Acting 2

Course Work

 January 23
1) Finish Given Circumstance Scenes
2) Environment:
    --Read Stanislavski Handout
    -- Sense Memory: What does it mean to remember?
    -- Physicalize the settings 
    --Orange Juice Exercise
3) The Setting Exercise
    With a partner, decide on a setting with four traits. For example, in the grocery store (setting) in the frozen section, at midnight and it's 10 degrees outside. Use the setting to propel the physical action of a six line scene.
 January 25
1) See Environment scenes
2) Reflection: What is being in tune with the five senses imperative to an actor? What do you think you need to personally work on to tune this skill?

HOMEWORK: Bring in an object from home that will fit in the palm of your hand (or something you can hold)

 January 29
1) The world of the play/ What is the value of a prop?
2) Watch video clips of business created with props
3) Sit in a circle. In your notebook, write a story of your object. it can be a story that is true to you and the object or it can be a story that is made up. There has to be a relationship between you and the object and its level of meaning to you.
3) Put your object in the center of the circle. 
4) Choose a new object that isn't yours. Repeat the step above with this new object. 
5) Choose one of your stories. Create a silent scene where you play a moment with your object. Remember to endow the object with meaning and a relationship. Remember your setting. Sketch out your scene or describe it in words.
6) Rehearse your silent scene

January 31
1) See Silent Scenes
February 6
1) Film Auditions
2) See first part of Object Scenes
3) Class Recommendations 

February 8
1) See rest of Object Scenes
2) How do you act differently according to your relationship with a person? Brainstorm the many roles you play in life and jot down notes as to how you act towards the other(s) in that relationship

**Marrying Physical Life with the Inner Life
  1. Tactics.  Hand out verbs list to students and play “Give me the Keys”
  2. Watch clips of “There Will Be Blood,” “Scent of a Woman” after the Tango scene.  Discuss what the body is saying that go beyond the dialogue
  3.   Creating Space and Size with Breath and Eyes

February 12
Tactic work:

  1. Receive a side from “Lost in Yonkers” or “The Alto Part”
  2. Verb each line.  Remember to make it about the “other”
  3. Volunteers to play the scene with verbs and feedback

Trios of Action:
1. Brainstorms three columns of action
2. Choose one from each column
3. Take 5 minutes to put together an individual scene.  Map out the who, what, when where.  Tell us as cause and effect.
4. Perform your trio of action scenes for a small group.  Respond for clarity.

Know the story in specific terms is essential.

February 14

1. Working with Verbs
2. Video from "There Will be Blood" and "Scent of a Woman" -- looking at inner life through inner monologue and subtext
3. Receive verb list
4. Finish Object Scenes

February 16
1. Begin "Give me the Keys"
2. Receive a copy of "Lost in Yonkers" read it, find the character's objectives, verb it
3. Volunteers run the scene as I coach through the use of verbs

February 21
1. Play "Give me the Keys"
2. Write a monologue with the following requirements:
* Choose a scene partner and a setting
*Choose a conflict
*Choose your objective
*The monologue is about you trying to get something from your scene partner
3. Switch monologues
4. Verb the monologue
5. Begin performing

February 23
1. Work some more monologues

  1. Essential Action: look at what it means to tell the story through action. What is necessary. Look at an example of essential action
  2. Receive a "Scene from a Hat" -- prepare the scene using Essential Action, Inner Monologue, and subtext
  3. Begin Seeing "Scenes from a Hat" if time allows
  4. Ticket information for "Honeymoon in Vegas"

February 27
1. See Scenes from a Hat
2. Subtext Continued: Watch a scene from "Revolutionary Road"
3. Receive permission slips about "Scent of a Woman"

Reflection: What are your successes and struggles with joining the two elements of acting: inner life and physicality?

March 1
1. Collect Permission Slips
2. Choose a script: "Lost in Yonkers" or "Rabbit Hole"
3. Begin reading and scoring a scene from the script

March 5
1. Continue Script Analysis Work
2. Honeymoon in Vegas Assignment

March 7
1. Finish Script Analysis Work
2. Final Day to collect permission slips

March 9
1. Begin "Scent of a Woman"

March 13
1. Work Day

March 15
1. Watch "Scent of a Woman"
2. Musical Assignment: Choose one actor to watch on stage, and comment on his or her technique: is he active? Is she playing to win? What is his/her physicality like? Do you believe him/her? Why or why not? This reflection should be typed, double spaced, 1-2 pages. Due Monday, March 19

March 19
1. Collect Musical Reviews. Discuss
2. Finish "Scent of a Woman" -- character question: What is your impression of Al Pacino's work as an actor? Did you believe him? Was his objective something worth fighting for? Did he physicalize the character well? Why or why not? -- write and collect in class
3. Duet Scene assignment:
 -- Review the assignment rubric and receive your partner

March 21
1. Receive your duet script. Begin reading and analyzing. Objective? Back story?
2. Read the play of your script

March 23
1. Continue reading your play
2. Continue script analysis


April 3
1. Reminder for any remaining Honeymoon reviews. Due by Thursday, NO EXCEPTIONS.
2. All requirements on the board. Scored script, birds eye, rehearsal log, character questions, character analysis worksheet. 
3. Cat and mouse -- go through your script and mark every line as an attack or retreat. Who has power on EACH line? Then, move through it, retreating and advancing as the line dictates. 
4. Sign up for coachings on back cabinet. 
Extra Credit: Go to the IB Collaborative Projects Friday

April 5
1. Collect all remaining Honeymoon reviews. 
2. Line blitz instruction and listening and reacting (meisner exercise) 
3. Coaching round 1
Extra Credit: IB Collaborative Projects tonight!
April 9
1. Coaching round 2
2. Peer feedback on scene

April 13
1. Coaching round 3



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