Perfa 133 / Acting II: Scene Study and Characterization
Professor Reid Davis
email: RADavis@stmarys-ca.edu
TTh 11:20-12:50
FAH 130
Office: LeFevre 1 x8623
Office Hours: TH 12-2
and by appointment
In this course, students will engage in deeper levels of text analysis and a concentrated
focus on characterization. Through intensive monologue and scene study work, the
class will expand each performer's range of emotional, intellectual, physical, and vocal
expressiveness. The course will also expose actors to various audition techniques such
as monologue preparation, cold readings, and interview skills. Both formal and
informal writing assignments are targeted to script and character analysis, as well as
self and peer evaluation.
Learning Outcomes: The course aligns with the College’s Core Artistic Understanding
requirement for both artistic analysis and creative practice. Students in this class will:
• Deepen text analysis: including, social and historical context; given
circumstances; obstacles; story arc; and beats. Special emphasis is given to
determining whether the issue is being negotiated on the surface or in the
subtext.
• Learn to find the strongest story to play within each scene.
• Identify the character’s intention: How one character is trying to change another
character. (The intention chosen for each character should be one that genuinely
interests the actor and actually prompts ideas for how to play the scene.)
• Learn what to look for in your scene partner to see if you’re accomplishing your
intention.
• Make bolder and more unexpected choices in your acting work.
• Use distinctly different tactics, beat by beat, in pursuit of an intention.
• Find ways to accurately assess and correct your own work.
All the work is aimed towards designing & refining an acting process that specifically
works for you. In this way, you should consider assignments and grading as you
would an independent study: you get out of it what you put into it.
Basis for grading:
35% Attendance and Participation
15% First scene presentation and portfolio (“What I Should Have Said”). Basis for
grade: completion of two versions of monologue; significant development of narrative
and emotional arc; personalization)
15% Character study (Monologue) Basis for grade: application of Target work; focus on
wants vs. needs; connection of language to voice
10% Performance Professionalism portfolio (completion of professionlism letter and
redraft; completion of intern assignment)
25% Final scene presentation and portfolio (Basis for grading: integration of principles
into final scene; want/need assessment; text analysis; beat analysis; journal entries)
Grading Rubric for Monologues and Scenes
A (Excellent) demonstrates the following: advanced ability to focus on intention: How
one character is trying to change another character on stage; advanced application of
Text analysis to determine how much the issues of the scene are being negotiated on the
surface versus in the subtext; integration of given circumstances and analysis to
prioritize wants and needs and tell the strongest story; ability to focus solely on the
partner in the scene; consistently makes bold and active choices; varies tactics in
dynamic and surprising ways; advanced application of major aspects of performance
preparation (voice, gesture, composition content)
B (Very Good) demonstrates the following: consistent ability to focus/refocus on
intention: How one character is trying to change another character on stage; basic
application of Text analysis to determine how much the issues of the scene are being
negotiated on the surface versus in the subtext; application of given circumstances and
analysis to prioritize wants and needs and tell the strongest story; ability to focus
consistently on the partner in the scene; demonstrates bold and active choices; plays
tactics in textually supported ways; basic application of major aspects of performance
preparation (voice, gesture, composition content)
C (Good) demonstrates the following: an ability to focus on intention: How one
character is trying to change another character on stage; conceptual application of Text
analysis to determine how much the issues of the scene are being negotiated on the
surface versus in the subtext; ability to assess given circumstances and analysis to
prioritize wants and needs and tell the strongest story; some ability to focus on the
partner in the scene; makes active as well as passive choices; plays tactics; conceptual
understanding of major aspects of performance preparation (voice, gesture,
composition content)
D: (Passing) performs the final project and monologues, and demonstrates at least
some degree of knowledge of the following: intention, text analysis; given
circumstances, partner work; active choices; voice/body/breath
F (Failing) either does not complete assignment (performance and reflection) or fails to
apply basic knowledge of the following: intention, text analysis; given circumstances,
partner work; active choices; voice/body/breath
Introductions
Tues., 2/8
Course Introductions:
“What Is Acting?”
In Class: Vocal/Physical Warm up;
Viewpoints/Laban efforts introductions
Receive: First scene and partner
Thurs., 2/10 Course Introductions:
“What Isn’t Acting?”
In Class: Vocal/Physical Warm up;
Viewpoints/Laban efforts introductions
Present: “Bad Acting” monologue
Tues., 2/15
No Class/ACTF
Read: The Actor and the Target chapters 1-3
Read: The play from which your first scene is
drawn
Thus., 2/17
No Class/ACTF
1
Personalization
Tues., 2/22
“What I Should Have Said”
Exercise
Skill Development: “Being and Noticing,”
“Personalization,” “Listening and
Responding”
Present: “What I Should Have Said” selfwritten monologue
Thurs., 2/24 “What I Should Have Said”
Exercise
Present: “What I Should Have Said” selfwritten monologue
Partner Exercise: “The Five Questions:”
analyzing scene “relationship”
2
Actions and Tactics
Tues., 2/29
Scene 1 Rehearsal Presentations
billy currington
Hand-in: “The Five Questions” for your
scene/play
Skill Development: Analysis for Action
Read/Review: Benedetti Chapter 11 “The
Acting Process: Givens, Needs, Objectives
and Actions”
Thus. 3/3
Scene 1 Rehearsal Presentations
cont.
3
Creating a Character
Perform: Scene 1 Environmental Staging
Tues., 3/8
Sign up: Feedback session, Weds. 3/9
Thurs., 3/10 Introduction: Characterization
Inside/Out vs Outside/In
Read: Chapter 15, Benedetti: “The
Character’s Body”
Introduction: Laban Action Efforts Read: Emily Mann or Carole Roccamora’s
translation of The Three Sisters (Chekhov)
4
Creating a Character: Laban
verbs
Tues., 3/15
Perform: Character Study #1
Skill Development: Psychological Gesture
(Michael Chekhov)
Thurs., 3/17
Tues., 3/22
Perform: Character Study #2
Classmate/Celebrity
Thurs., 3/24
Tues., 3/29
Thurs., 3/31 Monologue Presentation 1
Tues., 4/5
Essay due: Daniel Day Lewis in
performance
Thurs. 4/7
Tues., 4/12
Monologue Presentation Final
Last Day to Select Scene Partners for Final
Scene
Thurs., 4/14 Scene 2 First Reading
Fri., 4/15
Last Day for
P/F or W
without
penalty
Mon., 4/1625 EASTER
Tues., 4/26
Scene 2 Analysis due
Thurs., 4/28 Scene 2 First Presentation
Tues., 5/3
Thurs., 5/5
Tues., 5/10
Scene 2 Final Presentation
Thurs. 5/12 Scene 3 Final Presentation
Fri., 5/13
Final Exam Final project portfolio due
Monday 12/7 11:30-1:30