“ The word theatre comes from the Greeks. It means the seeing place.
It is the place people come to the truth about life and the social situation.”
~Stella Adler
ADVANCED PRODUCTION
ADVANCED PRODUCTION where the study of acting, theatre design, production and history are applied to public performance. The intent of this class is to give students the opportunity to experience and practice all aspects of theatre production, from exploration to conception to production.
COURSE OBJECTIVES:
- To further develop the actors craft and process for the young actor.
- To practice the tenets of an actor workshop in the classroom: vocal and physical exercises, rehearsals, and constructive criticism.
- To provide opportunities for students to see, and to participate in live theatre.
- To understand and be able to analyze the dramatic structure of plays.
- To develop constructive and analytical criticism of live plays.
Classroom requirements:
This class requires a lot of physical movement, which necessitates that students wear clothing that does not restrict their movement. If a student is not prepared to do the exercises and does not have a valid excuse to not participate, their participation grade will be affected.
This is a performance- based class. Your presence is necessary and needed for all work we do in class. If you have major conflicts with any of the performance dates please let me know ASAP. Don’t ask the whole group to scarifce their good work because you are unable to keep track of your calendar.
You will be given scripts to work from in class. Put these scripts in a folder when you are not using them. These scripts are the same as your textbook. You MUST have your script with you in order to participate in the rehearsal process. If you come to class and you do not have your script then you will be coming to class unprepared. DON’T STAND UP your scene partner – keep track of your script.
After-school rehearsals:
You may be required to attend after-school rehearsals that will be called for certain performances. Notice of after-school rehearsals will be posted as soon as their need is determined, but you will have at least one after-school rehearsal in February for the Seuss play and another one in May for the Play Festival. Rehearsal may be required for the scene competition as well.*
Unless there is a major change in the schedule that we do not have control over (snow days, administrator whim) you will have at least 3 weeks notice of this rehearsal time, so you can adequately plan. These rehearsals are mandatory. When you miss a rehearsal you hold everyone else up, therefore, if you miss any of these rehearsals without proper notification (A note and phone call with your parental figure) your grade will be deducted 10 percent. Your parents will also be notified of your absence.
*PLEASE NOTE: For those students participating in the Middle-School Workshops, all rehearsals and presentations will take place after-school.
CLASS ASSIGNMENTS and DUE DATES
DUE FIRST SEMESTER
Letter of Intention – August 12
Practice Performance I– September 5
Statue Project Concept due August 29
Play Reflection 1 – September 16
Class Reflection 1 – September 23
Dress Rehearsal for Statue September 19
LIVING STATUE – September 21
Shakespeare monologue memorized September 23
Play Analysis – Twelfth Night (in-class)
Practice Performance II– October 17
Monologue Panel October 28 – Advanced Acting
Class Reflection 2 – November 1
Play Reflection 2 October 31
Observation Nov. 4
Etude Nov. 11
Play analysis – Enemy of the People (in-class)
Practice Performance III– December 4
Scene Competition week of December 9
Play Reflection 3– December 16 (or earlier)
Class Reflection 3 – December 18
ASSIGNMENT INFORMATION:
Students are required to see three live play performances each semester. See ADVANCED ACTING for information on writing play reflections.
Due Dates for reflections: September 16, October 31 and December 13, 2013
Class reflections: Students are required to write a three - four paragraph reflection paper that is due at the end of each term. The reflection can be in a journal format, but it must be an honest and complete review of your own personal work. Where did you feel that you have made strides in your work? Where do you feel that you are struggling? What are some ideas that you have, or advice that you have received that you feel useful (or not)? Students are also required to write a letter of intention that outlines your specific goals for this class in this school year. That letter is due August 12.
Term class reflections are due September 23, November 1 and December 18
Practice Performance – While acting is a process that you get better at, and learn as you go (forward and backward), there are some basics to acting that need to be practiced and fine-tuned no matter where you are in the process, to that effort you will be required to memorize and present one short poem, no longer than one minute to the class, one per every six weeks. The poem should have heightened language in it or tell a story (Billy Collins) - NOT a nursery rhyme, not Shel Silverstein, but a poem that evokes visual images. You are to memorize that poem and present to class as a finished piece. You will be evaluated as to the quality of your memorization (fluid), your focus, your vocal projection and variety. The purpose of these presentations is so that you may regularly practice preparing and presenting. Practice Performances will be presented on September 5, October 17 and December 3
These dates are set, regardless of any other rehearsal schedule.
OBSERVATIONS: One of the most important things an actor can do is to get in the habit of observing his fellow humans. As a way to practice human behavior for this assignment you are to take time to observe people outside of school. Go to the mall, the public library, sit in a café downtown, or the farmer’s market and spend at least one half hour watching people walk by. Take a few notes as if you are on a reconnaissance mission: How do the people walk? How are they holding their heads, moving their feet? Do you have a sense of their well-being (happy, sad, shy, contemplative, etc)? If they are talking to someone, what do you observe about their relaitonship by the way they talk to each other? Are they good friends, in a partnered relationship? How can you tell this? NOW after you have observed people, pick one and write out a 3-4 sentences monologue that tells us the character of the person you have observed. Think of it as if you are watching a silent film and now you are adding in the dialogue. Present your fully rehearsed, memorized piece to class. Notes are to be handed in just prior to your performance. You will be required to hand in one observation a semester. The first semester Observation due November 4.
ETUDES: Literally an etude means a short instrumental composition of considerable difficulty usually created for practice pruposes. How this translates into theatre is that you are to create a moment of heightened emotional circumstances and present to the class “as if”. The piece should be fully realized, set up the performance space to create your stage, bring in any necessary props. Take time to rehearse your piece so you are not getting snarled up in prop or costume malfunctions. You will be required to present one fully realized piece each semester.
For the first piece you are to create a moment where you are doing something wrong – this can be illegal, or secret, and you don’t want to be caught. Set up your scene – perhaps you are poisoning someones food – then you will need the props to show the preparations. Heighten that by hearing someone come by (or not), moving in such a way so no one walks in on you. What if someone does walk in on you? Then complete your task – you are going to the room where your victim is and the scene ends. If other people are in your scene, you let us know that by your behavior. Work for specifics.
For the second piece you are to create a moment where something really awful/frightening is happening to you. Again, you may show that there are other people around by your reaction. Set up your scene – perhaps you are cooking something in the kitchen and you see something scurry across the floor. You are not sure. Then you see it again, a mouse! And you are deathly afraid of mice, when you see a few of them scurrying about – what do you do? Be realistic and thoughtful in presentations. These are not meant to be parodies, but serious, fully realized moments that require you to use truth in emotion.
Etude due: November 11
THESPIAN TROUPE 414 – North Theatre reinstated its Thespian Troupe status in 2012. This means students who are interested, and qualify, will be able to join the National Thespian Society, which allows for opportunity to participate in certain competitions, and to quailify for some scholarships. In its first year of restatement, we qualified for the state conference, with some students participating in singular events. It is our hope have more Thespian members participate in the state conference in January 2014.
To become a member, and to maintain membership, students are required to participate in the North Theatre program: working on or off-stage, as well as take care of front-of-house duties. Meetings will be held on a monthly basis which members are required to attend. Although a Den meeting time has been requested for these meetings, a general call out meeting will be on Wednesday, August 28 at 3:10pm. See Mrs. Sobrer if you have questions.
ACTORS TROUPE: North Theatre would like to establish a small troupe of about 5-8 actors to design and host Theatre Workshops that would then be taken to Batchelor and Tri-North Middle Schools. We would also like to design workshops to take to elementary schools. Interviews for interested participants will be held in September. All rehearsals and Workshops will take place right after school. It is hoped that the workshops will take place at the middle-schools in early December, the elementary workshops will take place in January. There will be more information about this announced at the Thespian Meeting on August 28. If interested, see Mrs. Sobrer.
Advanced PRODUCTION Projects First Semester:
The first six weeks:
LIVING STATUES TIMELINE
Week of August 19:
Warm-ups and practice holding still/idea exploration
Week of August 26:
Statue Concept DUE: August 29
Begin Practicing in statue groups (2)
Week of Sept. 3:
Practice Performance September 5
Continue practice in statue group (1)
Week of Sept. 9: Final Rehearsals (2)
Field Trip Sept. 13
Final Week, September 16:
Play reflections due Sept. 16
Dress Sept. 19
STATUES SATURDAY, SEPTEMBER 21
CLASS REFLECTIONS DUE September 23
MONOLOGUES chosen and Memorized by Sept. 23
The second six weeks:
Project objective will be performance in Shakespeare and the Monologue. Students should choose a monologue from a Shakespeare play and one from a contemporary play. The monologues must be from a PLAY, NOT a movie, and not a monologue written for practice purposes. Students will have the opportunity (not required for Production students) to present an audition ready monologue to area theatre professionals the end of October. In order to do the exercises on Shakespeare in class it is imperative that you have your Shakespeare monologue memorized by date given.
The third six weeks:
In school scene – competition: Your student-chosen scenes will be competing against the Advanced Acting class and some Theatre Arts students. The best scenes will be selected to represent North Theatre at the State Thespian Competition at the University of Indianapolis end of January 2014. Scenes competition will be the week of December 9.
Texts used in class, R.S. Gwynn’s DRAMA, A Pocket Anthology. (Penquin Academics, fifth edition, 2012).We will be using sections from Mastering Shakespeare, An Acting Class in Seven Scenes by Scott Kaiser. Although this text is not required, it is highly recommended that you purchase your own copy for your library. Mastering Shakespeare is an excellent resource for actors. Other teacher selected handouts.
Frequently Asked Questions:
How soon do I need to know my lines? – As soon as you know what monologue, scene, play you are doing get to work on your lines. When you don’t know your lines you are holding up your own creative process.
Do I have to bring in props? – Only if you feel that they will help the scene. However, the more attention made to details, the better your scene.
How soon should I look for a monologue/scene? – In short, yesterday. Too often students put this choice off to last minute and then are not happy with their choice. If you don’t have one picked out by the time you have to make choice known I will select one from the production book for you. You will not be able to change monologues after you have told me which one you are doing.
COURSE OBJECTIVES:
- To further develop the actors craft and process for the young actor.
- To practice the tenets of an actor workshop in the classroom: vocal and physical exercises, rehearsals, and constructive criticism.
- To provide opportunities for students to see, and to participate in live theatre.
- To understand and be able to analyze the dramatic structure of plays.
- To develop constructive and analytical criticism of live plays.
Classroom requirements:
This class requires a lot of physical movement, which necessitates that students wear clothing that does not restrict their movement. If a student is not prepared to do the exercises and does not have a valid excuse to not participate, their participation grade will be affected.
This is a performance- based class. Your presence is necessary and needed for all work we do in class. If you have major conflicts with any of the performance dates please let me know ASAP. Don’t ask the whole group to scarifce their good work because you are unable to keep track of your calendar.
You will be given scripts to work from in class. Put these scripts in a folder when you are not using them. These scripts are the same as your textbook. You MUST have your script with you in order to participate in the rehearsal process. If you come to class and you do not have your script then you will be coming to class unprepared. DON’T STAND UP your scene partner – keep track of your script.
After-school rehearsals:
You may be required to attend after-school rehearsals that will be called for certain performances. Notice of after-school rehearsals will be posted as soon as their need is determined, but you will have at least one after-school rehearsal in February for the Seuss play and another one in May for the Play Festival. Rehearsal may be required for the scene competition as well.*
Unless there is a major change in the schedule that we do not have control over (snow days, administrator whim) you will have at least 3 weeks notice of this rehearsal time, so you can adequately plan. These rehearsals are mandatory. When you miss a rehearsal you hold everyone else up, therefore, if you miss any of these rehearsals without proper notification (A note and phone call with your parental figure) your grade will be deducted 10 percent. Your parents will also be notified of your absence.
*PLEASE NOTE: For those students participating in the Middle-School Workshops, all rehearsals and presentations will take place after-school.
CLASS ASSIGNMENTS and DUE DATES
DUE FIRST SEMESTER
Letter of Intention – August 12
Practice Performance I– September 5
Statue Project Concept due August 29
Play Reflection 1 – September 16
Class Reflection 1 – September 23
Dress Rehearsal for Statue September 19
LIVING STATUE – September 21
Shakespeare monologue memorized September 23
Play Analysis – Twelfth Night (in-class)
Practice Performance II– October 17
Monologue Panel October 28 – Advanced Acting
Class Reflection 2 – November 1
Play Reflection 2 October 31
Observation Nov. 4
Etude Nov. 11
Play analysis – Enemy of the People (in-class)
Practice Performance III– December 4
Scene Competition week of December 9
Play Reflection 3– December 16 (or earlier)
Class Reflection 3 – December 18
ASSIGNMENT INFORMATION:
Students are required to see three live play performances each semester. See ADVANCED ACTING for information on writing play reflections.
Due Dates for reflections: September 16, October 31 and December 13, 2013
Class reflections: Students are required to write a three - four paragraph reflection paper that is due at the end of each term. The reflection can be in a journal format, but it must be an honest and complete review of your own personal work. Where did you feel that you have made strides in your work? Where do you feel that you are struggling? What are some ideas that you have, or advice that you have received that you feel useful (or not)? Students are also required to write a letter of intention that outlines your specific goals for this class in this school year. That letter is due August 12.
Term class reflections are due September 23, November 1 and December 18
Practice Performance – While acting is a process that you get better at, and learn as you go (forward and backward), there are some basics to acting that need to be practiced and fine-tuned no matter where you are in the process, to that effort you will be required to memorize and present one short poem, no longer than one minute to the class, one per every six weeks. The poem should have heightened language in it or tell a story (Billy Collins) - NOT a nursery rhyme, not Shel Silverstein, but a poem that evokes visual images. You are to memorize that poem and present to class as a finished piece. You will be evaluated as to the quality of your memorization (fluid), your focus, your vocal projection and variety. The purpose of these presentations is so that you may regularly practice preparing and presenting. Practice Performances will be presented on September 5, October 17 and December 3
These dates are set, regardless of any other rehearsal schedule.
OBSERVATIONS: One of the most important things an actor can do is to get in the habit of observing his fellow humans. As a way to practice human behavior for this assignment you are to take time to observe people outside of school. Go to the mall, the public library, sit in a café downtown, or the farmer’s market and spend at least one half hour watching people walk by. Take a few notes as if you are on a reconnaissance mission: How do the people walk? How are they holding their heads, moving their feet? Do you have a sense of their well-being (happy, sad, shy, contemplative, etc)? If they are talking to someone, what do you observe about their relaitonship by the way they talk to each other? Are they good friends, in a partnered relationship? How can you tell this? NOW after you have observed people, pick one and write out a 3-4 sentences monologue that tells us the character of the person you have observed. Think of it as if you are watching a silent film and now you are adding in the dialogue. Present your fully rehearsed, memorized piece to class. Notes are to be handed in just prior to your performance. You will be required to hand in one observation a semester. The first semester Observation due November 4.
ETUDES: Literally an etude means a short instrumental composition of considerable difficulty usually created for practice pruposes. How this translates into theatre is that you are to create a moment of heightened emotional circumstances and present to the class “as if”. The piece should be fully realized, set up the performance space to create your stage, bring in any necessary props. Take time to rehearse your piece so you are not getting snarled up in prop or costume malfunctions. You will be required to present one fully realized piece each semester.
For the first piece you are to create a moment where you are doing something wrong – this can be illegal, or secret, and you don’t want to be caught. Set up your scene – perhaps you are poisoning someones food – then you will need the props to show the preparations. Heighten that by hearing someone come by (or not), moving in such a way so no one walks in on you. What if someone does walk in on you? Then complete your task – you are going to the room where your victim is and the scene ends. If other people are in your scene, you let us know that by your behavior. Work for specifics.
For the second piece you are to create a moment where something really awful/frightening is happening to you. Again, you may show that there are other people around by your reaction. Set up your scene – perhaps you are cooking something in the kitchen and you see something scurry across the floor. You are not sure. Then you see it again, a mouse! And you are deathly afraid of mice, when you see a few of them scurrying about – what do you do? Be realistic and thoughtful in presentations. These are not meant to be parodies, but serious, fully realized moments that require you to use truth in emotion.
Etude due: November 11
THESPIAN TROUPE 414 – North Theatre reinstated its Thespian Troupe status in 2012. This means students who are interested, and qualify, will be able to join the National Thespian Society, which allows for opportunity to participate in certain competitions, and to quailify for some scholarships. In its first year of restatement, we qualified for the state conference, with some students participating in singular events. It is our hope have more Thespian members participate in the state conference in January 2014.
To become a member, and to maintain membership, students are required to participate in the North Theatre program: working on or off-stage, as well as take care of front-of-house duties. Meetings will be held on a monthly basis which members are required to attend. Although a Den meeting time has been requested for these meetings, a general call out meeting will be on Wednesday, August 28 at 3:10pm. See Mrs. Sobrer if you have questions.
ACTORS TROUPE: North Theatre would like to establish a small troupe of about 5-8 actors to design and host Theatre Workshops that would then be taken to Batchelor and Tri-North Middle Schools. We would also like to design workshops to take to elementary schools. Interviews for interested participants will be held in September. All rehearsals and Workshops will take place right after school. It is hoped that the workshops will take place at the middle-schools in early December, the elementary workshops will take place in January. There will be more information about this announced at the Thespian Meeting on August 28. If interested, see Mrs. Sobrer.
Advanced PRODUCTION Projects First Semester:
The first six weeks:
LIVING STATUES TIMELINE
Week of August 19:
Warm-ups and practice holding still/idea exploration
Week of August 26:
Statue Concept DUE: August 29
Begin Practicing in statue groups (2)
Week of Sept. 3:
Practice Performance September 5
Continue practice in statue group (1)
Week of Sept. 9: Final Rehearsals (2)
Field Trip Sept. 13
Final Week, September 16:
Play reflections due Sept. 16
Dress Sept. 19
STATUES SATURDAY, SEPTEMBER 21
CLASS REFLECTIONS DUE September 23
MONOLOGUES chosen and Memorized by Sept. 23
The second six weeks:
Project objective will be performance in Shakespeare and the Monologue. Students should choose a monologue from a Shakespeare play and one from a contemporary play. The monologues must be from a PLAY, NOT a movie, and not a monologue written for practice purposes. Students will have the opportunity (not required for Production students) to present an audition ready monologue to area theatre professionals the end of October. In order to do the exercises on Shakespeare in class it is imperative that you have your Shakespeare monologue memorized by date given.
The third six weeks:
In school scene – competition: Your student-chosen scenes will be competing against the Advanced Acting class and some Theatre Arts students. The best scenes will be selected to represent North Theatre at the State Thespian Competition at the University of Indianapolis end of January 2014. Scenes competition will be the week of December 9.
Texts used in class, R.S. Gwynn’s DRAMA, A Pocket Anthology. (Penquin Academics, fifth edition, 2012).We will be using sections from Mastering Shakespeare, An Acting Class in Seven Scenes by Scott Kaiser. Although this text is not required, it is highly recommended that you purchase your own copy for your library. Mastering Shakespeare is an excellent resource for actors. Other teacher selected handouts.
Frequently Asked Questions:
How soon do I need to know my lines? – As soon as you know what monologue, scene, play you are doing get to work on your lines. When you don’t know your lines you are holding up your own creative process.
Do I have to bring in props? – Only if you feel that they will help the scene. However, the more attention made to details, the better your scene.
How soon should I look for a monologue/scene? – In short, yesterday. Too often students put this choice off to last minute and then are not happy with their choice. If you don’t have one picked out by the time you have to make choice known I will select one from the production book for you. You will not be able to change monologues after you have told me which one you are doing.