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NHTI- Concord Community College
THTR 102 - ACTING II
Course Description:
This course is a continuation of Acting I and is an introduction to diverse acting
approaches through the practical study of scenes and monologues in class.
Exercises, exploring these various acting techniques, will be done in class and
will be discussed/critiqued. The scene assignments may be taken from scripts
assigned to students or be chosen by student with approval from professor. They
will require work in and outside of class. Emphasis will be placed on the special
demands of scene analysis, milieu study and characterization, as well as
beginning directing technique. Comfortable clothing for movement required.
Prerequisite: Acting I
Course Objectives:
1. To develop skills in scene analysis with a particular understanding of the
“playwright’s world.”
2. To develop a personal rehearsal process.
3. To broaden the understanding of Character as applied to rehearsal and
performance.
4. To acquire a reading knowledge of primary acting theory texts.
5. To build knowledge of play scripts suitable for scene work.
Required Texts:
Bruder, Melissa et al. A Practical Handbook for the Actor, Random House, 1986.
Full text to the following plays from Samuel French:
Spoon River Anthology by Charles Aidman, Conceived from Edgar Lee Masters,
Crimes of the Heart by Beth Henley
The Odd Couple by Neil Simon
The Sisters Rosensweig by Wendy Wasserstein
Other Acceptable Scenes from:
Brighton Beach Memoirs by Neil Simon
Hot L Baltimore by Lanford Wilson, Light Up the Sky by Moss Hart,
Angels in America, Death of a Salesman, Streetcar, Raisin in the Sun,
Topdog/Underdog, How I learned to Drive, Fences, You Can’t Take it With You.
Recommended Texts:
Brook, Peter. The Empty Space. Atheneum, 1968,
Brook, Peter. The Open Door. Pantheon, 1993.
Cameron, Julia, The Artist’s Way, Tarcher/Putnam, 1992.
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Chaikin, Joseph. The Presence of the Actor, Atheneum 1972.
Chekhov, Michael. Lessons for the Professional Actor, Performing Arts Journal,
1985.
Chekhov, Michael. On The Technique of Acting, Harper-Collins, 1991.
Chekhov, Michael. To the Actor, Routledge, 2002.
Artaud, Antonin. The Theatre and its Double, Grove Press, 1958.
Spolin, Viola. Improvisation for the Theatre, Cemrel, 1975.
Stanislavski, Constantin. An Actor Prepares , Routledge, 1989.
Stanislavski, Constantin. Building a Character, Routledge, 1989.
Stanislavski, Constantin. Creating a Role, Routledge, 1989.
Evaluation:
Students will be asked to participate fully in classroom/lab setting. It will require
much physical work and will involve close physical contact with other students.
15% of student’s grade is based on his or her willingness and ability to
participate and cooperate in class exercises, assignments, and discussion. If the
professor thinks that students are not reading material in a timely manner, the
professor will give pop quizzes and assign essays. It is important to stay on top
of the syllabus in terms of your reading. As part of class participation, each
student is required to see two theatre productions this semester, one at NHTI, the
other to be assigned, and pass in an accompanying review.
Grading will cover Knowledge of Material, Memorization, Character
Preparation, Paperwork, Use of Voice and Body, Justification of Choices, Use of
Techniques Learned in Class, Effort, Focus, Concentration, Cooperation with
Scene Partner, and Ethics. Each scene/monologue also requires considerable
outside research on the playwright, period, and script analysis and rehearsal
outside of class. This paperwork must be handed in for each scene and character.
It will include your marked scene, a full character bio, explanation of the
approaches taken in the scene, and any articles or dramaturgical notes, which are
necessary for your understanding of the character and scene. Do not take the
paperwork lightly; it is an essential part of your grade worth 15%.
Attendance: Attendance is mandatory. Because of the lab ensemble structure of
this course, all students must be in attendance at all times. Each unexcused
absence lowers your final letter grade by ten points. Only excused medical or
emergency absences will be acceptable and evidence of such must be submitted
in writing from proper authorities. Assignments/Class participation that is
missed for excused absences must be made up at the next class at the student’s
initiative. Exception: If you miss class (for other than excused medical) when a
performance assignment is due, you will receive a zero on the assignment.
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Grade Breakdown:
Class Participation/Attendance/Attitude/Quizzes: 25%
Character Development One: 15%
Character Development Two: 15%
Scenes: 25%
Directing Credit: 10%
Attend play and do review : 5%
Final paper: 5%
1. You get one free absence. There are NO excused absences unless
the instructor finds proven extraordinary circumstances. Save your one allotted
absence for emergencies. This is a participatory, studio class. Four absences will
result in an “AF.”
2. NEVER miss class when a performance assignment is due; you will receive a
“zero” for that assignment and will not be allowed to make it up.
3. Make up work is allowed only under extraordinary circumstances and
through the student’s initiative.
4. Do not miss rehearsals with your partner; be respectful of other people’s time.
Be available.
5. Wear clothing suitable for movement and floor work. You will not be allowed
to participate and will receive an absence if not dressed suitably for work.
Remove hats, discard chewing gum.
6. Absence is permitted for religious holiday with advance notice.
7. Assignments are due on the date listed.
8. The nature of Acting and this course requires that physical contact occur from
time to time with fellow students. On occasion I may have to adjust parts of your
body for proper alignment and to release tension. Please see me privately as soon
as possible if this presents a problem.
9. We will all respect the space in which we work. Upon entering the room,
extraneous chat should cease. It is best to arrive a few minutes early and collect
yourself. It is assumed that when one enters the space, it is solely for the purpose
of work. Absolutely no food will be permitted in the space at any time. Lunch,
snacks, (except bottled water) must remain outside the space. When we take a
short break, this will be your opportunity to eat, drink or use the restroom. No
additional clutter will be permitted in the space, whether you are on your feet
working or observing the work of others. Leave everything you own in the
auditorium seats away from the stage. We will keep the space neat, clean,
organized and free of clutter, as this will reflect upon our work.
10. If you have a disability or physical injury that hinders you from participating
in class activities please see me privately so we can make arrangements to
accommodate you.
11. All technological devices must be turned off and be far away from your
hands. No hats in class as it impedes interpersonal interaction.
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12. All written work assigned for outside class must be typed.
13. Never be afraid to ask questions. Challenge yourself to grow through this
process. Your positive energy and dedicated participation will go a long way.
Scenes: Will be graded on a numerical scale according to the following criteria:
Level of preparation and rehearsal
Ability to determine and play a Goal/Intention/Objective
Ability to work off, connect and cooperate with scene partner
Ability to create work from “self” towards “character”
Use of voice and body
Competency in developing behavior appropriate to the givens of the text
Overall growth and improvement
Regardless of what response the class gives (or your friends give,) the instructor
is solely responsible for assigning your grade and using the above criteria. Your
own subjective feelings about your performance are not considered for the grade
you receive from the instructor.
Class Participation:
Will be based on your attendance, attitude in class, oral participation,
punctuality, preparation, commitment to class exercises, positive contributions
and your ability to work with the ensemble.
Quizzes: Cover text readings, lectures (take notes), class discussions, exercises
and plays using a format of short answers and short essays. Please bring paper
for all quizzes.
Scenes:
All scenes you do in class must be chosen from these listed plays or in special
circumstances, another play with my permission. After final performance of
scenes, you must hand in one script with all beats and blocking.
In order to get your directing credit, each scene must have a director.
Crimes of the Heart by Beth Henley
The Odd Couple by Neil Simon
The Sisters Rosensweig by Wendy Wasserstein
Other Acceptable Scenes from:
Brighton Beach Memoirs by Neil Simon
Hot L Baltimore by Lanford Wilson, Light Up the Sky by Moss Hart,
Angels in America, Death of a Salesman, Streetcar, Raisin in the Sun,
Topdog/Underdog, How I learned to Drive, Fences, You Can’t Take it With You.
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Schedule: (Tentative, may have to change)
Week 1
Monday January 28
Introduce syllabus, Warm up, Trust Exercises
Read HANDBOOK, p 3-18
Assign Character exercise. Dickens.
Breath.
Week 2
February 4
Quiz on pp. 3-18
Partner work
Read HANDBOOK, p 19-39, discuss.
Read Spoon River Anthology for character leap. Memorize one character
monologue.
Week 3
February 11
Quiz on pages 19-39
Warm-up. Do Character Leaps.
Centering, gesture. Discuss/explore Laban’s Effort/Shape
Read HANDBOOK, p 40-58
February 18 President’s Day, No classes
Week 4
February 25
Quiz pp. 40-58
Work session, scene 1, group 1.
Work session, scene 1, group 2.
Work session, scene 1, group 3.
Week 5
March 4
1st Showing, scene 1, group 1.
1st Showing, scene 1, group 2. Assign scene 2
Read HANDBOOK, p 59-73.
Read The Odd Couple.
*******SPRING BREAK****** March 11-15, 2013
Week 6
March 18
1st Showing, scene 1, group 3.
Quiz on Reading, pp. 59-73
Read HANDBOOK, p 74-88
Read. Subtext exercise.
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Week 7
March 25
Quiz on pp. 74-88
2nd Showing, scene 1.
2nd Showing, scene 1.
Read Crimes of the Heart for Week 6
Characterizing others
Week 8
April 1
Work session, scene 2, group 1.
Discuss Crimes
Read Glen Garry Glen Ross scene. The link is under course documents.
Week 9
April 8
Discuss Glen Garry Glen Ross Scene.
Assign animal. Animal exercise.
Work session, scene 2, group 2.
Work session, scene 2, group 3.
Read The Sisters Rosensweig for Week 8
Week 10
April 15
Do animals.
1st Showing, scene 2, group 1.
1st Showing scene 2, group 2.
1st Showing, scene 2, group 3.
Submit 2 typed monologues for Final Project.
Week 11
April 22
Reading Quiz, plays.
2nd Showing, scene 2.
2nd Showing, scene 2.
Discuss: Audition presentation techniques. Print out and read 12 Guideposts to
Audition Techniques based on Michael Shurtleff’s “Audition” under Course
Documents on Blackboard.
Assignment: Two Monologues, memorized and prepared for final project.
Attend play, Rhinoceros at NHTI, April 20-22
Week 12
April 29
Work all monologues
Catch up on all scenes, etc.
Play Review due on Rhinoceros
Bring food for all!
DUE: Paper on your character in your last scene. Also, where you started as an
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actor at the beginning of the semester, what progress you’ve made, and what
you will work on in the future. Finally, assess the work of your collaborators.
Week 13
May 6
Final Exam Week
FINAL PROJECT: TWO MONOLOGUES during exam week
In Professional Dress. Present two monologues as Audition.