Heartland Community College
Humanities & Fine Arts
Course Syllabus for Students
Course Prefix and Number: THEA 104 – Spring Semester - 2011
Course Title: Acting I – Section 2
Credit Hours: 3
Lecture Hours: 1
Laboratory Hours: 4
Days and times the course meets: 02:00pm-04:20pm T-TH at Heartland Theatre Company,
Normal Activities Center, One Normal Plaza, Normal, IL
Introduction: This course is dedicated to basics of acting; what it takes to participate
successfully in the process of acting. The laboratory nature of the course will put the emphasis
of the course on identifying the tools necessary to work effectively in the acting experience.
Improvisational exercises, monologues and scene study will all work through out the semester to
formulate the steps necessary to build a believable and credible character in performance.
Catalogue Description:
Prerequisite: None. Fundamentals of acting: concentration, observation, playing action and other
basics are introduced through acting exercises, improvisations, and scene study. Major acting
approaches, such as Cohen, Meisner, Stanislavski, and Shurtleff, will be used as the basis for
helping the actor acquire craft in order to create believable characters.
Instructor Information:
Instructor name: Mike Dobbins
Phone number to contact instructor: 452-8709 – Leave message. – or 268-8635
Instructor e-mail address: Eddie.Dobbins@heartland.edu
Location of instructor’s office: Heartland Theatre Company
Hours and days of instructor’s office hours: Available by appointment following the
class.
Textbook Required:
Shurtleff, Michael Audition: Everything an Actor Needs to Know to Get the Part, Walker
and Company, New York , NY (1978)
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Textbooks Continued …
Recommended: Articles, essays and reviews of theatre underway worldwide available to
you in the HCC library.
Recommended: ACTORS ON ACTING – Cole and Chinoy – On reserve at HCC
Library – Many different views on the art of acting.
Recommended: Thought into Action, Kurt Daw (2004)
Relationship to Academic Development Programs and Transfer: (Indicate if course is
General Education/IAI)
THEA 104 fulfills 3 semester hours of elective credit for the A.A. or A.S. degrees. It should
transfer to most colleges and universities as an elective course. However, since it is not part of
the General Education Core Curriculum described in the Illinois Articulation Initiative, students
should check with an academic advisor for information about its transferability to other
institutions. THEA 104 should articulate as the equivalent of the first IAI baccalaureate major
course in acting.
Beliefs:
Academic Discipline: This course serves as an opportunity for you to learn what it is that
makes performing such a complex and intricate process. Acting is an art for various reasons, and
this course should open your eyes to the language that qualifies this idea.
Student Learning:
In every performance course there is an extremely high expectation for
participation and preparation. Absences confound the very process of
performance, and defeat the entire idea of performance. Those students who look
forward to working the performance opportunity for all of its potential can only do
so by meeting the expectation of others who are relying on your participation. Each
actor’s ambition can only be realized in a theatrical context, and as an acting
student you are the context so necessary for the rest of your class to relate to.
Obviously, life interrupts our desire to live in the theatre and there will be occasions
that will make it impossible for you to make this class, but please understand it
makes it extremely difficult for your colleagues to work without you. If you can
anticipate any absence, please notify all of us involved in the section in as much
advance as possible.
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Student Learning Continued:
For the actor to feel fully engaged with the process of acting, outside time will be
expected in the memorization of various monologues and scenes. This demands
that you give the time necessary to learn the lines, feel absolutely comfortable with
their intentions, and help your partner identify and achieve their intent. (continues)
Each of us has our own pace in this world, but as actors you will find that the more you do,
the easier it comes. Do not let your assigned acting partner down by being irresponsible in
this memorization task. The completion of the process makes it mandatory that you learn
your lines and the sooner you can do so the easier life becomes for all around you. This
assignment, this memorization process, is not simply an academic exercise; it is the
rudiment of the craft. You need to have the ingredients necessary to bake the cake—the
memorization is the ingredients. Work.
Finally, the student must understand the necessity for keeping themselves
completely open to working with all others. There is no room in this class for
abstaining on any given assignment. Because acting is really a practice, it must be
practiced with the most positive attitude at your disposal. Please be alert to the
necessity of an open and positive, supportive if possible, attitude toward yourself
participating in this performance encounter. Stay positive, stay alert, and try to
help one another succeed in making theatre art through your diligence and internal
support of one another.
Instructor’s Role:
For this class to reach any artistic objective it is important that I work right along
side of you, to help coach and explain the kinds of complications that each and every
exercise and/or scene assignment brings along with it. I’ll be asking memorizations
to be accurate and comprehensive, but I’ll be sure to give you the laboratory time to
feel comfortable in meeting the performance deadlines.
Course Objectives (Learning Outcomes):
Students who successfully complete THEA 104 should be able to:
1.
Identify the constituent components that comprise credible acting.
2.
Understand the role of the actor as a member of the collaborative art of theatre.
3.
Explore acting as a reflection of the human experience in historical and contemporary
contexts, and demonstrate an awareness of major contemporary theories of acting (e.g.,
Cohen, Meisner, Stanislavski, Shurtleff, etc)...
4.
Respond to assigned texts and in-class exercises, and research selected acting pieces with
regard to acting style, course requirements, and personal exploration.
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Learning Outcomes Continued:
5.
Synthesize the principles presented in the course with and demonstrate growth in esteem,
appreciation of the art form, and the craft of acting.
6.
Process personal acting style with those principles of realistic acting parented by
Konstantin Stanislavski.
7.
Experiment with diverse acting styles by engaging in-group explorations of gender
switching, color- and age-blind casting, etc.
8.
Demonstrate acting skill by presenting acting monologues and scenes to class peers.
9.
Help move Heartland Community College into a recognized arena for performance
studies by being available and open to participating in demonstrated scenes and /or plays
for fellow students and a larger general audience when it is available.
10.
Identify appropriate topics for scholarly research in acting history and/or methodology,
utilize standard bibliographic and other research tools, select suitable sources and
research methodology, and write papers presenting the results of their research while
observing the conventions of scholarly discourse.
Course/Lab Outlines:
I. Beginning Performance Approaches
a) Activities and exercises. Working our way in to the believable encounter.
Participation is mandatory. This aspect of the course constitutes 20% of your
final evaluation.
b) Chapter assignments from the required texts. Five quizzes over the chapters, This
segment constitutes 25% of your final evaluations
c) Monologue assignments and performance of scenes studied. This segment
represents 20% of your final evaluation. See the course calendar below for these
deadlines.
II. Scene study and exploration: as assigned. Participation and completion is mandatory.
III. Written report on the art of acting—3 or 4 page summaries of available articles about
acting from reading list provided by instructor by early March, due to be turned in at
the start of the final exam. This paper constitutes 15% of your final evaluation.
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IV. Participation in theatre underway around the community: You are expected to attend at
least two plays in performance between now and the end of the semester. I will
provide you with a list of plays being performed around Bloomington /Normal, and if
you would prefer to respond to a play being performed in Chicago or out of town,
please clear that title with me before you decide to write on it. Once you’ve seen the
play, please turn in the program along with a two page paper that discusses any four
of the following aspects of what you’ve observed within two weeks of the time
you’ve seen the play. These two papers constitute 20% of your final grade. Use this
as criteria for your response to the plays:
Response Guide for Thea 104
1.I bought into it—these actors seemed to believe in the moments they were
expected to convey by the boundaries of the play. Conversely, if you feel
the acting was inappropriate and inadequate, tell me why.
2.The mise en scene supported the needs of the play: set, props, costumes,
lighting and sound all seemed to play an important part of the action of
the play—helping the actors realize their full potential. Or, conversely,
why it failed to do what is needed.
3.This is a play that I would like to do because I can see myself bringing
something more to the role of_________. In fact, this play and the way
that I work are a perfect fit.
4.You know, this play just never got off the runway. Here is why.
5.If I could cast anyone in the world to act these roles, here are the actors I
would assign to carry out these roles.
6.Do I care about these people and their crisis? Do the actors work in such
a way as to make me care about them? If so, how was that realized in
any two of their performances?
7.What did you enjoy about the theatre itself? What aspects of management
do you appreciate? Were there some aspects of getting into the theatre,
parking, finding your seat, the heat the noise, the on and on it goes—
what made it fun or disastrous?
8.I read the local critic in the paper about this show and I agree or disagree
with them on these three things.
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Methods of Instruction:
The course will be reliant on a workshop format that requires your participation in daily
exercises, improvisatory investigation and performance conditions. You’ll be expected to
always be ready to act—arriving with the understanding that what we intend to explore
expects an open and participatory attitude. Through the course of the semester we’ll be
continuously engaging in-group activities, shared responses to our endeavors, and together
we’ll answer the fundamental questions that surround effective performance process.
Periodically we’ll open a session with an informational sharing component that has to do
with how acting has evolved through time, how it continues to perpetuate itself in different
philosophies and experiences.
Course Policies:
Method of Evaluation (Tests/Exams, Grading System):
As indicated above:
Attendance and participation in discussion and activities : 20%
Monologue and scene completion: 20%
A paper on the art of acting: 15%
Five quizzes from required text: 25%
Two responses to plays Critique Paper 20%
Practicum Exams (See monologues and scenes below) at Midterm and Finals
Final grades will be determined according to the following scale:
90 to100% = A
80 to 89% = B
70 to 79% = C
60 to 69% = D
Below 60% = F
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Grading Policy:
Only under severe and unusual conditions will a student be able to make up either a midterm or final scene performance assignment. If you encounter an obstacle that prevents
you from attending either of these events you must call 452-8709 and leave notice of this
complication before the time of scheduled performance. Any calls received afterwards will
make you ineligible to pass this course.
Participation (or Attendance):
There is no way you are able to benefit from being absent. This is a theatre practicum
course and if you have any way to avoid being gone, you must assert it. If you have a
medical or family excuse, notify me at once by leaving a message at 452-8709 and tell me
how I can call you.
If you miss more than three classes in the semester your final evaluation will be lowered
one full grade point, four classes missed and it will be lowered two grade points. Missing
more than four classes in this section will not make you eligible to pass the course.
Class Participation:
Mandatory. Workshop will not be realized if you are absent. Those activities slated for
each class will not be able to be made up. In a practicum-based class such as acting, your
availability is everything. Responding to the work of your colleagues, group discussions
and gathering responses to your work is what the class has to be all about. If absence is
unavoidable and if it is the first one, I will assign alternate work. In other cases, the
absentee with receive a 0 on those assignments, unless medical verification of illness is
brought to me or other need for absence can be proven. Students must initiate negotiation
of make up upon their return to class or over the phone.
In case of illness or family emergency, which requires missing more than one class, I
expect that you communicate with me early in the absence so make up arrangements
can be made in advance.
Incompletes Policy:
I follow the official college policy, as found in the College catalog, as illustrated by the
following excerpt: “An incomplete grade may be given to a student who, by the withdrawal
date, can reasonably be expected to pass the course. Incompletes can only be granted when
justified by extreme circumstances (e.g. serious illness, accident death or serious illness in
the immediate family.”
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Extra Credit:
If a student is hoping to earn extra credit there are two ways this can be achieved: you may
attend two additional plays this semester at different theatres and/or you may assume a role
in a main stage effort at any approved theatre in town. If anxious to audition, please petition
to instructor at least one week before auditions.
Make-up of tests and assignments:
Written work is negotiable with appropriate lead-time. If you can anticipate the defined
deadlines for written work as problematic, please talk with me as soon as possible to
determine what time we can settle on for completion of the assignment. It must be
understood that your responsibility to me and your performing actors is to be available to
meet performance objectives on the date and time agreed by this syllabus.
Deadlines:
In all performance aspects of the course, there are deadlines for the memorization and
presentation of monologues and scenes. These deadlines are not negotiable. As for the
written requirements of the course, exceptions to the defined dates may be negotiated up to
one week beyond their specified deadline.
Required Writing and Reading:
Assigned readings from texts, and resources held on reserve for you at the HCC
Library, as well as written commentary on two different plays in performance as
dictated by the response guide in this syllabus.
If you have a documented disability and wish to discuss academic
accommodations, please contact Anita Moore at 268-8249 or
anita.moore@heartland.edu
Student Conduct:
Attitude is everything in performance workshop and acting assignments. Being completely open
and willing to comply with the demands of the sessions are imperative. This is performance
class, nothing more.
Academic Integrity and Plagiarism:
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All written assignments are supposed to be in your own words. Feel free to quote, and cite the
sources of your information in the MLA manner. Out and out copying or plagiarism on written
reports will not be acceptable under any circumstance. See definitions below.
Academic Integrity
Academic integrity is a fundamental principle of collegial life at Heartland Community College
and is essential to the credibility of the College’s educational programs. Moreover, because
grading may be competitive, students who misrepresent their academic work violate the right of
their fellow students. The College, therefore, views any act of academic dishonest as a serious
offense requiring disciplinary measures, including course failure, suspension, and even expulsion
from the College. In addition, an act of academic dishonesty may have unforeseen effects far
beyond any officially imposed penalties.
Violations of academic integrity include, but are not limited to cheating, aiding or
suborning cheating or other acts of academic dishonesty, plagiarism, misrepresentation of data,
falsification of academic records or documents and unauthorized access to computerized
academic or administrative records or systems. Definitions of these violations may be found in
the college catalog.
Plagiarism
Plagiarism is the presenting of others’ ideas as if they were your own. When you write a paper,
create a project, do a presentation or create anything original, it is assumed that all the work,
except for that which is attributed to another author or creator, is your own. Plagiarism is
considered a serious academic offense and may take the following forms:
1
Copying word-for-word from another source and not giving that source credit.
2
Paraphrasing the work of another and not giving that source credit.
3
Adopting a particularly apt phrase as your own.
4
Using an image or a copy of an image without crediting its source.
5
Paraphrasing someone else’s line of thinking in the development of a topic as if it
were your own.
6
Receiving excessive help from a friend or elsewhere, or using another project as
if it were your own.
Note that word-for-word copying is not the only form of plagiarism.
Many plagiarism problems can be remedied by citing the sources of the original
work.
When in doubt, cite the source according to the style your instructor directs.
Usually this is APA or MLA Style.
Don’t be daunted by citing sources which are not books. You can cite everything
– including pamphlets, maps, cereal boxes, telephone conversations, movies,
television shows, Internet and world-wide web sites.
Most cases of plagiarism arise from carelessness or haste. Violators often attempt
to excuse themselves by saying that they were not told of the nature of plagiarism.
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You have been told. You must not include either the phrases or ideas of another
writer in your papers without acknowledgment. Otherwise, you are stealing.
Plagiarism is dishonest. It is cheating and is subject to severe penalties. It may
endanger your whole career. Don’t do it.
The penalties for plagiarism may be severe, ranging from failure on the particular piece
of work, failure in the course or expulsion from school in extreme cases.
[Adapted from the Modem Language Association’s MLA Handbook for Writers of
Research Papers. New York: MLA, 1995: 26
Support Services:
Heartland Library Information
www.hcc.cc.il.us/library
The Library, located within the Academic Support Center (ASC) on the Normal campus, provides
Heartland students with a variety of on-campus resources that support both class work and personal
inquiry. These include: reference tools (print and non-print), periodicals, audio-visual materials and
equipment, reserves, a general circulating collection, and a fiction collection. Computer terminals
provide access to various electronic resources, including Academic Universe, FirstSearch, and EbscoHost
databases; CARL online card catalog, and Internet access. Several electronic resources are accessible
from computers off campus. Students may borrow books from the fiction and general collections and
may renew materials, in person or by phone, if requests have not been placed on them.
Heartland students also have Interlibrary Loan privileges from Heartland Library. Items usually take 1 to
3 weeks from date of the order to arrive.
The Library maintains a quiet study environment. Assistance is available for all library and information
needs. Heartland Library is open Monday-Thursday 7:30 a.m. to 9:30 p.m., Friday 7:30 a.m. to 4 p.m.,
when the college is in session, but is closed on holidays that Heartland observes. Intersession and
summer hours are reduced.
Milner Library at Illinois State University is a public institution so you may use their collection on site. If
you want to request to check out materials, ask for a free Community Borrowers card application at the
Milner Library circulation desk. It is important that you have specific titles to request for check out when
you apply for the card. The card will give you access to their circulating collection for three months, with
a four-week check out period. To qualify for this service you must live within 50 miles of Milner, have a
current state ID (driver's license) with current address on ID, and be over age 18. After you fill out the
application Milner will perform a background check on you for over due books, etc.
For more information about Library services please call the Library at 268-8200.
Tutoring and Academic Support
Heartland Community College offers learning assistance in various forms at no cost to Heartland
students at the Academic Support Center (ASC) in Normal and at the Pontiac and Lincoln
Centers. Tutors are available at convenient times throughout the week. Study groups, group
tutoring facilitated by a specially trained tutor, are also available by request. Help is also
provided through instructional materials, study skills workshops; open computing, and the
Library. For more information about services available at each location, please call the ASC in
Normal at (309) 268-8235, the Pontiac Center (815) 842-6777; or the Lincoln Center (217) 7351731
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Academic Support Services (Academic Support Center) Lab:
http://www.hcc.cc.il.us/asc/tutor.html
[The following material must be on every syllabus. However, this text may be updated as needs warranted. Please
check either the HCC Intranet site in the Curriculum and Academic Standards folder or with the lead faculty
member for the most current site.]
Testing Center Lab: http://www.hcc.cc.il.us/asc/computerlab.html
The Testing Center proctors make-up exams for students enrolled in traditional courses. In
addition, regularly scheduled exams for alternative delivery courses are also proctored at this
Center. Exams are proctored free of charge in a secure and quite environment. For more
information about exam proctoring services contact the Testing Center at (309) 268-8231.
Open Computing Lab: http://www.hcc.cc.il.us/asc/computerlab.html
The Open Computing Lab provides free computing for HCC students at convenient times
throughout the week. The computer lab is staffed by trained Lab Assistants and offers the use of
approximately 70 computers, a scanner, a laser printer, and an electric typewriter.
Specifications for written materials: Please submit all written assignments typed, and be sure
to back up your assignments on your computer flash drive or in other ways I may ask that you
provide more than one copy of your submissions in the course of the semester.
Syllabi disclaimer: The class will be notified if changes are needed to College closings, severe
weather, class progress, incorrect statements in this document and unexpected demands on the
instructor.
Course Calendar:
January , 2011
11
Introductions – Review Syllabus – Distribute Performing Calendar
13
Improvisation Workshop – Play Readings- Discuss
18
Improv Continues – play readings continue
20
Modern Monologues Distributed – Declare Modern Choice Monday
25
Shakespeare Monologues Distributed – Also, Sonnet 116
27
Improvisations continue – Modern monologues declared
FEBRUARY, 2011
01
03
Shakespearean Monologue declared
Improvisation, Hand Out on – Actors on Acting
Page 12
08
10
Declaration of Shakespeare –– Quiz #1 over
“The Prologue” - Shurtleff
Improvisation Workshop – Note reading
assignment for quiz on February 14, 2011.
15
Quiz II over “Practical Aspects of the Audition” – Shurtleff
17
Memorized and Performed: Modern Monologue of Choice
22
First Scene Assignments Rehearsed
24
Work scenes – Distribute plays schedule around town
01
Improvisation Scene Work Continuing – Off book- Read Shurtleff 187-194 on Monolgues
MARCH – 2011
03
Quiz over Shurtleff III : pages 187-194.
07 -12
SPRING BREAK – No classes.
15
Share first assigned scenes with the rest of the class – Shakespeare Monologue
17
First scene review continued.... Actors on Acting Assignment clarified
22
- First scene brush ups with rehearsal props if needed – appointed times.
24
-Work first scenes – Shurtleff Quiz IV over pp 33-77 (Take Home)
29
Monologues refresher – Hand in quiz #4 over pp 33-77
31
Improv
APRIL
05
FIRST SCENE WOODSHEDDING – APPOINTED TIME
07
WOODSHEDDING CONTINUES
12
1ST PAPER DUE RESPONDING TO A PLAY YOU HAVE SEEN
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Video- Acting Technique Considered – Monologue review
14
19
Quiz over Shurtleff one week from today – Sonnet 116 from Memory
21
Rehearse scenes. – Turn in 2nd play review paper.
Second Scenes rehearsed in class – All arrive at 2pm –
Final Quiz over Shurtleff ( Page 77-92)
26
Quizzes returned. -2nd scene rehearsed
28
MAY, 2011
03
Second scenes rehearsed
05
All Report at 2pm – Review for Final.
10
FINAL EXAM AT 2pm – REQUIRED -