tuesday, May 10, 11 am – 1 pm in MCC 102
Syllabus for COURSE-ID, Page 4 of 4
Statement on Academic Conduct and Support Systems
Academic Conduct
Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own
words – is a serious academic offense with serious consequences. Please familiarize yourself with
the discussion of plagiarism in SCampus in Section 11, Behavior Violating University
Standardshttps://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriatesanctions/. Other forms of academic dishonesty are equally unacceptable. See additional
information in SCampus and university policies on scientific misconduct,
http://policy.usc.edu/scientific-misconduct/.
Discrimination, sexual assault, and harassment are not tolerated by the university. You are
encouraged to report any incidents to the Office of Equity and Diversity http://equity.usc.edu/ or
to the Department of Public Safety http://capsnet.usc.edu/department/department-publicsafety/online-forms/contact-us. This is important for the safety whole USC community. Another
member of the university community – such as a friend, classmate, advisor, or faculty member –
can help initiate the report, or can initiate the report on behalf of another person. The Center for
Women and Men http://www.usc.edu/student-affairs/cwm/ provides 24/7 confidential support,
and the sexual assault resource center webpage sarc@usc.edu describes reporting options and
other resources.
Support Systems
A number of USC’s schools provide support for students who need help with scholarly writing.
Check with your advisor or program staff to find out more. Students whose primary language is
not English should check with the American Language Institute http://dornsife.usc.edu/ali, which
sponsors courses and workshops specifically for international graduate students.
The Office of Disability Services and Programs
http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.htmlprovides certification
for students with disabilities and helps arrange the relevant accommodations. If an officially
declared emergency makes travel to campus infeasible, USC Emergency Information
http://emergency.usc.edu/will provide safety and other updates, including ways in which
instruction will be continued by means of blackboard, teleconferencing, and other technology.
Syllabus for COURSE-ID, Page 5 of 4