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Lahore University of Management Sciences SALT 142 – ACTING IN YOUR OWN TEXT A Workshop Course using Punjabi plays Spring 2015-16 Instructor Room No. Office Hours Email Telephone Secretary/TA TA Office Hours Course URL (if any) Samiya Mumtaz TBA TBA TBA TBA TBA TBA Course Basics Credit Hours Lecture(s) Recitation/Lab (per week) Tutorial (per week) 3 Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week Nbr of Lec(s) Per Week Duration Duration Duration Course Distribution Core Elective Open for Student Category Close for Student Category COURSE DESCRIPTION A hands-on introduction to Acting, entailing an exploration of the elements of acting: Body Movement, Physical Expression, Rhythm, Voice & Breathing, and Emotional Exploration. In the context of the history of the Subcontinent, the course will study how language and theatrical performances have been used as a means of disempowering people, and building pro-establishment opinion. COURSE PREREQUISITE(S) Familiarity with written Urdu is a prerequisite. Familiarity with written or spoken Punjabi is not a prerequisite for this course. Punjabi texts will be read in class, and translated and discussed as we go along. COURSE OBJECTIVES The course aims to take students through all the steps that go towards making an effective actor encouraging them to go beyond their personal inhibitions, and helping them question socially-prescribed roles in order to find honest expression. In order to gain a deeper understanding of the characters they might come across as actors, students are expected to take up some handiwork project of their choice. This could be in the field of pottery, carpentry, weaving, leatherwork or any other they might be inclined towards. Progress on the project Lahore University of Management Sciences will be monitored throughout the course, and shared with other students in class. To help place us within a socio-political context, and to aid us on our journey as actors, we will use essays and theatrical texts written in Punjabi and English by Najm Hossain Syed, Farjad Nabi, Anwar Masood, Dr. Saifur Rahman Dar, Claire Pamment, Najabat, Yashpal and Deepti Priya Mehrotra, among others. These texts will also be used to play out the skills that students learn during the workshop. Learning Outcomes Grading Breakup and Policy Class Participation Attendance – 10% – 10% Assignments – 20% (Out of 7 assignments, the higher scoring 5 will be considered at 4% each) Mid Term Assessment (Handiwork) – 15% Mid Term Assessment (Performance) – 15% Final Assessment (Handiwork) – 15% Final Assessment (Performance) – 15% Examination Detail Midterm Exam Final Exam Yes/No: Combine Separate: Duration: Preferred Date: Exam Specifications: Yes/No: Combine Separate: Duration: Exam Specifications: Lahore University of Management Sciences Reading List Gulab Bai, Deepti Priya Mehrotra , Penguin Books, India, 2006. Rukh taan Haray Bharay, Dr. Saifur Rahman Dar, 1985. Khaaku jaid na koe, Najm Hossain Syed, Uddam Publishers, Lahore, 1995. Jeebho Jani di Kahani, Farjad Nabi, Suchet Kitabghar, Lahore. Anni Chunni di Tikki, Farjad Nabi, Suchet Kitabghar, Lahore, 2011. The Stanislavsky System: Growth and Methodology, Perviz Sawoski, 2nd Edition. Mela Akhian da, Anwar Masood, Dost Publications, Islamabad, 2011. Hunh ki kariye, Anwar Masood, Dost Publications, Islamabad, 2014. Nadir Shah di Vaar, Najabat. Jhutha Sach, Yashpal, translated into Punjabi by Javed Boota, Suchet Kitabghar, Lahore. The Bhand Mode: Performative Trickestering in Pakistani Ritual, Theatre and Television, Claire Pamment, (unpublished manuscript). Unpublished transcripts of performances of Baba Mheeda’s qissay. SESSIONWISE COURSE BREAKDOWN SESSION 1 TOPIC Introductory exercises. Ice-breaker games. Overview of the course, and our expectations. Identifying a handiwork project for each student to pursue. READING OBJECTIVE To introduce ways of feeling comfortable with our own bodies and the people around us. Helping find our own objectives and aims in Lahore University of Management Sciences 2 3 4 5 Introductory exercises. Workshop games. Acting within our own context. Discussion on the reading. Stretching exercises. Body balance. Principles of basic controlled breathing. In-class reading and translation of text. Yoga stretches. Concentration exercises. Breath and voice exercises. In-class reading and translation of text. Stretches. Trust exercises. In-class reading and translation of text. 6 Stretches. More Trust exercises. Introducing Rhythm. In-class reading and translation of text. 7 Stretches. Theatre games. Body Percussion. In-class reading of a play in verse. Stretches. Theatre games. In-class reading of a play in verse. Stretches. Theatre games. Introducing the Rasa Box. 8 9 Gulab Bai, Deepti Priya Mehrotra, pp. 3-6, 8896 Selected readings from Rukh taan haray bharay, Dr. Saifur Rahman Dar. Lok Raas Baray ik gal, Najm Hossain Syed, pp. 55-57 Selected readings from Mela Akhian da, Anwar Masood. Lok Raas Baray ik gal, Najm Hossain Syed, pp. 58-60 the course. To situate the course and our place as actors within a socio-political continuum. To create familiarity with written Punjabi while studying the evolution of theatre in the Punjab. To introduce body and breath control. To study the evolution of theatre in the Punjab. To introduce methods of projecting and controlling the voice. Selected readings from Mela Akhian da, Anwar Masood. Lok Raas Baray ik gal, Najm Hossain Syed, pp. 61-63 Selected readings from Hunh ki kariye, Anwar Masood. Lok Raas Baray ik gal, Najm Hossain Syed, pp. 64-66 Jeebho Jani di Kahani, Farjad Nabi, pp.2-25 To study the evolution of theatre in the Punjab. To build trust with coactors, and give yourself up to them. To study the evolution of theatre in the Punjab. To introduce basic rhythm cycles. Jeebho Jani di Kahani, Farjad Nabi, pp. 26-49 To put breath, voice and rhythm exercises to work while reading a play. To define the different emotions at work within us, using the traditional Rasa Box. Jeebho Jani di Kahani, Farjad Nabi, Selected portions. To use rhythm using your body. Cold reading of a text. Lahore University of Management Sciences 10 11 12 Using the Rasa Box, using the play Jeebho Jani Stretches. Theatre games. Exploring outside the Rasa Box through short improvisations from students’ own lives. Stretches. Theatre games. Improvising, using the Rasa Box, while working (or miming working) on the handiwork project of each student’s choice. Stretches. Theatre games. Using music and sound to express emotion, using only the body individually. Selected reading from Jhutha Sach, Yashpal. In-class discussion on the adequacy/inadequacy of the traditional Rasas. Selected readings from Rukh taan haray bharay, Dr. Saifur Rahman Dar. Aab Aab kar moyoN, Najm Hossain Syed, pp. 7-9 Reading transcripts of qissas performed by Baba Mheeda. Aab Aab kar moyoN, Najm Hossain Syed, pp. 10-12 13 Stretches. Theatre games. Using the body to convey meaning individually, and in a group. Human sculpture. Sharing of students’ feedback on how they feel while working on their chosen handiwork projects. 14 Stretches. Theatre games. Reading and acting out from the chosen text. Anni chunni di tikki, Farjad Nabi, pp.15-20 15 Stretches. Theatre games. Reading the selected text with the help of tools acquired during the course. Stretches. Anni chunni di tikki, Farjad Nabi, pp. 20-24 16 Anni chunni di tikki, Identifying other emotions, outside the Rasa Box. Learning to identify with these emotions. Exploring the arc of emotions that arises with relation to one’s work. Understanding the place of language as a means of power. Using the body to express emotions, as well as a coherent storyline. Understanding how language is used to create divisions in society. Analysing our relationship to our work, and how that relationship changes the way we use our bodies. Experimenting with what we’ve learnt in the course (Rasa Box, rhythm, body, breath, sound, speech, movement). Using different voices for the same text to give it different meaning. Using the script to put Lahore University of Management Sciences 17 18 19 20 21 22 23 Theatre games. Discussion on what we’ve gained and learned so far. MID TERM ASSIGNMENT Farjad Nabi, pp.42-52 what we’ve learnt so far, into practice. Sharing of students’ handiwork projects. Stretches. Theatre games. Review of the performances put up for the Mid-Term Exam Stretches. Theatre games. Analysis of Stanislavsky’s Method. Stretches. Theatre games. Peeling away learnt social behaviour and patterns. The Stanislavsky System: Growth and Methodology, Perviz Sawoski, pp. 1-12 Putting up a short play to connect our technical acting skills with our own experiences in life. Looking at our own work critically, in light of Stanislavsky. Stretches. Theatre games. Acting in an unrealistic context. Readings from Nadar Shah di Vaar, Najabat. Stretches. Theatre games. Learning from one’s environment. Students will be assigned to observe and act out subjects from within their surroundings. Readings from Nadar Shah di Vaar, Najabat. Stretches. Theatre games. The Stanislavsky System: Growth and Methodology, Perviz Sawoski, pp. 13-25 Gulab Bai, Deepti Priya Mehrotra, pp. 105-111 Students will bring in original or published samples of “fantasy” theatre. Research and bring to class theories on different acting methods and techniques from various schools of thought around the world Selected reading from Jhutha Sach, Yashpal. Understanding Stanislavsky’s Method and how it differs from the American Method Identifying actors’ clichés and stereotypes, and ways of rediscovering realistic ways of depicting people from different backgrounds. Looking at the power of theatre to reinforce popular opinion. Learning to perform outside our known, realistic contexts. Learning to identify the subtext. Reading specimens from a classical Vaar (Historical drama). Trying to understand the different approaches to acting that have been practised by different traditions, and trying to find a voice of our own. Learning to look at our own work objectively. Lahore University of Management Sciences Review of the previous session’s performances by the actors and the audience. 24 25 26 Stretches. Theatre games. Finding honesty in our characters. Students will be asked to bring in notes on their observations on their own as well as their fellow-students’ performances from the last session. Reading transcripts of qissas performed by Baba Mheeda. Learning to accept and share a critique of one’s work. Learning to put our skills to work. Students bring a short scene from any play of their choice, and act out the text as honestly as they are able Bring in a practitioner of Reading from Claire Understanding the Dhrees dancing to teach Pamment’s unpublished workings of Dhrees students how rhythm, manuscript, The Bhand dance in Punjab. use of space, and body Mode: Performative movement are used to Trickestering in convey mood. Pakistani Ritual, Learn basic footwork of Theatre and Television. Dhrees. Students will be asked to bring any footage on Dhrees dance performances, and share with the rest of the class Stretches. Reading from Claire Bringing together the Creating a group-dance. Pamment’s unpublished students’ learnt skills to manuscript, The Bhand build a rhythm and Mode: Performative movement Trickestering in presentation. Pakistani Ritual, Theatre and Television. Students will be asked to put together a groupdance, using what they have learnt from the Dhrees practitioner, and adding this to what they have learnt about rhythm, movement and Lahore University of Management Sciences 27 Stretches. Theatre games. Understanding the function and use of lights in a performance. 28 FINAL EXAM working together. Basic theatre lights will be put up in the workshop space, for students to experiment with the different effects lights can be used to create. Creating a performance with other fellowstudents in groups of 34. Learning to use lights to enhance our objectives as actors. Organising a performance from scratch. Learning to proceed from one stage to the next -- creation of the text, coordinating the readings, conducting the rehearsals, putting up the final performance.