Fundamentals of Acting

Basic Acting

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This is an extremely challenging course that synthesizes theoretical and
practical components to introduce students to the art of acting.
Students will be expected to perform as both scholars and practitioners
as they learn the underlying fundamentals of acting and begin to master
the basic principles of the craft. Students will participate in a series
of exercises, games and improvisations to improve concentration, focus
and creativity. In addition, students will perform two scenes with
partners for in-class presentation and will participate in a public
performance at the end of the semester. By the end of the course,
students will be able to perform in a confident and competent manner
while inculcating the theoretical ideas that form the basis for the
Stanislavskian approach to acting.

COURSE REQUIREMENTS

• Attendance at all sessions. This is a studio course and your presence
is of paramount importance. Every unexcused absence will result in an
immediate reduction of 1/2 of a grade.

• Participation in all exercises, games, and scene work.

• Completion of all writing assignments in a timely fashion.

I. One 4-5 page that provides a concise, well-organized overview of the
Stanislavskian approach described in the assigned reading. This is not a
book report, but a theoretical summation.

II. Two 2-3 page papers that describes, in detail, the prior and given
circumstances of the character you are portraying in your final project.

* Midterm & Second Acting Projects
* FINAL PUBLIC PRESENTATION

REQUIRED READING

Gallway’s INNER TENNIS

Stanislavsky’s AN ACTOR PREPARES

SESSION BREAKDOWN

Week 1 Introduction

Orientation/Expectations

Week 2 PUBLIC SOLITUDE

Activity

Week 3 PUBLIC SOLITUDE II

Joke

WEEK 4 RELAXATION & CONCENTRATION

Anecdote

. Anecdote Scene Selection

WEEK 5 SENSE MEMORY & AFFECTIVE MEMORY

Verbal Action Run Lines

Stage Action Run Lines

WEEK 6 JUSTIFICATION & CREATIVE FANTASY

Blocking Walk Scenes

WEEK 7 THE STAGE TASK -- ACTION/COUNTER-ACTION

No Class

Objectives Run Scenes

WEEK 8 IMPROVISATION & THE MAGIC IF

Parallel Improvisation Run Scenes

MIDTERM PRESENTATION OF SCENES

WEEK 9 BUILDING A CHARACTER

Scene Selection

Cold Readings

WEEK 10 BUILDING A CHARACTER II

Blocking

Walking Scenes

WEEK 11 ACTION & IMPROV

Scene Action

Improv Work

WEEK 12 PUTTING IT ALL TOGETHER

SCENE PRESENTATION

Final Project Assignments

WEEK 13 STRUTTING YOUR STUFF: FINAL PROJECT

Work Presentation

WEEK 14 FINAL PRESENTATION PREPARATION

Work Presentation

WEEK 15 FINAL PRESENTATION PREPARATION

Work Presentation

PUBLIC PRESENTATION: Date to be determined

Recommended Reading:

Adler, Stella. The Technique of Acting. NY: Bantam Books, 1990.

Atkins, Greg. Improv: A Handbook for the Actor. Portsmouth, NH:
Heinemann, 1994.

Chinoy, Helen Krich and Toby Cole. Actors on Acting. NY: Crown
Publishers, 1970.

Clark, Larry D. Acting Is Believing: A Basic Methood. Forth Worth, TX:
Harcourt Brace, 1996.

Cole, Toby. Acting: A Handbook of the Stanislavski Method. NY: Crown,
1983.

Gordon, Mel. The Stanislavski Technique. NY: Applause, 1987.

Hagen, Uta. Respect for Acting. NY: Macmillan, 1973.

Kahan, Stanley. Introduction to Acting. Needham Height, MA: Allyn and
Bacon, 1991.

Lewis, Robert. Advice to the Players. NY: Theatre Communication Group,
1980.

Meisner, Sanford. On Acting. NY: Vintage Books, 1987.

Miller, Allan. A Passion for Acting. NY: Backstage Books, 1992.

Moore, Sonia. Stanislavski Revealed. NY: Applause, 1991

Poggi, Jack. The Monologue Workshop. NY: Applause, 1990.

Shurtleff, Michael. Audition. NY: Bantam Books, 1978.

Spolin, Viola. Improvisation for the Theatre. Evanston, IL: Northwestern
University Press, 1985.

Stanislavski, Constantin. My Life In Art. NY: Theatre Arts Books, 1948.

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