Download mpaet-ge 2099 - NYU Steinhardt

Fall 2011
Styles of Acting and Directing I
MPAET-UE/GE.1099/2099
Section 001
3 points
Mondays 6:45-9:00 PM
Blackbox Theatre, Pless Hall
Instructor:
Amy Cordileone
Teaching Assistant: Brad Bussdieker
Office: Pless Hall Annex, Rm. 223
Email: [email protected]
Email: [email protected]
Phone: 212. 998. 5273
Office Hours: Tuesdays 3-5 pm; by appointment only
Appointments can be scheduled online.
Course Description: Styles of Acting and Directing I is designed to support theatre practitioners as
they deepen their understanding of style, context, audience, and point-of-view from the
perspectives of actor, director, and designer. Using seminal plays from particular periods of artistic
work (primarily from the western canon), participants will engage in research, direction, analysis,
design, and performance.
Course Objectives:
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To define style as it relates to theatrical production
To link dramaturgy, point-of-view, and aesthetics
To develop a personal play analysis process
To hone theatre-making skills through studio work as actors and directors
To exercise creative and analytic skills through written, visual, and aural responses to plays,
readings, and performances
To explore the relationship between style, culture, and context
REQUIRED TEXTS__________________________________________________________________
All readings for this course will be posted on Blackboard and/or distributed in class.
ASSIGNMENTS______________________________________________________________________
Periods and Plays:
There will be 4 weeks of performances in this class. They will include scenework from the following periods
and plays:
Ancient Greece: Antigone (Sophocles, Trans. Plumptre) and Antigone (Adapt. Anouilh)
Commedia dell’arte: Servant of Two Masters (Goldoni, Adapt. Congdon) and One Man, Two
Guvnors (Adapt. Richard Bean)
Spanish Golden Age: Life is a Dream (Calderón, Trans. Racz) and Sueño: A Play in Three Acts
(Adapt. Rivera)
Restoration Comedy: Sir Patient Fancy (Behn) and Restoration Comedy (Freed)
All participants will be assigned to an ensemble; each ensemble will create and present artistic work based in
only one period. Essentially, the ensembles will be solely responsible for producing scenework from the two
plays listed within the given period.
Scenework: For each of the assigned plays the, the ensemble will designate an artistic team of 3
(Dramaturgue, Director, and Designer) and an acting company of 3. Please note- it is possible that members
of the artistic team may also need to function as a part of the acting company. As each ensemble is
responsible for producing work from more than one play, all ensemble members will have the opportunity
to function as part of an artistic team and an acting company. As a class, we will discuss and determine the
responsibilities assigned to each of the roles within the ensemble. It is possible to enlist additional actors for
scenes only after the ensemble has been cast. Detailed information and criteria for assessment will be given
at a later date (listed on the course itinerary).
Workshop: Additionally, each ensemble will function as a team of teaching artists for the plays and the
period they are performing. The instructor and the teaching assistant will facilitate the first hour and 15
minutes of a class on the given period. The ensemble will then have the next hour to facilitate a workshop
on the given plays, period, and style of the pieces. Presentations should include exploration of the research
and POVs that have emerged from the play production process. Detailed information and criteria for
assessment will be given at a later date (listed on the course itinerary).
Written Narrative: Each member of an ensemble will individually produce a 5-page written narrative that
includes synthesis of their understanding and experience of the group and individual work done within the
assigned period (double-spaced, 11 pt font). This paper will be due one week after the scenework has been
performed. The paper must include references to the individual’s contributions to both of the plays. The
paper can (and likely should) address the following:
Relevant socio-historical research
References to assigned or independently undertaken readings (with a list of works cited)
Effects of a play’s style on the choices of the ensemble and the individual
Synthesis of the implications of style for a contemporary audience
Thoughts on the rehearsal process and the techniques or approaches taken in production
Obstacles encountered
Discoveries made
Forward vision (future planning)
Final Project: As the survey of styles and periods covered in this course is extremely limited, the final
project has been designed to widen participants’ aggregate understanding of global contributions to
theatrical forms and therefore style. This is a small group assignment. More information to follow.
Participation and Preparation:
Styles of Acting and Directing I requires a substantial amount of reading, writing, individual research, as well
as group work. The course requires personal motivation, passion for exploration, risk-taking, and most
importantly, openness to new ideas, thoughts, and feelings. Because the class meets once a week,
attendance and promptness are mandatory. Lateness and leaving early are not an option. An unexcused
absence from class meetings will adversely affect the participant’s final grade in the course. Official
university excused absences must be documented. If you know you will be missing class, advance written or
email notification is required. As a class, we will regularly break into pairs and small groups. All participants
have a commitment to their colleagues as well as the university. If you are unable to make the commitment
to the course and to your peers, you should consider appropriately adjusting your courseload. Class
participants will develop the criteria for assessment as a cohort.
Total Points Possible: 100
Participation and Preparation: 10
Scenework: 30
- Instructor’s assessment of overall presentation (ensemble): 20
- Peer Assessment of contributions (individual): 10
Workshop: 20
- Instructor’s assessment of overall presentation (ensemble): 15
- Peer Assessment of contributions (individual): 5
Written Narrative: 15
Final Project: 25
University Grading Scale:
93% and up: A… 90-92%: A-… 88-89%: B+… 83-87%: B… 80-82%: B-… 78-79%: C+
73-77%: C… 70-72%: C-… 68-69%: D+… 63-67%: D… 62% and less: F
ACADEMIC HONESTY_______________________________________________________________
Students are responsible for knowing the University’s issued standards of academic honesty outlined in the
student handbook. While the nature of this course demands that participants discuss ideas and opinions
with classmates, all writing and other individual work should be original and appropriately cited. If this is
unclear now or later in the semester, please make it a point to meet with me.
The standard penalty for academic dishonesty consists of an automatic “F” for the course and notification
of campus authorities.
EMAIL AND BLACKBOARD__________________________________________________________
Each participant must have an active NYU email account that they check on a regular basis. This is the
easiest way for the instructor to communicate with regarding last minute changes, questions, etc. The
opposite is also true. Any questions or concerns should be voiced through an email contact initially. The
Blackboard account for this course will be used this for communication, documents, assignments,
resources, etc.
DO YOU HAVE ANY PARTICULAR NEEDS?___________________________________________
Participants are highly encouraged to open a dialogue with the seminar instructor regarding particular
learning needs, emotional, or physical needs that may influence interactions, student’s participation, and
most importantly personal well-being. One important goal for the seminar is the creation of a safe and
inclusive forum for learning and communication. Disclosure of any needs or circumstances is of course
optional, and all participants can expect that any communications made will be kept in confidence.
Note: Any student attending NYU who needs an accommodation due to a chronic, psychological, visual,
mobility and/or learning disability, or is Deaf or Hard of Hearing should register with the Moses Center for
Students with Disabilities at 212 998-4980, 726 Broadway, 2nd Floor New York, NY 10003.
OPEN DOOR POLICY_______________________________________________________________
If at any time participants feel unsafe or uncomfortable, please feel free to address these issues with the
instructor. Making an appointment to discuss any concerns in person is recommended. This can be done
via email or phone.
Course Itinerary (Subject to Change)
September 12
Introduction
Review Course Outline
Development of Shared Expectations
Logistics and Wrap Up
September 19
Coming to Terms with Terminology
Breaking Down Style, Genre, Period, and More
Play Analysis: Determining the world of the Play
** Ensembles Assigned
*** Scenework assignment discussed in detail
September 26
Activating a Vision with Style
Moving Point-Of-View from Page to Stage
Bringing Analysis and Research to Life
**Workshop assignment discussed in detail
October 3
Approaching Character through the Lens of Style
Style as a link to time, text, and tempo
Physical and Improvisational pathways to character development
October 10
No Class- University Scheduled Break
October 17
Theatre Traditions of Ancient Greece
Socio-historical overview of the emergence of Drama
Comedy, Tragedy, Catharsis, and The Chorus
Workshop Presentation 1
October 24
Scene Presentation: Ancient Greece
Antigone by Sophocles (Translation by Plumptre)
Antigone by Anouilh
** Final Project discussed in detail
October 31
Commedia dell’arte
Socio-historical overview of Comedy and Italian Street Theatre
Stock Characters, Mask Work, and Lazzi
Workshop Presentation 2
November 7
Scene Presentation: Commedia dell’arte
Servant of Two Masters by Goldoni (Translation by Congdon)
One Man, Two Guvnors by Bean
November 14
Spanish Golden Age
Socio-historical overview of the Renaissance in Spain
Morality, Religion, Identity, and Creativity
Workshop Presentation 3
November 21
Scene Presentation: Spanish Golden Age
Life is a Dream by Calderón (Translation by Racz)
Sueño: A Play in Three Acts by Rivera
November 28
The English Restoration
Socio-historical overview of the Restoration Period in England
Comedy and Self-Reflection
Workshop Presentation 4
** This class will be held in the Provincetown Theatre
December 5
Scene Presentation: Restoration Comedy
Sir Patient Fancy by Behn
Restoration Comedy by Freed
December 12
Final Presentations: Round 1
December 14
Final Presentations: Round 2
** Please note this is a Legislative Day for NYU. Wednesday, December 14, will
operate on a Monday schedule.