Lots of fun:


http://www.openculture.com/2013/09/what-shakespeare-sounded-like-to-shakespeare.html

Lecoq

Jacques Lecoq is regarded as one of the twentieth century's most influential teachers of the physical art of acting. He was born 15 December in Paris, France and participated and trained in various sports as a child and as a young man. During World War II he began exploring gymnastics, mime, movement and dance with a group who used performance to express their opposition to the German occupation of France. After the war, Lecoq then studied mime with Jean Daste, (a former pupil of the acclaimed teacher of mime, Jacques Copeau) who introduced him to masked performance and Japanese Noh theatre. He left Grenoble and spent six months teaching mask work in Germany, before accepting another teaching position at the University of Padua in Italy. He spent eight years in Italy teaching and working as a creative practitioner and discovered the traditional and popular Italian theatre style of commedia dell'arte as well as the tradition of masked chorus work developed in Ancient Greek tragedy. He returned to Paris in 1956 and opened his own school, the Ecole Internationale de Mime et de Theatre which has had many homes in Paris over the years but has continued to attract large numbers of students from all over the world. Lecoq also toured with demonstrations of his physical art of the actor and periodically conducted classes in Britain that had an enormous impact on the development of British theatre. He was awarded the prestigious Legion d'Honneur in 1982 and continued to take classes at his school right up to the day before his death on January 19, 1999.

Lecoq's work and research has mainly been disseminated through the training he has conducted with the many students who have attended his classes and demonstrations overseas or his classes at his school in Paris. This may be why a myth is often circulated that suggests his methods were somehow secretive or reserved only for his students. However, he has published numerous articles and interviews, edited a text in French entitled Le Theatre du Geste (1987) and his book, The Moving Body (Translated and published in English posthumously in 2000) outlines a number of his philosophies and approaches. The texts he has produced also indicate why it is so difficult for students to pass on his teachings. They explain that the training is very practical and very specific for each student because every actor's body and mind has accumulated different tensions and conditioned responses. Lecoq's training methods therefore focus on releasing preconditioned views of acting and bringing an actor's attention back to ‘playing.' In his last publication he explained that: “There is a huge difference between actors who express their own lives, and those who can truly be described as players…They have learned not to play themselves but to play using themselves. In this lies all the ambiguity of the actor's work.” (61) The strong emphasis on improvisational activity at the school reinforces the central significance of play and students are introduced to physical exercises, masks and popular theatre that reinforce the distinction between playing and being. Lecoq and those who now direct training at the school work on the premise that: “A true understanding and knowledge of theatre inevitably requires a profound experience of play” (97).

Like Konstantin Stanislavsky, Jerzy Grotowski and Eugenio Barba, Lecoq created a place to study and teach what he believed were important principles of acting. Lecoq, like these other figures, described his research into the human body and its movement as his ‘passion' and he pursued this work throughout his life. He saw his teaching as ‘a path to his own greater knowledge and understanding of movement' and said that his work with students helped him to discover that ‘the body knows things about which the mind is ignorant' (9). Masked work had a powerful influence on Lecoq's approach to performing and he was intrigued with the simple and direct way masks could amplify the physical aspects of a performer and be used to communicate with all kinds of audiences. His research and analysis of masks, movement, body language and gesture has had a huge impact on the development of contemporary theatre and his work has popularised genres such as the clown, bouffons, commedia dell'arte, tragedy, and melodrama.

LOOK/STEP/REACH/GRAB

Here's the sequence for Movement I students to practice:
look
step
reach
grab
look to it
step to it
throw it away
look back
let it go
(repeat on the other side)

vocalarts workbook and dvd

Here's a link to find good used copies (around $17) of the book we used in Voice II this week, if it interests you.  I recommend it.
http://www.amazon.com/gp/offer-listing/0713688246/ref=tmm_pap_used_olp_sr?ie=UTF8&condition=used&sr=1-1&qid=1377267216

Voice II Syllabus

THEA 2903/TH *303* – Special Topics: Voice and Diction II

Tuesday and Thursday 2:00-3:20/UNG Rehearsal Hall/Fall 2013

 

Instructor:                   Elisa Carlson   

Office:                         GSC CE/Performing Arts Building 103
Phone:                         678-717-3579
Email:                         ecarlson@gsc.edu
Office Hours:              Tuesday/Thursday TBA
                                 

A.          COURSE DESCRIPTION AND OUTCOMES:

This course furthers voice and speech work for the actor begun in Voice I.  Students will continue to practice exercises for centering the breath and body, locating and releasing vocal tension, exploring pitch, tone and range, working towards a free and well-placed voice.  Students will review the International Phonetic Alphabet and practice the sounds of expressive American speech for the stage.  Students will practice the points of good speech for classic plays.  Use of text will begin with Shakespeare, leading to work with Modern and Contemporary scripts.

REQUIREMENTS AND ENVIRONMENT:

Please arrive on time, properly dressed in clothing that allows for freedom of movement (no jeans, or any pants or sweats that drag the floor).  We will often work in bare feet or socks, or any kind of soft-soled, flexible shoe (individually approved by me).  No street/dress shoes, boots, sandals or flip-flops.  Please remove jewelry and pull your hair away from your face.  I will post handouts and comments about our class work on this blog:  http://gtavoicemovementclassesblog.blogspot.com/

Please inform me of any physical concerns and restrictions you may have so that I may adapt exercises for your safety throughout the semester.  You should expect to be on your feet for part of each class period, working closely with classmates and your instructor.  If you are uncomfortable with the traditional hands-on approach of a voice instructor, please let me know.  I may use my hands to guide your alignment and check your ribcage for breath release from time to time. 

B.        GRADE SCALE
100-90             A                    
80 – 89            B
70 – 79            C
60 – 69            D
00 – 59            F

 

C.        EVALUATION PROCEDURE (subject to change)

             Classroom Participation/Progress in Exercises:                  35%

            Quizzes/Homework Assignments                                          15%
            Classical Scene Presentation/Transcript:                             25%
            Modern Scene Presentation/Transcript:                              25%

D.        EVALUATION POLICY

Full classroom participation leading to significant individual progress is your main assignment for grading in this class. Everyone will come into class at a different point in their growth as actors.  Class is not competitive, and students are expected to accept and support each other’s personal artistic journey throughout the group exercises and during individual presentations.  That being said, a high standard will be set for all written and performance work.

E.        ATTENDANCE POLICY

 Attendance Policy:  Attendance and full classroom participation is mandatory.  All students will be accounted for on a daily basis via a role.  Each missed class after two unexcused absences will result in the lowering of the final grade by one letter grade for each missed class.  Two tardies will equal one unexcused absence.  If you miss class, or are late, you will fall behind immediately.  It is up to you to contact your classmates and cover any missed material.  No matter how strong your Quiz, Homework and Final grades may be, you will be marked down significantly if you have missed class frequently or are frequently late.  DON’T MISS CLASS AND DON’T BE LATE.  Consider timeliness and attendance good practice for the profession of acting. 

Excused Absences:

It is best to let your instructor know ahead of time if you will be absent.  If this is not possible, be prepared to present verifiable documentation to back up your claim.

(Examples)

Medical Emergency (Doctors Note)

            Automotive Mishap (Report or Citation)

F.         NOTE: Changes may be made to this syllabus and daily schedule during the

  semester, with prior notice to the student when possible.

In addition, all Brenau, ung and GTA policies apply to this class, where appropriate. Please see your student handbooks and college websites for more information.  Supplemental Course Information located at http://ung.edu/academic-affairs/policies-and-guidelines/supplemental-syllabus.php. Topics include inclement weather, students with disabilities, academic dishonesty, email policy, smoking policy, plagiarism, copyright, course withdrawal, administrative office hours, and campus telephone numbers.

WEEK ONE 8/20-8/22

Tues:  Warm-ups and Introductions

Thurs: Alignment and Breath

WEEK TWO 8/27-8/29

Tues:   Alignment, Breath, Placement, Articulation

Thurs:  Alignment, Breath, Placement, Articulation

         
WEEK THREE 9/3-9/5

Tues:   Alignment, Breath, Placement, Articulation

Thus:    Alignment, Breath, Placement, Articulation

WEEK FOUR 9/10-9/12

Tues:    Classic Text

Thurs:   Classic Text

WEEK FIVE 9/17-9/19

Tues:    Classic Text/scenework

Thurs:   Classic Text/scenework

WEEK SIX 9/24-9/26

Tues:    Classic Text/scenework

Thurs:   Classic Text/scenework

WEEK SEVEN 10/1-10/3

Tues:    Classic Text/scenes presented

Thurs:   Classic Text/scenes presented for grading

WEEK EIGHT 10/8-10/10

Tues:    Modern Text

Thurs:   Modern Text

WEEK NINE 10/15-10/17

Tues:    Modern Text

Thurs:   Modern Text

WEEK TEN 10/22-10/24

Tues:    Modern Text/scenes assigned

Thurs:   Modern Text/scenework

WEEK ELEVEN 10/29-10/31

Tues:    Modern Text/scenework

Thurs:   Modern Text/scenework

         
WEEK TWELVE 11/5-11/7

Tues:    Modern Text/scenework

         
Thurs:   Modern Text/scenework

WEEK THIRTEEN 11/12-11/14

Tues:    Modern Text/scenework

Thurs:   Modern Text/scenework

WEEK FOURTEEN 11/19-11/21

Tues:    Last Day of Class: Modern Scene presentations for grading

Thurs:   No Class: Elisa in Freshman Conferences

WEEK FIFTEEN 11/26-11/28

Thanksgiving Break

WEEK SIXTEEN  12/3-12/5

Brenau Finals Week TBA. 

If we are able to complete our work by 11/19 we will not use our final exam time.  If we have fallen behind for any reason, we may use the time.

 

 

Movement 1 Syllabus

THEA 2300  –  MOVEMENT FOR THE STAGE

Tuesday & Thursday 9:30-10:50, 11:00-12:20/UNG Rehearsal Hall/Fall 2013

Instructor:                  Elisa Carlson  
Office:                         CE/PA 103
Phone:                         678-717-3579
Email:                         elisa.carlson@ung.edu
Office Hours:             Tu/Thur by Appointment
                          
A.         COURSE DESCRIPTION AND OUTCOMES:

This course is an introduction to movement techniques for the actor.  Focus will be on exploring a wide range of fundamental processes to provide the student with a freer, more expressive and dynamic physical life on stage. This is not a dance class or circus class, but rather an exploration of the actor’s physical instrument in order to free artistic expression and begin to build complex characters.

 

            REQUIREMENTS AND ENVIRONMENT:

No text books are required for this class.  I will provide hand-outs and make recommendations for further reading.  Here are three books that will particularly inspire me in our work together: The Art of Stillness: The Theatre Practice of Tadashi Suzuki by Paul Allain, To the Actor by Michael Chekhov and Movement for Actors by Nicole Potter.

Please arrive on time, properly dressed in clothing that allows for freedom of movement (no jeans, or any pants or sweats that drag the floor).  We will often work in bare feet or socks, or any kind of soft-soled, flexible shoe (individually approved by me).  No street/dress shoes, boots, sandals or flip-flops.  Please remove jewelry and pull your hair away from your face.  I may ask you to bring in heels, skirts or suit jackets for character work during the semester.  I will post handouts and comments about our class work on this blog:  http://gtavoicemovementclassesblog.blogspot.com/

Please inform me of any physical concerns and restrictions you may have so that I may adapt exercises for your safety throughout the semester.  You should expect to be on your feet for the entire class period, working closely with classmates and your instructor.  If you are uncomfortable with the traditional hands-on approach of a movement instructor, please let me know.  I may use my hands to guide your alignment and check your ribcage for breath release from time to time. 

B.        GRADE SCALE

100-90             A                    

80 – 89            B
70 – 79            C
60 – 69            D
00 – 59            F

C.        EVALUATION PROCEDURE (subject to change)

            Classroom Participation and Progress in Exercises:          50%

            Centering Demonstration:                                                    25%
            Suzuki Demonstration:                                                         25%

D.        EVALUATION POLICY

Full classroom participation leading to significant individual progress is your main assignment for grading in this class. Everyone will come into class at a different point in their growth as actors.  Class is not competitive, and students are expected to accept and support each other’s personal artistic journey.  That being said, I’ll know when you aren’t giving 100% of your energy and focus to our time together. 

E.        ATTENDANCE POLICY

Attendance Policy:  Attendance and participation is mandatory.  All students will be

accounted for on a daily basis via a role.  Each missed class after two unexcused absences will result in the lowering of the final grade by one letter grade for each missed class.  Two tardies will equal one unexcused absence. If you miss class, or are late, you will fall behind immediately.  It is up to you to contact your classmates and cover any missed material.

Excused Absences: It is best to let your instructor know ahead of time if you will be absent.  If this is not possible, be prepared to present verifiable documentation to back up your claim.

(Examples) Medical Emergency (Doctors Note)
Automotive Mishap (Report or Citation)

F.         NOTE: Changes may be made to this syllabus and daily schedule during the

semester with prior notice to the student.

In addition, all Brenau, UNG and GTA policies apply to this class, where appropriate. Please see your student handbooks and college websites for more information on policies regarding inclement weather, students with disabilities, academic dishonesty, email, smoking, plagiarism, copyright, course withdrawal, administrative office hours, and campus telephone numbers.

http://ung.edu/academic-affairs/policies-and-guidelines/supplemental-syllabus.php

WEEK ONE 8/20-8/22

Tues:  Warm-ups and Introductions

Thurs: Work with Guest Artist Derrick Ledbetter:  Lecoq

WEEK TWO 8/27-8/29

Tues:   Work with Guest Artist Derrick Ledbetter:  Lecoq

Thurs:  Work with Guest Artist Derrick Ledbetter:  Lecoq

         
WEEK THREE 9/3-9/5

Tues:    Alignment, Breath, Centering and Freeing Work, Balances, Ancient Movement

Thurs:  Alignment, Breath, Centering and Freeing Work, Balances, Ancient Movement

WEEK FOUR 9/10-9/12

Tues:    Alignment, Breath, Centering and Freeing Work, Balances, Ancient Movement

Thurs:  Alignment, Breath, Centering and Freeing Work, Balances, Ancient Movement

WEEK FIVE 9/17-9/19

Tues:    Understanding the Space:  Ed Cabell Theatre

             Space, Centering and Characterization

 Thurs:  Understanding the Space: Hosch Proscenium Theatre (Brenau campus)

            Space, Centering and Characterization

WEEK SIX 9/24-9/26

Tues:    Alignment, Breath, Space, Centering and Freeing Work, Balances, Chekhov Technique

Thurs:  Alignment, Breath, Space, Centering and Freeing Work, Balances, Chekhov Technique

WEEK SEVEN 10/1-10/3

Tues:    Space, Centering and Characterization

             Character Assignment Made

Thurs:  Space, Centering and Characterization

            (students involved with Alice In Wonderland excused)

WEEK EIGHT 10/8-10/10

Tues:    Space, Centering and Characterization

Thurs:  Space, Centering and Characterization

           (students involved in Alice In Wonderland excused)

WEEK NINE 10/15-10/17

Tues:    Space, Centering and Characterization

Thurs:  Brenau Fall Break (no class)

WEEK TEN 10/22-10/24

Tues:    Characterization Pieces Presented for grading

Thurs:  Suzuki Introduction

WEEK ELEVEN 10/29-10/31

Tues:    Suzuki Work

Thurs:  Suzuki Work: Trojan Women Scene Assigned

WEEK TWELVE 11/5-11/7

Tues:    Suzuki Work

 
Thurs:  Suzuki Work

Note:  Instructor will be speaking in Ann Demling’s Intro to Theatre class at 9:30 on the 7^th, so there will be no 9:30 movement section.  Students in the 9:30 section are invited to join the 11:00 session on the 7^th.

WEEK THIRTEEN 11/12-11/14

Tues:    Suzuki Work

Thurs:  Suzuki Work

WEEK FOURTEEN 11/19-11/21

Tues:    Last Day of Class: Suzuki Scene and Oberservation

Thurs:  No Class: Elisa in Freshman Conferences

WEEK FIFTEEN 11/26-11/28
Thanksgiving Break

WEEK SIXTEEN  12/3-12/5

Brenau Finals Week TBA.  

If we are able to complete our work by 11/19 we will not use our final exam time.  If we have fallen behind for any reason, we may use the time.

NOTE:  If you need to make up class time, you may attend the other movement class section.  For instance, if you’ve missed your 9:30 movement class you may attend the 11:00 class, and vice-versa, at any time during the semester.

Points of Good Speech for Modern/Contemporary Plays

Points of Good Speech for Contemporary and Modern Plays
Questions to Explore by Elisa Carlson

How does the playwright use punctuation? What does this tell us about the rhythm and musicality of the play?

Example: In a Shaw play, try lifting your pitch after a semi-colon. Then reverse. Or, in an Arthur Miller play, try diminishing energy at a dash, then try accelerating energy.

What are the dialects used? What does that say about placement, articulation and musicality of the characters?

Example: Frequently the character of Tom in Glass Menagerie is performed without a southern dialect. What is gained? What is lost?

How are alliteration and internal rhyming used?

Example: What feelings do the repeated vowel sounds of the nonsense words in Caryl Churchill’s play The Skriker evoke?

How is length of vowel and diphthong sounds used?

Example: In August Wilson’s plays, characters may speak for some time before a period is used. Notice how long sounds help the speeches to take shape.

Are all caps, or italics used? How do they work?

Example: In an Albee play, do all caps mean more volume or do they mean that the words go faster?

Is the play written completely in prose, or are there poetic sections? How does the verse work? Is there use of poetic metaphor? How does that work?

Example: What happens when you use the verse line endings in a Charless Mee play, vs. when you run the lines together to make them prose.

Are the sentences long, short – anything in particular? How do they work?

Example: In Naomi Wallace’s play The Trestle at Pope Lick Creek, the sentences are often very short. When the periods are used (rather than run through) see if you can hear the repressive rhythm of the small town the characters inhabit.

Are there pauses written into the script? How do they work?

Example: What is the difference between a Pinter “silence” and. a Pinter “pause?” Is a pause shorter or longer than a silence? Does a pause imply movement or stillness?
Does the playwright repeat words and phrases? What is the effect of the repetitions?

Example: When Mamet characters repeat phrases, what happens when the same inflection is used each time? What happens when you vary inflection?

Has the playwright written instructions on how speech/voice/text is to be used? Is it helpful? Is it complete?

What have other artists and reviewers written or said about the playwright’s writing style, or ‘voice’? Is it helpful, useful?

How does the writing style of this play compare to other of the playwright’s plays? Are there similarities, differences?