Topics: Acting Shakespeare Theatre 379 Instructor: Dona Werner Freeman [email protected] x3240, 3367, or (612) 805-­‐8614 St. Olaf College Spring, 2009 Haugen Theatre Office Hrs: T/Th 9-­‐11, W 10-­‐12, & appt. Teaching Assistant: Angela Gulner Objectives Shakespeare’s plays call upon the actor in mind, body and spirit. Mastery of his roles is considered the litmus test of stage acting. In this course students will work on vocal and physical technique as well as literary and research skills. Objectives of this course include -­‐-­‐ Building upon the intention (‘playing an action’) approach to characterization as the root approach to acting. -­‐-­‐ Integrating the techniques of moving, and especially speaking for the stage with the intellectual and emotional connections necessary for spontaneous and truthful acting. -­‐-­‐ Introducing the student actor to a variety of literary devices, scansion tools and modes of analysis. -­‐-­‐ Applying research and dramaturgical skills to acting, specifically focusing on the works of Shakespeare. -­‐-­‐ Exposing the student to some of the great contemporary actors of Shakespeare’s plays and their approaches. -­‐-­‐ Allowing the student repeated opportunity for stage work through solo and scene performance studies. -­‐-­‐ Surveying a variety of Shakespeare’s plays. -­‐-­‐To learn basic stage combat choreography and safety techniques. -­‐-­‐ Creating an atmosphere of ensemble in all endeavors. Textbooks -­‐-­‐Playing Shakespeare by John Barton -­‐-­‐Speaking Shakespeare by Patsy Rodenburg Written Assignments
10% Unit Research (5% per unit) To be completed for Scene One and the Tempest Project. Due on performance days for those assignments. Include a 2-­‐page summary of the play highlighting your character’s significance to the story, themes, and a production history, citing at least two productions. Also include a scanned copy of the text, indicating meter, irregularities and literary devices. 15% Research Paper (15%) The actor will access a variety of sources available for researching the playing of Shakespeare. This assignment will focus on the production history of the selected play and past performances of the chosen role. Final performances will be based on the character researched for this paper. 10 pages. 10% Work Habits Attendance, punctuality, ensemble. Plays In Class Henry V Hamlet Measure for Measure The Tempest Much Ado About Nothing The Winter’s Tale As You like It Plays In Performance Romeo and Juliet Two Gentlemen of Verona Mpls Children’s Theatre Guthrie Theater Sun 3/1 1:00 Sat 3/7 1:00 Class Standards Attendance You are allowed two unexcused absences. After that, each absence will count towards a reduction in grade, unless accompanied by a note from the Dean of Students. Always consider what your potential absence could mean to your scene partner. Punctuality Is an essential rule of etiquette in the theatre, and like all essential etiquette rules of the theatre, expected for this class. Editions Please make sure you and your partner are working from the same publisher’s edition of the text. I suggest the Arden version, for thoroughness of notations, but many are good. Rehearsal and Memorization Expect to spend at minimum three hours per week outside of class in rehearsals for this course. All performance work must be rehearsed outside of class after each day it is worked in class. Pieces must be memorized on “work” day. A prompter will be provided until “performance” day. Dress Always dress for movement and floor work. Appropriate footwear and clothing to suggest character are required. Women, contact me if you need a floor-­‐length rehearsal skirt. Roles As a general rule, please cast yourself in roles of your own gender and age range. Because we are looking for new ways for your work to go forward, please do not choose to perform pieces which you have already played. Peer Critique Only those who know the play being performed should comment on in-­‐class scene work. Attempt to use “question-­‐based” critiquing, and to offer insights on the acting, rather than directorial suggestions. Approach It is always good to take (an educated, motivated, text-­‐based) creative risk. The ultimate goal is growth and improvement for all students. All are encouraged to move into uncharted waters. Make choices that spur you on to expand beyond your comfort range. Your work should not only be technically strong and truthful; it should also be creative, illuminating and uniquely your own. Peership Perhaps the sweetest review an actor can have is the good favor of fellow actors. At the base of theatre is the gift of it, to the audience, and to each other. Live up to, and contribute to, each other’s potential in rehearsals and performances. Class Calendar 2/7
Advise to the Players
Assign Henry V
2/14
Shakespeare and Voice
Work Henry V
Unit One Table Work
Claim Sonnet
Henry V Memorized
READ: Henry V
(copies for all)
2/21
Work Unit One
Barton: chs 1-6
Rodenburg: pp 1-49
Unit One Research Due
Jeanne Willcoxon to Class
Gender and the Renaissance Character
2/28
12-1 Kasia Gonnerman, Fine Arts Librarian
Research Sources for Actors
Unit One Memorized
READ: All’s Well…
READ: Midsummer
Sonnets Memorized
1-2 Work Unit One
3/7
Perform Unit One
R: 50-66
B: ch 7
READ: Othello
Unit Two Table Work
(copies for all)
3/14
Work Unit Two
R: Part II
B: ch 8
Unit Two Memorized
READ: Richard III
Unit Two Research Due
3/21
3/28
Perform Unit Two
Spring Break
READ: Merchant of Venice
4/4
Spontaneous Shakespeare
Work Sonnets SONNETS: Second Look
B: 9-12
READ: No Assignment
Unit Three Table Work
(copies for all)
4/11
Looking for Richard
READ: Macbeth
4/18
Work Unit Three
Unit Three Research Due
Unit Three Memorized
R: Part III
READ: The Tempest
4/25
Work Unit Three
Revisit Sonnets
Claim Recital Pieces
5/2
Perform Unit Three
Work Sonnets
Work Recital
5/9
Perform Sonnets
Work Recital
5/16
Rectial Performance
Wednesday, 7:00
Haugen Theatre