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									UNIVERSITY OF NORTH CAROLINA
DEPARTMENT of DRAMATIC ART DRAM300: DIRECTING Fall Semester 2008 TR 9:30—10:45AM Room: Dramatic Art Center 102 scripley@email.unc.edu Office: Dramatic Art Center 212 Phone: (919) 962-2480 Hours: TR 12:00—2:00PM

COURSE DESCRIPTION: An introductory course in the principals of stage direction; analysis for concept, organization of production, and methodology of staging. Prerequisite: DRAM120 or permission of instructor REQUIRED TEXT: Hauser, Frank and Reich, Russell: Notes on Directing Recommended Texts: Clurman, Harold, On Directing Recommended Reading: 2008-2009 Undergraduate Bulletin, Academic Procedures: http://www.unc.edu/ugradbulletin/procedures1.html COURSE GOALS and LEARNING OBJECTIVES 1. Students internalize the discipline and attitude of a theatre professional by: a. Adhering strictly to prescribed starting times of classes and rehearsals b. Preparing fully for all classes and rehearsals c. Promoting trust, teamwork, and camaraderie among all students and instructor d. Giving and accepting criticism in a positive spirit 2. Students develop fundamental principles of directing for the stage by: a. Learning to analyze text vis-à-vis theme, dramatic structure, etc. b. Learning to translate abstract ideas into specific/concrete plans c. Learning how to communicate with other artists d. Learning basic staging and pacing technique 3. Students gain an appreciation for professional process by: a. Observing professional theatre artists b. Reflecting on this observation, in writing c. Approaching class work with a professional attitude 4. Students gain practical experience in directing process by: a. Participating in a series of group and individual exercises b. Analyzing a single script for hypothetical production 5. Students begin to develop an individual artistic aesthetic by: a. Personalizing exercise work b. Collaborating with other artists c. Researching and analyzing work of other artists in various media

RESPONSIBILITIES of STUDENTS and INSTRUCTOR 1. Come to every class, prepared, on time. 2. Be supportive of classroom community; embrace collaboration. 3. Participate in all exercises, discussions, and presentations in class. Participation includes paying active attention to any others presenting work. 4. Students: submit a self-evaluation, via email, within 48 hours after completing a graded assignment; reflecting on all criteria contained in syllabus. Instructor: respond within two working days, via email. 5. Present production concept and sample scene from script of student’s choosing. 6. Complete midterm and final, covering readings and class discussions. CLASSROOM POLICIES Class participation: Success in this course requires active participation in class discussions, exercises, and the presentation of projects. Readings from the text are intended to be starting points for discussions, and to supplement material presented in class. Presentations will require significant out-of-class preparation. Expect to devote up to six hours per week preparing for class. Attendance: This is not a lecture class – in many cases you will not be able to make up for a missed class. Your grade may suffer if you miss class, or if you are late. If you are absent on a day you are to give a presentation, you will receive a score of zero for that assignment. Conduct of class: Food, drink (with the exception of water in a closed container), and chewing gum are not permitted in class. Comfortable clothing should be worn to every class. No visitors are allowed in class without prior permission from the instructor. Students with disabilities: My goal is to help all students succeed in this course. I am happy to provide full accommodations to students with disabilities of any kind. If you have a disability and might need accommodations, please contact me as soon as possible, so that we can form a plan together. All such discussions will be fully confidential. Physical and emotional considerations: This course may require emotional expression and physical contact between students. Performing scenes from plays may involve physical and emotional contact. We will discuss this in class and aim to keep all our work within a comfort zone for each student, but you should be aware of this unique aspect of a drama class. It is your responsibility to let me know if you ever feel emotionally or physically unsafe in this class. Offensive material: Theatrical literature, especially contemporary drama, often contains language and situations that may be considered by some students to be offensive. By remaining in this course, the student agrees to tolerate such material with respect and civility, and to support his/her classmates to the utmost of his/her ability. Honor: All work is to be entirely your own, unless otherwise specified.

GRADING SYSTEM Assignment Exercises 1 and 2 Point breakdown Professionalism = Preparation = Courage = Imagination = Collaboration = Self-evaluation = Professionalism = Preparation = Courage = Imagination = Collaboration = Self-evaluation = Total/exercise = Total 15 10 30 20 20 5 15 20 20 20 20 5 100

Exercises 3 and 4

400

Quizzes/Midterm/Final………………………...……………………………200 Production concept presentation Preparation = 70 Organization = 30 Presentation = 40 Scene = 50 Self-evaluation = 10 Total = 200 Research/contents = 125 Organization = 25 Journal = 50 Total = 200

200

Production notebook

200

Grading Scale: A AB+ B BC+ C CD F = = = = = = = = = = 920 and above 910 880 840 810 780 740 710 650 649 and below

Student must achieve the minimum point total to receive that grade.

COURSE CALENDAR (subject to change at instructor’s discretion): Date 19 AUG 21 AUG 26 AUG 28 AUG 2 SEP 4 SEP 9 SEP 11 SEP 16 SEP 18 SEP 23 SEP 25 SEP 30 SEP 2 OCT 7 OCT 9 OCT 14 OCT 16 OCT 21 OCT 23 OCT 28 OCT 30 OCT 4 NOV 6 NOV 11 NOV 13 NOV 18 NOV 20 NOV 25 NOV 27 NOV 2 DEC 9 DEC Class Activity Introduction/expectations Play analysis Exercise 1 (1-3) Exercise 1 (4-6) Exercise 1 (7-9) Exercise 1 (10-12) Exercise 1 (13-15) Exercise 2 (1-2) Exercise 2 (3-4) Exercise 2 (5-6) Exercise 2 (7-8) Exercise 2 (9-10) Exercise 2 (11-12) Exercise 2 (13-14) Midterm Exercise 3 (1-2) Exercise 3 (3-4) OFF Exercise 3 (5-6) Exercise 3 (7-8) Exercise 3 (9-10) Exercise 3 (11-12) Exercise 3 (13-14) Concept presentations (1-2) Concept presentations (3-4) Concept presentations (5-6) Concept presentations (7-8) Concept presentations (9-10) Concept presentations (11-12) OFF Concept presentations (13-14) Final Production notebooks Scene concept, blue print (Brief exercise 3) Due Syllabus email Analysis of favorite poem (Brief exercise 2) Read Notes on Directing Script chosen (see Appendix) Impossible act plan

APPENDIX: BRIEF DESCRIPTIONS of ASSIGNMENTS EXERCISES 1. Text Analysis/theme/imagery Each director will choose a non-narrative poem, and thoroughly analyze the piece for theme and imagery. The director will them collaborate with performers to produce a performance piece which communicates the theme and imagery of the poem. 2. Theatricality Each director will stage an impossible act, using performers from the classroom, and small found props/scenery/costumes/lighting. 3. Composite exercise Each director will be assigned the same short scene, and stage the scene using two actors, simple scenery and costumes, a lighting source, and music or sound. Each scene will contain an impossible act.

FINAL PROJECT Each director will take the entire semester to thoroughly analyze a single play, for hypothetical production. Final project will be a production concept presentation – which will include a short (ten minute) scene from the play – and a director’s production notebook. Notebook will be organized at director’s discretion, but should include analysis of text, research notes, ground plan, rehearsal schedule, blocking notes (within actual text of play, abstract design concept, notes on directing the presented scene, perceived challenges, etc. Directors will choose from the following plays: The Dazzle, Greenberg Peer Gynt, Ibsen Doll’s House, Ibsen Ubu Roi, Jarre Bug, Letts Glengarry Glen Ross, Mamet Death of a Salesman. Miller Tartuffe, Moliere Scapin, Moliere Long Day’s Journey into Night, O’Neill Six Characters in Search of an Author, Pirandello Clean House, Ruhl Five Finger Exercise, Shaffer Much Ado, Shakespeare Hamlet, Shakespeare Tempest, Shakespeare Henry V, Shakespeare Man and Superman, Shaw Biloxi Blues, Simon Glass Menagerie, Williams Streetcar Named Desire, Williams


								
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