• Distant Learning Team

    Posted by Camilla Boylan on 4/7/2020

    All of you have been added to a Microsoft Team.  All assignments and instructional material will be posted there. 

    Advanced Acting Team

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  • Audience Reflection Assignment

    Posted by Camilla Boylan on 3/10/2020

    If you performed for family or at Alpine meadows, do this one:  Audience reflection

     

    If you did not perform, do this one:  Alternate to performing reflection

     

    Due on March 11 at 3:00. 

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  • production points

    Posted by Camilla Boylan on 2/26/2020

    PRODUCTION POINTS-Second Semester   

     

    STANDARD: TH:Re7.1.Ia​:  Respond to what is seen, felt, and heard in a drama/theatre work to develop criteria for artistic choices.​

    HOW: Students will participate in, research, or watch a theatrical style production each semester. There are several options available. You must select from the menu, complete the assignment, and turn it in. It is the student’s responsibility to do this assignment on their own time and turn in the required documents that go with it, on or before the final due date. Students may turn in the work at anytime during the semester. No assignments will be accepted after the final due date.

     

    Maximum Points: 5 -Combine assignments to reach the 5 points

    First Due Date: February 29; Final Due Date: May 15

    BE IN A PLAY

    Activity

    Assignment

    Points

    Audition for a school or community play

    Attend the audition and answer audition reflected questions. Turn in a digital copy

    1

    Perform or work tech in a play for an audience outside of classwork and write a reflection

    Perform (If not a school play, turn in the program with your name hi-lighted). Write a reflection; You will not get full points unless you do this piece.

    5

     

     

    WATCH A LIVE THEATRICAL PERFORMANCE

    Activity

    Assignment

    Points

    Watch a live play at school or in the community (You can see one play for free at school per semester) and write a reflection

    Attend the play. At school: Sign in at desk and take a selfie in front of stage;

    In community: Take a selfie in front of play and bring in program

    Write a review of the play, answering the provided questions.

    4.5

    Volunteer to work house, sell tickets, concessions, usher for a school play   

    Work one night of a play

    4.5

     

    MISCELLANEOUS ACTIVITIES

     

    Activity

    Assignment

    Points

    Perform in a class showcase or evening performance

    Perform and then write a performance reflection

    4.5

    Takes Voice/Music Lessons or Dance/Theatre Classes outside of school

    Keep a log of lessons and write a reflection on what you have learned

    1 point for 6 lessons

    Watch a recorded play or musical NOT ANIMATED

    Write the “watch a performance” paper 

    1.5 (can be repeated )

    Attends a music concert/performance, nativity, ballet program or other art presentation 

    Take a selfie and provide a ticket or a program; answer the play reflection questions that apply

    4

    Performs a solo (dance, music, art, theatre, literature) in public (not school related) 

    Write the performance reflection

    4.5

    Conducts an interview with a professional or community theatre actor, director, designer, technician or stage hand 

    Type up the interview questions and answers; share information with the class in a 4-5 minute presentation. Must schedule presentation one week in advance

    4.5

    5 for presentation

    Read a full-length non-required reading, play

    Write an analysis of the play. Select a character. Do a full character analysis on that character and research who has played the character.

    4

    Do you have an idea? Come and see me

     

     

     

     

    ALL REFLECTIONS MUST BE EMAILED TO BOYLAN.CAMILLA@WESTADA.ORG

    Audition Reflection  

    Answer the questions and email or share:  Boylan.camilla@westada.org  

    Student name:  

    Show auditioned for:  

    Role audition for: 

    Date of audition: 

    What did you do to prepare for the audition?  

    How would you prepare differently for the future? Explain your answer, even if it is “nothing”  

    Describe the audition process: 

    Were you nervous or not? Explain  

    Were you cast?  If yes, explain why you think the director cast you.  If not, explain why you think you were not cast and what you should do differently next time.  (this should be 3-4 sentences)  

    Will you audition for future shows? Why or why not?  

     

    Performance Reflection  

    Answer the questions and email or share:  Boylan.camilla@westada.org

    Student name:  

    Show performed in:   

    Role played: 

    Date of performance: 

    Rehearsal period:  

    What did you do to prepare for the performance?  

    How would you prepare differently for the future? Explain your answer, even if it is “nothing”  

    Were you nervous or not? Explain  

    What was the best part of the experience? 

    What was a challenge of the experience? (Please do not say “nothing”)  

     

    Watch a Performance

    Answer the questions and email or share:  Boylan.camilla@westada.org

    Student name:

    Production info:

    Name of the production

    Where it was performed

    For each of the following questions please provide one specific example from the play to support your answers. You CANNOT use the same example for more than one question.

    Synopsis:

    Write a brief description of what the play/performance was about.

    For each of the following questions please provide one specific example from the play to support your answers. You CANNOT use the same example for more than one question

    Characters

    1. Which character would you want to play and why?
    2. Which was your least favorite character and why?
    3. Were the actors true to their characters? Explain.

    Publicity:

    1. How did you find out about this production?

    Misc.

    1. Did you enjoy this production? Why or why not?
    2. From a, acting standpoint, what suggestions would you make to improve the staging of this production?

    PLEASE WRITE ANSWERS ON A SEPARATE PIECE OF PAPER; EACH ANSWER SHOULD BE 2-3 SENTENCES LONG; SUBMIT VIA EMAIL OR ONEDRIVE

     

     

    Read a full-length play

    Answer the questions and email or share:  Boylan.camilla@westada.org

    Student name:

    Name of play:

    Playwright:

    For each of the following questions please provide one specific example from the play to support your answers. You CANNOT use the same example for more than one question.

    Synopsis:

    Write a brief description of what the play was about.

    For each of the following questions please provide one specific example from the play to support your answers. You CANNOT use the same example for more than one question

    Characters

    1. Which character would you want to play and why?
    2. Which was your least favorite character and why?
    3. Where has this play been performed?
    4. Should MVHS produce this play? Why or why not?

    PLEASE WRITE ANSWERS ON A SEPARATE PIECE OF PAPER; EACH ANSWER SHOULD BE 2-3 SENTENCES LONG; SUBMIT VIA EMAIL OR ONEDRIVE

     

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  • 1.23 Characters and Commedia

    Posted by Camilla Boylan on 1/23/2020

    It is important to know the history of comedy and improv. We discussed commedia today and students looked up the info. You should do so as well.

    Group ONE-Origins of Commedia Del’ Arte- This should include:

    •  where it began
    • when it began
    •  who participated
    •  description of commedia
    • how they performed.

    Group  TWO- Purpose of Commedia Dell Arte – This should include

    •  why it was started
    •  why they chose the format/venues that they did
    • How they performed

    Group THREE- · Influence of Commedia Dell Arte – This should include:

    •  other countries that it has spread to
    •  writers it has influenced
    •  plays it has influenced and other types of theatre it has influenced.

     

    Next, we got into groups to discuss and practice the stock characters of commedia. If you were absent, you were put into a group and will have time next class to rehearse a short scene that will be presented to the class.

     

    At the time of this posting, my onedrive is acting up and I can't post the document on characters.  Come in and get on from me. 

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  • Acting Final part one

    Posted by Camilla Boylan on 1/7/2020

    You will need to come to me for a monologue. 

    final part one

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  • 12.19 review and assignment

    Posted by Camilla Boylan on 12/19/2019

    Today we reviewed what we have learned so far and read a monologue and analized it.  Please look at the assigment, as that is similar to what your final will be.

    Practice script

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  • 12.17 Character analysis

    Posted by Camilla Boylan on 12/17/2019

    Lecture notes : The script we used as a class is linked below. 

    Warm up with doing Three moments to repetition-working off your partner.  

    Today we are going to transition from working off partner to focusing on your character.  

    Have you ever closed a show and thought on closing night, I finally understand my character?!  

    Let’s review: Desire, opponent, suffering.   

    If all you discover are those three things, all is good.  But to go deeper, you need to know the “why.”  The problem is that acting students everywhere are taught to “play the action.” The “what”  Anyone can do the what, but few go into the “why.”   Why are you doing these things?  This can make the difference between acting the part and being the part.  

    In your journals:  Write a response to this:  I once was happier than I have ever been.  This happened….. 

     

    Someone willing to share? How do you really know that you were happy?  The answer is that this event lived in you.  If I were to ask you about your granma, what would you say?  No matter how much you know about your grandma, you know what you really know.   

    Read scene “A Young lady”  

    Wilma has her own unique experiences, thoughts, feelings. But if you are playing Wilma, you don’t have those same experiences.  How do you, the actor, arrive at a place where you too know what you are talking about?  

    What is a character?  Beware of doing character biographies (unless it is scripted improv!) You will never be the character. Acting is a process of accepting the imaginary circumstances and living them out as if they were true.  Thank you Stanislavsky.  But you need to go to another level.  You need to know the characters specific point of view.  

    1: the Key Facts.  

    we will work on developing a personal understanding of the text. With the aim of knowing what you are talking about.  

    Go through the scene and write down all the key facts that your character talks about that seem meaningful to the character.   

    What are the key facts?  

    The swing:  What is her relationship with the swing?  Write down everything Wilma says about the swing.  

    Re-read everything you have written about the swing. I want you to write a free association that is kicked off by wall the things Wilma has said about the swing.  Write in first person.  Write down whatever comes to you while you are under the influence of what you have just read and written.  

    “The swing is a place where I feel safe. A place where mom puts her arms around me. A place where father won’t hurt me. Mom hugs me on the swing and we look at the stars and I never see them shine so bright. 
     

    Now I have a personal connection to the swing.  Whenever I talk about that place, I feel safe.   

    If you do this every day, a little more each day about your character, you will develop a deeper relationship with the character. You will know more about your character than you ever have before.  

    2: The key phrases 

    Read A Young Lady.” Go through the play and write down a list of all the things your character says that you feel are vital to understanding what is most meaningful to the person. Write down the exact phrases.  Do not paraphrase 

    Share: 

    Let’s circle the most important:  My old house looks so lonesome it tears at my house.  

    Write that phrase down on a new page.  Get in a relaxed position. And take a look at the phrase your wrote down. Close your eyes, and say that phrase to yourself over and over for a few minutes.  Now, open your eyes and in your journals, write how that phrase makes you feel?   

    Now choose a phrase for yourself, and do the same thing, on your own-writing it down.  

    That’s it. If you spend time with key phrases you will begin to personalize the point of view of the character.   

     

    Knowing what you are doing will produce a behavior that will be out of your control and uncalculating.  

    If you are onstage and you are trying to remember the meaning of this or that, you are in your head and not acting, bur recalling. Basically, you need to have a month’s of performances completed before you really know your character and by then, it is too late.  By doing these things, you know your character before you performances for an audience begin. 

     

     

    A Young Lady Script

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  • 12.13 Three moments

    Posted by Camilla Boylan on 12/13/2019

    Lecture notes 

    Warm up doing repetition and true response exercise  

    In your journal: 

    1:  Think about your bedroom; “look” at it.  Find one object in that room that makes you truly happy.  Write about that object. Describe it. Explain why it makes you happy  

    2: Think about something you have heard about in the news that made you really angry.  Write about it. Why did it make you angry? What is it?  

    3: Make a list of 10 things that are very important to you.  

     

    All of these are examples of you living truthfully through your own point of view. When you act, you are acting out of your characters point of view. 

    You must “Live truthfully under imaginary circumstances”  

    What does this mean?  It is breathing life into the playwrights words, which means taking those words and filling them with behavior-authentic human behavior.  

    Three moments game: 

    Ask a provocative question that will provoke a response  

    A: Are you happy with your life? 

    B: (repeating immediately, eyebrow rise and his lips get tight) Am I happy with my life?  

    A: Your job is to figure out B’s response from your point of view. You must state to B what their behavior meant to you. At first, talk it out, out loud and to B. Then finish by telling B in a simple and direct way what his behavior “said” to you:  “Well, I got that you didn’t like being asked that question. That it really wasn’t any of my business. So, I would say, You don’t think that’s any of my business.”  

    NOTES:   

    1. Don’t rush to answer the third moment. Take your time to figure out what your partner did to have you come up with the answer.  
    1. There is always some response.  A blank look may mean “You are bored” But you must work with what you get. This is why a provocative question is needed. Now, even though you know a provocative question is coming, try to give a true response.  Isn’t this the case with theater? If you are doing a scene and your sister is going to give you a surprise birthday party, you will act surprised, even though you haver rehearsed it a million times. Your audience members are not paying to see last nights performance.  
    1. Trust intuitive perceptions. Sometimes it may not be a physical response.  Go with what you feel.  Your point of view. 

     

    Since it is your PoV, is it right or wrong? You need to get in touch with your PoV.  That is all you have to work with.  

     

    To review a bit:  acting is “the reality of doing” We must be more concerned about our attempt than the results.  

    Use strings to tie four knots.  While doing it, Really focus on what it is your are doing. 

    Write in your journal:  Write your observations about tying the knots.  

    When you fully do something, it should have your complete attention.  Now, untie the knots.  Complete and full attention to it.  

    As an actor, we must put our full attention to everything we do.   

    THREE MOMENTS: CROSSING THE BRIDGE 

    Change the third element:  

    A: Have you ever killed a cat?  

    B: Have I ever killed a cat?  

    A:  (Immediately, without pause) You are shocked 

    Do this 8 times with 8 different questions  

    ***Then go into repetition: 

    B: I am shocked 

    A: You are shocked  

    Repeat. 

    Now, work off behavior: 

    B: I am shocked 

    A: (Giggles) You are shocked 

    B: You are amused  

    A: I am amused  

    B: (Crinkles eyebrows) You are amused  

    A: You don’t understand 

    B: I don’t understand 

    A: You don’t understand 

    B: (raising voice) I don’t understand 

    A: You are offended 

    Notice that the repeition doesn’t change because you want it to.  IT changed when it must change.  And why did it change? Because of something you get back from your partner. Practice this version of the game for a while. 

    Now that you have this experience, you will no longer do Three Moment Game.  You will do Repetition, with it happening where ever you begin and starting as you start.   

    This is called WORKING OFF YOUR PARTNER 

    The important thing is that you must not try to find things to work off of.  You must simply work off what you get when you are aware of it.  If you are trying to work off, you might miss something. Trying to find something to work off of requires an expenditure of effort.  

     

    With remaining time, do improv scenes.  Just 2 person.   

     

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  • 12.11 Repetition Lecture Notes

    Posted by Camilla Boylan on 12/11/2019

    Lecture notes 

    What would you say is the core of Meisner?  Listening  

    Play Telephone  

    How can you be successful at “Telephone?” 

    Have you ever had the experience of talking to someone and know they aren’t listening? 

    Have you ever not listened? When you do this, you are not in a relationship with someone else, but with yourself. 

    Have you noticed how I keep relating acting to our regular lives?  That is because you can not separate the two of them. 

    We can’t have actor on this side  and person on this side. We must strive to bring our own humanness to our work-warts and all. For theater is not an imitation of our lives; it demands a greater truth. And it is this greater truth we are grappling with together.  

    We have all seen actors who are thinking about what is happening on the stage-I’m nailing it tonight!-instead of being in the scene. We must get out of ourselves in order to truly be in the scene.  

    Ready for the basis of Meisner practice?  It is very simple, and by simple, I mean uncomplicated.  Find a partner.  If needs be, we can have one group of 3.  

    Repetition: Scales for Actors 

    Sit in chairs facing each other. Be a comfortable distance apart but be able to hear each other. 

    A: Turn your head away from the other person. When you are ready, turn and look at your partner. As you turn, say out loud the very first thing you notice about your partner. Make no assumptions; ask not questions. It must be a physical observation.    “Pink nail polish”  

    B: When your partner says “Pink Nail Polish” you repeat what you hear.  

    A: Now you repeat exactly what you heard “Pink nail polish”  

    When do you stop? If it gets boring or uncomfortable, keep going. Stop when it feels right.  

    A few pointers:  The observer must say the first thing. IF you think about it, start over; Always repeat what is said, not HOW it was said. Don’t consciously change how you are saying it. Don’t rush, but repeat as soon as you hear it. Don’t over thing. Just do.  

     

     

    Two minute shoe-tie:  Have everyone take a lace and knot it up as good as they can in a minute.  Make sure it’s tight.  Give the lace to another person, they have 2 minutes to untie it.  Do a count down so they feel the pressure of the knots.  

    Acting journal:  Write about your experience untying the knots. What did you think and feel as you did it?  

    Did you do it?  Did you try to untie the knots? I’m not asking if you did untie all of them, but did you try? Did you feel like giving up? Did you feel successful?  

    As you tried to do something difficult, you had an authentic emotional responses that were beyond your control.  This is called “Coming to life” and is an essential element of true acting. You came alive not because you were trying to have an emotional response, but because you were invested in the task in hand.  

    Notice, I did not ask if you got all the knots out.  For actors, it is not about results; it is always about the attempt. As long as you always throw yourself into trying to accomplish something, you will be successful and the audience will love you.  

    ACTING IS DOING: It is not “Talking about” “Feeling about” or Thinking about.  It is Doing. To really do it.  Not fake it.  

    Great acting is about how fully you bring yourself to doing what you are doing. Even if it is difficult. It is your job to attempt to do it.  

    We may try it control everything in our environment, but the only thing we can control is what we do.  

    Who were you when untying the knots?  Did you play a character?  

    When playing character, be careful of the cliché. If you are playing a sister, what does sisterly mean?  

    When you really do what you are doing, you are forced to be fully present-and the present is the only place where life if available to us. If our job as actors is to bring life to the stage, then really doing is fundamental. It is the key to making a unique and human discovery in our work. When you are really doing what you are doing, this has never been done before. This moment is a first.  

    CONTINUING REPETITION 

    Did the phrase ever change?  Big shoes to Pig shoes? If that happens, what do you say?  Do not purposely try to get back on track. Only repeat exactly what you heard. 

    Did you experience an emotional response? Laugh? Bored? How did you handle it? If you tried to keep from laughing, you were not doing the exercise right.  

    What we are doing is taking acting to it’s core. Repetition forces you to really listen to your partner.  If you are really listening, your attention is not on yourself. You begin to respond in ways that are out of your own control. 

    Big shoes/Pig shoes:  True acting is about working with what is really happening rather than trying to make everything into what you think should be happening  

    True acting means always embracing and responding to exactly what is there at any given moment.  At the basic level, repetition means repeat what you hear. The exercise strengthens your ability to work immediately and spontaneously with whatever comes your way onstage.  

     

    If time:  Continue repetition. TRUTHFUL POINT OF VIEW. 

    Your shirt is red.  Can’t repeat that to the person opposite you if their shirt isn’t red.  So “My shirt is red.”  Repeat what you hear, only changing it to fit your point of view.   This is WHAT IS HAPPENING IN THE MOMENT.  

     

     

     

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  • 12.9 Desire, Opponent, Suffering lecture notes

    Posted by Camilla Boylan on 12/9/2019

    Lecture notes 

    If you are going to act, you need to read the play like an actor:  Edna the cab driver can read it and get the info, but does she really see the play? 

    X-ray the script:  an xray, we can look at, but unless we are skilled, we don’t know what to look for.  What do you look for?  

    If you want to be a better actor, you need to be a better person.  

    To understand, break down into the ABC’s of acting: desire, the opponent, and suffering.  These three items are not only truths in our lives, but also the keys to understanding every script you will ever read.  

    Desire: IT IS NOT THAT WE HAVE DESIRE, AND WE DO HAVE DESIRE, IT IS THAT WE ARE DESIRE  

    In your journals, write what you think I mean by: we are desire.  

    We are the result of mom and dad desire On a cellular level, we are desire. We can’t get away from it.  It is behind every choice you make, underneath every word you say, feeling you have. Every character you play will have a desire.  

    In your journals, think of one of the scenes you just did. What was your character’s desire?  (share)  

     

    In your journals, write down what you desire.  

     

    B: The opponent: no one said it would be easy.  

    You can count on the fact that the opponent will be there to get in the way of your desire. That is the way life is built. 

    In your journals: Write down what is keeping you from reaching your desires?  

    The external opponent:  Story of Shelley, Carol, and Stacey  Who is the external opponent? What desires did she prevent happening?  

    As humans, we live for opponents:  Football  

    Think of Lord of the Rings: When Frodo takes on the mission of the ring, what does he desire? Who is his opponent? Romeo and Juiet 

     

    In your journal: Write about someone in history where there was a clear external opponent getting in the way of the desires of others. (discuss) 

    Now, in your journal, write about a time you encountered an external opponent. Be specific  

     

    Now, in your journal, write about a time you were the opponent.  

    The Internal opponent: Ed the construction worker and peanut butter sandwiches.  

     

    Have you ever had your mind flooded with negative thoughtsI’m not good enough. What is the matter with me?  

    Imagine a radio tower that only transmits negative thoughts. You don’t mean to tune in, but you do.  When did this start?  Babies don’t do it.  

    When you are listening to the thoughts, you aren’t paying attention.  When you do this, you aren’t available to the world around you.  It is vital that you get out of your head!!! 

    But, you need to know what the internal thoughts are of your character. 

    In your journal: Write who/what the external and internal opponent were of your character. Share  

     

    C: Suffering: The Joy in the Struggle  

    Climbing Mount Everest 

    Climbing 2 stories  

    Visualize.  Which one brings greater joy?  

    In your journals: What was the suffering your character experienced?  

     

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