DRAMA 302: PERFORMANCE SKILLS 2017

Course outline

 

Times: Mondays 10am-12noon; Wednesdays 10am-12noon

Place: Drama Studio, Room 325, Arts One Building 206

 

Convener:    Associate Professor Murray Edmond

Room 651, Arts 1 Building EDWS

Email:  m.edmond@auckland.ac.nz

 

  

“In your Choice is your talent” – Stella Adler

 

“There are three masks: the one we think we are, the one we really are,

and the one we have in common” – Jacques Le Coq

 

“In order to effectively evoke the inner life [of a character], it is vital that actors spend an equal amount of time developing the vehicle for this expression, the physical skills of a flexible and evenly produced voice, a supple and strong body, musical rhythm and controlled, relaxed movement. Equally important is an inquiring mind for history, politics, psychology and culture. It is easy to see why most teachers refer to the acting profession as a lifetime of learning” – Arthur Bartow, The Handbook of Acting Techniques

 

“There is no such thing as talent, only its manifest lack” – Jerzy Grotowski

 

AIMS AND OUTCOMES:

During this course we aim to:

• Help you discover and develop your faculty and power as an actor
• Help you learn to treat and tune your body as the actor’s instrument
• Expose you to a range of performance techniques and exercises that you can use in your own practice
• Develop your own observational, storytelling, and creating skills as an actor.

 

While one semester of classes can only provide you a taste of acting training, this course will introduce you to practical skills that you can continue to employ in your own work outside of the classroom. Even if your long-term interest is not in acting – rather, say, writing or directing or designing or criticism or teaching – it is important that you gain some insight into what actors do and the ways they might do it.

 

The course is divided into units led by specialized tutors:

• Improvisation (Murray Edmond)
• Acting & Action (Andrew Foster)
• Voice & Speech (Rachel Nash)
• Movement & Physical Theatre ()

 

The work is focused on YOU as an actor and performer – discovering and understanding your raw material (body, voice, mind, spirit) and developing it in ways that enhance your strengths and faculty as an actor and begin to identify and overcome your weaknesses.

The course ends with a solo performance. The shape of this solo is given to you and is the same for everyone. The idea is for you to bring your own interpretation to the format of the solo. It is a chance for you to combine some of the skills you have encountered in the course with your own existing strengths to show yourself as a performer.

The emphasis is on the actor as a creative being, rather than training in the interpretation of roles and characters from existing texts. Classes will investigate what sources and resources actors draw on for their art and craft. Hopefully by the end you will have found some of your power as a performer and be able to recognize the value and quality of the work of other actors

 

Week 1:          

Monday 24 July:                     Improvisation, Murray Edmond

Wednesday 26 July:               Improvisation, Murray Edmond

 

Week 2:          

Monday 31 July:                     Improvisation, Murray Edmond

Wednesday 2 August:            Improvisation, Murray Edmond

 

Week 3:          

Monday 7 August:                  Voice, Rachel Nash

Wednesday 9 August:            Voice, Rachel Nash

 

Week 4:          

Monday 14 August:                Voice, Rachel Nash

Wednesday 16 August:          Voice, Rachel Nash

 

Week 5:          

Monday 21 August:                Voice, Rachel Nash

Wednesday 23 August:          Voice, Rachel Nash

 

Week 6:          

Monday 28 August:                Acting, Andrew Foster

Wednesday 30 August:          Acting, Andrew Foster

 

Mid-semester break

 

Week 7:          

Monday 18 September:           Acting, Andrew Foster

Wednesday 20 September:     Acting, Andrew Foster

 

Week 8:          

Monday 25 September:           Acting, Andrew Foster

Wednesday 27 September:     Acting, Andrew Foster

 

Week 9:          

Monday 2 October:                 Movement, Claire O'Neil

Wednesday 4 October:           Movement, Claire O'Neil

 

Week 10:        

Monday 9 October:                 Movement, Claire O'Neil

Wednesday 11 October:         Movement, Claire O'Neil

 

Week 11:        

Monday 16 October:               Movement, Claire O'Neil

Wednesday 18 October:         Solo presentations

 

Week 12:        

Monday 23 October:               Solo presentations

Wednesday 25 October:         Solo presentations

 

 

 

DRESS:

It is very important that you come to class in clothing that allows you free, unrestricted and unembarrassed movement. Jeans and skirts are not suitable. At the same time, the body should not be hidden by bulky clothing and hair should be kept tied back from the face. Expect to work without shoes or socks. Do not wear rings or watches or jewellery as these can be dangerous in movement work. Such items should be carefully stowed in your bag and your bag should be housed inside the Studio during classes, because bags left outside in the corridor or green room are vulnerable to theft.

 

PROFESSIONAL EXPECTATIONS:

It is vital you are on time for a class like this, especially as participation is part of assessment. In this kind of work the whole class relies on you and vice versa.  If possible arrive at class just before the hour, get yourself ready, placing shoes and bags tidily. Clear the floor space if necessary and sweep the floor if it is not clean. After this, begin your own physical and vocal warm-up, regardless of whether your teacher has arrived. Regular practice is vital for performance training: ‘If I miss one day, I notice it; if I miss two days, my fellow actors notice; if I miss three days, the public notices.’ Good habits of concentration are vital for performers. You can learn as much by watching your fellow classmates’ performances as by your doing your own; but you see nothing and you take in nothing if you are talking to the person next to you. Such practice extends to rehearsal work. It is also important that performance work in the class by everyone and anyone is respected and is not discussed frivolously outside class – what goes on Drama 302 stays on Drama 302. You may, of course, write in your workbooks thoughtfully about what you have observed.

 

You will need to inform me (Murray) ahead of time of any circumstances that prevent your attendance. PLEASE EMAIL ME DIRECTLY (Not via CANVAS!): m.edmond@auckland.ac.nz

 

ASSESSMENT:

 

Classwork: 40% (Improvisation/Acting/Voice/Movement)

Workbook A: 10% (Wednesday 23^rd August)

Workbook B: 20% (Monday 30^th October)

Solo Performances: 30% (Wednesday October 18^th; Monday October 23^rd; Wednesday October 25^th)

  

WORK BOOK 

The workbook will be taken in for initial assessment (Workbook A 10%) in Week 5, Wednesday 23^rd August; then a final assessment (Workbook B 20%) at the end of Semester. It must be handed in to the Arts 1 office no later than Monday 30^th October (after the final presentations).

You are required to keep a workbook to record your observations, discoveries, research and self- reflection as you progress over the course.

For full assignment details, PLEASE CLICK HERE:WORK BOOK assignment.pdf

 

THE  SOLO PERFORMANCE

 

Your interpretation of a prescribed scenario will lead to your creation and performance of a five (5) minute solo.

 

For full assignment details, please click here:THE SOLO PERFORMANCE assignment.pdf

 

CLASSWORK

 

40% of your mark will be based on your work during each of the four sets of classes – improvisation, acting, voice, movement – 10% each.

 

For full assignment details, please click here:CLASSWORK assignment (1).pdf

 

 

Generic information:

 

1. The University’s Statement on plagarism

 

The University of Auckland will not tolerate cheating, or assisting others to cheat, and views cheating in coursework as a serious academic offence. The work that a

student submits for grading must be the student’s work, reflecting his or her learning. Where work from other sources is used, it must be properly acknowledged and referenced.  This requirement also applies to sources on the world-wide web.  A

student’s assessed work may be reviewed against electronic source material using computerised detection mechanisms. Upon reasonable request, students may be required to provide an electronic version of their work for computerised review.

 

For more detailed information, see the University’s guidelines on the conduct of Coursework at

 

http://www.auckland.ac.nz/uoa/home/about/teaching-learning/policies-procedures

 

 

2. Complaint Procedures

 

In the first instance, students or the class representative should take any concerns they have with their course delivery or assessment to the lecturer or tutor or convenor concerned. Students or staff may approach the Mediator’s Office or the Student Advocacy Network at any time for assistance. In the event that the matter is not resolved satisfactorily at an informal level, students or the class representative should approach the Head of Department with a formal statement of their complaint.

 

For more detailed information, see the University guidelines regarding Student Learning and Grievance procedures at:

 

http://www.auckland.ac.nz/uoa/home/about/teaching-learning/policies-procedures

 

AUSA also offers advice on grievance and harassment issues. See the AUSA website’s ‘Need Help?’ section for further information.

 

3. Other sources of information and Announcements and Resources for this paper will posted on CANVAS by the Convenor. The majority of classroom teaching is being done by outside professionals and they do not have access to CANVAS. Communications outside the classroom, first and foremost, should go through the Convenor. The University’s policy is that all communication with students is via their university email address—please check your university email address regularly.