Office Hours:
2:10 - 3:00 M, W, F
Office Hours:
2:10 - 3:00 M, W, F
TERRY CONVERSE
converse@.wsu.edu
Spring 2011
Teaching Assistants:
Dani Dodge dani.dd@live.com
Malinda Childers: mm.childers@hotmail.com
Kayla Bieber: kbieber@wsu.edu
Every challenge we face can be solved by a dream.
—David Schwartz

Description

Texts

 Supplies

Website

Schedule

Evaluation

DESCRIPTION:

Theat361 (Performance II: Directing) is an intermediate course that builds upon the foundation of Performance I: Directing. As a follow-up to Theat261, the workshop environment is designed to provide the student-director with a high level of experimentation in solving more advanced problems as well as learning the staging skills necessary for directing in thrust theatre configurations. The overriding objective of Performance II: Directing is to focus on scene work drawn from contemporary plays. By sharpening skills and gaining confidence with contemporary, representational material, the intent is to create a firm foundation for the more stylistic, presentational material dealt with in Directing III. Beginning with silent scene work, and progressing to challenging, contemporary scripted material, Performance II Directing culminates in the direction of a one-act play. Even more so than Performance I, this course demands a team playing, ensemble, interactive commitment, and because of this, attendance at all classes is expected.

Since acting and directing are inextricably related disciplines, Performance II: Directing is scheduled at the same time as Performance II: Acting in order to provide mutually beneficial training opportunities for both acting and directing students. At times the Directing and Acting classes will be held separately, but frequently they will be brought together to experiment with mutually challenging director/actor, collaborative exercises. Simultaneous scheduling provides both the acting and directing students of Performance II with a highly practical, experientially based, learning laboratory.

Although the Acting and Directing components of Performance II are two separate courses of study, the intent is create a combined performance group that functions as a dynamic ensemble. With everyone’s combined ideas and energy, you will accomplish much more than you ever could alone.

TEXTS:
1. Directing for the Stage:
A Workshop Guide of Creative Exercises and Projects.
Colorado Springs: Meriwether Publishing Ltd., 1995 (ISBN: 1-56608-014-2).
2. Fat Pig (Neil Labute))
Faber and Faber (ISBN: 0-571-21150-X).
3. The Shape of Things (Neil LaBute).
Faber and Faber (ISBN: 0-571-21246-0)
4. The Water Children (Wendy MacLeod).
Dramatists Play Service (ISBN: 0-8222-1662-0)
SUPPLIES:
1. Architect’s scale (in inches/feet)
2. A prompt book (a notebook for your final play)
THEAT. 361 WEBSITE:

In addition to posting convenient items such as the syllabus and links to other theatrical places of interest on the web, the site includes:
  • An on-line discussion board used for your DIRECTORS TALK ABOUT DIRECTING postings. You need to have a minimum of one posting for each of the nine scenes performed in class. The overall intent of this activity is to literally amplify and add to our in-class discussions. Your postings can be either new threads or follow-up responses).
REHEARSAL SPACE:

There are three official rehearsal areas that may be used throughout the term:
The Wadleigh Theatre
Daggy 145
Dagy 319

Sign up each week on the official bulletin board outside of the Green Room. Rehearsal spaces are limited to one hour per week, and your time is forfeited if your group is not rehearsing by five minutes after the hour. It is your responsibility to see that:
  • All set pieces and props are returned to their storage areas.
  • No food or glassware for any reason is brought into the Wadleigh Theatre.
EXTRA CREDIT PROJECTS:
Project F: Beat It (Due Apr. 14) ......... 15 pts.
Project G: Poster Design (Due Apr. 21) ......... 10 pts.
MASTER SCHEDULE
DATE
CLASS ACTIVITY
READINGS
WEEK 1
Tues. Jan. 11
Thurs. Jan. 13
Orientation
Workshop Exercises Read Text, pp. 1-15
WEEK 2
Tues. Jan. 18
Thurs. Jan. 20
Discussion: Fat Pig Read play carefully:
Quiz at beginning of class
Exercises: The Shape of Things Read play carefully
Quiz at beginning of class
WEEK 3
Tues.

Jan. 25

Thurs.

Jan. 27
SCENE 1: SILENT SCENE
Select one of the following
  • Silent Tension
  • Sounds of Silence
  • Sil. Fam./Sil. Strange
  • Silent Journey
Listed as Scenes 1-4 in text
See pp. 17-42.

SCENE 1: SILENT SCENE
(Continued)
WEEK 4
Tues. Feb. 1
Thurs. Feb. 3
Thrust Theatre Workshop Read pp. 235 - 242
Leading Centers Workshop
 Read pp. 235 - 242
WEEK 5
Tues. Feb. 8
Thurs. Feb.10
SCENE 2:
JUSTIFIED PATTERNS		 Listed as Scene 10 in text
See pp. 79 - 82
JUSTIFIED PATTERNS
(Continued)
WEEK 6
Tues. Feb. 15
Thurs. Feb.. 17
NO CLASS: ACTF
NO CLASS: ACTF
WEEK 7
Tues. Feb. 22
Thurs. Feb.. 24
SCENE 3: MIDTERM SCENE
 Direct a 5 minute Scene from Fat Pig or Shape of Things using Thrust Staging.
MIDTERM SCENE
(Continued)
WEEK 8
Tues. Mar. 1
Thurs. Mar. 3
Discussion: The Water Children
PROJECT A: Final Play Choice		 Read play carefully:
Quiz at beginning of class
Cast Final Plays
Exercises: Speech and Dabate		 Read play carefully:
WEEK 9
Tues.

Mar. 8

Thurs.

Mar. 10
SCENE 4: SILENT SCENE
Select one of the following
  • Breaking Sil. Boundaries
  • Silent Status Swapping
  • Broken Silence Breakdown
Listed as Scenes 5-7 in text
See pp. 43-63.

SCENE 4: SILENT SCENE
(Continued)

SPRING VACATION: Mar. 14-18 (Mon. — Fri.)
WEEK 10
Tues. Mar. 22
Thurs. Mar. 24
PROJECT B: Point Conception Read pp. 243 - 252
pp. 269 - 275
Playing Against the Obvious &
Status Workshop		 Read pp. 215 - 218
WEEK 11
Tues. Mar. 29
Thurs. Mar. 31
SCENE 5:
Playing Against the Obvious		 Read pp. 215 - 218
SCENE 5 (Continued)
WEEK 12
Tues. Apr. 5
Thurs. Apr. 7
Organize Final Play Festival
Rehearsal for Final Scenes
WEEK 13
Tues. Apr. 12
Thurs. Apr. 14
SCENE 6: FINAL SCENE Direct a 5 minue Scene from The Water Children using Thrust Staging.
FINAL SCENE (Continued)
PROJECT D: BEAT IT
Listed as Project D in text
see pp. 259-267
WEEK 14
Tues. Apr. 19
Thurs. Apr. 212
Dress Rehearsal (Evening Class)
PROJECT C: Prompt Book
(Ist look)		 7:00 - 11 P.M.
Dress Rehearsal (Evening Class)
 7:00 - 11 P.M.
WEEK 15
Sat. Apr. 23
Sun. Apr. 24
Mon. Apr. 25
Tues. Apr. 26
Wed. Apr. 27
Thurs. Apr. 28
TECH. REH: (10:00 AM. - 11:00 PM.
TECH. REH: (10:00 AM. - 11:00 PM.
PERFORMANCES (Final Plays) Performaces begin at 7:00 PM
PERFORMANCES (Final Plays) Performances & In Class Critiques
PERFORMANCES (Final Play)
& STRIKE		 Performances
Class Evaluations & Critiques Performances & In Class Critiques
WEEK 16
Mon. May 2
NO CLASS
PROJECT D: Prompt Book
(2nd look)		 Listed as Project F in text
See pp. 277-283
THE FINE PRINT OF YOUR CONTRACT
  1. Much of the time the class will be divided into teams. Directing students will at times be asked to act in other directors’ scenes.
  2. Watching plays is a wonderful way of learning more about directing. Students are expected to attend all one-act play, evening performances.
  3. Students are expected to function as Crew Heads for the Final Plays of other directors when needed.
  4. No make-up scene work will be permitted.
EVALUATION:
  1. Grading will be based on the following 200 point scale:
  • Scene 1:
Silent Scene #1 (Stop Kiss) ........ 10 pts
  • Scene 2:
Justified Patterns .............................................. 15 pts
  • Scene 3:
Midterm Scene (Stop Kiss) ....... 20 pts
  • Scene 4:
Silent Scene #2 (Fool for Love) ........................ 10 pts
  • Scene 5:
Playing Against the Obvious............................. 15 pts
  • Scene 6:
Final Scene ........................................................ 20 pts
  • Scene 7:
One-Act Play...................................................... 30 pts
  • Projects:
A, B, C (10 points each) .......................... 30 pts
  • Quizzes:
(5 Fat Pig, 5 Shape of Things, 10 Water Ch. 20 pts
  • Participation and Critiques ...................................................
10 pts
  • Directors Talk About Directing (Discussion Board) ..........
20 pts

Attendance at all classes is essential and expected. For each missed class 3 points will be subtracted from your total number of available points.
A ....... 191 - 200 B+ ....... 171 - 180 C+ ....... 141 - 150 D+ ....... 111 - 120
A- ..... 181 - 190 B .......... 161 - 170 C .......... 131 - 140 D- ........ 100 - 110
- B- ......... 151 - 160 C- ......... 121 - 130 F .............. 0 - 99
SCENE AND PROJECT NOTES:
Scene 1: Silent Scene #1
Using three or more actors, pick one of following types of silent scenes to direct.
  • Silent Tension
  • Sounds of Silence
  • Silently Familiar/Silently Strange
  • Silent Journey
Follow the dictates of the exercise specified in the text (pp. 17-42), except base your who, what, and where around Fat Pig or The Shape of Things.
Scene 2: Justified Patterns
Working with a co-director, together you will direct two scenes. In the first scene, select a single pattern from those provided in the text on p. 81. Create a ground plan, and a situation from the world of Fat Pig or The Shape of Things that justifies your selected pattern. In the second scene, working with the same material, create a very contrasting scene by either selecting a different pattern, or working with the same pattern in a different way.
Scene 3: Midterm Scene
Working with thrust staging, direct a 5 minute scene from Fat Pig or The Shape of Things. The scene will be performed twice, once silently, and once with words.
Scene 4: Silent Scene #2
Using three or more actors, pick one of following types of silent scenes to do.
  • Breaking Silent Boundaries
  • Silently Status Swapping
  • Broken Silence Breakdown
Follow the dictates of the exercise specified in the text (pp. 17-42), except base your who, what, and where around The Water Children
Scene 5: Playing Against the Obvious
Focusing on the concept of playing against the obvious, select a scene from The Water Childrens. In justifying the dialogue, the overall objective is to explore the complex interplay between text and movement. Exploring the ramifications of movement coming either before or after a line is for most student directors an eye-opening experience, but with this exercise the director is given many new doors to open in experimenting with the fascinating relationship between the visual and the verbal parts of the performance.
Scene 6: Final Scene
Your final weekly scene showcase. Direct a 5 minute scene from The Water Children.
Scene 7: Final Play
Direct a one-act play (no longer than 30 minutes) for thrust staging.
PROJECTS
PROJECT A: Final Play Choice
Performance is to be no longer than 30 minutes. A cover sheet and a complete copy of the script are required.
PROJECT B: Point Conception
In addition to finding a picture and a musical selection that epitomizes your Final Play; the intent is to simulate a production meeting in which the director discusses his production concept with the set and costume designer. Members of the workshop will assume the actual roles of the designers, and other interested personnel. See pp. 269-275 in text for details.
PROJECT C: The Directing Book
Create a prompt book (your director’s notebook) for your final production. See pp. 277-283 in the text for a complete explanation of how to create an effective Prompt Book.
PROJECT D: Beat It (Extra-Credit)
On a Xeroxed copy of your script, separate the climax of your Final Play into beats, drawing lines at the exact places in the text where the changes occur. Number and phrase each of the beats. See pp. 259-267 in text for details.