Marketing Fundamentals - BUAD 307



THTR 472-Professional Preparation for Actors

(2.0 Units)

Fall 2016- Friday-2:00-4:50 PM

McClintock Building (MCC)-Room #111

Instructor: DAN SHANER

Office: Jefferson #208

Office Hours: Fridays-10:00-1:00 PM and by appointment

E-mail: dan@ or dshaner@usc.edu

Phone: 323-533-2463

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Course Description and Overview

The purpose of this course is to develop a basic understanding of the tools needed to successfully build a career as an actor at a professional level. Develop interviewing skills, investigate issues related to working in the acting industry such as casting, talent representation, and unions. Explore available resources to actors such as websites, trade publications and educational and training opportunities; examine the basic economic aspects associated with pursuing an acting career; formulate a short-term budget for acting career needs; create a professional acting portfolio; and develop short-term and long-term career plans. Additional topics of discussion will include networking, building and maintaining a social media presence, self-taping and self-submitting for auditions, the anatomy of the television and film business, from origination of a project to final filmed product, the myths and realities of “pilot season”, and the mind/body connection as it relates to the health and well-being of the actor.

We will also develop and investigate auditioning skills in a variety of theatrical and media venues, including identifying your “type”; sharpen cold reading skills; analyze personal habits and fears that might inhibit effective auditioning skills; collect and prepare appropriate audition materials; and integrate acting skills into fully realized audition pieces.

Learning Objectives

To provide each actor-student with practical as well as skills-based preparation for a professional career, to integrate instructors’ direction, criticism and feedback in a positive and professional manner, demonstrate effective oral and written communication skills through reports and assignments, and develop confidence and professional decorum in a collaborative environment.

Description of Grading Criteria for Course

A = Student has fully demonstrated at a high level of competence all of the following:

1. understanding of the practical requirements of pursuing a professional acting career

1. ability to evaluate and make use of available resources

1. effective professional audition and interview skills

1. development of personal portfolio (headshot/resume)

1. development of personal and professional career plans

1. discipline and professionalism in all areas

In the addition to technical competence, a student receiving an “A” grade should also have demonstrated creativity, originality and imagination in his/her approach to the work.

B = Student has achieved the goals stated for the course, certain skills being stronger than others, but without consistent application.

C = Student comprehends the goals intellectually, but is not able to apply them on a consistent basis and does not use his/her creativity and imagination fully. Student may not fully demonstrate a professional and disciplined approach to the work.

D = Student lacks comprehension of the goals and/or is inadequate in achieving them. Student has serious problems with professionalism and/or discipline.

F = Student fails to comprehend the goals stated for the semester.

The instructor reserves the right to take into account studentship in determining the final grade.

+/- may be added to any grade

For Course Assignments:

All assignments must be typed and printed out and are due when requested. Late work will not be accepted. Please do not email assignments unless prior arrangements have been made.

Grading Criteria: A indicates work of excellent quality; B of good quality; C of average quality; D of below average quality; and F indicates inadequate work.

Grading Breakdown

Course shall contain at least three assignments, projects, exams, papers or exercises which shall be evaluated during the semester and which shall provide an analytical record of each student’s progress in the course.

• Attendance shall be weighted at no more than 15% as per University Guidelines.

• There shall be no unexcused absences.

• No late assignments, projects, exams, papers, or exercises shall be accepted unless advance extensions have been arranged between the student and the teacher or unless exceptional circumstances occur.

ADVANCED NOTICE: You will be performing two monologues as part of your final MOCK CASTING/AGENCY INTERVIEWS, conducted on our last day of class. You may choose between a real Casting Director from your Casting Hit List, or a real Agent/Manager from your Agent/Manager Hit List. I will be playing the role of that person. This will be conducted as a real interview, and you will be expected to be dressed and researched accordingly.

STAGE:

1 monologue appropriate for the Stage: contemporary/classical, comedic/dramatic, 2 minute max. Use only published playwrights. DO NOT USE song lyrics, television or film material. DO NOT write your own material. BEGIN NOW. I will assist you in choosing one of the two to use in your final interview, and we will begin coaching in week 6

CASTING GENERALS/AGENCY INTERVIEWS:

1 contemporary monologue for use in taping or a possible agency interview or casting ‘general’, 2 minutes max, dramatic or comedic. This time, any medium is appropriate – stage, television, film, literary cuttings. DO NOT write your own material. DO NOT use song lyrics. I will assist you in choosing one of the two to use in your final interview, and we will begin coaching in week 7.

Additional Policies

All students will be expected to bring and keep a separate notebook or tablet for lecture notes. Please keep all assignments and homework returned to you. CELL PHONES ARE NOT ALLOWED IN CLASS except for students with emergency situations discussed privately and approved by instructor. Students are requested to arrive early (which means on time) to class.

Course Schedule: A Weekly Breakdown

(NOTE: Dates and discussions subject to change, especially in regards to availability of Guest Stars. Assignment due dates will not change without advanced notice.)

WEEK ONE

8/26

SELF AWARENESS, GOALS AND RESOURCES, ‘BREAKING THE ICE’

• Teacher Introduction. Review Syllabus and materials.

• Lecture/Discussion/Q&A on “The Business” and what it takes to succeed as an actor

• Review types of Auditions and Casting Situations

• EXERCISE: Introducing yourself, being comfortable in the room, telling “your” story. Standing out in the crowd, presenting yourself “dynamically”

• Discussion and explanation of Casting Director “Hit List”

• HOMEWORK: Begin looking for monologues appropriate for the Stage, with attention to length and guidelines discussed. We will start choosing and coaching scenes in week 6

• CD Hit List, including addresses and contact info if available (typed, printed out),

HIT LIST DUE FIRST CLASS OF WEEK 2 (9/2)

WEEK TWO

9/2

DISCUSSION AND REVIEW OF ‘HIT LIST’ HOMEWORK

• The new reality of production and where projects shoot.

• The importance of targeting work.

• LA hires vs. hires in local markets.

PERCEPTION EXERCISES AND IDENTIFYING THE ROLES FOR YOU

• Discussion/Q &A: Who are you and what do you project? Type casting and is it good or bad.

• EXERCISE: How others perceive you vs. how you perceive yourself. What roles are you suited for right now?

• Choosing the right audition material

WEEK THREE

9/9

MARKETING TOOLS OF THE TRADE – Headshots, Resumes, Cover Letters, Demo Clips and Reels & other marketing tools and services

• Samples of standard Headshots, Resumes and Cover Letters sent to Agents, Managers and Casting Directors.

• Lecture/Discussion: Resumes. How to write a resume.

• Headshots. How to find, interview, and book a photographer. Pointers on shooting your headshot. Post development, printing, costs and turnarounds.

• How to write a Cover Letter

• HOMEWORK: plug in written resume to template, print and turn in. and are also good resources. Do NOT email homework.

• Research 3 photographers, type out and print list of name, contact info and questions to ask photographer.

ALL ASSIGNMENTS DUE FIRST CLASS OF WEEK 4 (9/16)

WEEK 4

9/16

REVIEW AND DISCUSS HOMEWORK ASSIGNMENTS FROM WEEK 3

CONTINUE MARKETING TOOLS OF THE TRADE (as laid out in Week 3)

• Lecture/Discussion: Websites for Electronic Listing and Casting Submissions - how to list and submit yourself for acting work, both Union and Non-Union.

• Review resources and methods of building an actor’s reel.

• Lecture/Discussion and resources for building an actor’s website.

• Self-taping and Self- Submissions

COMMERCIAL AUDITIONS

• Review cold reading techniques and exercises used for Commercial calls, featuring a special guest star, veteran actor of many national commercials.

• Review the order and process of a standard Commercial call, from sign-in to goodbye, including discussion and Q&A with a special guest star, veteran Casting Director of hundreds and hundreds of commercials.

WEEK FIVE

9/23

CASTING

• Lecture/Discussion: Casting Directors.

• How the casting process works in Film and Television and New Media. Differences and similarities within mediums.

• Networking with Casting Directors, getting auditions.

• Special guest star speaker from Breakdown services?

AUDITIONING FOR TELEVISION AND FILM

• Lecture/Discussion: How to prepare for an audition from the time you get the appointment until you walk out of the room.

• Dos and don’ts, questions to ask

• The Actors Survival Kit

• Review Cold Reading Techniques for television and film.

• Self-taping Do’s and Don’ts

WEEK SIX:

9/30

AGENTS/MANAGERS/REP

• Lecture/Discussion: Talent Reps. (Agents and Managers). Categories and choosing which agent is right for you. Exploring differences and similarities in what Managers and Agents do.

• Networking, finding and keeping an Agent or Manager.

• Special Guest Star speaker?

CHOOSING AND COACHING STAGE MONOLOGUES

• Choose stage monologues and begin coaching in preparation for final interview.

• HOMEWORK: Evaluate your priorities on the type of representation you’re seeking. Use free resources (such as the Callsheet, IMdB, Backstage and/or agency/manager books available for purchase at Samuel French) and research talent agencies. Choose 3. Write out their details (agent name, agency name, address, etc.) and why they’d be right for you. Type it out, print and turn in.

• Using the basic cover letter in Week 3, write a cover letter to one of the agents, seeking representation, in full professional format, with their address. Type it out, print and turn it in.

DUE FIRST CLASS OF WEEK 7 (10/7)

WEEK SEVEN

10/7

REVIEW AND DISCUSS HOMEWORK FROM WEEK 6

THE MIND AND BODY CONNECTION

• Lecture/Discussion: The Mind/Body Connection, how we treat/what we put into our bodies and the effect it has on our well-being as an actor. Featuring special guest star?

CHOOSING AND COACHING FILM/TV MONOLOGUES

WEEK EIGHT

10/14

THE GENESIS OF A TELEVISION SHOW

• Lecture/Discussion and Q & A- How does a show get on the air, from germ of an idea to finished product. The myths and realities of pilot season.

• What happens when you are hired.

• In class review of day-out-of-days, one-line shooting schedules and call-sheets.

WEEK NINE

10/21

REASONS NOT TO BE AN A@#HOLE

• Lecture/Discussion: Professional decorum on set and in auditions and why it matters.

WEEK TEN

10/28

UNIONS-

• Lecture/Discussion: SAG/AFTRA and EQUITY. How to get in.

• What they can do for you.

• Reasons to join or not.

• Special guest star representative from the Unions?

WEEK ELEVEN

11/4

ECONOMICS OF ACTING: $$. SCAMS

• Lecture/Discussion/In Class Assignment: Budgeting for your basic daily needs. Budgeting for your professional needs. Services and Training. Actor jobs. Insurance. Financial planning and Money Management. Taxes and deductions. Techniques used to save for ‘the big bite’ in professional tools, and establishing credit. Development of other skills to increase marketability as an actor.

• SCAMS and legitimate workshops.

• Run through and refine scenes for final interviews.

WEEK TWELVE

11/11

GOALS: LONG AND SHORT TERM

• Lecture/Discussion: If you don’t have a plan, then by default you are planning to fail. What Kind of Actor Am I? Visualize and plan your approach into the venue that you seek. (Stage, Film/TV, etc.).

• 6 month plan

• 1 year plan

• 3 year plan (We will write all these out in class)

• Go over Top Ten reasons actor’s fail.

• Finish outstanding business from semester curriculum.

WEEK THIRTEEN

11/18

SOCIAL MEDIA IN THE MODERN AGE OF FILM AND TELEVISION

• Lecture/Discussion: The importance of increasing your presence on on-line platforms such as You Tube, Vine, Twitter, Instagram, Facebook, Snapchat, etc.

• Making your own content.

• Building your fan base.

• Possible Special Guest Star?

WEEK FOURTEEN

11/25 THANKSGIVING BREAK

WEEK FIFTEEN

12/2 LAST CLASS

• Final Mock Agent/Manager/Casting Director interviews. Come dressed for success and bring pic/res/and a good handshake. You will be performing your monologues as part of you interview. DO NOT BE LATE. DOORS WILL BE LOCKED AT 2 PM AND WILL NOT RE-OPEN UNTIL 4:50. IF YOU MISS INTERVIEW, YOU WILL NOT BE ABLE TO RE-SCHEDULE AND YOUR FINAL GRADE WILL BE AFFECTED.

Statement on Academic Conduct and Support Systems

Academic Conduct

Plagiarism – presenting someone else’s ideas as your own, either verbatim or recast in your own words – is a serious academic offense with serious consequences.  Please familiarize yourself with the discussion of plagiarism in SCampus in Section 11, Behavior Violating University Standards .  Other forms of academic dishonesty are equally unacceptable.  See additional information in SCampus and university policies on scientific misconduct, .

Discrimination, sexual assault, and harassment are not tolerated by the university.  You are encouraged to report any incidents to the Office of Equity and Diversity or to the Department of Public Safety .  This is important for the safety whole USC community.  Another member of the university community – such as a friend, classmate, advisor, or faculty member – can help initiate the report, or can initiate the report on behalf of another person.  The Center for Women and Men provides 24/7 confidential support, and the sexual assault resource center webpage sarc@usc.edu describes reporting options and other resources.

Support Systems

A number of USC’s schools provide support for students who need help with scholarly writing.  Check with your advisor or program staff to find out more.  Students whose primary language is not English should check with the American Language Institute , which sponsors courses and workshops specifically for international graduate students.

The Office of Disability Services and Programs provides certification for students with disabilities and helps arrange the relevant accommodations.  If an officially  declared emergency makes travel to campus infeasible, USC Emergency Information provide safety and other updates, including ways in which instruction will be continued by means of blackboard, teleconferencing, and other technology.

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USCSchool of Dramatic Arts

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