Drama 357: Scene Study II Course Outline (Winter 2019)
Instructor: Ian Leung (email@example.com, 780.492.2271; FAB 3-152)
Time & Location: MWF 1:00 – 2:50 pm; FAB 3-125
Office Hours: Wednesdays: 11:00 am – noon; Thursdays: noon to – 1:00 pm
One of DRA 102 or DRA 103, and DRA 240 and DRA 257, and a Theatre History course from the Department of Drama course listings; and/or consent of Department. NB: Not to be taken by students with credit in DRA 453.
This is a laboratory and lecture course in acting plays requiring advanced skills. Students will learn and practice techniques for analyzing and interpreting roles written in heightened language using Shakespeare’s plays as the core material. They will also further develop their existing understanding and practice of Stanislavski-based techniques introduced in previous courses.
In this course, students will do the following:
The major assigned work in the course will consist of the following:
Other General Course Requirements and Recommendations:
Outside of Class Coaching:
After the first part of the term, I will be available for private coaching, both one-on-one and in small groups. These sessions may take place in my office or in any room booked by the student(s) for the purpose.
100% course work with no exam.
Class Participation: 25%
Participation means that a student is punctual, present, dressed appropriately, fully focused and committed, works collaboratively and enthusiastically, is fully supportive of and generous towards their peers, communicates effectively and succinctly, and takes full opportunity to exercise leadership, personal initiative and responsibility.
Regular, punctual attendance, energized and focused engagement in class, and clear application of homework assignments will earn a passing letter grade; beyond this, evaluation of this element of the grade will be based on quality of participation and how your contribution to the class advances the work of the whole group.
If students are faced with unavoidable absence or lateness, they must notify me in advance, preferably by e-mail (firstname.lastname@example.org). Alternatively, they may leave a message at my office (FAB 3-152), or notify the Drama Office (780.492.2271).
Inappropriate or non-supportive behaviour, or actions that have a negative impact on the work of others, will negatively impact the student’s participation grade and may result in their removal from a project and/or class.
At times the instructor may give homework assignments, written or otherwise. Failure to demonstrate completion of these assignments in subsequent class work will negatively affect participation grades.
More About Grading:
Letter grades are used in all evaluations. Students are expected to achieve a high level of content on assignments. In addition to the basic requirements of assignments, grading will take into account skill development, growth over the course of the term, the learning and application of concepts, methods, and exercises offered in the course, and demonstration of artistic choices.
Students will be advised of their progress at midterm. At any time during the term students may discuss their work with me. Students should not hesitate to consult me about any concerns they may have (however small).
Course Costs and Materials:
Admission to one Studio Theatre production: $5 to $12
A notebook for or printout of the student’s notebook: Variable
Published (book) editions of Shakespeare plays*: Free or Variable
Printing and photocopying speeches and scenes**: Variable
* Students will be required to work from two different published (non-internet) editions of Shakespeare’s plays. These may be purchased ($10-$25 each) or borrowed free of charge from the library. The required publishers are: Arden, Routledge, Oxford, or RSC, because they contain the most helpful footnotes.
** Students will be required to print out their speeches and scenes more than once for various analysis assignments.
Plays students are required to attend or watch:
All for Love: Studio Theatre, February 6 – 16. Tickets: $12 for students, $5 preview (Feb. 7), 2-for-1 Monday (Feb. 11)
Students will also be required to watch at least one more Shakespeare play (to be determined) on video outside of class time.
DEPARTMENT OF DRAMA POLICIES
University of Alberta Webmail Address:
It is the policy of the Faculty of Arts and the Department of Drama that all important information will be sent to students through their University of Alberta WebMail address. Therefore it is the responsibility of students the check this address on a weekly basis.
You may book rehearsal space at the Drama office, through Helen Baggaley and with the lottery system that is in place.
Audio or video recording of lectures, labs, seminars or any other teaching environment by students is allowed only with the prior written consent of the instructor or as part of an approved accommodation plan. Recorded material is to be used solely for personal study, and is not to be used or distributed for any other purpose without prior written consent from the instructor.
DRA 357 is a physical class. All students will be expected to take responsibility for their own and other’s safety, and to report any injuries and their progress of recovery to the instructor and the Drama office.
UNIVERSITY OF ALBERTA POLICIES:
Policy about course outlines can be found in the University Calendar.
The University of Alberta respectfully acknowledges that we are located on Treaty 6 territory, a traditional gathering place for diverse Indigenous peoples including the Cree, Blackfoot, Metis, Nakota Sioux, Iroquois, Dene, Ojibway/ Saulteaux/Anishinaabe, Inuit, and many others whose histories, languages, and cultures continue to influence our vibrant community.
Under the letter grading system, even though a mathematical distribution of weight between term and final examination is required, the instructor is free to make a subjective assessment of the total worth of a student that, as it were, rises above mathematics, provided that students have been told what is expected of them and what will be taken into account (ie, if the mathematical distribution has not misled them into thinking that they are required simply to accumulate points.) Instructors may therefore take into account class participation, completion of assignments, improving or deteriorating performance, etc., provided that their students are aware in advance of what is involved. Council has resolved that members of the Faculty are to take into consideration the quality of expression assessing the written work of students and to refuse to accept work that is markedly deficient in the mechanics of composition.
The University of Alberta is committed to the highest standards of academic integrity and honesty. Students are expected to be familiar with these standards regarding academic honesty and to uphold the policies of the University in this respect. Students are particularly urged to familiarize themselves with the provisions of the Code of Student Behaviour (full link provided below) and avoid any behaviour that could potentially result in suspicions of cheating, plagiarism, misrepresentation of facts and/or participation in an offence. Academic dishonesty is a serious offence and can result in suspension or expulsion from the University.
“Departments may cancel the registrations of students in courses offered by the departments who do not meet the prerequisite requirements as stated in the course descriptions in this Calendar.”
Monday, January 9 First Class
Sunday, January 13 Deadline: finalize speech choice by midnight
Friday, January 18 Last day to add or drop courses (without penalty)
Friday, January 18 Due date: Speech translations and word definitions.
Monday, January 21 Deadline: Research groups and topics choice
Thursday, January 31 Last day to pay fees in full (and avoid late charges)
Friday, January 25 Due date: Speech written assignments
Monday, January 28 Deadline: Speeches perfectly memorized
Wednesday, February 6 Deadline: finalize scene partners and scene choice
Wednesday, February 6 Last day to withdraw with a partial course fee refund
Wednesday, February 6 All for Love, $5 preview
Thursday, February 7 All for Love opens ($12 students)
Monday, February 11 All for Love, 2-for-1 night ($12 for 2 tickets)
Wednesday, February 13 Midterm Speech Presentations (1st)
Thursday, February 14 All for Love matinée ($12 students)
Friday, February 15 Midterm Speech Presentations (2nd)
Saturday, February 16 All for Love, last show ($12 students)
Monday, February 18 Family Day/Reading Week (no classes)
Tuesday, February 19 Reading Week (no classes)
Wednesday, February 20 Reading Week (no classes)
Thursday, February 21 Reading Week (no classes)
Friday February 22 Reading Week (no classes)
Friday, March 1 Due date: Scene translation and word definitions
Monday, March 11 Research Presentations and Papers
Monday, March 18 Due date: Scene written assignments
Friday, April 3 Last day to withdraw from Winter Term courses
Monday, April 8 Final Presentation 1 (Speech & Scene)
Wednesday, April 10 Final Presentation 2 (Speech & Scene)
Assignments and Guidelines
Guidelines for Choosing a Speech (DRA 357)
* A very useful on-line resource is at: www.shakespeare-monologues.org
Students will keep a notebook over the duration of the term.
The notebook can record:
It may also contain:
The notebook doesn’t have to contain everything we do (although great if it does)! It is a place for you to process for yourself and communicate to me key things you’re learning and struggling with in this class. Accordingly, it will be evaluated based on:
It will be handed in:
RESEARCH ASSIGNMENT | 10% of the final grade
A. General Instructions and Due Date
You will work in teams of up to four people to:
Come to me with your group and choice of topic by January 21. First come, first choice.
Your presentation should:
Your written document should:
B. Research Topics
Due to time limitations and class size, not all of the topics below may be coverable.
If you are confused about the specific nature of your topic or about the assignment requirements, please come to me as soon as possible for clarification.
Fifty Questions for Scene Preparation
(some of the notes derived from “Creating a Character” by Michael Schulman, in Great Scenes and Monologues for Actors, by Michael Schulman and Eva Mekler, New York, St. Martin’s Press, 1998)
101 Questions for Specific Characterization
Scenes and Speeches
MACBETH: ACT I, Scene i, 1-12*
[An open place.]
Thunder and lightning. Enter three Witches
When shall we three meet again?
In thunder, lightning, or in rain?
When the hurlyburly’s done,
When the battle’s lost and won.
That will be ere the set of sun. 5
Where the place?
Upon the heath.
There to meet with Macbeth.
I come, Graymalkin!
Fair is foul, and foul is fair:
Hover through the fog and filthy air. [Exeunt
* Edited by Kenneth Muir, first published by Methuen & Company Ltd., London, 1951.
Now entertain conjecture of a time
When creeping murmur and the poring dark
Fills the wide vessel of the universe.
From camp to camp through the foul womb of night
The hum of either army stilly sounds,
That the fixed sentinels almost receive
The secret whispers of each other’s watch:
Fire answers fire, and through their paly flames
Each battle sees the other’s umber’d face;
Steed threatens steed, in high and boastful neighs
Piercing the night’s dull ear, and from the tents
The armourers, accomplishing the knights,
With busy hammers closing rivets up,
Give dreadful note of preparation:
The country cocks do crow, the clocks do toll,
And the third hour of drowsy morning name.
Proud of their numbers and secure in soul,
The confident and over-lusty French
Do the low-rated English play at dice;
And chide the cripple tardy-gaited night
Who, like a foul and ugly witch, doth limp
So tediously away. The poor condemned English,
Like sacrifices, by their watchful fires
Sit patiently and inly ruminate
The morning’s danger, and their gesture sad
Investing lank-lean; cheeks and war-worn coats
Presenteth them unto the gazing moon
So many horrid ghosts. O now, who will behold
The royal captain of this ruin’d band
Walking from watch to watch, from tent to tent,
Let him cry ‘Praise and glory on his head!’
For forth he goes and visits all his host.
Bids them good morrow with a modest smile
And calls them brothers, friends and countrymen.
Upon his royal face there is no note
How dread an army hath enrounded him;
Nor doth he dedicate one jot of colour
Unto the weary and all-watched night,
But freshly looks and over-bears attaint
With cheerful semblance and sweet majesty;
That every wretch, pining and pale before,
Beholding him, plucks comfort from his looks:
A largess universal like the sun
His liberal eye doth give to every one,
Thawing cold fear, that mean and gentle all,
Behold, as may unworthiness define,
A little touch of Harry in the night.
And so our scene must to the battle fly;
Where–O for pity!–we shall much disgrace
With four or five most vile and ragged foils,
Right ill-disposed in brawl ridiculous,
The name of Agincourt. Yet sit and see,
Minding true things by what their mockeries be.