Acting for Non-majors 2016

8/19/2019 Acting for Non-majors 2016

1/27

Acting for Non-Majors

TPP 2185

Instructor: Sybil St. Claire Class Time: T/TH 3:30 – 4:45 PM

Email: [email protected] Class Location: TR 541, Room101

Cell: 407/267-6815 Office Hours: T 12:15 – 1:15 PMOffice: T205 (PAC) W 12:00 – 3:00 PM

This class has a Facebook Page, “UCF Acting, 2016.” Please join asap!

Overview

Acting for Non-Majors is the study of the principles and techniques of acting and theprocess of discovering and developing your craft from the inside out. Emphasis will be

placed on personal development, authenticity, practicing deep listening, and both

honoring and building story. We come to the theatre not to hide behind a mask but to

reveal that which lies beneath it, accordingly, much of your work here will involve self

study, self reflection and self evaluation. YOU will be at the center of this learning

experience. If you are ready, willing and able to take risks, make mistakes and co-create

a safe, honest, and nurturing environment in which to hone a craft and feed your

creative spirit – welcome home. Bring with you an open mind and the desire to learn and

grow.

Text:

Bogart, Ann, Landau, Tina, The Viewpoints Book: A Practical Guide to Viewpoints andComposition , New York: Theatre Communications Group, August, 2004.

Salas, Jo, Improvising Real Life: Personal Story in Playback Theatre, New York: Tusitala

Publishing; 20th Anniversary edition, June 1, 2013.

Course Objectives:

Students will...

Demonstrate the ability to transport into the demands of the acting moment.

Demonstrate the ability to practice deep listening, respond truthfully in the moment, and

honor self and other through story.

Build trust and portray truthful relationships in the acting moment.

Exhibit a willingness to move beyond his/her own comfort zone in the acting moment.


2/27

2

Demonstrate competency with specific craft techniques such as Viewpoints Playback,

and other acting methodologies presented in class.

Class Jam Sessions

Generally, you are asked not to join in the critique discussion of your own work, but to

remain rather a "fly on the wall," overhearing the candid reactions which your work hasinspired (even if you disagree with them). In this way you can hear "audience reaction"

without attempting or needing to engage in explanation or debate to defend your work.

This parallels the situation in "real life," in which the actor cannot gracefully follow the

audience out of the theatre explaining what was meant, or pleading that, with more

time, the performance would have been “more successful.”

Course Requirements

1) Attendance:

You will be allowed TWO excused absences. Afterwards, each class missed will result in

the drop of one letter grade. If you miss more then five classes you will FAIL THIS COURSE.

Failure to attend on a performance days will result in a zero for the assignment.

Attendance and participation are essential to the successful completion of this course.

You cannot cram for acting.

Participation: (10 points) You will earn participation points twice during the semester,

once at mid semester and once at semester’s conclusion. YOU will grade yourself in this

arena. For grading criteria please see the rubric on page 21 of this syllabus.

Tardies: Please be on time to class, we have much to do and very little time in which to

do it. Two late arrivals to class equal one absence. In the theatre your behavior affects

everyone else. Please be a diligent and courteous member of our community.

PLEASE DO NOT BE LATE TO CLASS! Two late arrivals equal one absence.

Extra Credit: If you have perfect attendance you will receive 5 extra credit points at

semester’s conclusion.

3) Play Attendance (15 points – 5 points each)

Attend three shows Theatre UCF is presenting this semester. Turn in your ticket stub with

your name on it to receive credit. Tickets are $10 with UCF ID.

The Box Office is located in the PAC Building (119) and is open Noon – 6 PM. The number

is: 407/823-1500. Performances are in the Theatre auditorium (by Chemistry).

http://www.theatre.ucf.edu

[email protected]


3/27

3

If you attend Project Spotlight, which is free, you will need to sign the sign-in sheet in the

lobby in order to receive credit.

Choose from:

SPUNK AND THE HARLEM LITERATI (Mainstage) January 21 , 22, 23, 28, 29, 30 at 8PM

January 24 & 31 at 2 PM

By Zora Neale Hurston

Adapted by Be Boyd

Directed by Be Boyd

Treasured local author Zora Neale Hurston (Their Eyes Were Watching God) weaves

together song and story in a dramatic retelling of her award-winning short story of the

same name. A collaboration with the Association to Preserve the Eatonville Community

and an official part of the ZORA! Festival 2016 program.

REELING (Black Box) By Barry Kornhauser

Music composed by Michael Koerner

Directed by Christopher Niess

January 21, 22, 23, 28, 29, 30 at 8:00 pm

January 24, 31 at 2:00 pm

Based on the life of Buster Keaton, Reeling tells the light-hearted story of Little Fellow’s

trials and triumphs as he navigates the big city and love, without using a single word.

Appropriate for all ages.

“The show’s roots lie in the time-transcendent soil of the pratfall and the struggle of thelittle guy to make good. From that fertile ground comes laughter – and wisdom – that

rings loud and clear.” - St. Paul Pioneer Press

ROMEO AND JULIET (Black Box)

by William Shakespeare

Directed by Be Boyd

February 18, 19, 20, 25, 26, 27 at 8:00 pm

February 21, 28 at 2:00 pm

Set in the racial borderlands of the 1930s Harlem Renaissance and prohibition era, when

jazz brought disparate communities together, and love tore them apart.


4/27

4

She Loves Me (Main Stage)

Book by Joe Masteroff

Music by Jerry Bock, Lyrics by Sheldon Harnick

Based on a play by Miklos Laszlo

Directed by Earl Weaver

March 17, 18, 19, 24, 25, 26 at 8:00 pmMarch 20, 26 at 2:00 pm (note: Saturday matinee due to the holiday)

Two feuding perfume clerks have no idea they are in love

In a 1930s perfumery, rivals Amalia and Georg respond to a “lonely hearts” ad in the

newspaper, in hopes of finding their soulmates.

“…a continuously melodic evening of sheer enchantment and complete escape.”

– New York Times

PROJECT SPOTLIGHT (Mainstage)

April 21st – 24th

(Thursday, Friday, Saturday 8 PM, Sunday 2 PM)

A FREE festival of new plays brought to you by Project Spotlight, a registered student

organization, in cooperation with Theatre UCF. This event showcases student writers,

directors, actors, designers, and managers and prepares them for their professional

careers.

Free. No tickets are required. Sign in via sign-in sheet in lobby for credit.

More information about Project Spotlight is available at:

https://www.facebook.com/ProjectSpotlightUCF .


5/27

5

4) Self Reflection Papers (15 points – 5 points each)

A) Write a two-three page paper. Include and discuss the writing prompts below. Include

stapled rubric at end of the paper (page 20).

Self Reflection Paper #1:

Discuss your assets and blocks as a performer (Body, voice, imagination,

psychological challenges, where your tensions lie, etc.) Please label as follows:

A) Physical and vocal observations of self.

B) Whether you feel you are open or closed emotionally, physically.

C) Your comfort level with vulnerability, trust, giving up control.

D) What strikes you as the most exciting aspect of this class?

E) What strikes you as the most daunting aspects this class?

F) What you are most hoping to gain from this course?

Self Reflection Paper #2

Write a three-four page mid-semester paper that explores and reflects on your

journey thus far. Please label and address topics in the following order and

include rubric at end of paper.

Discuss:

A) UCF Shows

B) Viewpoints Experience

C) Playback Experience

D) Areas of Growth

E) Strengths developed

F) Challenges encountered and how you moved through them.G) Take-Aways

H) Sum your experience thus far up in one sentence.

I) Final thoughts

Self Reflection Paper #3

Write a three-four page end of semester paper that discusses and assesses the

development of your acting process and progress in this class. This is an honest,

insightful assessment of your journey during the semester.

Please label and address topics in the following order. Include rubric at end ofpaper.

A) Life Story Assignment

B) Areas of growth

C) Strengths developed

D) Challenges encountered and how you moved through them.

E) Physical and vocal observations of self

F) Whether you feel you are open or closed emotionally, physically.


6/27

6

G) Your comfort level with vulnerability, trust, giving up control.

H) What was the most exciting aspect of this class?

I) What was the most daunting aspects this class?

J) What did you most gain from this course?

K) What could you have done without?

L) Take-aways?

M) How (or) will you integrate this experience into your life beyond this class?N) Sum your experience up in one sentence.

O) Any advice on how I may craft a better experience for future students?

P) Final Thoughts.

Papers should be typed, double-spaced and stapled. Please use 12 point New Times

Roman font. Grammar/spelling, sentence construction, clarity, following directions count.

5) Playback Theatre Performance (25 points)

Playback Theatre: A form of improvisational theatre in which the audience shares stories

from their lives and watch them enacted (played back) on the spot.

We will learn/rehearse during class time to create a Playback Theatre troupe. The class

will be split into three to four groups to perform on campus. Performances will be

mid/end of March and are listed in this syllabus. If you have suggestions for additional

performance venues do let me know. !

6) Life Stories/Transformational Performance Art (35 points)

This model of performance gives voice to personal stories. The true-life stories of people

are performed by the people themselves as performance art as we collectively share the

medicine in our stories and celebrate the power of the human spirit to grow and

transform.

Students will create a “life story” monologue with a partner (aka personal performanceart) using “The Viewpoints.” The Life Story should be between 2 – 3 minutes MAXIMUM

and should include props, costumes, and perhaps music, dance, paint, technology,

spoken word, etc., as suitable. THINK SYMBOLICALLY, SHARE TRUTHFULLY. We will write and

direct our partner’s Life Story. Afterwards, be prepared to discuss your work and your

partner’s, receive verbal feedback from the class and the instructor, take careful notes,

and then go back to the drawing board to grow and deepen your story for a second

share.

You will hand in your Life Story Study the first time you perform, for which you will receive

a grade on dramaturgy (15 points) and design (10 points). You will perform your Life Story

twice, the first time for feedback, the second time for a grade (10 points).

Performance – 10 points

Dramaturgy – 15 points (playbill, rehearsal report, character analysis)

Design – 10 points (set, costumes)

Life Story Studies should be labeled and include in the following order:


7/27

7

•Title page (your name, the name of your partner, title of this class, my

name, date, title of your Life Story).

•Copy of the script

•Character Analysis

•Journal Entries (minimum of five)

A separate entry for every rehearsal (2 – 4 paragraphs per

rehearsal). Include dates, times, location, duration, and reflect on

each of the following and label as follows each time:

A) Discoveries/Surprises

B) Successes

C) Challenges and what you did or will do to overcome them

D) How you are using The Viewpoints and what you think of them

E) How creating/sharing Life Stories has (or has not) impacted you

F) Take-Aways

•Costume Design

Renderings of costume designs. See the link below for inspiration.

http://www.google.com/search?q=costume+design+pics&hl=en&client=f

irefox-a&hs=I83&rls=org.mozilla:en-

US:official&prmd=ivns&tbm=isch&tbo=u&source=univ&sa=X&ei=yZ4cTsXsA

oTW0QG7492xDw&ved=0CBkQsAQ&biw=1290&bih=638

•A Full Page Set Design: Example – “Veronica’s Room” below.

•Playbill - Cover design reflecting the play and its genre, character

description (main/minor, protagonist/antagonist), summary of dramatic

plot (without giving away the climax) biographies, anything else you’d liketo add.

https://images.search.yahoo.com/yhs/search;_ylt=A0LEVig_gaxUC1QAtUIPxQt.;_ylu=

X3oDMTBsa3ZzMnBvBHNlYwNzYwRjb2xvA2JmMQR2dGlkAw--

?_adv_prop=image&fr=yhs-mozilla-

001&va=playbill+example&hspart=mozilla&hsimp=yhs-001

•Life Story Study Rubric

Sample Set Design


8/27

8

GRADING

Participation 10

Personal Observation Papers 15 (5 points each)

Play Attendance 15 (5 points each)

Playback Performance 25

Life Story:

Performance 10Dramaturgy (playbill, journal, 15character analysis)

Set/Costume Design 10

Total Possible 100

GRADING SCALE:

100 - 90 A89 – 80 B79 - 70 C

69 - 60 D59 - 50 F

No work submitted = 0Late assignments will not be accepted

Plagiarism:

You will fail the course if you plagiarize. Plagiarism is the unacknowledged use of ideas

(whether paraphrased, summarized or quoted) by a writer who seeks to pass off those

ideas as his or her original thought. If you fail to document or attribute a source of the

idea, even if you restate another writer's ideas, you have plagiarized. A serious university

offense, plagiarism may be punished by failure or expulsion. Students who plagiarize on

the research paper will receive an F on the paper. To avoid plagiarism, you must

document your papers using the MLA citation format.


9/27

9

Disclaimer

Additional reading material may be assigned.

This syllabus is subject to change at the discretion of the instructor.

This class may include material that expresses adult or controversial themes as well as

strong language. If this presents a problem for you, please see the instructor immediately

to access your chances for success in the course.

Any student in this course who has a disability that may prevent him or her from fully

demonstrating his or her abilities should contact me personally so we can discuss

accommodations necessary to ensure full participation and facilitate your educational

opportunity.

It is the policy of the University to reasonably accommodate absences due to observed

religious holidays. However, the student will be held responsible for any material covered

during the absence and must inform the instructor two weeks prior to the holiday.

Since theatre requires the use of mind, voice, and body, there might be situations that

will require a certain amount of physical contact between you and the instructor and

you and other students. If this presents a problem for you, please see the instructor

immediately to access your chances for success in the course.

Please note:

Theatre is fundamentally an exploration of the human condition. This course, of necessity,

WILL include and invoke a wide range of human behaviors; some of which may touch

upon language and subject matter that some might find offensive. Should anything we

cover be outside your comfort range speak to me immediately to assess your chances

for success in this course.

I am here to help you. See me if you have any problems or questions, or if you just need

some advice. The art of acting deals with highly personal material and you may want to

discuss your experiences. Please do not hesitate to seek me out.

Please wear comfortable clothing to class.

From time to time we may work on the floor.


10/27

10

Class Schedule

Subject to change at the Instructor’s discretion

Week 1: January 12 & 14

T: Introduction

Homework:1) Read and print syllabus. Please bring to every class.

TH: Introduction, Syllabus/Questions

Homework:

1) Bring sentimental object to next class (1/20) to share.


T: Share sentimental objects

TH: Devising

Homework:

1) Write Self Reflection Paper A. Due next class (1/26).

Include rubric on page 20.

2) Begin reading The Viewpoints book. Complete by 2/4.


T: Stanislavski/The Hero’s Journey

TH: Warm Ups

DUE: Self-Reflection Paper #1

Week 4: February 2 & 4T: Warm Ups

TH: TBA

Homework:

1) Begin reading Improvising Real Life. Complete by 2/19.

Week 5: February 9 & 11

T: Viewpoints

TH: Viewpoints


T: TBA

TH: Playback


T: Playback

TH: Playback


11/27

11

Homework:

Participation rubric (pg. 21). DUE 3/3.

Week 8: March 1 & 3

T: Playback

TH: PlaybackLIFE STORY PAIRS/SIGN UP TO SHARE

Due: Graded Participation Rubric #1

Homework:

Write Mid semester Self Reflection Paper B. DUE 3/17.

Week 9: March 8 & 10 –SPRING BREAK

NO CLASS – SPRING BREAK

Week 10: March 15 & 17

T: Playback

DUE: Self Reflection Paper B

Include rubric (pg. 20)

TH: Life Story Introduction

PERFORM: PLAYBACK SHOW & TO workshop – 5:30 – 9:30 PM, Trailer 541

Week 11: March 22 & 24

T: Life Story/The Hero’s Journey/Viewpoints

PERFORM: PLAYBACK SHOW& TO WORKSHOP – 5:30 – 9:30 PM, Trailer 541

TH: Life Story/The Hero’s Journey/ViewpointsPERFORM: PLAYBACK SHOW & TO WORKSHOP – 5:30 – 9:30 PM, Trailer 541

Week 12: March 29 & April 1

T: Life Story

PERFORM: PLAYBACK & TO WORKSHOP – 5:30 – 9:30 PM, Trailer 541

TH: Share: Life Stories (2 pairs per day)

Week 13: April 5 & 7

T: Share: Life Stories (2 pairs per day)TH: Share: Life Stories (2 pairs per day)

Homework:

1) Complete Life Story Dramaturgy Assignment.

DUE next class (4/12). Include rubrics on page 22 & 23.


12/27

12

Week 14 April 12 & 14

T: Share: Life Stories (2 pairs per day)

TH: Share: Life Stories (2 pairs per day)

Homework:

1) Write Self Reflection Paper C for 4/2. Include rubric on page 20.2) Complete Participation Paper. Include rubric on page 21.

3) Prepare to turn in proof of play attendance (ticket stub with your name on it).

Week 15: April 19 & 21

T: Share: Life Stories (2 pairs per day)

TH: Encouragement Feast

DUE: Self Reflection Paper C

DUE: Participation Paper/Rubric

DUE: Proof of Play Attendance

Week 16: April 26 & 28 FINALS WEEK: Wednesday, April 28th – Tuesday, May 4th

T: Creation Dance

OUR FINAL: Thursday, April 28th 1:00 – 3:50 PM (Share all Life Stories)


13/27

13

Tips on How to Earn an “A” in this Class…

•Communicate respectfully and effectively with the Instructor.

•Articulately speak up in class and take leadership in exercises.

•Listen to other opinions and allow others space to express themselves.

•Incorporate materials discussed in class and from the readings into the scenarios and

exercises.

•Be Prepared. Be Bold. Be Creative.

•Critique your own performance and that of your fellow classmates while being

respectful and sensitive to the topic and to your classmates.

•Play the role of the “audience” attentively during class and take initiative to replace the

“characters” in the scenes.

•Be supportive of your classmates and work as a “team.”

•Use “I” statements when discussing issues.

•Take responsibility for your own well-being. This includes grounding experiences,

communicating often, effectively and appropriately with classmates and with the

facilitator.

• Remember to only share that which you desire to share.

•Be on time to class.

•Do not miss more than two classes.

•Follow directions and turn your work in on time.

•Communicate in advance with the class and the facilitator if they are going to miss

class.

•Contribute fully and adhere to the standards agreed upon by the group.

•Bring a positive, eager, and adventuresome attitude to class.

•

Demonstrate willingness to move through uncomfortable moments.


14/27

14

Sinquain Poem Template

_______________

Noun

_______________ _______________

Adjective Adjective

______________________________________________________________

A phrase describing how it feels or what it does

_______________ _______________ _______________

Verb Adverb Adverb

_______________ _______________

Adjective Adjective

_______________

Synonym for Noun


15/27

15

Viewpoints

*Viewpoints is a technique for training performers, building ensemble & creating

movement on-stage. It is about points of awareness.

*We work with 9 Physical Viewpoints within the Viewpoints of Time and Space . There are

also Viewpoints of Sound.

VIEWPOINTS OF TIME AND SPACE

View Points of Time Viewpoints of Space

Tempo Shape (lines, curves, combo)

Duration Gesture (behavioral/expressive)

Kinesthetic Response Architecture (mass, texture, light,

Repetition (internal/external) color, sound)

Spatial Relationship (to others, toarchitecture)

Topography (pattern, landscape,

shape, density)

VIEWPOINTS OF TIME

1) TEMPO - how fast

2) DURATION - how long

3) KINESTHETIC RESPONSE – a spontaneous reaction to motion outside of you.

4) REPETITION (of something on-stage)

Internal – repeating a movement from within your own body

External – repeating a movement of something outside your body

VIEWPOINTS OF SPACE

5) SHAPE – The outline bodies make in space. All shape can be broken down into lines,

curves, and a combo of lines & curves.

Shape can also be stationary and moving.

Shape can also be made into one of three forms:

The body in space

The body in relationship to architecture

The body in relationship to other bodies

6) GESTURE

A gesture is a movement involving the body. Gesture is shape with a beginning a middle

and an end. Gestures can be made with hands, arms, feet, mouths, eyes, stomach, etc.

Gestures can be broken down into:

Behavioral Gesture - an everyday human behavior {waving hello, pointing,

waving, sniffing, scratching.}

Expressive Gesture - an abstract or symbolic gesture that represents and emotion,

an idea, a desire, a value. {Representative of joy, grief, anger).


16/27

16

7) ARCHITECTURE

The physical space you are in and how awareness of it affects your movement.

{swimming pool, black box, large, lavish set, etc.} In working with architecture we learn to

dance with the space, to be in dialogue with it, to allow it to effect movement and

emotion.

Broken down into:Solid Mass - walls, floors, ceiling

Texture - metal, fabric, wood

Light - the source of light, shadows

Color – Movement off of color. How one red chair among many black chairs

would effect movement in relation to that chair, etc.)

Sound – sound created by and from architecture. The sound our feet make on

the floor, the creak of the door, etc.

8) SPATIAL RELATIONSHIPS

The distance between things:

One body to another

One body to a group of bodies

The body to the architecture

9) TOPOGRAPHY

The landscape, the pattern, the design we create in movement through space. Ex.

dense downstage, difficult to move through. Less dense upstage, more fluidity and faster

tempos, figure 8 traffic patterns, etc.

And those are the 9 viewpoints of time and space.

THE VOCAL VIEWPOINTS

1) PITCH – the level of a sound within the vocal range from high to low.

2) DYNAMIC – volume3) TEMPO – speed

4) ACCELERATION/DECELERATION – speeding up and slowing down.

5) REPETITION – repeating on your partners pitch, dynamic, or tempo.

6) TIMBRE – producing sounds from various physical resonators – nasal, deep throated,

full-bellied, etc.

7) SILENCE – where it is placed, how often it is used, how long it is used. In-between

words, only once in a sentence, in the middle of words, etc.

Viewpoints…

!

Helps us work from impulses and intuition.!Imbues space and movement on-stage with meaning.

!Is a collaborative way to discover the meaning of a moment, scene, play.

!Is non-hierarchical.

!Allows emotions to arise from the physical.

!Gets rid of the words, “I want.” And asks “what does the work want?”

!Gets rid of “I’ll do it when I feel it” and allows emotions to arise from the physical.

!Continues actor training.

!Relieves the pressure to invent by yourself.


17/27

17

!Shifts emphasis from making something happen to letting something happen.

!Frees us from the statement, “My character would never do that.” In Viewpoints there is

no right or wrong, good or bad - there is only possibility, and choice.

!Leads to greater awareness, which leads to greater choice, which leads to greater

freedom.

!Gets us out of our heads and out of the sense of sight. We learn to listen with the entire

body and see with the entire being and our intuition.

The Vocal Viewpoints

PITCH – high or low

Pitch is where sound lies within the possible range of the instrument. In this case the

instrument is your voice. So high to low vocally. Begin to repeat your line of dialogue at a

medium pitch, now low.

DYNAMIC - loudness

In vocal viewpoints dynamic is the term used to connote loudness or volume. Say your

line of dialogue as softly as possible, as loudly as possible, explore volume.

TEMPO

Tempo is speed. In vocal viewpoints it’s the speed at which you say things. Try saying your

lines as fast as possible, as slow as possible, try one person fast and one person slow, one

person slow and one person medium, switch it up one line slow the next fast.

Surprise yourselves, explore on your own. Let your partners tempo effect you.

ACCELRATION/DECELATION – Slow to fast and vice versa

Start slow get faster and vice versa. Collaborate on accelerating and decelerating, let it

be fluid. Notice how the vocal viewpoints change meaning.

REPETITION

Factoring in tempo, dynamic (loudness), pitch (high or low) begin to repeat what your

partner is doing. If they increase tempo increase with them, if they move to a high pitch

copy them. Try not to let anyone lead or follow.

TIMBRE

Timbre has to do with shape size and substance. To experiment with timber you will

explore producing sound from various physical resonators - nasal, deep throated, chest,

belly.

SILENCEWe all know how powerful it can be but instead of using silence between lines the vocal

viewpoints ask you to find silence within sentences, between words, even in the middle

of words. Make sure there is no silence between lines of dialogue look for it only within

your lines and words, so breathe while your partner is talking and be ready to speak as

soon as they are finished.


18/27

18

CHARACTER ANALYSIS

1) AUTOBIOGRAPHY - Give a 3 - 4 page summation of your character’s life. Then

complete the following.

2) CONFLICT - What is the major obstacle facing this character? Define as one or more

of the following. Explain.

Human vs. God{s}

Human vs. Human

Human vs. Nature

Human vs. Society

Human vs. Self

3) ABSTRACTION - Describe you character in different abstract ways. What would the

character be if s/he were a{n}: Explain, each answer!

Animal Drink Piece of Jewelry

Plant Cartoon Character Piece of clothing

Food Book City

Color Song Musical Instrument

Kind of Day Piece of Furniture Car

4) PHYSICAL CHARACTERISTICS - Describe your character physically, height, build, hair,

eyes, face, power, age, agility, voice. Pick one trait and describe how it influences the

emotional makeup of the character. For example, does a character's limp cause

him/her to be nasty, tolerant, eccentric, shy.

5) CHARACTER CHANGE/DRAMATIC ACTION - Describe one way in which your character

changes from the beginning to the end. Have the character's goals changed? If so, how

so?


19/27

19

The Hero’s Journey

Stages of the Journey

The twelve stages of the Hero's journey:

1. The Ordinary World- the hero is seen in his/her everyday life2. The Call to Adventure- the initiating incident of the story3. Refusal of the Call- the hero experiences some hesitation to answer the call4. Meeting with the Mentor- the hero gains the supplies, knowledge, and

confidence needed to commence the adventure5. Crossing the First Threshold- the hero commits wholeheartedly to the adventure6. Tests, Allies and Enemies- the hero explores the special world, faces trial, and

makes friends and enemies7. Approach to the Innermost Cave- the hero nears the center of the story and the

special world

8. The Ordeal- the hero faces the greatest challenge yet and experiences a symbolicdeath and rebirth

9. Reward- the hero experiences the consequences of surviving “death”10. The Road Back- the hero returns to the ordinary world or continues to an

ultimate destination

11. The Resurrection- the hero experiences a final moment of death and rebirth sothey are pure when they reenter the ordinary world

12. Return with the Elixir- the hero returns with something to improve the ordinary

world

The Archetypes:

1. Hero- someone who is willing to sacrifice his own needs on behalf of others2. Mentor- all the characters who teach and protect heroes and give them gifts3. Threshold Guardian- a menacing face to the hero, but if understood, they can be

overcome

4. Herald- a force that brings a new challenge to the hero5. Shapeshifter- characters who change constantly from the hero's point of view6. Shadow- character who represents the energy of the dark side7. Ally- someone who travels with the hero through the journey, serving variety of

functions

8. Trickster- embodies the energies of mischief and desire for change


20/27

20

Name: _____________________________

Self Reflection Paper Rubric

(5 points – 1 point each)

SELF REFLECTION

Clearly communicates ideas. Demonstrates

significant and insightful self-reflection

ORGANIZATION AND COHERENCE

Uses logical structure and discipline specific vocabulary.

Guides the reader through chain of reasoning, and/or

progression of ideas.

SUPPORT

Makes connections and evidences higher-level thinking.

STYLE

Chooses words for their precise meaning and uses an

appropriate level of specificity. Sentence style is clear

and concise, and makes sense to the reader.

MECHANICS

Free of spelling and grammatical errors. Followed directions.


21/27

21

Participation Rubric

(5 points – 1 point each)

Please do the math before turning in.

Name: ____________________

Focused, active, cooperative participation

during warm ups

Willingness to take direction and instruction.

Willingness to push through uncomfortable

moments/activities. Willingness to experiment

and take risks

Personal growth. Contribution to the growth of

Others. (talkbacks, emotional support, etc.)

Communicates effectively with Instructor and

Classmates. Attitude (professional, positive, attentive,

Cooperative)

Completes assignments on time.

Work submitted according to directions

Total


22/27

22

Life Story Dramaturgical Rubric

(25 points)

Dramaturgical Component (15)

Character Analysis (8)

Rehearsal Journal (5) five entries. 1 point each

Playbill (2)

Design Elements (10)

Costume Renderings (5)

Set Renderings (5)

(professionally and creatively executed (within reasons).

Reflective of actual show elements.

Note: You will lose points for:

*Spelling/grammatical issues (.5 each)

*Not following directions

*Not including all required information


23/27

23

Character Analysis Rubric

(8 points – 2 points each)

Included and answered all writing prompts, followed directions

Presentation of content included clarity of expression/writing style

Grammar, punctuation, spelling, and sentence structure

Substantive discussion/exploration of subject

Total

*Additional points may be subtracted for excessive grammatical errors.


24/27

24

Life Story Performance Rubric

(10 points)

Performance (10)

Preparation/Memorization (1)

Given Circumstances (1)

Connection (to self, to other, to audience) (1)

Blocking/Pacing/Viewpoints (1)

Playing dramatic action/pursuing objectives (1)

Set/Costumes/Music (1)

Articulation/Projection (1)

Growth (3)


25/27

25

Playback Performance Rubric

(25 points)

Preparation (5)

Improvisation/Story Creation (5)

Connection to Character/Connection to Partner(s) (5)

Audience Engagement/Pacing (2)

Playing dramatic action/pursuing objectives (3)

Articulation/Projection (2)

Growth (3)


26/27

26

Summary Explanation for Exempt Research

__________________________________________________________________

EXPLANATION OF RESEARCH

Title of Project: Transformational Theatre: Raising Consciousness While Honing a Craft

Principal Investigator: Sybil St. Claire

Other Investigators: N/A

Faculty Supervisor: Sybil St. Claire

You are being invited to take part in a research study. Whether you take part is up to you.

• The purpose of this research is to study using Theatre for Social Change techniques to teach

acting with an eye on helping students to develop/foster emotional awareness and intelligence,

community, and empathy (among other positive traits) while honing a craft.

• Students will reflect on their personal, artistic, and educational experiences and journeys via a series of

self-reflection papers, discussions, taped interviews and photographs. The self reflection papers and

discussions are a required part of the class. The video taping and photography are additional and

optional. This data will then be collated in an effort to pinpoint what feeds into and what detract from the

above objective. Research will take place at the UCF Main Campus in Trailer 541. Participants must be

students in Sybil St. Claire’s Acting for Non Majors course at the University of Central Florida.

• Expected duration: Spring 2016. Techniques will be introduced during class. Papers and other data

collection (specifically video and photographs) will be created inside and outside of class time.

Total time commitment outside of class, is expected to be approximately four hours (most of which

involves normal homework assignments (writing self reflection papers).

• You may be video taped and photographed during this study. If you do not want to be video taped

or photographed, you will still be able to be in the study. Discuss this with the researcher or a

research team member. If you are video taped and/or photographed the tape will be kept in a

locked, safe place. The photos may be used in articles/books only with your permission. Tapes and

photos will be kept indefinitely.

*You must be 18 years of age or older to take part in this research study.


27/27

*Participation is entirely voluntary. You are not required to participate in the study. There will be no penalties

of any kind for not participating.

Study contact (for questions about the study or to report a problem): If you have questions, concerns,

or complaints please contact Sybil St. Claire, Faculty Investigator, School of Performing Arts, Department of

Theatre by email at: [email protected] or by phone at: 407/267-6815.

IRB contact about your rights in the study or to report a complaint: Research at the University of

Central Florida involving human participants is carried out under the oversight of the Institutional Review

Board (UCF IRB). This research has been reviewed and approved by the IRB. For information about the

rights of people who take part in research, please contact: Institutional Review Board, University of Central

Florida, Office of Research & Commercialization, 12201 Research Parkway, Suite 501, Orlando, FL 32826-

3246 or by telephone at (407) 823-2901.

IRB #: SBE-15-11706

Documents

Acting for Non-majors 2016