THEA3015

THEA 3015-1 (3)
 * MATERIALS AND METHODS IN THEATRE**
 * Exploring Theatre Making Through the Lens of the Child**

Hands-on course designed for NON-MAJORS curious about the role of theatre in contemporary culture as seen through the lens of childhood.

3 Semester Credit Hours Tuesday/Thursday: 9:10-10:45 PM – Room ?? West Institute Office hours – Tuesday/Thursday: 10:45 -12 pm //(Best to make an appointment)//

Instructor Penelope M. Caywood Department of Theatre 214 West Institute Building (801) 581-6098

REQUIRED TEXT //Drama For Learning: Dorothy Heathcote’s Mantle of the Expert Approach to Education// by Dorothy Heathcote and Gavin Bolton (1995). Theoretically and in terms of praxis, Heathcote bonds intimately with the cross disciplinary theories of Vygotsky, Brecht, Boal, Bogart, Iacoboni, Gelese, Capra, and Freire.Check out this international website to learn more about “mantle of the expert.” []

RECOMMENDED RESOURCES //The Drama Game File,// Jonas Basom (2005). This is a workbook of theatre games and exercises designed to engage young people ages 3-18 in the process of theatre making. To understand the nature of these materials is to understand the connection between free play and theatre process as a continuation of natural kinetic and cognitive processes innate to all humans. There is an accompanying interactive CD available with this resource.//[]//

//And Then, You Act: Making Art in an Unpredictable World,// Anne Bogart (2008). An exciting new theatre manifesto providing a framework for theatre’s quest to survive in today’s rapidly changing culture. Bogart’s work with human gesture ties directly to the

//Mirroring People: The New Science of How We Connect with Others,// Marco Iacoboni (2008). Explains how the extraordinary human capacity for imitation, in life and in art, connects to contemporary brain research – how it helps explain the origins of human empathy, that deep within our neural architecture we are wired to be together, to bond as humans for survival.

//Structuring Drama Work: A Handbook of Available Forms in Theatre and Drama,// Jonothan Neelands & Tony Goode (2000). A practical book for all ages of theatre makers offering a range of conventions, structures and processes that provide opportunities for strengthening and deepening theatre work.

Course Description The student will explore the materials and methods of theatre through the lens of the child. Collecting personal and shared childhood memories of dramatic play and other encounters with pretend happenings and imaginative constructions, students will examine their natural connections to the theatre process by engaging in Child Drama techniques. This will lead to a better understanding of how theatre not only works, but also contributes, as an art form, to the development of human empathy and creativity in society – the building blocks of peaceful cultures and nations. The outcome will be an informed community that can appreciate the necessity and the challenge of making and appreciating artistic expression in an unpredictable world.

SELECTED COURSE-DRIVING QUOTES Audiences are, in fact, “mirror neurons,” exercising the same neuronal and muscular activity the actors are, by watching. Theatre-makers must consider the intentions that motivate them to act, identifying them, intensifying them, and framing the act so that it will carry specific meanings, created by specific juxtapositions, in specific social contexts. It is this framing that makes the act art. —Ann Bogart, Artistic Director (2008)

It is assumed that, as with all art forms, the experience of theatre is distinguished from real-life experience by the conscious application of form to meaning in order to engage both the intellect and the emotions in a representation of meaning. In theatre, meanings, social codes and interactions are represented, shaped and crafted through the conventions of dramatic activity . —Jonothan Neelands & Tony Goode, Theatre Professors (2002)

What actors are expert in is using their movement //(including body and voice kinetics)// to inspire feelings in the people who are observing. These are the experts in the mirror (neuron) system. —Marco Iacoboni, Neuroscientist (2005)

THEA **1033 Acting I (3)** (__Waived for Fall Semester 2009__) __Fulfills Fine Arts Exploration__ Acting techniques for non-majors. Students learn basic acting skills through class participation in monologue work, scene work, and improvisations.
 * Course Prerequisites (required for Elementary Ed majors only):**

What are we talking about? How do we recognize it when we encounter it? How are problems posed and solved in this discipline? Why is theatre important to us? How do we perform effectively on a wide range of “stages” in our culture? What are the important questions we need to ask? How have various elements of our society viewed the potential of theatre? Why does theatre generate fear sometimes? What is the brain/mind connection? What are mirror neurons and how do they connect to acting? How do recent advances in neuroscience contribute to our understanding of the creative process? How can we constructively address the complex influences of race, ethnicity, and gender through the creative processes of theatre? What is EQ or emotional intelligence? Does theatre have the power to change lives? Why is live theatre so potentially powerful as a social force?) What is it that everyone knows about theatre organically? What is the role of risk taking, self-esteem, and technique in the theatre making process? What is the role of ensemble? How does one structure theatre experiences for others? What is in-role facilitation? Where does improvisation fit in the theatre-making process? How do we structure theatre as a learning medium? What are non-traditional uses of the acting and theatre processes? How does the concept of leadership in theatre connect with leadership opportunities in daily life? How can we sharpen our ability to “see” and experience live theatre? What specific things help actors connect with the audience and an audience connect with actors?) How can we enhance our creative processes; traits; develop skills in critical thinking, creative problem sensing and problem solving; incorporate theatre into the creative pedagogy of our personal life agendas, products, and performances?)
 * Major Learning Objectives:** Students will learn to:
 * Build a framework for considering the nature of theatre:
 * Initiate contemporary thinking about the discipline of theatre:
 * Consider scientific research on creativity and human development through the lens of acting and theatre:
 * Engage successfully in the theatre making process:
 * Facilitate theatre experiences:
 * Enhance personal insight, comprehension, and appreciation when experiencing live theatre events:
 * Develop creativity in one’s self:

A variety of instructional modes will be used. The dominant teaching method will be hands on participation in planning, playing, and evaluating theatre activities. Presentations will vary, including lecture, demonstration, audiovisual media, and student shares and performances. Since disciplinary knowledge requires posing problems, solving problems—as well as thinking in and through a discipline, the course emphases include creating, facilitating, teaching, and performing. Assigned reading and research tasks will help build a multi-layered base for understanding theatre process.
 * Modes of Instruction:**

Grading Scale: 94-100=A; 90-93=A-; 87-89=B+; 83-86=B; 80-82=B-; 77-79=C+; 73-76=C; 70-72=C-; 67-69=D+; 63-66=D; 60-62=D-; <60=E Attendance: Since the class itself is the heart of the course experience, your presence and continued participation are crucial. Attendance will be taken.Basically, more than three unexcused absences drops you __one letter grade__ AFTER the grading formula is totaled, more the six unexcused absences drops you drop __two letter grades__, etc. The overall __quality of participation__ will form the basis for evaluating your class participation beyond attendance. In this setting, quality is measured by a willingness to participate (take risks) in role-playing exercises and complete any day-to-day homework assignments that grow out of our process work. All assignments must appear in your end of term portfolio/folder. //(Examples of lesson plans available upon request.)// __Anyone may recapture up to three absences by attending extra live theatre performances and submitting passing written reviews; one per absence__.
 * Methods of Evaluation/Grading Formula: 100 points total**
 * __Participation__** **(30 points)**

The challenge is to collect __a portfolio/folder of engagement strategy materials and methods__ that allow students to engage self and others in theatre, be it informal or formal in presentation. Certainly an important part of this piece will be class notes and written reflections about experiences in class and outside of class when fulfilling assignments, i.e. attending live theatre and writing reviews. The portfolio/folder should also include annotated resources and links to articles, productions, key organizations, YouTube videos, and any other website links offering valuable resources connecting to __course learning objectives__ stated in the syllabus; and to your academic and personal goals here at the university. (//A rubric spelling out what constitutes grade level inclusions will be available to students.)// This is not the exact rubric, but I will use one that looks like this:
 * Engagement Strategy Portfolio/Folder (30 points)**

__Rubric for Portfolios__ 1. All course handouts, including syllabus and schedule. (5 points) 2. Class notes and personal reflections daily (webbings). (5 points) 4. Annotated links list to key articles and other resources. (5 points) 6. Both live theatre reviews. (6 points) 7. Closing statement reflecting contributions of course to academic and personal goals (4 points) 8. Final exam script and personal reflection on experience. (5 points) TOTAL POSSIBLE RUBRIC POINTS = 30 POINTS

__EXCELLENCE CREDIT__ – I WILL GRANT UP TO 5 ADDITIONAL EXTRA CREDIT POINTS FOR PORTFOLIO/FOLDERS THAT CLEARLY AND EFFECTIVELY GO BEYOND THE MINIMUM RUBRIC IN QUALITY, ESPECIALLY IN TERMS OF ADDED SECTIONS, MATERIALS AND RICHNESS OF DESIGN AND PRESENTATION.

Each student must attend and write a review for two university productions, plus everyone must attend our TYA/Theatre for Young Audiences production of //Jungle Book// performing on April 2, 3, 4 at Kingsbury Hall. A review template will be handed out in class that helps the students connect in class explorations to live theatre product, i.e. lighting design in natural dramatic play might be pulling the curtains to make the room dark and mysterious, where on stage the lights would be dimmed. //(Review template will be passed out.)//
 * Theatre Reviews: (15 points: 3 @ 5 points each)**

Working in small groups (3-5), this drama engagement facilitation is to be constructed from the conventions and forms learned in class. This theatre experience may be a performance that is unscripted (improvisational) or scripted in the end. //(A rubric will be given out at the beginning of this hands on group summary activity.)//
 * Final Hands On Exam:** **(15 points)**

__Rubric Self-Assessment Example__ – This is an example of the kind of rubric I use at the end of a unit like the Creative Drama unit. As to not put pressure on non-majors, I would use this only as a self-assessed rubric as part of our daily assignments unpacked by discussion.

=** EXAMPLE RUBRIC TOOL **= Objective: Student Self-Evaluation

(Analyzing Drama) || All plot elements are accurately identified. || Most plot elements are accurately identified. || A few plot elements are accurately identified. || No plot elements are accurately identified. || (Making Drama) || The planning and staging of a scene in groups of two, three, or four works from beginning to end. || The planning and staging of a scene in groups of two, three, or four works most of the time. || The planning and staging of a scene in groups of two, three, or four works at a few moments along the way. || The planning and staging of a scene in groups of two, three, or four does not work satisfactorily. || (Applying Drama) || The monologue connects the story to the actor’s real life in two or more valid ways while expressing a range of emotion. || The monologue connects the story to the actor’s real life in two or more valid ways. || The monologue connects the story to the actor’s real life in at least one valid way. || The monologue does not connect the story to the actor’s life. || (Practicing Drama) || Two or more theatre conventions (i.e. using a parachute to create an image of a huge butterfly in flight) are used successfully with artistic execution. || Two or more theatre conventions are used successfully. || At least one theatre convention is used successfully. || No theatre conventions are used or none are used successfully. ||
 * || Independent - 4 || Fluent - 3 || Developing – 2 || Novice-1 ||
 * Plot Analysis
 * Story Dramatization
 * Reflective Monologue
 * Performance (Making Drama) || The actor “stays in the scene” from beginning to end and uses his/her body and voice in a way that can be seen, heard and understood. || The actor “stays in the scene” from beginning to end. || The actor “stays in the scene” most of the time. || The actor is unable to “stay in the scene” long enough to contribute effectively to the process. ||
 * Theatre Conventions


 * Course Standards:**

Here are examples of key standards for the field of Child Drama (Theatre for Youth) from NAST – National Association of Schools of Theatre. I assess at a non-majors level of mastery:

- understanding and demonstrated skill at engaging in creative drama (from achievement in performance techniques, acting, improv, mime, puppetry, etc.) - understanding and demonstrated skill at engaging others in creative drama (from leading creative drama) - understanding and demonstrated skill at how to create a drama world (from design/production techniques) - demonstrated knowledge and understanding of dramatic literature targeted at childhood (from the canon of scripts published for TYA – Theatre for Young Audiences) //*NAST - National Association of Schools of Theatre// //Handbook 2007-2008 (2nd edition.)//
 * (based on NAST standards)

Some of the readings, lectures, films, or presentations in this course may include material that may conflict with the core beliefs of some students. Please review the syllabus carefully to see if the course is one that you are committed to taking. If you have a concern, please discuss it with me at your earliest convenience. For more information, please consult the University of Utah’s Accommodations Policy.
 * UNIVERSITY OF UTAH’S ACCOMMODATIONS POLICY**

The University of Utah seeks to provide equal access to its programs, services and activities for people with disabilities. If you will need accommodations in the class, reasonable prior notice needs to be given to the Center for Disability Services, 162 Union Building, 581-5020 (V/TDD). CDS will work with you and the instructor to make arrangements for accommodations.
 * UNIVERSITY OF UTAH’S DISABILITY POLICY**