BYU Theatre Education Database



Uta Hagen's Object Exercises by Meagan WrightObjective: Students will demonstrate their understanding of Uta Hagen’s Object Exercise by incorporating five of the ten exercises in a contentless scene.Class Level: BeginningMain Concepts: endowment, acting naturally, making entrances, etc.1994 National Standards: Acting by developing, communicating, and sustaining characters in improvisations and informal or formal productions.Description:This unit is based on Uta Hagen's book and acting exercises. They can be used for all levels of student experience from beginning to advanced.Author’s Note: Review pages 81-90 from Respect for Acting by Uta Hagen, to ensure continuity and consistency throughout the unit. Also consider having students use a journal to record thoughts and impressions throughout the unit.Lesson PlansLesson 1: The Basic Object ExerciseStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.Lesson 2: Three EntrancesStudents will demonstrate their understanding of Uta Hagen’s Three Entrances exercise by performing this exercise through a contentless scene.Lesson 3: ImmediacyStudents will demonstrate their understanding of Uta Hagen’s Immediacy exercise by performing immediacy in a 1-minute rehearsed search for a personal valuable.Lesson 4: The Fourth WallStudents will demonstrate their understanding of Uta Hagen’s The Fourth Wall exercise by performing a rehearsed telephone conversation, illustrating the function of the secondary fourth wall.Lesson 5: EndowmentStudents will demonstrate their understanding of Uta Hagen’s Endowment exercise by rehearsing and performing the exercise.Lesson 6: OutdoorsStudents will demonstrate their understanding of Uta Hagen’s Outdoors by performing the exercise.Lesson 7: History Part IStudents will demonstrate their understanding of Uta Hagen’s History exercise by choosing a historical-figure and researching that specific time period.Lesson 8: History Part IIStudents will demonstrate their understanding of Uta Hagen’s History exercise by performing a historically-accurate “simple task”.Lesson 9: Talking to Yourself and Character ActionStudents will demonstrate their understanding of Uta Hagen’s Talking to Yourself and Character Action exercises by teaching the exercise and facilitating a corresponding activity.Lesson 10: Conditioning ForcesStudents will demonstrate their understanding of Uta Hagen’s Conditioning Forces exercise by participating in a modified version of the theatre game “Freeze”.Lesson 11: RehearsalStudents will demonstrate their understanding of Uta Hagen’s Object Exercise by incorporating five of the ten exercises in a contentless scene.Lesson 12: Contentless Scene Final PerformanceStudents will demonstrate their understanding of Uta Hagen’s Object Exercise by incorporating five of the ten exercises in a contentless scene.1. The Basic Object ExerciseObjectiveStudents will demonstrate their understanding of Uta Hagen’s The Basic Object Exercises exercise by rehearsing and performing a 2-minute slice of their life.Materials Needed·?????????Respect for Acting?by Uta Hagen (preferably one per student)Lesson DirectionsAnticipatory Set/HookConduct a number of physical exercises (i.e. ab exercises, bicep exercises, squat exercises, etc.).??Ask students why athletes perform warm-up exercises (possible answers: for training, to warm-up, to improve craft, etc.) Inform them that just as athletes have specific warm-up exercises, Uta Hagen (renowned actor and director) has created exercises for actors. Transition to the first exercise by reading from Uta Hagen’s book,?Respect for Acting. (Detailed instructions below)InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 81-86.·?????????Throughout the reading, periodically asks students?o???to summarize what they’ve reado???for examples from their individual livesStep 2:·?????????Based on the reading, students must now decide a moment in their daily life when they can apply the principles discussed in the reading·?????????Specifically they need to think of something where they’re able to answer the following questions:1.???????Who am I?2.???????What time is it?3.???????Where am I?4.???????What surrounds me?5.???????What are the given circumstances?6.???????What is my relationship?7.???????What do I want?8.???????What’s in my way?9.???????What do I do to get what I want?(For additional examples or further clarification, read pages 91-94?)·?????????Once they determine the situation they want to use in their exercise, have students write a detailed description of the occurrence. (They will turn this in after they perform.)?Step 3:·?????????Once students have had sufficient time to practice the exercise and scene, have them perform·?????????To performers: emphasize that they are simply trying to “recreate 2 minutes of their life and bring it to presentation as if for the first time”CLOSURE:·?????????Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)·?????????Conclude by emphasizing “all technical variations of the ensuing exercises incorporate the elements you have examined in this one. Don’t omit any of them.” (page 94)AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsWrite up:?????????????????????????????????????????????5 ptTotal possible points:????????????????????20 pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability5?2. Three EntrancesObjectiveStudents will demonstrate their understanding of Uta Hagen’s Three Entrances exercise by performing this exercise through a contentless scene.Materials Needed·?????????Make necessary arrangements for “the errand”·?????????Respect for Acting?by Uta Hagen·?????????Contentless scenes·?????????Performance spaceLesson DirectionsAnticipatory Set/HookAssuming that appropriate arrangements have been made, ask a student (preferably a TA) to “run an errand” for you (e.g. turn in a paper at the front office, drop off supplies to Ms. So-and-so, etc.). While the student is gone, tell your class to observe “how” the student “enters” the classroom when he returns. Advise them to be inconspicuous in their observations as to not make the errand-runner feel awkward. After the student returns, discuss what the class observed. (Focus the discussion to reveal possible answers to “What he?just?did? What he is doing?now? and What is the first thing he wants?)InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 95-101.·?????????Throughout the reading, periodically asks students??o???to summarize what they’ve reado???for examples from productions they’ve seeno???for personal experiences they’ve hadGOAL: Students will have an understanding of1.???????how important a purposeful entrance is2.???????the exerciseAsk yourself: What did you just do? (do this offstage); What are you doing now? (do this while entering stage); What’s the first thing you want to do? (this question?enhances entrances with purpose).?For example: I?just?ate a cookie and so?now?I’m dusting the crumbs off my shirt, and I want a cold glass of milk to wash it down.Step 2:·?????????Have students find a partner; pass out a contentless scene to each partnership·?????????Once students have identified their “entrance”, instruct them to determine1.???????What they were doing right before the scene started2.???????What they are doing as the scene starts3.???????What their first object is once the scene starts·?????????As soon as the students determine this, have them act out these choices before moving into their contentless scene.·?????????Have them rehearse for 10-15 minutes their entrance exercise as they transition into their contentless sceneStep 3:·?????????Once students have had sufficient time to practice the exercise and scene, begin performing.·?????????To performers: emphasize focus on the entrance exercise·?????????To viewers: based on the entrances, try to answer the three questions posed in the reading (what just happened? what’s happening now? what do they want?)GOAL:?Students will1.???????improve their entrances by adding detail and purpose2.???????observe enhanced entrances through the addition of detail and purposeCLOSURE:·?????????After each performance, discuss possible occurrences that might have happened before the contentless scene started, based on the entrance·?????????Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Conclude by rereading the final paragraph from this chapter on page 101.AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsTotal possible points:????????????????????15pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability53. ImmediacyObjectiveStudents will demonstrate their understanding of Uta Hagen’s Immediacy exercise by performing immediacy in a 1-minute rehearsed search for a personal valuable.Materials Needed·?????????Candy bar·?????????Respect for Acting?by Uta Hagen·?????????Random object per student (e.g. lip gloss, cell phone, necklace, etc.)—have students provide this itemLesson DirectionsAnticipatory Set/HookAsk for a volunteer to wait in the hallway where they cannot hear/see in the classroom. Once he has left, have students hide the candy bar in a place where it’s not impossible to find but will require effort to locate. Before having the volunteer return, tell the students to observe his process, mannerisms, patterns, train-of-thought etc., in detail. Also demand absolute silence during the search.When the volunteer returns, give him the instructions:???????????????1.???????A candy bar has been hidden (if in a difficult spot, give him a general location)2.???????If he can find it in 1 minute, he can have the candy barOnce the minute is up, discuss both the observations of the viewers and the experience of the volunteer. Specifically look for observations regarding his process, mannerisms, patterns, train-of-thoughts, etc. (If helpful, record responses on the board.)Placing the candy bar in the exact same place, repeat the activity once again (the actor seeing where it’s hidden). This time however, have the volunteer focus on?recreating?the same process he experienced the first time. Encourage him to try and make it as genuine as possible, not prematurely giving away the moment of discovery.After his second attempt, compare observations both from the volunteer and the viewer.InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 102-105.·?????????Throughout the reading, periodically asks students?o???to summarize what they’ve reado???for examples from their observations of the hooko???for examples from productions they’ve seeno???for personal experiences they’ve hadGOAL: Students will have an understanding of1.???????the importance of immediacy2.???????important elements to the exerciseEmphasize: giving oneself high stake—hence the time constraints and REALLY “doing things” (i.e.?really?looking through the drawer, or?really?looking at the shelf)Step 2:·?????????Once students are paired up, assign one of them as partner-A and the other partner-B·?????????Partner-A will then hide the valuable of partner-B and give them 1 minute to try and find the item·?????????After the minute, have partner-B hide and time the search for partner-A’s valuableNOTE: Encourage students to really pay attention to their process as they look for the valuable·?????????When both partners have had a chance to search for their item,?on their own, put the valuable in the exact same spot and have them try to recreate their search processNOTE: Encourage students to?really?experience their search; reemphasize points from the readingStep 3:·?????????Once students have had sufficient time to practice the exercise and scene, begin performing.·?????????To performers: emphasize focus on really experiencing the search; not anticipating or planning ahead·?????????To viewers: look for moments when you forgot the actor knew exactly where the item was; look for moments when you could tell the actor knew where the item wasGOAL:?Students will1.???????improve their ability to avoid mechanical actions and give themselves “with innocence and trust to the moment”CLOSURE:·?????????Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)Conclude by restating the quote from page 105: “’A fine actor?forgets?what’s coming.’ He forgets even the next line he has learned until he needs it!”AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsTotal possible points:????????????????????15pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability54. The Fourth WallObjectiveStudents will demonstrate their understanding of Uta Hagen’s The Fourth Wall exercise by performing a rehearsed telephone conversation, illustrating the function of the secondary fourth wall.Materials Needed·?????????Respect for Acting?by Uta HagenLesson DirectionsAnticipatory Set/HookReview the previous 3 exercises students have participated in (The Basic Object Exercises, Three Entrances, Immediacy). Ask them to identify what they were and what they did. (Review pages 91-105 and previous lesson plans for exercises and descriptions.)InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 106-111.·?????????Throughout the reading, periodically asks students?o???to summarize what they’ve reado???for examples from productions they’ve seeno???for personal experiences they’ve hadGOAL: Students will have an understanding of1.???????the fourth wall as a?primary?function2.???????the fourth wall as a?secondary?function?Step 2:·?????????Have students find a partner they haven’t worked with while doing the previous exercises·?????????Inform them that they are going to create a telephone conversation between the two of them (page 110), deciding the:ü??Timeü??Placeü??Circumstancesü??Objectsü??Objectives·?????????Once they have determined the situation, have them sufficiently rehearse a resulting dialogue so they do not need to improvise the conversation·?????????As soon as the conversation has been solidified, have students work on interacting with the “secondary fourth wall” (i.e. as they are talking on the phone, they need to be aware that there is a fourth wall; however, the moment they directly acknowledge an imaginary object on/against their fourth wall, it has become a primary fourth wall—which they want to avoid)·?????????Give them 10-15 minutes to create/rehearse this activity?Step 3:·?????????Once students have had sufficient time to practice, begin performing.·?????????To performers: encourage them to maintain a secondary 4th?wall·?????????To viewers: see if they notice when the fourth wall becomes primary instead of secondaryGOAL:?Students will1.???????Be able to incorporate this exercise so that they feel “relieved of the old agonizing burden of audience intrusion” (Hagen, 111)CLOSURE:Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsTotal possible points:????????????????????15pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability55. EndowmentObjectiveStudents will demonstrate their understanding of Uta Hagen’s Endowment exercise by rehearsing and performing the exercise.Materials Needed·?????????Respect for Acting?by Uta Hagen·?????????Random objects·?????????A medium-size piece of cloth per studentLesson DirectionsAnticipatory Set/HookPlay the game?This is a What?How to play: Stand in a circle. Whoever goes first will manipulate a random object into something it is not. As they are performing this task, they will say “This is a (recreated object)”. The rest of the group will respond with “a what?”. The originator will repeat the object’s name, with the same response from the group: “a what?”. The originator will identify the object’s name once more and the group will response with an “ohhh, a (recreated object)”. Repeat this process, allowing someone else to change the object into something else, etc.For example:A: (while rocking a piece of cloth) This is a baby.B-Z: a what?A: (still rocking the cloth) A baby.B-Z: a what?A: (rocking) A baby.B-Z: Ooohhh, a baby.(Next person)B: (while rubbing the same piece of cloth on his face) This is a face towel.A, C-Z: a what?B: (continuing action) A face towel.A, C-Z: a what?B: A face towel.A, C-Z: Ohhhh, a face towel.ETC.InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 112-117.·?????????Throughout the reading, refer back to the hook and periodically asks students?o???to summarize what they’ve reado???for examples from productions they’ve seeno???for personal experiences they’ve hadGOAL: Students will have an understanding of1.???????the exercise2.???????important elements to successfully executing the exercise (e.g. avoid pantomiming, being specific in choices, etc.)?Step 2:·?????????Pass out a cloth to each student·?????????Inform them that they are going to reenact their nightly chores (for about 90 secs); however, they must manipulate the piece of cloth into 3 different props they would use during this routine (For example, the cloth becomes a toothbrush, face towel, and blanket)·?????????Give them 10-15 minutes to decide and rehearse the exerciseNOTE: Encourage students to be detailed in their interactions with the cloth so viewers know?exactly?what the prop is?Step 3:·?????????Once students have had sufficient time to practice, begin performing.CLOSURE:Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsTotal possible points:????????????????????15pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability56. OutdoorsObjectiveStudents will demonstrate their understanding of Uta Hagen’s Outdoors by performing the exercise.Materials Needed·?????????A variety of instrumental songs, revealing different moods·??????????Respect for Acting?by Uta Hagen·?????????Here I Stand?worksheetLesson DirectionsAnticipatory Set/HookHave students close their eyes. Inform them that you are going to play a song. Invoked by the song that is playing, have them imagine a specific place where they could be. Encourage them to be very detailed in this imagery. Where are they? Who else is there? What other objects are there? What does is smell like? What can you see? What is the temperature like? After a couple of minutes, discuss some of the images they imagined. Repeat this exercise and discussion for a few different songs.InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 125-128, starting at “PART TWO”.·?????????Throughout the reading, periodically asks students?o???to summarize what they’ve reado???for examples from their observations of the hooko???for personal experiences they’ve hadStep 2:·?????????Pass out the?Here I Stand?worksheet·?????????Using one of the images they envisioned during the hook, have students sketch out their surrounding in as much detail as possibleNOTE: have students eliminate physical or emotional crises they could potentially have to deal with (see page 126 in?Respect for Acting?for elaboration)·?????????Once their environment is clearly established, inform them that they are standing there, waiting for someone·?????????Then have them spread out in the space and try the exercise prescribe by HagenStep 3:·?????????As students are engaging in the exercise, have 3-5 students at a time inconspicuously walk around the room and observe their classmates·?????????When the have made their round, have them return to the exercise and instruct 3-5 more students to observe their classmates·?????????Continue this process until everyone has the chance to observe·?????????To performers: emphasize that this exercise is to practice what you’re doing when you’re just “standing and waiting”CLOSURE:·?????????Once everyone has participated and observed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)·?????????Conclude by encouraging them to notice what they do, and what others do, when they “stand and wait”AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsHere I Stand?worksheet????????????????????????????????5ptsTotal possible points:????????????????????20pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability5?7. History Part IObjectiveStudents will demonstrate their understanding of Uta Hagen’s History exercise by choosing a historical-figure and researching that specific time period.Materials Needed·?????????Princess Diaries?movie (or a movie clip that shows two very different characters?based on their assumed history)·?????????5 Markers/chalk·?????????Necessary arrangements for computer labLesson DirectionsAnticipatory Set/HookShow students the clip from?Princess Diaries?when Queen Clarisse Renaldi is informing Mia Thermopolis over tea that she is the rightful heir to the Genovian kingdom. Have students pay specific attention to their differences in manner, speech, and perspective.InstructionStep 1:·?????????At the conclusion of viewing the clip, have students share what they’ve observed.·?????????Based on their comments (e.g. Queen Clarisse: proper, healthy posture, educated vocabulary; Mia: unrefined, gawky, slang vocabulary), ask students why they think that is. (Desired answer: their?history)Step 2:·?????????Inform students that the next exercise is called “History”·?????????Give five students each a marker·?????????Have them write a historical figure on the board·?????????When they are done, have them pass the marker to a classmate and instruct them to do the sameStep 3:·?????????Once everyone has had the chance to identify a historical figure on the board, have students choose a historical figure they would like to portray (person must have livedbefore?1950)·?????????They?do not?need to use a person from the board—it is up there in case anyone is struggling to think of a historical figure·?????????As soon as everyone has chosen someone, inform them that they will now be going to the computer lab to research the time period of that figure (e.g. If I chose Benjamin Franklin, I would research the 1700s)Step 4:·?????????Take students to the computer lab·?????????Pending on time, students will ideally have 45 minutes at the computer lab·?????????Have students return to the classroom for final instructionsCLOSURE:·?????????Assign HOMEWORK:o???Students will then choose a “simple task” to perform as their historical figureo???Their simple task should be influenced by their researcho???In addition to performing this task as the historical figure, they must turn in a paper that identifies 1) the historical figure 2) time period and 3) three period-specific facts they learned that has directly influenced the way they perform the “simple task”For example: If I chose a figure that came from a time period?before?indoor plumbing was invented, when I perform my simple task of getting ready for the day, I would wash my face from a bowl of water—not?the faucet·?????????Homework DUE DATE: next class periodAssessmentParticipation:?????????????????????????????????????15ptsTotal possible points:????????????????????15 pts8. History Part IIObjectiveStudents will demonstrate their understanding of Uta Hagen’s History exercise by performing a historically-accurate “simple task”.Materials Needed·?????????A 10-15 music clips from a variety of genres (i.e. Latin, Hip-hop, Classical, Country, etc.)·?????????Sufficient space to create a catwalkLesson DirectionsAnticipatory Set/HookIf possible, arrange the room to create a catwalk. Have students line up in two lines. Students will then have to walk down the catwalk (think of fashion models), modifying their walk to reflect the specific song that is being played. Encourage students to explore different pace, movement, height, etc. based on the song. Switch to a different song every 30 seconds or so.InstructionStep 1:·?????????At the conclusion of the hook, ask students to connect their experience to the discussions and assignments from last class periodDesired answers: Student’s “history” with each song results in unique walk; History of time period influences music; Specific song invokes specific movement, etc.?Step 2:·?????????At the conclusion of the discussion, emphasize the power of “history”·?????????Then proceed to have each student perform their simple task·?????????At the conclusion of their performance, have them introduce who they were, what time period they were coming from, and the three facts that influenced the way in which they performed their task·?????????Collect the written portion once they have completed their presentationCLOSURE:·?????????Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsWrite up:?????????????????????????????????????????????5 ptTotal possible points:????????????????????20 pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability59. Talking to Yourself and Character ActionObjectiveStudents will demonstrate their understanding of Uta Hagen’s Talking to Yourself and Character Action exercises by teaching the exercise and facilitating a corresponding activity.Materials Needed·?????????Candy·?????????Respect for Acting?by Uta Hagen (preferably one per student)Lesson DirectionsAnticipatory Set/HookReview the exercises up until this point with the students. Ask them to identify the exercises and the correlating activities. Toss a candy to those who raise their hand and provide correct answers.InstructionStep 1:·?????????Split the class into two equal groups·?????????Assign the first group the exercise “Talking to Yourself” (pg 119-123) and the second group “Character Action” (pg 139-142)·?????????Pass out the books (Respect for Acting) to each studentStep 2:·?????????Inform groups that?they?will now be the teacher·?????????As a group, they will read about the exercise they were assigned·?????????Then they will have to conduct the exercise prescribed by Hagen or create another activity that will help teach the principles of the exercise·?????????Give them about 15 minutes to read and prepareStep 3:·?????????At the conclusion of the 15 minutes, each group will take 3-5 minutes to explain what the exercise is to the rest of the class (i.e. the other group)·?????????Following their explanation, they will take 12-15 minutes to conduct the determined exercise/activity·?????????At the conclusion of their presentation, as the presenting group and the receiving group what they learned, what they liked, what they didn’t like, etc.Step 4:·?????????Have the groups switch and allow the second group to follow the same pattern of presentation?Closure:·?????????Discuss this process of learning and teaching the different exercises (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)·?????????With the last 5 minutes of the period, have students write on a piece of papero????3 things they learned from the?other?groups presentationo???1 thing they can do to improve their craft using the exercise they studied/presentedAssessmentParticipation:?????????????????????????????????????10ptsWrite up:?????????????????????????????????????????????5 ptsTotal possible points:????????????????????15 pts10. Conditioning ForcesObjectiveStudents will demonstrate their understanding of Uta Hagen’s Conditioning Forces exercise by participating in a modified version of the theatre game “Freeze”.Materials Needed·?????????Respect for Acting?by Uta Hagen (preferably one per student)·?????????Slips of paper identifying a number of different conditioning forces (e.g. headache, cold, late, etc.)·?????????Hat or bowlLesson DirectionsAnticipatory Set/HookPlay the game?Freeze.How to play:?Two students improvise a scene using extreme physicality. At any given moment, a student viewing the scene can call out “Freeze”. The performers must freeze in place, and then the student that called out freeze can replace either performer. He must take the exact position of the original performer’s position. Once situated, he will then start up the scene again, changing the narrative of the scene.InstructionStep 1:·?????????As a class, read Uta Hagen’s?Respect for Acting, pages 129-133.·?????????Throughout the reading, periodically asks students?o???to summarize what they’ve reado???for examples from their individual livesStep 2:·?????????To warm up the students to the exercise, slowly read aloud pages 132-133 (starts with “Possibly you imagine that the apartment is overheated”) while students do what is being dictated.Step 3:·?????????Once students have had sufficient time to practice the exercise and scene, inform them that they will be playing?Freeze?again.·?????????This time however, they will draw from the hat/bowl a conditioning force they need to implement in their improvised scene.·?????????When someone calls “freeze”, they will draw an additional force and have to act with both forces.·?????????When the third person calls freeze, they will once again draw a force so that they are improvising with three forces·?????????Continue this game until everyone has had the chance to participateNOTE: If students are capable, continue to add forces. Otherwise, start over after three conditioning forces are implemented.CLOSURE:·?????????Once everyone has performed, discuss their process in doing this exercise (Possible questions: what did this exercise do for you? How did it help you? How do you think it can help the performance overall?, etc.)·?????????Conclude by emphasizing “The order in which you stagger and rehearse the conditions does have relevance. Start with the one you think has least importance so it can stay there in your bones as a reflex, and end up with the one to which you have to give the most conscious attention. In this way you will avoid having to ‘think’ of too many things at once.” (pg 133)AssessmentParticipation:?????????????????????????????????????10ptsImplementation of Exercise:???????5ptsTotal possible points:????????????????????15 pts?Implementation of Exercise POINT VALUEDescription of Qualifying StandardPointsBarely understands the exercise and its application to improving one’s acting ability1Sufficiently understands the exercise and its application to improving one’s acting ability3Understands the exercise and successfully applies it to improve one’s acting ability5?11. RehearsalObjectiveStudents will demonstrate their understanding of Uta Hagen’s Object Exercise by incorporating five of the ten exercises in a contentless scene.Materials Needed·?????????(Optional) Pre-assigned partners·?????????Contentless scenes·?????????Slips of paper identifying all ten object exercises (identified 1-10)·?????????Bowl/hatList from 1-10 on the boardLesson DirectionsAnticipatory Set/HookAssign partners and pass out contentless scenes. Go around with the bowl of exercises and have each group draw 5 slips of paper (indicating the object exercise they are to incorporate). Have them write the number on their scene and then refer to the board for the correlating exercise (this helps the process go by quicker).??InstructionStep 1:·?????????Give students the remainder of the period to determine how they are going to implement each exercise and rehearse their contentless scene·?????????Inform them that they will be performing these scenes next class period·?????????They also must be memorizedClosure:·?????????ASSIGN HOMEWORK: Next class period they are to come fully prepared and memorized to perform their contentless sceneThey must also turn in a piece of paper identifying the five object exercises they will be focusing on and a brief explanation of how they are going to do thatAssessmentParticipation:?????????????????????????????????????10ptsTotal possible points:????????????????????10 pts12. Contentless Scene Final PerformanceObjectiveStudents will demonstrate their understanding of Uta Hagen’s Object Exercise by incorporating five of the ten exercises in a contentless scene.Materials Needed·?????????Contentless scene grading sheet/write-upLesson DirectionsAnticipatory Set/HookConduct physical warm up exercises (e.g. stretches, jumping jacks, etc.). Conduct a couple of vocal warm ups (e.g. tongue twisters, scales, etc.).InstructionStep 1:·?????????Give students 5 minutes to review their scenes, collect props, costumes, etc.Step 2:·?????????Collect homework assignment·?????????Have each group perform their contentless scenes·?????????At the conclusion of each scene ask viewers for observations of what exercise they saw being executed·?????????Have performers expand the discussion by informing audiences of other choices that were not as obvious (NOTE: subtly is good! It’s part of the exercises)Closure:·?????????Inform students that this concludes the unit of Uta Hagen’s?Object Exercises·?????????Ask for feedback on what their process was like (Possible questions: What exercise was helpful? What exercise was hard? What exercise produced greatest improvement? What exercise challenged you most?)AssessmentWrite up:?????????????????????????????????????????????5 ptsPerformance:????????????????????????????????????20 ptsTotal possible points:????????????????????25 pts ................
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