GENERAL
PARAMETERS
With a partner choose a short scene of dramatic literature that when performed
with an introduction is no shorter than 5 minutes
and no longer than 7 minutes. Choose a contemporary, 20th
century scene from a play that operates in the dramatic mode. Analyze the
selection individually and with your partner--you may have to meet outside
class or converse on the phone. Rehearse the selection with your partner until
you are both satisfied that your performance analogs will be evident in performance.
SELECTION
You can select either a scene from a familiar play or find a scene for two
in a scene book. The advantage of selecting from a familiar play is a more
complete understanding of the entire work. The advantage of choosing from
a scene book is economy; they often are divided into categories such as "contemporary
scenes for one man and one woman" and sometimes by age. Local libraries
(including CR's and HSU's) have several scene books. Previous students in
this class have found the Actor's Guide to Scenes helpful in selecting
appropriate scenes. Make an attempt to read the original play the scene is
from to gain a fuller understanding of it.
ANALYSIS
Perform a Dramatistic Analysis of the dramatic literature as presented in
your text (starting on page 220). Focus on your own character; especially
the questions on page 226. Think about the "four levels" of your
character. Share your analysis and come to an understanding and agreement
with your partner. What are your goals? What obstacles are there to your goals?
What are your strategies to get around those obstacles? (GOS). You may sketch
out your initial ideas individually, but this analysis will be more fruitful
if done in cooperation with your partner. The "Putting it all Together"
questions on pg. 258 should be helpful. There will be some class time provided
to begin your discussions with your partner but you will have to augment that
with time outside class.
REHEARSAL
Because the scene you select will be in the dramatic mode, agree with your
partner how the "story realm" can be represented in the classroom;
sketch out the necessary elements in that story realm in your space (where
referenced items will be placed, where stools might be placed, etc.). Make
sure the "where" of your story realm is clear through the use of
physicalizers; interact with the environment in a way that shows your audience
where your characters are. You will be using manuscripts; memorization is
not required or desired. Place your manuscripts into binders; do not use loose
pages.
Use
your analysis agreements to choose performance analogs. Remember, you need
to actively listen as your character when your partner delivers lines. Use
your analysis of GOS to help discover subtext and to discover how to
listen and react. A more "vital" performance will be achieved if
you can react while listening, not after your partner finishes speaking and
not just during your own spoken lines.
Be
sure to agree on the "wholeness" of your scene. Is there a rising
action? Is there a crisis? Is there a Climax? How is the ending relationship
different from the beginning relationship? Compose an introduction for your
scene with your partner. There will be some class time provided to begin your
rehearsals with your partner but you will need to meet outside class.
PERFORMANCE
Four days are set aside for performances. We will decide during a coming
class session, which groups will perform on which days. You will have a few
minutes for a last rehearsal before the performance.
WRITTEN
COMPONENT
Each student writes their own intent paper. While your paper should be written in standard, academic prose, keeping a
journal of your analysis and rehearsals sessions will help you compose it.
In your paper, state why you chose your scene. How is it appropriate to you
and your partner? How is it appropriate to the audience? What is the purpose
behind the selection, what do you hope to achieve through performance? Provide
a summary of your four levels of characterization as it relates to
your character decisions. Provide a summary of your GOS as it relates to your
relationship decisions and the goals of the characters throughout your scene.
Provide a summary of your discoveries made through the rehearsal process.
Whenever appropriate, support your ideas with specific examples from the text. Remember,
these writings substitute for exams; it is expected that course-specific terms
are used in all papers to demonstrate your mastery of course topics. I will
be looking for such specificity--that will earn you points. Be opinionated
but back opinions up. I won't be grading opinions but rather how you support
them.
GRADING
An evaluation form (and your paper) will
be used to assess your performance. You and your partner will receive the
same grade (unless cooperative efforts fail--alert me to any problems as soon
as possible). Much of the form will be filled out during the event, but your
grade will not be assigned until after your papers have been read. You will
receive a letter grade for your performance, which will be worth a maximum
of 125 points. In addition, the formatting, style and specificity of your
written component can earn you a maximum of 30 more points. The paper needs
to be submitted the day you perform; e-mailed submissions are not acceptable.