NEW YORK UNIVERSITY
DEPARTMENT OF MUSIC AND PERFORMING ARTS PROFESSIONS
PROGRAM IN EDUCATIONAL THEATRE
Fall 2011
Shakespeare’s Theatre I
MPAET-GE.2171 Section 001
3 points
Pless Hall 14, Black Box Theatre
Thursday, 4:55-6:35pm
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: Taren Hastings
[email protected]
Course Objectives
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To identify individual goals and questions about acting, directing, and teaching
Shakespeare’s plays that will be explored through course work, practical scene
work, and actor coaching.
To explore acting Shakespearean text through monologue and scene
presentations.
To investigate various methods of coaching actors in speaking and acting
Shakespeare’s text.
To understand the role of Shakespeare’s dramaturgy in play production and in
the classroom.
To generate a collection of strategies and techniques that can be used in
producing Shakespeare’s plays and teaching Shakespeare in the classroom.
To articulate learning through the creation of a written philosophy for acting,
coaching/directing, and/or teaching Shakespeare’s plays.
Course Materials
Plays by William Shakespeare:
The Comedy of Errors (1592)
Romeo and Juliet (1594)
Richard II (1595)
The Tempest (1611)
A Shakespearean Actor Prepares by Adrian Brine and Michael York
All texts should be available in the NYU Bookstore. It is up to you which editions of the
play texts you use. There are several good ones to choose from. I use the Arden editions,
as they are considered the most comprehensive. Additional readings and materials will be
distributed in class as necessary.
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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
Preparing a monologue from Romeo and Juliet for presentation in class.
Acting in at least one scene from one of four plays that we are exploring in the
course.
Coaching a youth ensemble member on a monologue and/or a scene from one of
four plays we are exploring in the course.
Analyzing plays and scenes using Shakespeare’s dramaturgy and various analysis
techniques.
Providing feedback to colleagues on performed work.
Creating a written philosophy for acting, coaching/directing, and/or teaching
Shakespeare’s plays.
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
coaching and performing, the journal becomes a powerful tool to document your
experiences. Since we understand that theatre in performance and teaching in the
classroom are essentially intangible, the journal creates the tangible, take-away piece from
those experiences. This document will be invaluable for creating the written philosophy
statement. Your journal will not be collected or graded.
Please note that this is not an English class; no one will be writing research papers. Our
analysis of Shakespeare’s work will be linked directly to production and performance.
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
acting, coaching/directing, and/or teaching Shakespeare. 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 final philosophy statement described below.
Monologue Work
You will be responsible for preparing a speech from Romeo and Juliet. A group of
speeches will be provided to choose from, and you will work with one piece in a sharing
process in class on September 22. The monologue should be memorized and ready to
share as if you were entering an audition experience. The assessment of your preparation
and active participation in this process will be included in the overall in-class preparation
and participation portion of your final grade in the course (see Assessment Breakdown).
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Scene Work
Scene work will be used to enhance our exploration of the four plays we are studying this
semester. Students will work in groups to present 20-25 minutes of scene work from one
of four plays: Romeo and Juliet, Richard II, The Comedy of Errors, and The Tempest. Each
person will have a chance to prioritize her/his play choices, but the final group and play
assignments will be at the discretion of the instructor. Each group member must act in the
scene presentations. Groups or a group representative are required to meet with the
instructor at least two weeks in advance of the in-class discussion of the play they are
assigned to clear the scene choices for the presentation.
Please note that I am not asking you to present a 20-25 minute cutting of the play or a
summary of the action of the play. Your group should choose scenes that provide
opportunities for all group members to explore the acting process as it relates to
Shakespearean text. The scenes might be linked in some way, but this is not required. We
will focus on play analysis and Shakespeare’s dramaturgy as keys to cracking open
Shakespeare’s plays, and this will guide your approach in creating your scene work
presentation. The acting experiences in this course are meant to help prepare you for your
own production and teaching opportunities; therefore, they will be assessed as such. I
expect the scenes to be memorized, staged, and audience-ready. Following the scene
presentations, group members will be expected to articulate their learning in a postpresentation discussion with the other members of the class.
Criteria for Assessment:
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Scene work is audience-ready for presentation (staged, rehearsed, and memorized).
Scene work falls within the 20-25 minute time frame.
Acting and staging choices honor the playwright’s intentions.
Growth as a performer is evident.
Group collaboration is evident (student-assessed).
*** Please note that weapons of any kind and open flames are prohibited in scene work
presentations.
Coaching
At various points in the semester, participants will observe the instructor working with
members of a youth ensemble. Course participants will then coach members of the youth
ensemble on December 1 and December 8, working with an ensemble member on a
speech from one of the four plays we are studying this semester. Attendance at both of
these sessions is mandatory. You will be expected to coach and interact with these
students in a professional and courteous manner, using techniques learned in the course.
Criteria for Assessment:
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Coach is prepared to work with the youth ensemble member.
Coach uses methods learned in Shakespeare’s Theatre I in the coaching sessions.
Youth ensemble member exhibits growth as a result of the coaching sessions.
Collaboration is evident among coaches, if necessary.
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In-class Preparation and Participation
At various times during the course, students will be asked to respond to plays and readings
in class during small and large group discussions and through written assignments.
Students will also be required to speak about their own scene work and to provide
feedback to their colleagues about their scene work. These formative assignments and
discussions will be tracked and ultimately contribute to 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.
The in-class preparation and participation portion of your final grade will also reflect
absences and/or tardiness to our class meetings. Please note that each unexcused absence
will result in one (1) point lost from this portion of your grade. Three times tardy will equal
one unexcused absence.
Philosophy Statement
In the final project for this course, you will create a philosophy statement that articulates
your beliefs about acting, coaching/directing, and/or teaching Shakespeare’s plays. 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 a mastery of the
material in question. 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 should provide guidance for the development of this statement, meaning that as you
work to make discoveries in these areas, your newfound knowledge will help to solidify
your ideas and beliefs about Shakespeare and his works from the perspective of an actor, a
coach/director, and/or an educator.
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 acting,
coaching/directing, and/or teaching Shakespeare’s plays 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
practical examples from readings, scene work, and coaching experiences.
The philosophy statement is presented free of grammar, spelling, and punctuation
errors and is within the 1500-word limit.
Philosophy statements will be due on December 16 at 4:00pm.
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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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Scene Work
Coaching
In-class preparation/participation
Philosophy Statement
TOTAL
30%
20%
15%
35%
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. At times, students will also be assessed by their peers.
The work in this course demands attendance at all class meetings, plus a commitment to
working with the youth ensemble and your colleagues in a professional manner.
Attendance and promptness are mandatory. Lateness and leaving early are not an option.
Because of the structure of the course, your presence in class is crucial to your own
success and the success of the other participants. Outside rehearsals are included in this
expectation. Grades could be raised or lowered by in-class attendance and participation
and commitment to out-of-class group 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. ***
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. Some written assignments will also be
submitted through the Blackboard site.
Your Written Work in this Course
Some written work for the course will be assessed in class, so you will need to bring hard
copies of those materials to the appropriate class meeting. Your initial survey and your
philosophy statement must be submitted electronically by 4:00pm on the due date through
the Google Forms link and the course Blackboard site respectively. I will not accept hard
copies of your initial survey or your philosophy statement.
When you are naming and saving your document, please use the acronym for the course
(SHAKES1), the project title, and your last name.
So here is an example: SHAKES2 philosophy 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 intention to create an inclusive 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 8
Review course outline and itinerary
Who are we and why are we here?
What is your Will?
September 15
Discussion of A Shakespearean Actor Prepares
Five Things to Remember about Shakespeare
Establishing scene groups
Choosing monologues
Initial survey due
September 22
Monologue workshop
September 29
Discussion of Romeo and Juliet
How do we crack open a play?
Play analysis example
Three sentences of action due in class
October 6
Discussion of Richard II
Visual response due in class
Youth ensemble members in class
October 13
Romeo and Juliet
Scene presentations
October 20
Richard II
Scene presentations
Mid-point learning discussion
October 27
Discussion of The Comedy of Errors
Recurring ideational motifs due
Youth ensemble members in class
November 3
Discussion of The Tempest
Recurring visual and aural patterns due
Youth ensemble members in class
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November 10
The Comedy of Errors
Scene presentations
November 17
The Tempest
Scene presentations
November 24
Thanksgiving---No class
December 1
Youth ensemble members in class for coaching practicum
December 8
Youth ensemble members in class for coaching practicum
December 15
Debrief of coaching practicum
Wrapping up Will
Course evaluations
December 16
Philosophy statements due by 4:00pm
Philosophy statements should be submitted through the course
Blackboard site.
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Bibliography
Barton, John. Playing Shakespeare: An Actor’s Guide. London: Methuen, 1984.
Boyce, Charles. Shakespeare A to Z. New York: Roundtable Press, 1990.
Brine, Adrian and Michael York. A Shakespearean Actor Prepares. Lyme, New Hampshire:
Smith and Kraus, Inc., 2000.
Brockett, Oscar G. and Franklin J. Hildy. History of the Theatre. New York: Allyn and
Bacon, 2003.
Cole, Toby and Helen Krich Chinoy, ed. Actors on Acting. New York: Three Rivers Press,
1970.
Coyle, Martin, ed. William Shakespeare: Richard II. Columbia Critical Guides. New York:
Columbia University Press, 1998.
Dunton-Downer, Leslie and Alan Riding. Essential Shakespeare Handbook.
Evans, G. Blakemore, ed. The Riverside Shakespeare. Princeton, New Jersey: Houghton
Mifflin Company, 1974.
Gibson, Rex. Teaching Shakespeare: A Handbook for Teachers. New York: Cambridge
University Press, 1998.
Greenblatt, Stephen. Will in the World: How Shakespeare Became Shakespeare. New
York: W. W. Norton & Company, Inc., 2004.
Hall, Peter. Shakespeare’s Advice to the Players. New York: Theatre Communications
Group, 2003.
Hill, Errol. Shakespeare in Sable: A History of Black Shakespearean Actors. Amherst,
Massachusetts: University of Massachusetts Press, 1984.
Jonas, Susan, Geoff Proehl, and Michael Lupo, eds. Dramaturgy in American Theatre:
A Sourcebook. New York: Harcourt Brace College Publishers, 1997.
Kermode, Frank. The Age of Shakespeare. New York: Modern Library, 2004.
Linklater, Kristin. Freeing Shakespeare’s Voice: The Actor’s Guide to Talking the Text. New
York: Theatre Communications Group, 1992.
Novak, Elaine Adams. Staging Shakespearean Theatre. Cincinnati: Betterway Books, 2000.
Saint-Denis, Michel. Theatre: The Rediscovery of Style. New York: Theatre Arts Books,
1960.
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Shakespeare, William. King Richard II. Ed. Charles R. Forker. The Arden Shakespeare.
Second Series. London: Thomson Learning, 2000.
Shakespeare, William. Romeo and Juliet. Ed. Brian Gibbons. The Arden Shakespeare.
Second Series. London: Thomson Nelson and Sons LTD, 1997.
Shakespeare, William. The Comedy of Errors. Ed. R. A. Foakes. The Arden Shakespeare.
Second Series. London: Arden, 2000.
Shakespeare, William. The Tempest. Ed. Virginia Mason Vaughan and Alden T. Vaughan.
The Arden Shakespeare. Third Series. London: Thomson Learning, 2001.
Wells, Stanley. Looking for Sex in Shakespeare. New York: Cambridge University Press,
2004.
Wyse, Dominic, Richard Andrews, and James Hoffman, eds. The Routledge International
Handbook of English, Language and Literacy Teaching. New York: Routledge,
2010.
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