ࡱ>  ?bjbj rbb 7]44  T T T D !!D /!""""",-<- ,ǴԮT -,",--ԮM0  "" M0M0M0-N 8"T "M0-M0M0& < 4G/ěd0/(M0M0T z ---ԮԮM0---/---------4 :    THTR 316: Advanced Movement for Actors Spring 2015Monday/Wednesday 10:30-11:50am Location: MCC 111 Instructor: Anastasia Coon Office: MCC Adjunct Faculty Office, 2nd floor Office Hours: By appointment Contact Info: ACoon@USC.edu Course Description and Overview This course will deeply engage the actor with their abilities to express story and character through the body. The actor will work in a variety of movement training methods as a way to expand their acting range and strengthen their use of imagination. This empowers the actor to make bold choices in direct response to the text, their acting partner(s), the given circumstances and moment-to-moment beat changes. Learning Objectives To acquire imaginative and physical agility with flexibility and openness. To deepen the generosity of spirit directed to the actors partner and ensemble. To discover the pleasure of keen-edged specific visualization, hearing and seeing. To calm and center the body through a solid base, neutral alignment, and versatile equilibrium. To move with rhythmic variation and musicality. To metaphorically connect the body, mind and gut instinct by cultivating awareness and action of impulse. To integrate the voice into the body and experience full-self expression on impulse. To discover and be able to name the joys of personal/artistic growth and change. To acquire a dramaturgical process of research and devising to craft a character with a specific disability, illness or addiction as it manifests in the body and voice. To demystify the technology used in Motion Capture/Performance Capture and Green Screen Performance while acquireing the current industry standard vocabulary. To prepare the actor to audition and work with confidence in these mediums. Prerequisite(s): THTR 216 Co-Requisite (s): N/A Concurrent Enrollment: N/A Recommended Preparation: Acting Technique, Scene Study, Script Analysis, Voice & Speech Required Readings and Supplementary Materials An Acrobat of the Heart: A Physical Approach to Acting Inspired by the works of Jerzy Grotowski By Stephen Wangh Available on Google Books for $11.84  HYPERLINK "http://books.google.com/books?id=Z13FLCYeZHMC" http://books.google.com/books?id=Z13FLCYeZHMC Description of Grading Criteria and Assessment of Assignments Blackboard Assignment Description: Please write a one-page (350 words min) response to the assigned chapter from the text of An Acrobat of the Heart: due dates designated in the Weekly Breakdown. Please be specific in your response; you are encouraged to begin with a quote from the chapter and challenge/agree/offer an alternative idea. You may write about the way an idea in this article contrasts or complements previous actor training youve received or illuminates something in your own growth and experience in this class or in another area of your life sports, academics, family, etc. You may share research about artists or methods mentioned in the article that were previously unknown to you. I am interested in critical analysis and engagement with something you find provocative or unfamiliar in the article. The Blackboard posting will be due on Mondays by 10pm and followed by a class discussion the following Wednesday. Students are required to come to class on Wednesday with a hard copy of their own posting and be prepared to share their ideas in a dynamic discussion. If a written response is posted on BB but not turned in as a hard copy, points will be deducted. SDA Performance Analysis: Each student will attend one fully produced performance this semester in the School of Dramatic Arts and submit a one-page response analyzing the use of movement in the piece. You may comment on the individual actors use of movement, freedom of expression through gesture and physical characterization or lack thereof. You can analyze any use of time period-specific movement or mannerisms. Please include a discussion of how the actors appear physically grounded, expressive and prepared in the movement life of the play or if this needed improvement. You may also assess the use of movement and blocking on stage to best communicate the story, relationships, status, etc. Attending only BA, BFA or MFA productions may complete this assignment. No ISPs, please. Staple the ticket stub or program to your assignment. These performance analyses will be shared in a group discussion on Monday April 27. A hardcopy will be turned into the instructor on the same day. Performance or written assignments submitted after the due date will receive a 10% (one full letter grade) deduction. FOR SDA GRADING CRITERIA: Grades & Attendance: This is an experiential class. Attendance and participation in class is mandatory. According to School of Dramatic Arts guidelines, no unexcused absences are allowed. Each unexcused absence will result in a 20-point reduction in your Participation grade average. An excused absence is due to serious illness, grave emergency or the appropriate SDA leave of absence. You are responsible for all work missed. Missing more than four classes could result in failure. Please consult the instructor if this situation arises. Tardiness: Lateness is disruptive and unprofessional. If you enter after attendance has been taken you are considered tardy and a 10-point deduction will be taken. Participation 15% Definition of Participation for this class: daily attendance, bringing the appropriate positive attitude that creates a safe and mutually respectful classroom environment, willingness to take physical risks and get outside of your daily comfort zone, focus, commitment, taking direction, willingness to collaborate, being fully present and ready to work. Grading Scale for SDA: A indicates work of excellent quality; B of good quality; C of average quality; D of below average quality; and F indicates inadequate work. Grading Breakdown The SDA GUIDELINES on GRADING are: There shall be no unexcused absences. No late assignments, projects, exams, papers, or exercised shall be accepted unless advance extensions have been arranged between the student and the teacher or unless exceptional circumstances occur. Preparation of memorized monologue text 10 pts 10% Autocours/Solo Performance project 10 pts 10% Weekly Improvisation and in-class performances 35 pts 35% 4 written responses to An Acrobat of the Heart 20 pts (5 each) 20% Written analysis of movement in one SDA performance 10 pts 10% Assignment Submission Policy Performance assignments are to be submitted in person to the instructor on the designated due date in class. Written assignments may be posted to the class Blackboard site on the appropriate thread as noted. If this is not possible, please email the assignment directly to the instructor. Points will be deducted if a hardcopy is not provided on class discussion due dates. Please see Blackboard Assignment Description for more details. Additional Policies Attire: Please wear layers of clothing that are comfortable and allow complete freedom of movement but still reveal the outline of the body. As we train physically, the temperature of the body will go up and down so bring a warm layer with you. Cold muscles and joints are more prone to injury. NO JEANS, short shorts, mid-riff or low cut tops. Sweatpants, leggings and t-shirts are recommended. Your participation grade will be affected if you come to class inappropriately dressed. Be prepared to work barefoot. A word about injuries: An actors body, voice, mind, and morale are crucial to their work and their longevity as a performer. Please take good care of your body its the only one youve got. Please let me know immediately about any injuries you may sustain in this class or elsewhere. If your injury restricts your ability to participate fully in class, please observe the class and submit a written summary immediately following the class. Excessive (more than 2) observations will affect your grade. Course Schedule: A Weekly Breakdown PART ONE Engage the Actor/Creator | Strengthen the Ensemble Weeks 1-4 Begin actor/creator conditioning through daily movement training drawing from Anne Bogarts Viewpoints, Yoga, Contact Improvisation, Grotowskis Image work. Moving onto Text: Students will select and memorize a monologue from a published play script. Students may choose a classical or contemporary 2-3 minute monologue. Students must read the entire play the monologue is from in order to fully grasp the character arc, entire plot, world of the play, etc. These monologues will be used as the core text in conjunction with a study of a chosen physical/mental disability, addiction or illness. The student will research and perform the monologue while manifesting symptoms that express through voice and movement. A separate assignment description and grading rubric will be provided. Please turn in a hard copy of your monologue to the instructor on Monday 1/26 The monologue must be memorized for use in class work by Monday 2/2. The memorization process will be supported by exercises in class. Written assignment re: Preface pp. 1-42 An Actors Warm-up due on BB 2/2 by 10pm. In class discussion: 2/4. PART TWO Grotwski Study | The Body Becomes: Revelation & Transformation Weeks 5-8 A deepening exploration of Grotwoski-inspired movement work for the ensemble and individual actor. Written assignment re: Les Exercises Plastiques pp. 75-135 due on BB 3/2 by 10pm. In class discussion: 3/4. PART THREE Autocours | solo performance Weeks 9-13 Students will craft a 10-minute performance of their life - in theme and metaphor using physical theatre techniques. This process will be built through writing exercise, use of transformation of objects, costumes, lights, a devised soundscape and other solo performance techniques. A separate assignment description and grading rubric will be provided. Written assignment re: Character Work pp. 236-297 due on BB 3/23 by 10pm. In class discussion: 3/25. PART FOUR Performance Capture | Use of Technology in Performance Weeks 14-15 Introduction to Motion Capture/Performance Capture/Green Screen. Definition of these terms. Viewing of behind-the-scenes clips and footage of actors working in a Volume and on a Green Screen-based set. Overview of the camera technology and shooting environments. Clarify role of the actor in pre-viz, use of voice-over, facial capture, etc. Solo and group movement and vocal explorations. Define on-set protocol including ROMming, T-Pose, use of Simulcam, virtual blocking, crowd tiling, idling, etc. Apply imaginary environments typically used in MoCap/PCap/GS projects. Students will explore/improvise movement styles from video games, science fiction worlds, alien creatures, robots, disabilities or use of prosthetic limbs, animals, childrens fantasy worlds, and acting for films such as Avatar, Tintin, Rise of the Planet Apes, Jack the Giant Slayer, Rust and Bone, etc. Emphasize use of physical repetition to repeat takes on set. Written assignment re: Acting, Sanity and Survival & Afterward pp. 298-328 due on BB 4/20 by 10pm. In class discussion: 4/22. Week 16 Course wrap-up SDA Performance Analysis due Monday 4/27 Final Examination Date: Monday May 11 8-10am Academic Conduct Plagiarism presenting someone elses ideas as your own, either verbatim or recast in your own words is a serious academic offense with serious consequences. Please familiarize yourself with the discussion of plagiarism in SCampus in Section 11, Behavior Violating University StandardsHYPERLINK "https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions/"https://scampus.usc.edu/1100-behavior-violating-university-standards-and-appropriate-sanctions/. Other forms of academic dishonesty are equally unacceptable. See additional information in SCampus and university policies on scientific misconduct, HYPERLINK "http://policy.usc.edu/scientific-misconduct/"http://policy.usc.edu/scientific-misconduct/. Discrimination, sexual assault, and harassment are not tolerated by the university. You are encouraged to report any incidents to the Office of Equity and Diversity HYPERLINK "http://equity.usc.edu/"http://equity.usc.edu/ or to the Department of Public Safety HYPERLINK "http://capsnet.usc.edu/department/department-public-safety/online-forms/contact-us"http://capsnet.usc.edu/department/department-public-safety/online-forms/contact-us. This is important for the safety whole USC community. Another member of the university community such as a friend, classmate, advisor, or faculty member can help initiate the report, or can initiate the report on behalf of another person. The Center for Women and Men HYPERLINK "http://www.usc.edu/student-affairs/cwm/"http://www.usc.edu/student-affairs/cwm/ provides 24/7 confidential support, and the sexual assault resource center webpage HYPERLINK "mailto:sarc@usc.edu"sarc@usc.edu describes reporting options and other resources. Support Systems A number of USCs schools provide support for students who need help with scholarly writing. Check with your advisor or program staff to find out more. Students whose primary language is not English should check with the American Language Institute HYPERLINK "http://dornsife.usc.edu/ali"http://dornsife.usc.edu/ali, which sponsors courses and workshops specifically for international graduate students. The Office of Disability Services and Programs  HYPERLINK "http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.html" http://sait.usc.edu/academicsupport/centerprograms/dsp/home_index.htmlprovides certification for students with disabilities and helps arrange the relevant accommodations. If an officially declared emergency makes travel to campus infeasible, USC Emergency Information HYPERLINK "http://emergency.usc.edu/"http://emergency.usc.edu/will provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology.     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