Meeting Place and Time

1. Attendance and participation (no certain per cent of grade, but able to raise or lower grade) Attendance is required and more than three absences will result in a lowering of the grade. With each three absences the grade will be lowered 1/3 without ANY contingencies considered, other than medical illness and a doctorÕs report. Strength of participation will be considered as part of your grade, and raise your final grade if it is strong.

2. In-class scenes and scene journal 30% (each scene performance and journal 15%) Each student will perform in two scenes, one each half of the semester. The scenes will be fully memorized, and involve costumes, props, a set, and other production needs. The scene journal will be due at the class following the scene performance. The journal will include a log of activities, actually written after each rehearsal and a long commentary containing the following elements:

a. A character study -- as much as you can possibly know from the entire script about your character; what the others say about the character; gender, sexuality, age, ethnicity, color, class, status, experiences, education, occupation, views, personality, etc. Consider ways to develop your character: what do they wear most of the time; how do they move, sit, smoke, use their voice, etc.

b. Scene analysis -- what are the given circumstances in your scene, what conditions obtain for the characters (what has happened and what is the situation); what problems face the characters. In your scene, what are each characterÕs objectives and how are the characterÕs objectives pursued, frustrated, redefined, re-pursued through the course of the scene. Where are the conflicts and accords, discoveries and changes? What does this scene accomplish for the play, in terms of plot, character, situation, theme?

c. Finding signals for performance choices: where are the major scripted signals you must observe? What kinds of signals demand definite, specific choices? What signals indicate an optional choice must be made but do not show exactly how to make the choice? What other signals do you find for choices you need to make about costume, props, blocking, line readings, characterization? What choices do you make that can be supported by the script although the script does not indicate such choices? Are you making choices for your scene that work there but would not work if the scene were performed with the rest of the play? What is your justification for doing that?

3. Four papers, at least two due before break, third paper no later than Dec. 8. 60% (each paper 15%)

a. The four papers may be on any plays you choose, but not the ones in which you perform scenes.

b. Each paper will be preceded by a draft, generally due a week before the paper is due. You will have conferences over three of your four drafts (turn in the draft with the initials of the person who went over the draft with you) to qualify for writing intensive training. Early on, workshops will be held on writing papers on drama and brainstorming sessions on paper ideas may precede draft due dates.

c. All papers must conform to the rules for format and documentation as laid out in the MLA Handbook.

d. Many comments and corrections will use the abbreviations and refer students to relevant passages in the Beacon Handbook. Be sure to learn basic rules of grammar and punctuation.

4. Preparation papers, 10%

At various times, 1-2 page position papers will be used for in-class discussion. These will be kept in a packet by your, and handed in together at the semester to be graded as a collective product at the end of the semester. There will be interim evaluative numbers (1-3) when they are handed in. 1= poor; 2= okay; 3=very good. The entire packet will be graded with an eye to: completeness (how many were done), timeliness (on time), quality and consistency of work.