BYU Theatre Education Database



Script Analysis and Scene WorkBy Nichole Young ClarkeObjective: Students will be able to make believable and authentic acting choices in scenes by analyzing the script text and exploring appropriate vocality, movement, and motivations. Learning Level: BeginningPrior Experience: Students should have a solid background in vocal and movement. They should have already learned how to annotate scripts for vocal notes. Standards:TH:Cr3.1.I.b. Explore physical, vocal and physiological choices to develop a performance that is believable, authentic, and relevant to a drama/theatre work.TH:Cr1.1.I.c. Use script analysis to generate ideas about a character that is believable and authentic in a drama/theatre work.TH:Cr3.1.I..a. Practice and revise a devised or scripted drama/theatre work using theatrical staging conventionsTH:Cr3.1.I.b. Explore physical, vocal and physiological choices to develop a performance that is believable, authentic, and relevant to a drama/theatre work.TH:Pr4.1.I.a. Examine how character relationships assist in telling the story of a drama/theatre work.TH:Pr4.1.I.b. Shape character choices using given circumstances in a drama/theatre work.TH:Pr5.1.I.a. Practice various acting techniques to expand skills in a rehearsal or drama/theatre performance.TH:Re8.1.I.c. Justify personal aesthetics, preferences, and beliefs through participation in and observation of a drama/theatre work.TH:Re9.1.I.a. Examine a drama/ theatre work using supporting evidence and criteria, while considering art forms, history, culture, and other disciplines.TH:Cn11.2.I.b. Use basic theatre research methods to better understand the social and cultural background of a drama/theatre work. Big Idea: BelievabilityEssential Questions:How can I make believable choices in acting?What does it mean to create believable choices in acting?How do I interpret text to help make believable choices in acting?Enduring Understandings: Theatre artists develop personal processes and skills for a performance or designTheatre artists make strong choices to effectively convey meaning.Theatre artists’ interpretations of drama/theatre work are influenced by personal experiences and aesthetics.Theatre artists refine their work and practice their craft through rehearsal.Key Knowledge and Skills:Students will be able to…Do basic script analysis for acting. Make believable acting choices.Learn how to use their acting space wisely and interestingly. Learn how to communicate with a partner in scene work.Use rehearsal time wisely and productively. Performance TasksCreate a basic script analysis paper. Annotate their scripts for blocking notes, character choices, and vocal notes.MemorizePerform a short scene. Lessons:Lesson 1: Script Analyzation- Plot Structure & Given CircumstancesObjective: Students will be able to demonstrate their ability to recognize plot structures and given circumstances by reading a 10 minute play and presenting the plot structure and given circumstances to the class. Lesson 2: Script Analysis- Character; Objectives, beats, tacticsObjective: Students will be able to demonstrate their ability to understand a character objective and tactic changes by marking out the beats in a 10 minute play. Lesson 3: Objectives/ Tactics Objective: Students will be able to demonstrate their ability to act with objectives and tactics by practicing objectives and tactics in their script.Lesson 4: Movement/Blocking Objective: Students will be able to use the stage effectively by blocking out their scenes. Lesson 5: Vocality Objective: Students will be able to demonstrate their ability to use effective voice by making vocal annotations and passing off their memorization. Lesson 6: Listening/RespondingObjective: Students will be able to listen and respond to their scene partner by doing their scene without breaking eye contact. Lesson 7: Sense/Emotional MemoryObjective: Students will be able to create believable emotions by completing a sensory/emotional memory activity with their scene. Lesson 8: RehearsalObjective: Students will be able to make believable acting choices by rehearsing their final scene for another group as well as rehearsing. Lesson 9: Rehearsal- PreviewObjective: Students will be able to make believable acting choices by previewing their final scene for another group as well as rehearsing. Lesson 9: Performance (Turn in Scripts)Objective: Students will be able to make believable and authentic acting choices in scenes by exploring appropriate vocality, movement, and motivations.Lesson 1: Script Analyzation- Plot Structure & Given CircumstancesObjective: Students will be able to demonstrate their ability to recognize plot structures and given circumstances by reading a 10 minute play and presenting the plot structure and given circumstances to the class. Materials: Antigone Cutting copies, Given Circumstances sheets. Preparation: Print all the things. Pre-Assessment/Starter: Write on the board, “What steps should an actor take in preparing for a role? (Start from the moment they get the script to when they perform)”Allow the students to discuss their answers. Have a student write down on the board different things that students say. After each student expresses their answer, ask the other students to raise their hand if they wrote down something similar. The students have not yet had much interaction with scripts, so don’t expect much. If they mention the following words, they are probably above average:ObjectivesTacticsGiven CircumstancesBackground StoryEmotional/Sensory MemoryBlockingIf a lot of students wrote down these things, then you may need to do another pre-assessment to see how fully they understand these things, and adjust curriculum accordingly. Circle key terms, like the ones listed above. TransitionWe’ll be starting a new unit today. We are going to be working up to doing scene work! In this unit, your final assessment will be two part. First, you’ll perform a scene with a partner or partners. Next, each of you will turn in a short script analysis, as well as your marked and annotated scripts. Next class we’ll discuss the requirements of this more. In this unit, we’ll be trying answering the starter question every single day. Today, we are going to start by discussing script analysis. Script analysis should be the first step an actor should take after they get their scripts. Instruction 1: Plot structureLet’s review plot structure again. Can someone write the plot structure on the board? Get a volunteer to do this, then have the class check it. Then discuss:Why is knowing the plot structure important to you as an actor?It can help you with the tempo of the performance, the tension, and can help you figure out your objectives. Let’s try an example! Activity 1: Reader’s TheatreStep 1: Hand out copies of the Antigone cutting. Explain that we are going to read a short excerpt from a scene and then analyze it. Explain the story surrounding this scene. Then ask for two volunteers to be Antigone and Ismene, and do the readers theatre. Step 2: Now, have the students work with the person sitting to their left to outline the plot structure of this scene. Step 3: Have a student volunteer to share their plot structure results with the class. Ask:How would knowing this structure influence the acting in the scene? TransitionThere is so much you can glean from the text to help you as an actor understand the character. We are going to finish class by studying the given circumstances. What do you think given circumstances are?The specific conditions in which the action of the play occurs. They are silent, invisible, yet potent forces. They are the specifics of the background of your character. Activity 2: Given CircumstancesStep 1: Have the students get into groups of three. Give them a copy of the script analysis sheet. Explain that the students should get into groups of two. In those groups they need to find the given circumstances of each of the characters in the scene. It might be easier if one partner focuses on only one character. As they do this worksheet, go around and answer questions. Step 2: Have the students turn in their papers before the bell rings. Conclusion: Turn in your paper if you haven’t yet. Explain that they will need to do the exact same thing for their own script analysis, but when they do, they will only need to focus on the character they are playing. Given Circumstances WorksheetNames_______________________________________________________________________________Please answer the following:What time period does the scene take place in? (ex. 1920’s, during “flapper” era, etc.)How will that time period effect how the characters speak, move, and otherwise communicate? Antigone:Ismene:What is the general locale where this play takes place? (The continent, county, and/or city)What is the specific locale where this play takes place? (In the hotel room at a beach resort, in the dining room of the mansion of one of the characters, etc.)How will where the characters are effect how the characters speak, move, and otherwise communicate?Antigone:Ismene:Who is in Antigone and Ismene’s family? What is their relationship like with these family members? People In family:Antigone:Ismene:What other relationships are part of the story? (Romantic lovers, friends, acquaintances) Antigone:Ismene: What is the character’s occupation?Antigone:Ismene:What are some general Social Standards in this world? (Expected behaviors, unacceptable behaviors)How well do the characters “stick to the status quo?” (How do they react to the social standards? Try to follow them always? Reject them?)Antigone:Ismene:How wealthy is your character? Antigone:Ismene:Where do they get their money from? Antigone:Ismene:What social class would you say they are a part of? (lower, middle, higher)Antigone:Ismene:What kind of government do your characters live under, and how does that affect them?Type of government:Antigone:Ismene:How are laws enforced? What effect do laws, the government, or the policing system have on the characters? Antigone:Ismene:What kind of education does your character have?Antigone:Ismene:What is your character’s spirituality? (Atheist, Christian, Muslim, etc. If they don’t have a clear religion, what are some things they believe in?) How does this effect their behavior? Antigone:Ismene:Antigone CuttingISMENE: Aren’t you well?ANTIGONE: Yes, of course. Just a little tired. ISMENE: I couldn’t sleep either.ANTIGONE: Ismene, you ought not to go without your beauty sleep. ISMENE: Don’t make fun of me.ANTIGONE: I’m not, truly. This particular morning, seeing how beautiful you are makes everything easier for me. Oh, wasn’t I a nasty little beast when we were small? I used to fling mud at you, and put worms down your neck. I can remember tying you to a tree and cutting off your hair. Your beautiful hair! How easy it must be never to be unreasonable with all that smooth silken hair beautifully set around your head. ISMENE: Why do you insist upon talkinga bout other things? (Pause) I thought about it all night long. Antigone, you’re mad. Creon will have us put to death. ANTIGONE: Of course he will. But we are bound to go out and bury our brother. That’s the way it is. What do you think we can do to change it? ISMENE: I don’t want to die. ANTIGONE: I’d prefer not to die myself. ISMENE: Listen to me, Antigone. I thought about it all night. I may be younger than you are, but I always think things over, and you don’t. ANTIGONE: Sometimes it is better not to think too much. ISMENE: I don’t agree with you! I pity polynices as much as you do. But all the same, I sort of see what Uncle Creon means. Uncle Creon is the king now. He has to set an example!ANTIGONE: Example! Creon orders that our brother rot and putrefy, and be mangled by dogs and birds of prey. That’s an offense against every decent human instinct; against the laws of God and Man. And you talk about examples!ISMENE: There you go, off on your own again- refusing to pay the slightest heed to anybody. At least you might try to understand!ANTIGONE: I only understand that a man lies rotting, unburied. And that he is my brother, and that he must be buried. ISMENE: But Creon won’t let us bury him. And he is stronger than we are. He is the king. He has made himself king. (Pause) I’m an awful coward, Antigone. ANTIGONE: So am I. But what has that to do with it?ISMENE: But Antigone! Don’t you want to go on living?ANTIGONE: For pity’s sakes! Don’t! You say you’ve thought it all out. The howling mob; the torture; the fear of death; they’ve made up your mind for you. Is that it?ISMENE: Yes. ANTIGONE: All right. They’re as good excuses as any. ISMENE: Antigone, be reasonable. It’s all very well for men to believe in ideas, and die for them. But you are a girl! Antigone, you have everything in the world to make you happy. All you have to do is- reach out for it. You are going to be married; you are young; you are beautiful-ANTIGONE: I am not beautiful. ISMENE: Oh, yes, you are! Not the way other girls are. But it’s always you that the little tough boys turn to look at when they pass us in the street. And when you go by, the little girls stop talking; they stare at you, until we’ve turned a corner. ANTIGONE: “Little tough boy- little girls.”ISMENE: And what about Haemon?ANTIGONE: I shall see Haemon this morning. I’ll take care of Haemon. Go back to bed now, Ismene. The sun is coming up! And as you can see, there is nothing I can do today. Our brother Polynices is as well guarded as if he had won the war and were sitting on his throne. ISMENE: What are you going to do?ANTIGONE: Please go back to bed. ISMENE: If I do- promise me you won’t leave the house?ANTIGONE: Very well, then- I promise. Lesson 2: Script Analysis- Character; Objectives, beats, tacticsObjective: Students will be able to demonstrate their ability to understand a character objective and tactic changes by marking out the beats in a 10 minute play. Materials: copies of a 10 minute play (not included), cartoon character pictures, beats worksheetPreparation: Print the things. Starter: Write on the board, “If someone were to play you in a theatre play, what would your objective and given circumstances be?’”Allow students to discuss this. TransitionToday we are going to start discussing how you can begin to construct a character by doing script analysis. Before we continue, do you all know what I mean by script analysis? Last time it seemed like a lot of you were confused. Can someone give me a definition of this? Why is it important? Instruction 1: ObjectivesEvery character, and every person for that matter, has something they want to achieve in life. They have life goals, 10 year plans, and even goals for who they want to be or become. We also have goals for things we want in each day, each hour. For example, I really want rehearsal to end before 10pm tonight so I can get home before 11pm. In theatre, we call these goals Objectives. How many of you have heard of this before?Let’s focus on the bigger goals, or the “super-objectives.” I’m going to show you some pictures from animated shows. You try to tell me what you think their super-objective is. DiscussHow do you know what their super-objectives are? How would you look in your scripts for these things? TransitionSuper-objectives are probably easier to figure out than all the smaller objectives characters have. That’s what we are going to spend the rest of class on today. Instruction 2: Beats/ObjectivesIn every scene, characters may have several objectives. Sometimes it is hard to find those objectives, but they usually happen at subject changes, or changes in the character who is “leading” the scene, or pushing the action forward. It’s kind of like when you are listening to music and it changes from a verse to a chorus. It still flows, but they are two distinct parts. These changes are called beats. Hand out the Beat worksheet. Go over it with the students. Then with the person to their right, have them do the example at the bottom. AskWho is leading the scene?What is Mrs. Dubose’s objectives in both of these beats? How do you know? Let’s see if we can find all of the objectives in a short play. Activity 1: Beats in a 10 minute play (not included)Step 1: Hand out Codgers in the Night. Explain that we are going to do a readers theatre of this short play. Ask for volunteers and go!Step 2: Now, with a partner of your choosing, mark out the beats, and write out the objectives in each beat. Step 3: Discuss as a class what they found. Talk about differences. Conclusion: Please turn in your marked up scripts! Lesson 3: Objectives/ Tactics Objective: Students will be able to demonstrate their ability to act with objectives and tactics by practicing objectives and tactics in their script.Materials: grading rubrics, copies of the scene given circumstances worksheet, copies of the scripts available, contentless scene. Preparation: Print the things. Starter: Write on the board, “What are things Sandra Bullock does to achieve her objective in this clip?” (clip not included)Allow students to answer out loud. Make sure they state what they think her objective is, as well as answer the starter question. Make sure that they are phrasing objectives as changes in psychological wants or desires, not just I wanted to cross the hall. **Explain that today we are going to get our scenes for the final assessment. Have everyone quickly write on a piece of paperWho they would like to work withAnyone they would prefer not to work with.Then have students fold their papers and pass them down the row. As students are doing the next activity, assign their groups. Practice 1: Project the following content-less scene. Have the students get with the person to their right and put together the entire beat with objectives and tactics. Have them practice the script, then perform for a neighboring group. While they are doing this put the students into performance groups from which they can then choose a partner/scene.A:????Hello.B:????Hello.A:?? I didn't expect to find you here.B:?? You did though. I might say the same for you.A:?? Are you going to be busy between now and dinner?B:?? Not really. Not busy.A:?? Would you like to talk for a while?B:??? I might. For a while.A:?? Good.B:???Good.Instruction 2: Assignment Sheet/ Hand out ScriptsStep 1: Hand out the assignment sheet and rubric below, as well as the given circumstance sheet. Make sure to explain that students can complete this assignment exclusively in class if they use time wisely. Also explain that each day from here on out will be instruction, then workshopping until we get to the Preview day. Go through requirements and ask for questions. Step 2: Project the scenes available. (not included) Explain that students’ groups were chosen randomly for the most part. Allow partners to choose their scenes.Workshop!!Explain to the students that they have the rest of class to work on three things:Script analysis.Finding beats in your script. Practicing objectives and tactics in their scene. Conclusion: Remind the students that their script analysis is due next time! Scenes!This unit assessment is five part, and worth a total of 150 points.Script Analysis (25 points)Memorization (15 points)Preview (10 points)Script Annotation (25 points)Performance (75 points)ScheduleNovember 12th- Script Analysis Due!November 16th- Memorization Due!November 18th- WorkshopNovember 20th- PreviewsNovember 24th- Performances & Scripts Due!Script Analysis (25 points)You’ll be graded on your ability to fill out the Given Circumstances sheet with correct and insightful information.Memorization & Previews (25 points) are pass/fail. If you do them, you will get points.Script Annotation (25 points)You’ll be graded on your ability to annotate your script in the following ways:Script separated into beatsEach beat hasThe character’s objectiveThe tactics that the character uses to achieve objective.Blocking NotesVocal NotesRubric—ScenesStudent Name: _____________________________________________________Title: __________________________ Character: _________________________InterpretationSEGFUnderstanding & Communication of significant points of the plotProjection of emotional content & concept of the playTempo & RhythmVoice & Diction (articulation, variety, projection, control)Use of staging elements (blocking, movement, picturization, and balance)Commitment (Being ‘in character’)CharacterizationSEGFClear and motivated objectivesCreative and appropriate choices to achieve objectivesPerformance OverviewSEGFEnsemble cohesivenessOverall effectivenessTotalsFinal Score: ________________Given Circumstances WorksheetNames_______________________________________________________________________________Please answer the following:What time period does the scene take place in? (ex. 1920’s, during “flapper” era, etc.)How will that time period effect how your character speaks, moves, and otherwise communicates? What is the general locale where this play takes place? (The continent, county, and/or city)What is the specific locale where this play takes place? (In the hotel room at a beach resort, in the dining room of the mansion of one of the characters, etc.)How will where your character is effect how they speak, move, and otherwise communicate?Who is in your character’s family? What is their relationship like with these family members? What other relationships are part of the story? (Romantic lovers, friends, acquaintances) What is the character’s occupation?What are some general Social Standards in this world? (Expected behaviors, unacceptable behaviors)How well does your character “stick to the status quo?” (How do they react to the social standards? Try to follow them always? Reject them?)How wealthy is your character? Where do they get their money from? What social class would you say they are a part of? (lower, middle, higher)What kind of government do your characters live under, and how does that affect them?How are laws enforced? What effect do laws, the government, or the policing system have on the character? What kind of education does your character have?What is your character’s spirituality? (Atheist, Christian, Muslim, etc. If they don’t have a clear religion, what are some things they believe in?) How does this effect their behavior? Lesson 4: Movement/Blocking Objective: Students will be able to use the stage effectively by blocking out their scenes. Materials: None. Preparation: None. (Script Analysis Due)Starter: Write on the board, “What is unique about the setting of your scene?” Allow students to answer. Ask, “How do you think that setting will effect movement in the scene?”TransitionToday we are going to discuss how to block a scene. Does anyone know what blocking means? When blocking, we need to be aware of:LocationStage Pictures (We don’t want linear movements only)AtmosphereLet’s hop on the stage and practice! Activity 1: Using the Whole Space!Step 1: Have the students get into partners. Explain that they are going to be given an objective, and they must improv with their partner until one of them achieves their objective. They need to keep in mind how they can use more than just linear movements to do this. Partner A: To get partner B to go out the backdoor with them. Partner B: To get partner A to go out the frontdoor with them. Oh! And the first time we try this, you cannot use words. (Remember safety… don’t do anything that would make your partner feel uncomfortable or would harm them physically.)DiscussWhat things did you try to get your partner to go with you? Did you use a lot of the space? Why or why not? (Was your movement linear?)Step 2: Let’s try it again, but this time you can use words! Ready, go!DiscussHow was this different? Was it easier? Did you use a lot of space? Why or why not? How do you think your blocking would be different if there were furniture or other obstacles in your way? TransitionPlay around with how you can use the space in creative ways to achieve your objectives. Sometimes blocking works best by just improv-ing the movement in the whole scene then writing down the things you and your partner like best. Which brings me to the next thing we are going to focus on today. Writing blocking. Instruction 1: Writing BlockingWe’ve learned a lot about the stage, so this should come easy to you. (Remember, this is part of the things that you need to have on your script that you turn in at the end of this unit.)Step 1: Draw a stage diagram on the board. Have a student label each of the areas on the stage. Ask:Where should most of the action be taking place on the stage, and why? (Try to push scene towards audience, or downstage.)When I write down my blocking, I make my playing space smaller than the whole stage. Step 2: Draw a living room into the space, starting with center stage. Erase the upstage, and re-write the stage directions in the shortened space. Step 3: Now that I’ve mapped out my location and “set design” I can write out my blocking. There is no set way to do this. Share ways to do this. Activity 2: Block your scenes!Give the students the rest of the class period to block their scenes. Lesson 5: Vocality Objective: Students will be able to demonstrate their ability to use effective voice by making vocal annotations and passing off their memorization. Materials: None. Preparation: None. Starter: Write on the board, “What is unique about how your character uses their voice?”Allow students to answer. Ask for volunteers! Activity 1: Acting someone else’s words!Step 1: Have the students all annotate the following on a small piece of paper:“You won’t let you hair down even for a minute”Love, hate, anger, annoyance, disgust, sympathyThe only rule is that you cannot write down the emotion you are trying to portray in your annotation.Step 2: Now, have the students switch their annotated line with someone else’s. On three, we are all going to try to say it at the same time. Step 3: Switch again!DiscussionWas this easy or hard? Why?What annotations were best for you to understand? Why?TransitionMake sure your annotations are thorough, and give a clear outline for how your character should be talking. I will be looking for detail. Activity 2: Rehearsal/Memorization Check offI’ll be going around the room checking off memorization today. You’ll need to bring your script with you when you get checked off. The rest of the time is yours to rehearse. During your rehearsal, I expect each of you to begin writing down some vocal annotations into your script if you have not. Before you leave, you will need to show me your script to show that you have started on some vocal annotations. This is part of your participation points for today.Conclusion: In the last five minutes have all the students pass off their vocal annotations with you. Lesson 6: Listening/RespondingObjective: Students will be able to listen and respond to their scene partner by doing their scene without breaking eye contact. Starter: Write on the board, “What are things that you do verbally and non-verbally when listening to someone?”Hook: Ships and SailorsStep 1: Introduce the game in an awesome sailor’s accent. Explain to them that they are now all sailors on a pirate ship and will be doing the various jobs and duties of sailors. I (the teacher) will be the captain. It’s extremely important that you listen to the captain or else she’ll throw you overboard!Here’s how the game works. If I say:“Captain’s Coming!” you must all stand at attention. Anyone who moves will be thrown overboard. You may not move until the Captain says, “At ease.”“Ship!” You must all run to the ship, which is to your left. “Sailors!” You must all run to the rest of the sailors, which are to your right.Let’s practice these, then we’ll give you more! (Run through each of the commands.)Step 2: Now, let’s add a few more! “Hit the deck.” You must fall on your belly onto the deck. “Swab the deck!” You must begin mopping the deck. “Titanic!” You fall in love with another crew member and do the titanic thing on the edge of the ship.“Rowboat!” You must get in a vertical line consisting of three people and row like your life depends on it!“Grub!” In groups of 4, you gather at a small table and eat your grub!“Navigators!” In groups of 5, you all point to the North star to direct our ship. Let’s do a practice round!Step 3: Now, let’s play! DiscussionHow was listening involved in this activity? What was hard about listening to the captain? Transition:Now that we’re warmed up to listen, I want each of you to get with your scene partners and find a place on the floor. If you are not memorized, you may go get your script, but I’d like to challenge each of you to try doing this activity without your scripts, even if that means paraphrasing some lines. You’ll get so much more out of this!Activity 1: ListeningStep 1: Explain that the students are going to do a listening activity I often do when I am directing a show. Make sure you are sitting directly across from your partner. If you have two partners, sit in a close triangle. Make sure you are so close that your knees are touching. Step 2: Now, each of you must keep eye contact with each other at all times. For those who are in groups of three, always be looking towards the person who is leading the scene. You are going to act out your entire script from this position. The point of this activity is to always be touching and looking at one another. DO NOT break eye contact. DO NOT stop touching. Those are crucial parts of this exercise. Do your best to look at them and really listen to everything they are saying. Note: This may be uncomfortable for some. Explain that sometimes theatre requires you to step out of your comfort zone, to break your bubble. If students are feeling particularly claustrophobic, allow them not to touch each other. Discussion Did you learn anything from this activity? If so, what? How was your responding different since you had to keep looking at them? Activity 4: Rehearsal and listening activity. Step 1: Now, the rest of the class period is for you to rehearse. However, I want to be able to gage how well you all are really listening to each other in your scenes. So, at some point during class, I want you and your partner(s) to come do this activity that we just did for me. If you are able to complete it, you will get some candy. If you’re not, keep practicing and come back! Conclusion/ Exit Card: Have the students answer the following question on a piece of paper in the last few minutes of class:I am completely memorized. TRUEFALSEI am coming to class prepared (have my script, a pencil, ready to work) TRUEFALSEHave them turn this in before they leave!Lesson 7: Sense/Emotional MemoryObjective: Students will be able to create believable emotions by completing a sensory/emotional memory activity with their scene. Starter: Write on the board, “How do you create real emotion on stage?”Allow students to answer. TransitionI decided to start off with this question because this is something many people struggle with. Often we think sadness looks like tears, and happiness is lots of smiles. While this is true, the emotion should look like it is being felt for the first time every time. Today we are going to do some activities that will help us to bring fresh emotion every time we run through our scene. Let’s hop on the stage!Instruction 1: Sense Memory. Once upon a time, there was this great theatre artist in Russia named Stanislavski. Much of the acting methods that we’ve studied in this unit have been based on his ideas because in many ways, he is the father of modern acting. He came up with a concept called sensory memory, or sensory recall. Has anyone ever heard of this before? Can someone take a crack at what this might mean? It means to use memories, or remembered feelings of sensory experiences as substitution for what the character is feeling. What are our 5 senses? Let me give you an example from my own acting experiences that might help. One time I had to pretend like I was feeling disgusted and ill for a scene I was doing. To do this, I recalled an experience with my older brother from when I was about 8 years old. I had just eaten one of my mom’s protein bars for breakfast. When I went outside to wait for the car pool, my brother and his friend were goofing off. He told me to open my mouth and close my eyes. I said, “no” to which he responded, “I’m your big brother. I’m never going to let anything happen to you.” Being convinced, I did what he said. He then shoved one of those blowing dandelions deep into my mouth. I then I almost threw up some nasty mix of dandy lion seeds and protein bars. I was able to not do that, but I had a moment of extreme feelings of sickness. When I use this memory, I don’t think of the whole situation. I don’t need to remember the betrayal, or the hate I felt. I just need to remember that moment of being sick. (Demonstrating while describing this.) I remembered that moment when I first felt the tickling of the plant in my mouth. It felt suffocating. I stopped breathing, and the breath felt like it was stuck at the top of my throat. (Show yourself gagging.) As I began to gag, my stomach clenched, causing me to hunch over more. But how do you recall a feeling like this while also doing your blocking and remembering your lines? Some things that people do areRemember the trigger. For me, it’s either that feeling of the dandelion, or even just the smell of protein bars. It brings it all back. Activity 1: PracticeStep 1: Let’s all get on our feet, and practice doing sensory recall. Take a second to close your eyes and think about a time when you were very cold. What happened to your body when you were cold? What parts of your body were cold? Did you shiver? Where did the shivering start from? Was it from deep in your chest? Step 2: On three, open your eyes, and begin walking as if you were cold. DiscussionWhat was your experience? Instruction 2: Emotional MemoryWe’ll do more of this in a minute. Remembering our sensory experiences is helpful, but what about our emotional experiences? We can recall those as well. Once again, it is better to think of that moment, or that trigger than to think of the entire memory. For example, I dated the same guy all of high school. My senior year, we had a nasty break-up. When I was in college I remembered once distinct instance when I called him and he didn’t answer. It was after a very tragic thing happened in my family, and I needed a friend more than ever. Instead of remembering the whole thing, I just remember sitting in the car and listening to the dial. Once again, my breathing was off, and felt short. I could feel my heart large and open in my chest, causing my shoulders and diaphragm to tense. I closed myself off physically. My mind was focused on only one thing, or my objective: to get him to answer or care. Then his voicemail came on, and then everything changed. I had put so much energy and tense feelings into believing he would answer. When he didn’t, it was released in large breaths. I used this when I had to play Catherine in Proof, in a scene where her father has just died and she thinks one of his former students is stealing his work. It was totally out of context in a way, but the feeling of betrayal was the same. Any questions? Activity 2: Emotional MemoryStep 1: Stand up and loosen up your body. It is best to start from a neutral place. No hands in your pockets. Feet shoulder width apart. Close your eyes and think of a time when something made you laugh really hard. Think of what happened in that experience. What was your breathing like? Did you cheeks hurt from so much tension? What about your stomach? Was there tension there? Did it feel like it was splitting? What was the trigger? Step 2: On three, we are all going to open our eyes and recreate the experience. 1-2-3!DiscussionWhat was your experience? How was this similar or different than sensory recall?Activity 3: Using memory in your scene. Step 1: I want you to think of a moment in your script that you feel you connect to. Maybe it’s a moment when your character is feeling angry, or when your character is feeling eager. I want you to connect it to something that has ever happened to you. Step 2: Now, with your partner, I want you two to act out that part. Decide who gets to go first. Now, the other partner should do their best to be in the moment and in the scene. Don’t allow yourself to break into giggles or get out of character. On three, we’ll all act out that part together. Ready? 1-2-3.. Step 3: Great! Now, switch and go to the moment partner B was thinking of. DiscussionHow well did it work? Did this inform your scene at all? Activity 4: RehearsalThe rest of the time is yours to rehearse. If you would like to pass of memorization or do the listening activity for candy, just find me and let’s do it! Conclusion: If you are not memorized, you HAVE TO be memorized for next class!Lesson 8: RehearsalObjective: Students will be able to make believable acting choices by rehearsing their final scene for another group as well as rehearsing. Starter: What is a warm-up I could use before I start practicing my scene?Allow students to answer. Discuss that by this point, the students should do a warm-up before beginning any drama work. It helps to get them in character. Activity 1: Students have the whole period to rehearse. Conclusion: Next time is previewing! Lesson 9: Rehearsal- PreviewObjective: Students will be able to make believable acting choices by previewing their final scene for another group as well as rehearsing. Materials: copies of RubricsPreparation: Print the thingsStarter: Come up with two questions about your scene. Allow students to answer. Try to answer, or ask the class to answer their questions. Activity 1: Explain that they will be previewing their scenes today for another group. Tell them that they will be given a score according to the actual grading rubric. The feedback and the rubric should help them see what they can improve on. After they do the preview, they should rehearse their scene to fix those things. Conclusion: (If finished with previews) Next time is performance!Lesson 9: PerformanceObjective: Students will be able to make believable and authentic acting choices in scenes by exploring appropriate vocality, movement, and motivations.Materials: Grading RubricsPreparation: Print the things. Starter: No starter! Warm yourselves up and practice for the next 10 minutes!Instruction 1: Giving feedback. While I am grading, I want you all to give verbal feedback to each other after each scene. What are some rules for feedback we should establish? Assessment: Perform Scenes!Conclusion: Give general notes and congratulate them! ................
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