08/23/2010 - 12/12/2010
MW 12:00 - 12:50
MW 12:50 - 14:10
10:30 - noon
RGC room 301.1
Students are required to wear appropriate attire, such as sweats, shorts or tights (clothing that will not restrict or limit movement of the body in any way.) Working barefoot is best; dance shoes or athletic shoes are also allowed; no sandals, boots, or hard shoes of any kind. Students’ success (grade) in this class is determined by Punctuality, Presence, and Participation as well as their grades on class performances. Attendance is mandatory - more than 2 absences will result in a reduction of the averaged final score, possibly reducing the letter grade as well. Punctuality is a virtue that is expected - 3 tardies = 1 absence. Please turn off cell phones before entering the classroom. Each cell phone ring = 1 tardy. No food or drink is allowed in classroom (except bottled water).
Graded assignments: Mime duet, 20%. Mime solo, 20%. Vaudeville routine, 20%. Stage combat, 20%. Final performance, 20%.
Commedia dell’Arte: An Actor’s Handbook The Moving Body
By John Rudin by Jacques Lecoq
The Physical Comedy Handbook An Acrobat of the Heart
By Davis Rider Robinson by Stephen Wangh
Acrobats of the Soul: Comedy and Virtuosity in Contemporary American Theatre
By Ron Jenkins
The Articulate Body: The Physical Training of the Actor
By Anne Dennis
Talking About Mime: An Illustrated Guide The Tricks of the Trade
By David Alberts by Dario Fo
Introduction; discussion of class policies and procedures; introduction
Development of warm-up. Fundamentals of mime technique.
Illusory Mime Technique
Development of vocabulary of mime illusions. Duet mime assignment, rehearsals, performance. Solo mime assignment, rehearsals, performance.
Weeks Six and Seven:
Development of physical comedy vocabulary. Duet vaudeville assignment, rehearsals, performance.
Introduction to modern dance and dance for musical theatre.
*turns, leaps, hops, jumps
Introduction to Unarmed Stage Combat. Training in combat techniques and fight choreography emphasizing safety and believability.
Students choreograph and perform a realistic “fight” with a partner.
Weeks Ten - Twelve:
Development of Mask Technique in ensemble and solo work. Exploration, discovery, and embodiment of the mask character. Application of text to mask character movement.
Weeks Thirteen - Sixteen:
Introduction to and exploration of 17th Century Italian Theatre, Commedia dell’Arte. Continued application of skills of mime, combat, mask, dance, and slapstick to create final solo and ensemble performances.
The instructor reserves the right to revise or amend the schedule as necessary to accommodate the needs of the class as a whole.
Student Learning Outcomes/Learning Objectives
This class is a study of the use of the body on stage to communicate character and action. Activities include exercises in body control, body language, dance, and stage combat designed to provide movement theatre skills for the student actor, as well as to instill self-awareness, spatial awareness, and tools and techniques for effective physical expression.