| Acting Shakespeare (TH 344 and TH 340) Fall 2008 |
| TH 344 – Acting Playing Shakespeare Instructor: Bruce Cromer Classroom: Herbst Theatre, CA Office: T148K CA Class Time: MWF 1-2:50 Office Hours: MWTHF 12-1 Phone: 775-2430 E-Mail: bruce.cromer@wright.edu Course Objective: To further young actors’ comprehension and use of Shakespeare’s language, through the study of a major role. Emphasis will be on text analysis (breaking the script into beats; choosing objectives, obstacles, and tactics), including scansion and key- wording. PLAYING SHAKESPEARE, the book and the tape series, will also enhance the scene work. You will work on three scenes or monologues from a major Shakespearean role; your entire package of scenes and/or monologues should 10 to 15 minutes in length. Tentative Course Outline: Week One: Sonnets and Role Choice Week Two: First Scene Rehearsed Week Three: First Scene Shown Week Four: Second Scene Rehearsed Week Five: Second Scene Shown Week Six: Third Scene Rehearsed Week Seven: Third Scene Shown Week Eight: All Scenes Rehearsed Week Nine: All Scenes Shown Week Ten: TBA Grading Criteria: Professional Skills: You are expected to attend every class prepared, punctual, polite, and with a positive attitude. There are no excused absences for this course! In accordance with the PATP attendance policy, if you miss 20% of the quarter’s sessions (6 classes), you will automatically fail the class. Wear clothing appropriate to your chosen scenes and/or monologues. If you are ill, inactive, improperly dressed, or late, you will lose half of your attendance points for that class. Written Work: You will turn in a scene-by-scene plot synopsis for your play, a complete list of textual clues for your characterization, and text analysis for your three scenes. Acting Work: The instructor will subjectively grade your scene work on your character choices and use of the language. Required Books (ordered in campus bookstore): PLAYING SHAKESPEARE, by John Barton. A footnoted edition of your chosen character’s play. Recommended Books (*ordered in campus bookstore): ACTING IN SHAKESPEARE, by Robert Cohen. THE FRIENDLY SHAKESPEARE, by Norrie Epstein. *APPLAUSE FIRST FOLIO IN MODERN TYPE. COMPLETE WORKS, by Shakespeare (Contemporary Pub. Co.). *RIVERSIDE SHAKESPEARE, published by Houghton Mifflin. *SHAKESPEARE’S WORDS, by David and Ben Crystal. SHAKESPEARE’S METRIC ART, by George T. Wright. *SHAKESPEARE ALIVE!, BY Joseph Papp and Elizabeth Kirkland. CHRONICLE OF WESTERN FASHION, by John Peacock. *HIGH FASHION IN SHAKESPEARE’S TIME, by Andrew Brownfoot. SHAKESPEARE ALOUD, by E.S. Brubaker. GRADE POINTS Professional Skills (40 possible points) Attendance (30 possible points; 1 pt. for each class punctually attended; .5 pt. for each time you’re late, improperly dressed, or inactive; there are no excused absences for this class --- missing 6 classes, for what ever reasons, will result in an F for the course!) Attitude (10 possible points; up to 5 possible for each area): Positive (open-minded, ready to receive criticism, supportive of classmates) Prepared (assignments completed, properly dressed, healthy and ready to work) Written Work (20 possible points) Sonnet (3 pts.), Play Synopsis (4 pts.), First Scene Textwork (3 pts.), Second Scene Textwork (3 pts.), Third Scene Textwork (3 pts.), Character Clues Paper (4 pts.) Acting Work (40 possible points) (10 points for each of your four showings of your scenes and/or monologues) Total Points for Course and Letter Grade (90-100 pts. = A, 80-89 pts. = B, 70-79 pts. = C, 60-69 pts. = D, 59 pts. or less = F) |
| TH 340 - Movement for the Actor Moving Shakespeare Instructor: Bruce Cromer Classroom: T212, CA Office: T148K CA Class Time: TTH 10-11:50 Office Hours: MWTH 12-1 Phone: 775-2430 E-Mail: bruce.cromer@wright.edu Course Objectives: *To introduce students to the wide range of characters (and necessary physical transformations) in Shakespeare’s plays. *To give students practical experience in brief scenes and monologues using period movement, Laban, Cohen tactics, and body language. *To give students practical experience using text analysis, improvisation, stage combat, and other skills previously taught in the Professional Actor Training Program. Tentative Course Outline: Week One: Clowns and Rustics Week Two: Clowns and Rustics Week Three: Nobility and Fools Week Four: Nobility and Fools Week Five: Mad Folk and Supernatural Week Six: Mad Folk and Supernatural Week Seven: Warriors and Breeches Parts Week Eight: Warriors and Breeches Parts Week Nine: Lovers Week Ten: Lovers Grading Criteria: Professional Skills: You are expected to attend every class prepared, punctual, polite, and with a positive attitude. There are no excused absences for this course! In accordance with the PATP attendance policy, if you miss 20% of the quarter’s sessions (4 classes), you will automatically fail the class. Wear mock-up period rehearsal clothes... For women that means long skirts, corsets, with rolled-up towels for bum-rolls. For men: sweat pants and tight vests. Both sexes should have "puffy" shirts and hard-soled shoes, and tights. If you are ill, inactive, improperly dressed, or late, you will lose half of your attendance points for that class. Written Work: You will fill in character sheets given for each character study you do. These will be collected at the end of the two weeks work on each scene. You will be asked to break the scene into character beats, with objectives, tactics, and obstacles noted in the margins. You will draw (or include an image you find of) the character’s costume. You will also give written feedback to your fellow students’ work. Acting Work: The instructor will subjectively grade your acting work, in terms of your demonstrated use of period movement, Laban, Cohen tactics, body language, and speech. Required Books (ordered for campus bookstore): SHAKESPEARE ALIVE, by Joe Papp and Elizabeth Kirtland. HIGH FASHION IN SHAKESPEARE’S TIME, by Andrew Brownfoot. An edition of Shakespeare’s complete works. Recommended Books (ordered for campus bookstore): SHAKESPEARE ALOUD, by E.S. Brubaker. SHAKESPEARE A TO Z, by Charles Boyce. THE FRIENDLY SHAKESPEARE, by Norrie Epstein. SHAKESPEARE’S METRIC ART, by George T. Wright. SHAKESPEARE’S COMPLETE WORKS: two versions have been ordered. APPLAUSE FIRST FOLIO IN MODERN TYPE, edited by Neil Freeman. CHRONICLE OF WESTERN FASHION, by John Peacock. GRADE POINTS Professional Skills (30 possible points) Attendance (20 possible points; 1 pt. for each class punctually attended; .5 pt. for each time you’ re late, improperly dressed, or inactive; there are no excused absences for this class --- missing 4 classes, for what ever reasons, will result in an F for the course!) Attitude (10 possible points; up to 5 possible for each area): Positive (open-minded, ready to receive criticism, supportive of ensemble) Prepared (assignments completed, properly dressed, healthy and ready to work) Written Work (20 possible points) (4 pts. for each completed character sheet): Clowns and Rustics Nobility and Fools Mad Folk and Supernatural Warriors and Breeches Parts Lovers Final Test on HIGH FASHION IN SHAKESPEARE'S TIME (worth 5 points) Character Work (45 possible points) (Subjectively graded by the instructor; up to 9 pts. for each Character Study): Clowns and Rustics Nobility and Fools Mad Folk and Supernatural Warriors and Breeches Parts Lovers Total Points for Course and Letter Grade (90-100 pts. = A, 80-89 pts. = B, 70-79 pts. = C, 60-69 pts. = D, 59 pts. or less = F) |
| John Barton circa 2005 |
| Character Studies for TH 344 2008 Romeo and Juliet Juliet (Jasmine) Macbeth Macbeth (Zach) and Lady Macbeth (Elyse) Hamlet Hamlet (Stephen) and Ophelia (Graci) Othello Iago (Shea) and Othello (Alex) Shakespeare Challenge Katherina, Lady Macbeth, Miranda (Molly) Imogen, Helena, Desdemona (Amy) Romeo, Proteus, Macbeth (Troy) Juliet, Miranda, Viola (Megan) Puck, Helena, Goneril (Nevada) Benedick, Macbeth, Richard III (Matt) Paulina, Lady Macbeth, Adriana (Valerie) Type-Casting Valerie, Elyse - character: character lover or waiting woman or leading woman Nevada, Molly, Graci, Amy - young leading lady: romantic lead or tragic lead or character lover Jasmine, Megan, Amy - ingenue/character: young romantic lead or lover or young tragic lead Shea, Matt, Stephen - ingenue: young romantic lead or young villain or young tragic lead Zach, Alex, Troy - character: young villain or young tragic lead or character lover or clown |
| Sonnet XXX ( / = strong stress, x = weak stress) Remember, this is simply how I'd scan it; how would you say it? / x x / x x / / x / a trochee, an iamb, a pyrrhic, a spondee, and an iamb When to | the ses|sions of | sweet si|lent thought x / x / x / x x / / three iambs, a pyrrhic, then a spondee I sum|mon up | remem|brance of | things past, x / x / x / x x / x / three iambs, an anapest, then an iamb I sigh | the lack | of man|y a thing | I sought, x / / / / / x / / / an iamb, two spondees, an iamb, then a spondee And with | old woes | new wail | my dear | time's waste: / x x / x / x / x / a trochee, followed by four iambs Then can | I drown | an eye, | unused | to flow, x / x / / x / / x / two iambs, a trochee, a spondee, then an iamb For pre|cious friends | hid in | death's date|less night, x / x / / / x / x / two iambs, a spondee, then two iambs And weep | afresh | love's long | since can|cell'd woe, x / x / x / x x / x / three iambs, an anapest, then an iamb And moan | th'expense | of man|y a van|ish'd sight: / x x / x / x x x / a trochee, two iambs, a spondee, then an iamb Then can | I grieve | at grie|vances | foregone, x / x x x / x / / / an iamb, a pyrrhic, two iambs, then a spondee And hea|vily | from woe | to woe | tell o'er x / x / x / x / x / the first truly iambic pentameter line!!! The sad | account | of fore|-bemoa|ned moan, x / / / x x / / x / an iamb, a spondee, a pyrrhic, a spondee, then an iamb Which I | new pay | as if | not paid | before. x / x / x / x / / / four iambs, then a spondee But if | the while | I think | on thee, | dear friend, / / x x x / x / x / a spondee, a pyrrhic, then three iambs All los|ses are | restored | and sor|rows end. |
| I know your face; it haunts my thoughts. I cry. I hear your voice; it splits my ears. I cry. I am familiar with your rhetoric; It sticks in mind to make my insides sick. Your presence growing makes my body weak And more support for you makes things look bleak. With those effects, I can’t stay silent, sad. I’ll tell you of the struggles I have had. I’m nurses, welders, artists all in hell. Because of things that happened, we all fell, And since you’re white and wealthy, all is good. But watch and listen ‘til it’s understood: No man to represent those he knows not, Obama/Biden will come out on top. Molly Dear heart; Can words describe my love for thee? La Vie en Rose, l’amour, it plays, delights, Between these verbs and nouns and thoughts indeed; This song, our song, so soft behind your eyes. Have faith, when rain and cloud corrupt my mirth; Despite requests to fall deep into sleep, Your face appears to lay and seal the Earth That open’d up its mouth to swallow me. Your voice, it scares away what frightens all; Your lyrics find a way to ease my heart. Through song you’ve caused this balanced one to fall, I pray that we, my love, will never part. Petit ami, what’s mine is yours to hold, I give you all of me; heart, mind, and soul. Jasmine There are some wonton boys whose frilly art Of building words and making love a rhyme, Can pull and push and play a lady’s heart And make you swoon and sway for short a time. There will be not a po’m of love for you, That lonesome thought may cause you some dis-ease, For sonnets all of love I just don’t do In dealing with this terrible disease. Do not confuse my words for feelings dear, I like my love to do instead of speak, For actions speak louder than words you hear, Some actions that may make your knees go weak Of all the words I hear, I do like two, On weakened knee I’d like to hear “I do.” Zach The Time I know is nothing but a Crook. A cunning Con cavorting with the truth. While taking clocks are Ticking all I took, A trade is made for Prime and finite youth. When running out; and running wild with aim, And all for then, and nothing left for now; New mysteries grow Old without a name, But memories are faded; Where and How? Why should we live egregiously today And fear a nearing end to what we know? Tomorrow’s just a reason why we stay; Forgetting and preparing where to go. To Stay with Fair quixotic afternoons, To hold a hand and Spark and novel eye; Where evening come and gone are far too soon, Where Breath is held for Love and not a tie. I’ll tare the threads andd Cut the ‘not to be’; For if it holds, this life is not for me. Graci When I was young, my mother said to me To take my time in trying to stay dry. That I should wait ‘til I’m alone to pee, And so, this way, my mother would not cry. But as I tried, frustrated I became; I could not go when nature called and so, It all built up ‘til I forgot my name. I cried “Mom please!” but all she said was “No.” I ran away from home and dropped my pants And just went wild, ignoring my Mom’s begs. She grabbed me by the hair to stop my dance, So that’s when I just peed all on her legs. And so, my Mom, I want to say just this: Let me go when I want, ‘cause I don’t miss. Shea With phoenix flames you burnt my heart with no Regard for how my ashes fell from grace. For once, I found my features' joyous glow Enticing --- Much like that of your warm face. Incurable my passions seemed before I kissed your wrists and pulse of lips increased Sweet pulse of skin. Revived, inspir'd so deep my core Renewed the faith my heart had thought deceased. The silver strands of moonlight laced throughout Your velvet crown give twilight new eyes. Then I view dear heavens gate strung pearled about You smile. with breath I knocked, unmoved to bend. O toil I 'gainst unmentioned passioned love And break apart past habit's fragile glove. Elyse O my! How time does ply me to her will, And jeer at I: in darkness at Her hand; Now blind, in trust, to stumble forward still— Her power weaken’d by Death’s staunch demand. That new associate come for His due, The dance prolong’d: I prance and pray in haste For one last drink of daylights dear sweet fruit; My lips, made prime, await your dulcet taste. So satisfied: His strength is galviniz’d, Fly fast—forgot of Life’s rever’d embrace; Torn hither, heir to gifts in life most priz’d. Bright bold release! Encompass’d in gold grace! Being of air and earth, from flesh and bone: I tend that of my heart ‘til you come home. Amy Now mark my thoughts oft dwell on thee, fair friend. Who, like a drifting vessel, doth sail forth: But I do beg of thee, swift bark, to bend Thy sails in my direction, thy true north. And I, a galleon sailing o’er the sea, Retreats unto the mist, a veil, a shroud, In fear of no fond hail I’ll hear from thee. No smile, no sun, a gale brews in the cloud. But look not how my timbers, they do creak, Nor how the wind pulls free my tattered sails, My heart, my hull is full; I’m not so weak, This maiden voyage sails forth sharp, not frail. Let not us be two ships that pass by night, But keep me close to bask in thy good light. Valerie If I have ever offended thy Soul, I pray you bare your patience upon me The words I say show not my heart as whole But show my Soul as fragments unto thee Forgiveness is the Course I wish you take Grant me the strength and stir me ever on. Pray I now for the life which is at stake And knowing that our end is soon upon. The love for you I carry with me now. Will now forever stay within my heart. And as you leave it breaks upon the bow. As my heart songs stops ne’ar again to start. The end comes swift for those who can not see The loss of you for things I could not be. Alex Dreams At night I find myself asleep to dream; These wonders fill my mind of most great things. All dreams unique, fantastic; each supreme. For instance I can fly on new found wings To soar so high, so far, so fast, and free Across the land the sea and through the sky; Oh just in dreams can I go fly with glee. Alas, I will have to utter goodbye, Because all dreams must come to a quick end As soon as the alarm lets out a cry. Especially when you have dreams ardent Where you and a woman so very sly, Who’s kisses taste just like very sweet sweets- Aw, fuck! I think I need to change my sheets... Stephen Sonnet 2 Reacting to the forces deep inside, And getting ready for that cosmic will; A chance to represent a soulful side, Like purple skies a lonely sun will fill. My screaming primal pumping porous Breast, That whom-so-ever picking love will meet, A drug that palpitates my heart is best, For sins of giving love the pilot’s seat. This blackened coat I’m wearing for the storm Has no remorse for all the things I’ve done; A whipping horse that’s bleeding from his sores Is now receiving signals from the sun. To run and go get help from healthy foes, Is letting slip a side you’ll never know. Troy In all the world their’s none the likes of you, Thy beauty o’er whelms the hearts of kin, Thy humble virtue, beautiful and true Wrings deeply in my soul and burns with in. The ruthless wisdom that you’ll ne’er be mine Persuades me to seek out some higher pow’r, I hide from thee to bear my foolish pride To help o’ercome this diabolic ho’r. And now I feel my heart’s in need of mend, I lost all strength to stand up strong and tall, I shall not find a muse to rhyme with in For without your heart my heart’s sure to fall. Therefore my sweet I wait for thee to show, Until that day I pray you’ll never go. Matt Dear blessed sister please don’t let me go. The ocean depths sorrowed you hole oh no! Your strength and beauty will live no, not kill, My heart still beats with you and always will. To face the world alone will be my end, Juno forgive me if I so offend. I was not brave enough to keep her close. Can you hear me sister I love the most? Will I never see your face again dear? The seas whisper your name to me I hear. To love again it breaks my heart It should have been I who did now depart. Sweet Viola I give you my true word, Always be free to sing like a lone bird. Megan Withering night time sights keep me awake. There’s constant crying from soul’s deepest part. The tissue of regret creates a lake. I search within for solace in my art. Drawing nigh to intuition I find creative fix. I shoot up on this rhyme. This high’s enough to give me piece of mind. I sleep now fearing the morning’s loud chime. Malnourished day time sights exhaust my eyes. Companions remind me of hope deferred. Ambition grows so old it’s filled with flies. Stugglin’ to find the type of fix preferred, I stumble upon lasting nourishment; creative spring that just for me was meant Nevada |
