Fall
2009; TuTh, 11:00 PM-12:20 PM; CFA 183
Dr.
Ronald Moyer (CFA 184D; 677-5735; <rmoyer@usd.edu>)
The
Department of Theatre seeks to prepare the student for a career in the theatre
and to encourage personal and creative growth. It does this by providing a
comprehensive humanistic education, supplemented by intensive craft training in
which classroom study and practical experience are of equal and complementary
value. Moreover, the Department dedicates itself to excellence in education,
research, and service, and to the exploration of new questions, techniques, and
practices in theatre.
Course
objectives are:
1)
To expand awareness of
Elizabethan/Jacobean society, philosophy, and drama;
2)
To introduce prosody, with
emphasis on metrics and figures and their use in Shakespeare’s writing;
3)
To improve performance of
Shakespeare’s works through detailed analysis, rehearsal, and in-class
performance;
4)
To enhance general
preparation and performance skills through the use of course materials and
projects.
As,
essentially, a studio course, progress is difficult to predict in a daily
schedule. Therefore, much of the term is
organized by approximate "units." More specific readings, written
assignments, and performance assignments may be provided as we progress. Additional working rehearsals with the
instructor may be scheduled.
|
1
Sept |
Introduction;
ASSIGN: select--by 8 Sept.—a sonnet for performance. Recommend read Robert Barton, Chapters 1-3
(library/Moyer). |
|
3 |
Videos:
“Speaking Shakespearean Verse”; “Preparing to Perform Shakespeare.” Recommend
read Robert Barton, Chapter 5. |
|
|
|
|
8 |
UNIT 1: Sonnet & Prosody.
DUE: Bring selected sonnet. Figures; prosody; Elizabethan World Picture. Recommend
reread Barton, Chapter 3 (especially regarding “Vocal Lives” [and further
focusing on pp. 62-68]). Recommend
read: Kurt Daw, Part I (Chs
1,2,3) (library). (During
8-23 Sept. recommend arrange sonnet rehearsal[s] with the instructor). |
|
10 |
Video:
“Using the Verse”; continue prosody. |
|
|
|
|
15 |
Video:
“Language and Character.” DUE: turn in for sonnet: scansion, definitions,
pronunciations, and analysis of wordplay. |
|
17 |
Continue
prosody; ASSIGN: scansion sample. |
|
|
|
|
22 |
Continue
prosody. Review scansion sample. F1. |
|
24 |
Perform sonnets. DUE: analysis of your
process on the sonnet project. ASSIGN: 12N scene. |
|
|
|
|
29 |
Unit 2: Twelfth Night—analysis,
rehearsal, and performance. DUE:
12N to be read by this date; discuss play and scene. DUE:
hand in listing of script information (explicit or implicit) re. Viola/Cesario or Olivia (women) or Orsino
(men), with act.scene.line notations (e.g., 1.3.45-50
or I.iii.45-50)—discuss. |
|
1
Oct |
DUE:
hand in for the 12N scene: objectives, conflicts/obstacles, attitudes,
scansion, definitions, pronunciations, structure, special word choices,
images, techniques of the scene—discuss.
ASSIGN: scene partners. |
|
|
|
|
6 |
Group
rehearsal |
|
8 |
Rehearse—off
book |
|
|
|
|
13 |
Rehearse—off
book |
|
15 |
Rehearse—off
book |
|
|
|
|
20 |
Rehearse—off
book |
|
22 |
Perform 12N scenes. DUE: analysis of your process on the 12N
project. |
|
|
|
|
27 |
Unit 3: Macbeth (or other
assigned scene)—analysis, rehearsal, and performance. ASSIGN: Unit 3 partners. DUE:
script to be read by today. DUE: hand
in objectives, conflicts, attitudes, scansion, definitions, pronunciations,
structure, word choices, images, techniques of scene—discuss. Group rehearsal. |
|
29 |
Rehearse |
|
|
|
|
3
Nov |
Rehearse |
|
5 |
No
class--SDHSAA |
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|
|
10 |
Rehearse |
|
12 |
Unit 4: Monologues selected by
students—analysis, rehearsal, and performance; (all graduate students and undergraduate/graduate
extra credit: additional monologue or scene).
Rehearse Unit 3 scenes. |
|
|
|
|
17 |
No
class—SDHSAA |
|
19 |
Rehearse
Unit 3 scenes (One-Acts open) |
|
|
|
|
24 |
Perform Unit 3 scenes. DUE: analysis of your process on the Unit 3
project. |
|
26 |
No
class—Thanksgiving |
|
|
|
|
1
Dec |
Rehearse
Unit 4 monologues/scenes DUE:
hand in objectives, conflicts, attitudes, scansion, definitions, pronunciations,
structure, word choices, images, techniques of monologue(s)/scene. Discuss & Rehearse. |
|
3 |
Discuss
& Rehearse |
|
|
|
|
8 |
Rehearse |
|
10 |
Rehearse |
|
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|
|
11-15 |
Optional
rehearsals may be arranged with the instructor |
|
16 |
Wednesday,
8:00-10:00 PM—scheduled final exam period.
Perform Unit 4 selections;
DUE: analysis of your process on the Unit 4 project. |
Be
prepared to discuss and to ask questions: your active engagement in the
subject-matter as a whole, in the classwork, and in
related topics is your greatest learning tool.
Read
assignments and work on projects and exercises prior to class
periods/rehearsals.
Complete
assignments on time: your growth and your responsibility to scene partners
require preparation.
Thoroughly
read all of each playscript on which you work. You may also want to read plot
summaries/discussions to clarify what you have/will read.
Read
the comments of actors, directors, designers, critics, and historians regarding
the scripts, the English Renaissance (“early modern period”), the English
language, and production approaches/history.
No one has the ultimate and final word concerning the scripts and/or
their performance, but you can gain invaluable information and stimulation from
agreeing/arguing with your predecessors, as well as with your peers. There is lots of material to explore, and you
only have a lifetime—start early: ignorance is not a virtue.
The
process analyses for the projects
should address your preparation (on your own--outside of class or rehearsal),
your rehearsal process, accomplishments, difficulties, revelations, and
questions regarding the scene, acting, you-as-an-actor, Shakespearean text
work, general text work, and any other related areas that may occur to you. The process analysis should also address work
with your scene partner: your and their contributions and difficulties,
dependability, and preparation. The
analyses may be typed (the preference of my rapidly aging eyes) or handwritten. They may be in any format--from graceful
essays to impressionistic notes. They
don't have to be long, but they should be serious and honest attempts to come
to grip with your work, to see your strengths, weaknesses, and progress in
relation to this material and to acting in general.
For
rehearsals scheduled outside the
regular class time and/or during periods when the Arena is not available you must find and reserve a rehearsal
space.
Strongly Recommended.
Read the chapters in John Barton’s Playing
Shakespeare book before and after the
corresponding videos.
View
all of the John Barton "Playing Shakespeare" videotapes (in LRL).
View/analyze
some of the videotapes of Shakespeare's plays in LRL—we have a good
collection.
Read
additional background material on Shakes, the works, and the Eliz./Jacobean era.
Units 4. Monologues/scenes are to be selected by the
students and approved by the instructor.
Unit 4. As part of Unit 4, all
students must perform a monologue of at least 20 lines. Graduate students must perform an additional
scene or monologue of your choice (with instructor’s approval).
Book report #1. All (432
and 532). Brief (2-5 pp., single-spaced), typed report in which you
respond personally to at least half the essays in one of the following books
(seek useful/enlightening ideas; do not waste space complaining about writing
style or attitude): Players of Shakespeare, Players of Shakespeare 2,
Players of Shakespeare 3, or Players of Shakespeare 4; or respond
to Neil Freeman's Shakespeare's First Texts. DUE by 20 October (for 432)
or by 1 December (for 532).
Book report #2. Graduate students (532). Read and submit a
written response (2-5 pp.) to one of the books listed below by C. Berry, Linklater, Joseph (Acting Shakespeare), Rutter, R. Berry, Brubaker, Cohen, Spain, Van Tassel, Olivieri, Pritner & Colaianni, Edelstein, Kennedy, Rodenburg,
Fantasia, Harold, Kaiser, or Freeman (Shakespeare's First Texts). DUE by
20 October.
Extra Credit (two options). In addition to the above assignments:
A. Read and submit book reports on two
[additional] books from the group listed for Book Report #2, above. DUE by 10 December.
B. Perform one additional monologue (at least 20
ll.; must be approved by the instructor) of personal choice as an addition to
Unit 4, submit a full written analysis for the monologue, and arrange at least
two rehearsals of the monologue with the instructor.
Absence policy: each unexcused absence
beyond three will lower the semester grade by 1/3 of a letter (N.B.: all rehearsals, including any
rehearsals scheduled with the instructor outside of normal class hours are
considered to be class periods).
Students with Special Needs. Students with disabilities for which you are
or may be requesting an accommodation are encouraged to contact Dr. Elaine
Pearson, Director of the Office of Disability Services (Service Center 119;
677-6389), as early as possible in the semester and are invited to contact the
instructor regarding appropriate accommodations.
Grading will be based on quality
and timeliness of class and rehearsal preparation and of written assignments,
as well as quality of performances, overall attitude (including responsible
cooperation with scene partners), and application/improvement. Sonnet 10%; 12N 25%;
Unit 3 25%; Unit 4 25%; other (discussion, report(s), attitude, etc.) 15%.
Textbooks.
William
Shakespeare. Twelfth
Night.
Wm.
Shakespeare--each student should obtain a sound, scholarly edition of the
complete works and bring it to all class periods; The Riverside (first
or
second edition) is recommended,
along with the Norton and HarperCollins (Bevington).
Robert
Barton. Style for Actors
(recommended).
John
Barton. Playing
Shakespeare.
David
Crystal and Ben Crystal, Shakespeare’s Words: A
Glossary & Language Companion
A
dictionary, preferably a good, hardcover edition; one may also wish to have a
paperback dictionary that would be more convenient to carry to class,
rehearsal, etc.; should be
part of every working actor's toolkit.
A
short list of additional resources
(in no particular order) from among the many useful works available:
The
John
S. Kenyon and Thomas A. Knott, A Pronouncing
Dictionary of American English
Facsimile
editions of the First Folio and the Quartos. Note especially: The Norton Facsimile: The First Folio of Shakespeare
(prep. Charlton Hinman; first
or second edition; Norton); First Folio of Shakespeare 1623 (prep. and introd. Doug Mosten; Routledge); Shakespeare's Plays in Quarto (ed., with
introd. and notes, Michael J. B. Allen and Kenneth
Muir)
The
Neil Freeman-prepared, modern typeface First Folio and, especially, his
individual
“folio scripts”
The
New Arden (2nd and/or 3rd series), New Cambridge, Oxford
(single scripts, not the collected works), and New Variorum editions of WS's
works
Cicely
Ralph
Berry, On Directing Shakespeare
E.
S. Brubaker, Shakespeare Aloud
Robert
Cohen, Acting in Shakespeare
Louis
Colaianni, Shakespeare’s Names: A
New Pronouncing Dictionary
Dale
F. Coye, Pronouncing Shakespeare’s Words: A guide
from A to Zounds
David
Crystal, Think on My Words: Exploring Shakespeare’s Language
Kurt
Daw, Acting Shakespeare & His Contemporaries
Barry Edelstein, Thinking Shakespeare
Louis
Fantasia, Instant Shakespeare
Neil
Freeman, Shakespeare's First Texts
Madd Harold, The Actor’s Guide to Performing Shakespeare
John
Harrop and Sabin Epstein, Acting with Style
Bertram
Joseph, Acting Shakespeare
Scott
Kaiser, Mastering Shakespeare: An Acting Class in Seven Scenes
Kristin
Linklater, Freeing Shakespeare's Voice
Joseph
Olivieri, Shakespeare without Fear
Cal
Pritner and Louis Colaianni,
How to Speak Shakespeare
Patsy
Rodenburg, Speaking Shakespeare
Louis Scheeder
and Shane Ann Younts, All the Words on Stage : A Complete
Pronunciation Dictionary
for the Plays of William Shakespeare
Rhona Silverbush, Speak the
Speech! Shakespeare’s Monologues
Delbert
Patrick
Tucker, First Folio Speeches for Women, …for Men
Wesley
Van Tassel, Clues to Acting Shakespeare
Philip
Brockbank, Players of Shakespeare
Jackson
and Smallwood, Players of Shakespeare 2
Jackson
and Smallwood, Players of Shakespeare 3
Robert
Smallwood, Players of Shakespeare 4
Robert
Smallwood, Players of Shakespeare 5
Michael
Pennington, Hamlet: A User’s Guide
Michael
Pennington, Twelfth Night: A User’s Guide
Malcolm
Morrison, Classical Acting
Harley
Granville-Barker, Prefaces to Shakespeare
Dennis
Kennedy, Looking at Shakespeare
Bate
and Jackson, Shakespeare: An Illustrated Stage History
Lyn
Oxenford, Playing Period Plays
J W
Aykroyd, Performing Shakespeare
Bertram
Joseph, Elizabethan Acting
Bertram
Joseph, A Shakespeare Workbook (Vol. 1: Trag.; Vol. 2: Com. and
Hist.)
Michael
Dobson and
Charles
Boyce, Shakespeare A to Z
Carol
Rutter, Clamorous Voices
J.
L. Styan, Shakespeare's Stagecraft
John
Russell Brown, Shakespeare's Plays in Performance
Caroline
Spurgeon, Shakespeare's Imagery
Andrew
Gurr, The
Shakespearean Stage (3rd ed.)
G.
Blakemore Evans, Elizabethan-Jacobean Drama: The Theatre in Its Time
E.
M. W. Tillyard, The
Elizabethan World Picture
C.
T. Onions, A Shakespeare Glossary (esp. the edition rev. by Robert D. Eagleson)
Alexander Schmidt, Shakespeare Lexicon and Quotation Dictionary
(2 vols.)
Eugene
F. Shewmaker, Shakespeare’s Language: A Glossary
of Unfamiliar Words in His
Plays and Poems
and
scads of other stuff, including several periodicals and considerable material
on the
WWW ("Mr. Willam
Shakespeare and the Internet" at
http://shakespeare.palomar.edu/
is the most extensive link to materials Shakespearean)