NEW YORK UNIVERSITY
STEINHARDT SCHOOL OF CULTURE, EDUCATION, AND HUMAN DEVELOPMENT
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
FALL 2011
Directing
MPAET-UE 1081 / DRLIT-UA 643
3-4 points
Friday 11:45am-2:20pm
133 MacDougal Street / Provincetown Playhouse
Instructor: Joe Salvatore
[email protected]
Office: Pless Hall Annex, Rm. 223
212.998.5266
Office Hours: By appointment, http://steinhardt.nyu.edu/advisement/schedule
Teaching Assistant: John Lavigne
[email protected]
Course Objectives
• To identify individual goals and questions about directing theatre productions that
will be explored through coursework, practical directing and acting experiences,
and live performances.
• To explore and understand the tools of the director and to use those tools in the
creation of original work.
• To learn and practice a method of play analysis that facilitates an original point of
view to a given play while still honoring the intentions of the playwright.
• To exercise our creative and analytical skills through written, visual, and aural
responses to plays, readings, and performances.
• To practice communicating ideas and concepts to actors.
• To hone skills as directors through directing and performance.
• To stage a non-verbal performance project and a ten-minute one-act play and
receive feedback about the work.
• To develop a critical vocabulary that will allow thoughtful and sensitive discussion
of the work of colleagues.
• To create a directing philosophy statement that articulates your beliefs about the
role, position, and process of the director in theatrical creation.
• To identify individual strengths and areas to work on to guide future artistic
explorations.
Required Texts
Ball, William. A Sense of Direction
Bogart, Ann. A Director Prepares: Seven Essays on Art and Theatre
Optional Texts
Take Ten: New Ten-Minute Plays edited by Eric Lane and Nina Shengold
Twenty-Four by Twenty-Four: The 24 Hour Plays Anthology edited by Mark Armstrong and
Sarah Bishman
All of the above texts are available at the NYU Main Bookstore. Additional required
readings will be distributed in class or posted on Blackboard.
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Course Work and Assessment
In addition to attending and participating in all class meetings and completing all assigned
readings, you will be responsible for the following:
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Completing an initial survey, including a biographical statement and initial goals
and questions
Creating and presenting one non-verbal directing project
Acting in at least one other classmate’s non-verbal directing project
Preparing a written play analysis for a ten-minute one-act play that you will direct
as a class project
Staging and presenting a ten-minute one-act play project
Acting in at least one other classmate’s 10-minute one-act play project
Composing four written responses to your experiences as a director and an actor
Creating a directing philosophy statement that articulates your beliefs about the
role, position, and process of the director in theatrical creation
In addition to the above assignments, I strongly recommend that you keep a journal to
track your learning in the course. As much of the work in this course will be hands-on
acting and directing work, the journal becomes a powerful tool to document your
experiences. Since we understand that theatre in performance is essentially intangible, the
journal creates the tangible, take-away piece from that experience. This document will be
invaluable for completing various written assignments in the course. Your journal will not
be collected or graded.
This course requires a substantial amount of outside rehearsal work and collaboration
with other colleagues. If you are unable to make the time commitment to class meetings,
outside rehearsals, and the exploration of the material, you should consider taking
another course.
Initial Survey
You will be required to complete an initial survey at the top of the semester that includes a
biographical statement and up to three goals and three questions that you have about
directing. These goals and questions will provide a basis for individual exploration as the
course unfolds, and your personal discoveries related to these goals and questions will
translate into tangible examples that you will use to complete the response papers and
directing philosophy described below.
Directing Projects
The two directing projects are meant to provide participants with the opportunity to
explore what it means to be a director through practical application of skills and
approaches discussed in class. Each participant will direct a non-verbal project and a
ten-minute one-act play, and also perform in at least one of each of those projects for
her/his colleagues. A director must understand the acting process, as the actor is the
director’s chief tool to convey meaning to an audience. Therefore, it is imperative to have
an understanding of the directing process from both points of view. In the second week of
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class, you will randomly choose your dates for each of these two projects so that you can
plan your semester accordingly.
Much of our class meeting time will be devoted to the presentation and analysis of these
projects. Each director will present her/his scene, and the presentation will be followed by
15 minutes of facilitated feedback from the group. If the director wishes to receive
additional feedback from me, beyond what is given in class, the director may make an
appointment to speak with me during my office hours. Please note that there will be a 5minute changeover period in between directing presentations, so plan your choices for
plays, props, scenic elements, etc. accordingly.
The non-verbal project will use a piece of music chosen by the director as the source. The
director will stage the piece of music using three to five actors. This is not an exercise in
just choreography, but rather an exercise in telling a story to an audience. Presentations
may not exceed five minutes, so please choose your music accordingly.
Criteria for Assessment:
• The non-verbal project is ready for performance (staged, rehearsed and
memorized).
• The non-verbal performance falls within the 5-minute time frame.
• The non-verbal performance uses three to five actors.
• The non-verbal performance conveys a clear story to the audience.
• The non-verbal performance is unified.
The one-act project will use a published one-act play from any number of collections of
ten-minute plays. I have ordered some collections for the course, and they are available
through the NYU bookstore. However, you may choose from other material as well.
Stores like Shakespeare and Co., Barnes and Noble, and The Drama Book Shop all carry
collections, and I would suggest paying particularly close attention to the Humana Festival
collections. One photocopy of the one-act play must be submitted for my review and
approval by September 30. Plays may not exceed ten minutes in length. Each director will
be required to submit a formal written play analysis for the project on October 28. This
analysis will follow a format that is established in the first weeks of the semester.
Criteria for Assessment:
• The one-act play is ready for performance (staged, rehearsed and memorized).
• The one-act play performance falls within the 10-minute time frame.
• The one-act play performance honors the playwright’s intentions.
• The one-act play performance is unified.
• The directing choices in the one-act play performance are aligned with the point of
view in the play analysis.
• The play analysis includes all six steps of the process, including an abstract or
symbolic representation of the director’s point of view.
• The point of view is derived from the play analysis.
• The play analysis is delivered free of grammar, spelling, and punctuation errors.
Please note that all projects must be memorized, staged, and rehearsed for presentation.
Projects that are not ready for performance will be stopped. You will be expected to locate
space and rehearse your projects outside of class, and those rehearsals must be conducted
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in a professional manner. Any repeated lateness or failure to attend rehearsal from a class
colleague should be reported to me immediately. If you are the director for a given
project, you are responsible for scheduling the rehearsals with your actors. Since you will
be using outside actors, choose your collaborators accordingly.
*** Weapons of any kind and open flames are prohibited in scene work presentations. ***
Directing and Acting Response Papers
To assist you with tracking your growth as a director, you will create a series of responses
to your directing and acting experiences throughout the semester. Following each project
presentation, you will generate a written response outlining lessons learned from your
directing experience (up to 1000 words) and your acting experience (up to 500 words).
The goals and questions that you articulated in your initial survey should provide a
foundation for your discussion in these papers.
Responses for each project must be submitted within one week following your directing
presentation or your participation as an actor. Submission time is by 10:00am on the
following Friday. If you participate as an actor in more than one project, you only have to
submit a response paper for one project where you served as an actor.
Attention to detail in these response papers will assist you with the development of your
directing philosophy, which is described in more detail below.
Criteria for Assessment
• The response paper tracks the director’s or actor’s experience in the rehearsal and
presentation process.
• The response paper includes specific examples from the experience.
• The response paper is delivered free of grammar, spelling, and punctuation errors.
• The response paper is delivered within the assigned word limits: Directing-up to
1000 words; Acting-up to 500 words
In-class Preparation and Participation
At various times during the course, students will be asked to respond to readings in class
during small and large group discussions. Students will also be required to speak about
their own artistic work and to provide feedback to their colleagues about their artistic
work. While these discussions and smaller assignments will not be formally assessed, your
preparation of and participation with these assignments will be tracked and ultimately
affect your final grade in the course.
Theatre is a collaborative and communicative art form; therefore, students in this course
are expected to be both collaborative and communicative. Your ability to articulate
thoughts and ideas about your own work and the work of others helps to illustrate a
growing understanding of a particular subject area. I expect that all students will
participate actively, and this includes speaking during class discussions. If this has been
difficult for you in your past experiences as a student, I would like to work with you on this
skill. Please make an appointment to speak with me during my office hours in the initial
weeks of the course so that we can discuss strategies for growth in this area.
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Your final grade point total will reflect absences and/or tardiness to our class meetings.
Please note that each unexcused absence will result in one (1) point lost from your overall
grade point total. Three times tardy will equal one unexcused absence.
Directing Philosophy Statement
In the final project for this course, you will create a directing philosophy statement that
articulates your beliefs about the role, position, and process of the director in theatrical
creation. Your audience for this statement is a potential employer. As a result, you will
need to convey your ideas clearly and succinctly, while providing tangible examples and
pieces of evidence that illustrate to the potential employer that you truly have an
understanding of the directing process. You should be writing as an early career
professional in the field, not as a student in a course. The initial goals and questions that
you outline at the top of the course and the response papers that you create throughout
should provide guidance for the development of this philosophy, meaning that as you work
to make discoveries in these areas, your newfound knowledge will help to solidify your
ideas and beliefs about the role, position, and process of the director.
The philosophy statement must be typed, double-spaced, and may not exceed 1500 words.
Texts should be cited appropriately, using proper format (MLA or APA).
Criteria for Assessment:
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The philosophy statement articulates the student’s beliefs about the role, position, and
process of the director in a focused way.
The philosophy statement is written in a professional voice, rather than a student voice.
The philosophy statement captures the student’s learning in the course through specific
examples from readings and practical experiences as a director and an actor.
The philosophy statement is presented free of grammar, spelling, and punctuation
errors and is within the 1500-word limit.
Directing Philosophy statements will be due on December 16 at 5:00pm.
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Assessment Breakdown
Projects and papers will have the following values for the overall grade in the course:
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Non-verbal project
One-act play project
Directing and acting response papers
Directing philosophy statement (up to 1500 words)
TOTAL
25%
35%
15%
25%
100%
Grading Scale:
93% and up:
90-92%:
88-89%:
83-87%:
80-82%:
A
AB+
B
B-
78-79%:
73-77%:
70-72%:
68-69%:
63-67%:
62% and less:
C+
C
CD+
D
F
My assessment of student work will be based on rubrics and/or checklists that I provide in
advance of each of the projects so that assessment criteria and expectations are clear. In
some instances, participants may be asked to suggest assessment criteria for a given project
or paper.
The work in this course demands attendance at all class meetings, plus a commitment to
additional rehearsals outside of class. Our goal for the semester is to establish an ensemble
that explores the role of the director in the theatrical creation process. Attendance and
promptness are mandatory. Lateness and leaving early are not an option. Because the
course is structured as a studio for exploration, with value assigned to everyone’s opinion,
your presence in class is crucial to your own success and the success of the other
participants. Grades could be raised or lowered by in-class attendance and participation
and commitment to out-of-class rehearsal work, particularly if a grade is borderline. There
is no extra credit available for this course.
Grades of Incomplete will not be given unless we agree after a personal meeting that your
personal circumstances are truly exceptional and warrant extra time to complete course
assignments.
Important: Do not miss class on the day that you have a scene presentation (as a director
or an actor), as there will be no time to make up missed scenes.
Official university excused absences must be documented. If you know you will be
missing class, advance notification via email would be appreciated, including for religious
observances.
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ADDITIONAL INFORMATION
Email and Blackboard
You must have an active NYU email account that you check on a regular basis. This is the
easiest way for me to communicate with you regarding last minute changes and for you to
contact me regarding questions and concerns about the coursework. We will also have a
Blackboard account for the course, and we will use this for communication and to post
important documents related to the course. Written assignments will also be submitted
through the Blackboard site.
Your Written Work in this Course
Written work must be submitted by 10:00am on the due date through the course
Blackboard site’s Assignments tab, unless otherwise noted. I will not accept hard copies of
assignments, with the exception of a visual or abstract representation of a point of view.
When you are naming and saving your document, please use the name of the course
(DIRECTING), the project title, and your last name.
So here is an example: DIRECTING initialsa Smith
*** Please note that Wikipedia should not be used as a cited source for any paper or
project in this course.
Also, grammar, spelling, and punctuation will be assessed on all written assignments in
this course. Sometimes students believe that theatre courses should not be concerned with
writing style, clear written articulation of ideas, or attention to the rules of grammar,
spelling, and punctuation. If you are of this mindset, then you should consider taking
another course.
If you have questions or concerns about your writing or would like to seek further
assistance, you may visit NYU’s Writing Center at 411 Lafayette Street, 3rd floor. You can
schedule appointments by visiting: http://www.nyu.edu/cas/ewp/html/writing_center.html.
Academic Honesty
You 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 you
discuss ideas and opinions with fellow participants, your writing and other individual work
must be something that you do on your own. 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.
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Do You Have Any Particular Needs?
Please let me know if there is anything I should be aware of regarding you and a particular
need or characteristic, such as a medical condition, a sensory or hidden disability, etc. that
may influence our interactions, your participation, or your personal well-being. I want to
make the course as inclusive as possible, so I’d appreciate your communication to keep
me informed about you. This disclosure is optional or, if you wish, only for selected
individuals.
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, 240
Greene Street, www.nyu.edu/csd.
Open Door Policy
It is my every intention to create a safe environment and a comfortable learning
community for everyone in the class. If at any time you feel unsafe or uncomfortable,
please feel free to address these issues with me. I would suggest setting up a time to speak
with me during my office hours, and if my available times conflict with your other
obligations, please email me with other possible times that might work for you, and we’ll
make an appointment.
Scheduling an Appointment
Scheduling an appointment with me is an easy process:
• All advisors who accept appointments online can be accessed via the URL:
http://steinhardt.nyu.edu/advisement/schedule
• Select my name from the drop down menu marked “Choose a user below.”
• You will see a calendar with all of my upcoming advisement slots available. Click
on the slot that you want to reserve.
• Enter basic information: Name, Email, Phone, and Subject/Reason for the
Appointment.
• Click on the “Schedule this Appointment” button.
• You will receive a confirmation email and a reminder.
If my scheduled hours conflict with your available times, please send me an email with
three possible dates and times when you will be available, and I will work to
accommodate your request for an appointment.
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Course Itinerary (subject to change)
September 9:
Welcome and introductions
Review course outline and expectations
What is a director? What are qualities of a strong director?
The tools of the director
September 16:
Discussion of A Director Prepares
Selecting presentation order
What are we trying to do as artists?
Mining material: Interpretation and creation
Initial survey due
September 23:
Discussion of A Sense of Direction
Working with actors
Scene work demonstration
September 30:
Play analysis
Providing feedback
Assessment criteria
One-act plays submitted to Joe for approval
October 7:
Guest artist (TBD)
Spacing rehearsals
October 14:
Non-verbal project presentations
October 21:
Non-verbal project presentations
October 28:
Non-verbal project presentations
Midpoint evidence exercise
Play analysis for one-act project due
November 4:
Guest artist (TBD)
Spacing rehearsals
November 11:
One-Act presentations
November 18:
One-Act presentations
November 25:
No class: Thanksgiving break
December 2:
One-Act presentations
December 9:
One-Act presentations
December 16:
Evaluation and debrief
Directing Philosophy Statement due by 5:00pm
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Bibliography
Armstrong, Mark and Sarah Bishman. Twenty-Four by Twenty-Four: The 24 Hour Plays
Anthology. New York: Playscripts, Inc., 2009.
Ball, William. A Sense of Direction. New York: Drama Book Publishers, 1984.
Bartow, Arthur. The Director’s Voice. New York: Theatre Communications Group, 1988.
Brockett, Oscar G. and Franklin G. Hildy. History of the Theatre. New York: Allyn and
Bacon, 2003.
Bogart, Anne. A Director Prepares: Seven Essays on Art and Theatre. New York: Routledge,
2001.
Charest, Rémy. Robert Lepage: Connecting Flights. New York: Theatre Communications
Group, 1998.
Cole, Susan Letzler. Directors in Rehearsal. New York: Routledge, 1992.
Cole, Toby and Helen Krich Chinoy. Actors on Acting. New York: Three Rivers Press,
1970.
___. Directors on Directing. New York: Macmillan Publishers, 1963.
Dixon, Michael Bigelow and Joel A. Smith. Anne Bogart: Viewpoints. Lyme, New
Hampshire: Smith and Kraus, Inc., 1995.
Hagen, Uta and Haskel Frankel. Respect for Acting. New York: Macmillan, 1973.
Hauser, Frank and Russell Reich. Notes on Directing. New York: RCR Creative Press, 2003.
Jonas, Susan, Geoff Proehl and Michael Lupo, ed. Dramaturgy in American Theater: A
Source Book. Fort Worth, Texas: Harcourt Brace & Company, 1997.
Lane, Eric and Nina Shengold, ed. Take Ten: New 10-Minute Plays. New York, Vintage
Books, 1997.
Saint-Denis, Michel. Theatre: The Rediscovery of Style. New York: Theatre Arts Books,
1960.
Stanislavski, Constantin. An Actor Prepares. Trans. Elizabeth Reynolds Hapgood. New
York: Routledge, 1964.
Tharp, Twyla. The Creative Habit. New York: Simon & Schuster, 2003.
Volansky, Michael and Michael Bigelow Dixon. 20 One-Act Plays from 20 Years of the
Humana Festival. Lyme, New Hampshire: Smith and Kraus, Inc. 1995.
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