acting

Models

raymon — Wed, 25 Mar 2009 04:19:53 GMT

Model from Development through Drama - Brian Way

Grade Levels Model from BC Curriculum Guide

Figure by Richard Courtney

from Course Description by Lon Borgeson

Complete Archive

raymon — Sat, 28 Jun 2008 00:51:02 GMT

Fall Productions:

2008/9: Hamlet Collage - adaptation Charles Marowitz

2007/8: Ecstasy of Rita Joe - George Ryga

2006/7: Lotus - adaptation of Deepa Mehta's Water by C. Michalenko & R. Montalbetti

2005/6: Little Mermaid - adaptation of Hans Christian Anderson Fairy Tale

2004/5: Gifts of Flame - David Calcutt
The Tale of Mighty Fish and Magic Hawk - Jo Dorras & Peter Walker

2003/4: Christmas Carol - adaptation of the Charles Dickens Classic

2002/3: Enemy of the People - Arthur Miller

2001/2: One Flew Over the Cuckoo's Nest - Dale Wasserman (adapted from the Ken Kersy novel)

2000/1: The Inspector General - Nikolai Gogol

1999/2000: Our Town - Thornton Wilder
1998/9: The Birds - Aristophanes
1997/8: Go Ask Alice - anonymous
1996/7: The Lark - Jean Anouilh
1995/6: Hitchhikers Guide to the Galaxy - an adaptation of the Douglas Adam novels
1994/5: The Hobbit - an adaptation of Tolkien's classic story
1993/4: Fans - Mike English
1992/3: Fahrenheit 451 - an adaptation of Ray Bradbury novel
1991/2: The Outsiders - S.E. Hinton,

Drama Club Productions

2006/7: The Grave directed by Heather Press

205/6: Clue directed by Nolan Palyvos & David Schultz

2004/5: Arabian Nights directed by David Schultz

Labyrinth directed by Kristin Bennett, Breakfast Club - directed by Karla Kloeble, Monty Python and the Holy Grail directed by Niki Ashenbrenner, Princess Bride, Alice in Wonderland directed by Norman MacDonald, Dracula directed by Caryn Swark & Crystal Kennedy.

Videos

Dark Inward Journey
Down the Rabbit Hole
Resignation Redemption

Events:

Kidney Foundation Scare Zone
Peace Conference Workshop
St. Mary Stations of the Cross
School Conference at Western Development Museum
Giving Thanks Elementary Tour

Latest 2008/9

raymon — Wed, 25 Mar 2009 04:22:54 GMT

Assignments 104

raymon — Sun, 20 Oct 2002 03:50:52 GMT

1. Keep a class journal. An entry for each class documenting your experience. (Guidelines)

2. Exams

3. Lab Projects

4. Group Project

5. Files

6. News

THE ECSTASY OF RITA JOE

raymon — Sat, 28 Jun 2008 01:26:31 GMT

THE ECSTASY OF RITA JOE

This year marks the 20th commemoration of George Ryga’s death in 1987, as well as the 40th anniversary of the premiere of the Ecstasy of Rita Joe, the first play in English to be presented in the National Arts Centre Theatre in Ottawa in 1969. For several years afterwards it shook the nation. Chief Dan George wrote in the preface of the first publication, “this play carries a message all Canada should hear.”

One Rita Joe actress after dress rehearsal commented.” I needed to understand situations. I’ve led a pretty sheltered life and this project took me on a journey of understanding the many First Nations issues. I thought it could never happen to me or in my community. I know it is and if we don’t stop it now it’ll go on for ever. It’s not about coming to a play for entertainment – it’s a way of seeing other realities. “A student next to her responded. “I’m reminded of my Grandmother. She was Metis and a rape victim. My Mom says the guy received a light sentence.”

Thank you for coming and supporting.
To share with you is our honour.

“People who are forgotten are not forgetting.
To overlook them is a dangerous delusion.”
-George Ryga

“If the very old will remember, the very young will listen.” - Chief Dan George in My Heart Soars

Cast and Crew
Rita Joe: Samrawit Geti, Kyla Poss
Lynelle Poochey-Torrence, Nicole Zalesak
Jamie Paul: Andrew Fiddler
Father: Rylan Ledene
Magistrate: Tianna Boddy, Erich Jurgens,
Jeremy Roach, Brian Tamosiunis
Mrs. Homer: Trinity Smetaniuk
Priest: Jade Henderson
Eileen Joe: Megan Dyck
Old Women: Michelle Backstrom
Teacher: Audrey-Anne Tellier
Policeman: Andrew Suchar
Witness: Louise Sutherland
Louis: Talib Sadat
Singers: Heather Press, Tristin Greyeyes
Drummers: Brendan Delorme, Vicent Vanmeesen
Dancer: Shawna Brazeau
Fiddler: Dallas Fiddler

Light & Sound: Austin Bloomfield, Brandon Roach,
Jeri Eidsness Hodges
Set Design: Sarawit Geti, Nicole Zalesak, Heather Press
Poster: Klya Poss
Intern Director: Ms D. Tait
Student Director: Heather Press

Supervisors…. Julia Kawa, Raymon Montalbetti, Constance Sacher and Bob Turner Special Thanks…. Melissa Plamondon, Ronalee Hall, Feehan Drummers and Dancers,The Administration and Staff – Principal: Sheila Chad

Feehan Productions Archive

raymon — Sat, 08 Dec 2007 07:54:41 GMT

Complete Archive

Ecstasy of Rita Joe '07

Lotus '06

'05

Welcome to Drama Classes

raymon — Fri, 16 Aug 2002 04:26:03 GMT

Information about the Drama Classes of R. Montalbetti.
To post please login.

Drama 118.3/ Regular Session
Drama 119.3/ Regular Session
Drama 121.3/ Spring Session
Drama 104.6/ Regular Session
Drama 10 / 20 / 30
Feehan Productions

"In everyday life 'if' is an evasion, in the theatre 'if' is the truth. In everyday life 'if' is a fiction, in the theatre 'if' is an experiment." (Peter Brook - The Empty Space)

A Poll
Which do you prefer?

26.3% (5 votes)
Paws (University Web Service)

36.8% (7 votes)
acting (Raymon admin. service)

36.8% (7 votes)
both in combination

0% (0 votes)
neither

Total: 19 votes

Archives

Discuss117.2004

Lotus

raymon — Sat, 08 Dec 2007 07:33:48 GMT

LOTUS

A creative adaptation of Deepa Mehta’s Water by Ms. Michalenko & Mr. Montalbetti

Set in India against the backdrop of Mahatma Gandhi’s rise to power, LOTUS follows the life of a young girl Chulia, a child-bride, who is abandoned at a widow’s ashram. There she is forced to live out a life of penitence until death.

Unwilling to accept her fate, Chulia becomes a catalyst for change in the lives of the widows. When her friend and confident, the beautiful Chendra falls in love with a young, upper class Gandhian idealist, the forbidden love boldly defies Hindu tradition and threatens to undermine the delicate balance of power within the social caste system of India.

LOTUS offers an examination of the lives of widows and Indian culture in colonial but ultimately a lyrical story of love, faith and redemption. The flower Lotus is symbolic of spiritual attainment and the flowering of human potential. We invite you to this poetic drama full of the colour, music, and dance of traditional India. The sun and the moon will take you on a complex journey into the transformative power of love.

CAST
Chuylia - Heather Press
Roopa - Amanda Kapronczai
Maneesh - Andrew Suchar
Mehta - Nicole Zalesak
Radha - Larissa Houghton
Suraiya - Ashley Kelly
Padma - Saher Mastoor
Chendra - Audra Balion
Devyani - Megan Elizabeth
Nyla - Trin Smetaniuk
Sumatra - Michelle Backstrom
Napun - Perry J. Hodge
Lalita - Karyn Kostiuk
Groom - Mitchell Foy
Dina - Kyla Poss
Older Woman - Tia Boddy
Maneck - Brian Tamosiunis
Ishvar - Talib Sadat
Gandhi - Dalen Bellamy
Priest - Rylan Ledene
Dancers - Akyla Bardick, Marian Bangura, Sam Geti, Breanna Helgeson, Kelly LaRocque, Sadaf Mastoor, Jeremy Roach, Aika Suzuki, Cheyenne Thomas
Backstage - Jason Tamosiunis, Angela Brown, Andrew Fiddler, Jade Henderson
Light & Sound - Darcy Schroeder, Alex Dumais, Jesse Suchar,Austin Bloomfield, Graham Webster, Zandir Eidness Hodges

Assistant Director - Sadaf Mastoor
Supervisors - Ms. Christina Michalenko, Mr. Raymon Montalbetti, Mrs. Pat Chubb, Mrs. April Loran, Mrs. Pauline Marlatte, Mr. Bob Turner, Ms. Laurianne Gabruch, Mr. Gary Vrinten

Special thanks to the entire Mastoor family for all of their help and Mr. Tamosiunis.

A deep and heartfelt thanks to those near and far who have inspired our journey LOTUS. Namaste.

Sections:

raymon — Sun, 05 Jan 2003 05:31:10 GMT

Class News & Announcements
Greystone Show
Noon Show Schedule
World Theater Day '04

Message Board
Talkback closed. Please visit Archives at Home (scroll to bottom)

Resources
Links, Articles . . .

Useful Files
Contentless Scenes
Liverpool Scenes 1 - 8
Liverpool Scenes 9 - 11
Liverpool Scenes 12 - 14
World Theater Scenes Info
Come and Go
Crucible Scene
Suicide in B-Flat

Assignments

Study Guide Questions
Final Exam example

Suicide in B-Flat

raymon — Fri, 15 Jun 2007 04:58:36 GMT

Suicide in B-Flat - Sam Shepard (1976)

LOUIS: (piano behind) A boy hears sound. He hears sound before has a name. He hears gurgling, pounding underwater. He hears an ocean of blood swimming around him. Through his veins. Through his mother. He breaks into the light of day. He's shocked that he has a voice. He finds his voice and screams. He hears it screaming as though coming down through ancient time. Like it belongs to another body. He hears it that way. He hears the crack of his own flesh. His own heart. His skin sliding on rubber mats. Squeaking. He hears his own bones growing. Stretching his skin in all directions. Bones moving out. Organs expanding. The sound of cells booming through his brain like tiny intergalactic missiles. Atoms. Nuclear rushes of wind through his nose holes. Toenails rubbing blankets in the dark. Books falling on pianos. Electricity humming even when the lights are off. Internal combustion engines. Turbo jets. Then one day he hears what they call music. He hears what they call "music" in the same way he hears what they call "noise." In the same stream. Music as an extension of sound. An organization. Another way of putting it. He's disappointed. He's disappointed and exhilarated at the same time. Exhilarated because he sees an opening. An adventure. A way inside. He sees that putting any two things together produces sound. Any two things. Striking, plucking, blowing, rubbing, dropping, kicking, kissing. Any two things. He has a revelation. Or rather, a revelation presents itself. Stabs at him. Enters into him and becomes part of his physiology. His physiognomy. His psychology. His paraphernalia. His makeup. He puts it to use. He's driven toward it in a way most men consider dangerous and suicidal. His production is abundant. Nonstop. Endlessly winding through un-heard-of-before symphonies. Concertos beyond belief. He organizes quintets. Soloists rush to him just to be in his presence. The best ones are rejected. He only takes on apprentices. He only plays nightclubs although he could pack out the Garden in a flash. He shakes the sidewalks with his compositions. Every city in the world is calling his name. He invents totally new chord progressions and scales. New names for notes that not even the Chinese have heard of. Instruments that he makes in the bathtub. His music is sweeping the country. And then one day he disappears. Just like that. He goes. Not dead. Just gone. No one can figure it. Rumors are spread that he's kidnapped. Abducted and taken to Sweden. Then it switches to murder. Talk of him being involved with particular ladies of particular gentlemen. Then his body is found. His body is found but his face is blown off. His fingerprints are tested and they check out completely. His one-of-a-kind fingerprints. The case is closed.

Noon Shows

raymon — Fri, 06 Feb 2004 06:36:20 GMT

U of S Drama Department Noon Show Series

Crucible/Scene

raymon — Fri, 15 Jun 2007 04:50:33 GMT

THE CRUCIBLE by Arthur Miller.

ACT II

Arthur Miller's play is about the Salem witch trials. Written in reaction to the McCarthy investigations, it is also a powerful parable for our own time. Salem in 1692 was a place of political factions and struggles for land, wealth, and power; and religion became an expedient tool in this struggle. Young girls, one of them the daughter of a reverend, the other his niece, were caught dancing in the moonlight in the woods. In order to protect his shaky position in the community, the reverend declares that the girls were bewitched. The girls, to protect themselves from threats of punishment, confess their bewitchment and begin a series of accusations that shortly sends a score of citizens to the gallows.

The leader of the young girls is Abigail Williams, seventeen years old, headstrong, beautiful, sensual, and in love with John Proctor. Abigail worked on the Proctor farm, and she and Proctor had sexual relations. Elizabeth, Proctor's wife, learned of their activities and the girl was sent from the farm. In the seven months since the incident Elizabeth's suspicions and Proctor's guilt have not been dispelled.

At the tIme of the followmg scene the accusations of witch-craft have already begun. The scene takes place in the Proctors' home. John enters from outside, carrying his gun. He leans the gun against a bench, pours water from a pitcher into a washstand and begins to wash. Elizabeth enters.

ELIZABETH: What keeps you so late? It's almost dark.
PROCTOR: I were planting far out to the forest edge.
ELIZABETH: Oh, you're done then.
PROCTOR: Aye, the farm is seeded. The boys asleep? (Dips hands in water, wipes them.)
ELIZABETH: (removes water and towel goes out left and returns with dish of stew) They will be Soon. (Serves stew in a dish.)
PROCTOR: Pray now for a fair summer.
ELIZABETH: (Goes out left, returns with another dish.) Aye
PROCTOR: Are you well today?
ELIZABETH: I am. It is a rabbit.
PROCTOR: Oh, is it! In Jonathan's trap?
ELIZABETH: No, she walked into the house this afternoon; I found her sittn' in the corner like she come to visit.
PROCTOR: Oh, that's a good sign walkin' in.
ELIZABETH: Pray God. It hurt my heart to strip her, poor rabbit.
PROCTOR: Oh, it is well seasoned.
ELIZABETH: I took great care. She's tender?
PROCTOR: Aye. I think we'll see green fields soon. It's warm
as blood beneath the clods.
ELIZABETH: That's well.
PROCTOR: If the crop is good I'll buy George Jacobs' heifer.How would that please you?
ELIZABETH: Aye, it would.
PROCTOR: I mean to please you, Elizabeth.
ELIZABETH: (It is hard to say.) I know it, John.
PROCTOR: ( As gently as he can) Cider?
ELIZABETH: (A sense of her reprimanding herself for having forgot) Aye! (Gets jug from off left, pours drink into pewter mug. Brings it to him.
PROCTOR: This farm's a continent when you go foot by foot droppin' seeds in it.
ELIZABETH: It must be.
PROCTOR: On Sunday let you come with me and we'll walk the farm together; I never see such a load of flowers on the earth. Massachusetts is a beauty in the spring!
ELIZABETH: Aye, it is.
PROCTOR: I think you're sad again. Are you?
ELIZABETH: You come so late I thought you'd gone to Salem this afternoon.
PROCTOR: Why? I have no business in Salem.
ELIZABETH: You did speak of gain', earlier this week.
PROCTOR: I thought better of it, since.
ELIZABETH: Mary Warren's there today.
PROCTOR: Why'd you let her? You heard me forbid her go to Salem any more! -ELIZABETH: I couldn't stop her.
PROCTOR: It is a fault, it is a fault, Elizabeth - you're the mistress here, not Mary Warren.
ELIZABETH: She frightened all my strength away ...
PROCTOR: How may that mouse frighten you, Elizabeth? You . . .
ELIZABETH: It is no mouse no more. I forbid her go, and she raises up her chin like the daughter of a prince, and says to me, "I must go to Salem, Goody Proctor, I am an official of the court!"
PROCTOR: Court! What court?
ELIZABETH: Ay, it is a proper court they have now. They've sent four judges out of Boston, she says, weighty magistrates of the General Court, and at the head sits the Deputy Governor of the Province.
PROCTOR: (Astonished) Why, she's mad.
ELIZABETH: I would to God she were. There be fourteen
people in the jail now, she says. And they'll be tried, and the court have power to hang them too, she says.
PROCTOR: Ah, they'd never hang...
ELIZABETH: The Deputy Governor promise hangin' if they'll not confess, John. The town's gone wild, I think - Mary Warren speak of Abigail as though she were a saint, to hear her. She brings the other girls into the court, and where she walks the crowd will part like the sea for Israel. And folks are brought before them, and if Abigail scream and howl and fall to the floor - the person's clapped in the jail for bewitchin' her. (He can't look at her)
PROCTOR: Oh, it is a black mischief.
ELIZABETH: I think you must go to Salem, John. I think so. You must tell them it is a fraud.
PROCTOR: Aye, it is, it is surely.
ELIZABETH: Let you go to Ezekiel Cheever - he knows you well. And tell him what she said to you last week in her uncle's house. She said it had naught to do with witchcraft, did she not?
PROCTOR: (in thought, sighing) Aye, she did, she did.
ELIZABETH: (quietly, fearing to anger him by prodding. A step left) God forbid you keep that from the court, John. I think they must be told .
PROCTOR: Ay, they must, they mus ... It is a wonder that they do believe her.
ELIZABETH: I would go to Salem now, John ... let you go tonight.
PROCTOR: I'll think on it.
ELIZABETH: (with her courage now) You cannot keep it, John.
PROCTOR: (angering) I know I cannot keep it. I say I will think on it!
ELIZABETH: (hurt and very coldly) Good then, let you think on it.
PROCTOR: (defensively) I am only wondering how I may prove what she told me, Elizabeth. If the girl's a saint now, I think it is not easy to prove she's fraud, and the town gone so silly. She told it to me in a room alone - I have no proof for it.
ELIZABETH: You were alone with her?
PROCTOR: For a moment alone, aye.
ELIZABETH: Why, then, it is not as you told me.
PROCTOR: For a moment, I say, The others come in soon after.
ELIZABETH: Do as you wish, then.
PROCTOR: Woman. I'll not have your suspicion any more.
ELIZABETH: (a little loftily) I have no ...
PROCTOR: I'll not have it!
ELIZABETH: Then let you not earn it.
PROCTOR"(with a violent undertone) You doubt me yet?!
ELIZABETH: John, if it were not Abigail that you must go to hurt, would you falter now? I think not.
PROCTOR: Now look you ...
ELIZABETH: I see what I see. John.
PROCTOR: You will not judge me more, Elizabeth. I have good reason to think before I charge fraud on Abigail, and I will think on it. Let you look to your own improvement before you go to judge your husband any more. I have forgot Abigail, and...
ELIZABETH: And I.
PROCTOR: Spare me! You forget nothing and forgive nothing. Learn charity, woman. I have gone tiptoe in this house all seven month since she is gone; I have not moved from there to there without I think to please you, and still a ... an everlasting funeral marches round your heart. I cannot speak but I am doubted; every moment judged for lies as though I come into a court when I come into this house! ELIZABETH: (firmly) John, you are not open with me. You saw her with a crowd, you said. Now, you. . .
PROCTOR: I'll plead, my honesty no more, Elizabeth.
ELIZABETH: (now she would justify herself) John, I am only ...
PROCTOR: (in outburst) No more! I should have roared you down when first you told me your suspicion. But I wilted, and like a Christian, I confessed. Some dream I had must have mistaken you for God that day, but you're not, you're not. Let you remember it. Let you look ,sometimes for the goodness in me and judge me not.
ELIZABETH: I do not judge you. The magistrate sits in your heart that judges you. I never thought you but a good man, John, only somewhat bewildered.
PROCTOR: Oh, Elizabeth, your justice would freeze beer.

Group Project

raymon — Thu, 22 Jan 2004 19:04:58 GMT

Create a Group of 4-6 peers

Composition of group may relate to areas of interest.
(Elementary, Secondary Level, Adult, Special Needs)

Project Components:
Performance
Workshop / Active Participation
Resource Handout
Documentation

Select an Area of Research & Presentation
Puppet/Mask Theater
Scripted Drama:
Readers theater, chamber theater, story theater
Video Project
Shadow Theater
Blacklight Theater
Specific Project: Bringing some drama related
experience to a focus group.
Mixed Media presentation

Class Presentation (45 min)
presentation (15 min) | resource sharing (5 min) | practical workshop (15 min) | question & answers (5)

Evaluation
Group Mark:
presentation /15
resource sharing /10
practical workshop / 15
documentation / 10

Total /50

This document is only a guideline. Final project shape and form finalized in consultation.

Drama 118 - Course Description

raymon — Fri, 16 Aug 2002 04:31:40 GMT

University of Saskatchewan / Drama 116.3
R. Montalbetti / JMBLD 291 / 966-5190
rmontalbetti@hotmail.com / raymon.montalbetti@usask.ca

Course Description. Introduction to Acting I: Body, Voice, Feelings, Mind and Imagination. The essentials of acting through the exploration of body, voice, idea and ensemble. The course will begin to develop awareness of theatrical imagination and creative self-discovery through improvisations and theatre exercises.

Texts.

Oida, Yoshi & Marshall, Lorna. The Invisible Actor. Methuen, 1997.

Class Format. A journey - a learning process designed for personal and group exploration involving a physical development, a vocal exploration and a synthesis of movement and voice. A practical, technical, methodological and creative actors training is experienced through exercises, improvisation, text, play and specific projects.

The rudimentary aspects for exploration.
Contacting oneself, environment and others
Space Awareness
Motoric/Kinetic communication
Relaxation and flexibility
precision/organicity/spontaneity/discipline /concentration/the senses
Imagination and Emotion
Respiration-inspiration-expiration
Ritual
Breath/Vibration/Song/Text
Energy
Impulse/improvisation within a structure/ montage of actions
The Score: search for a precise line and a logic of impulses and physical actions.

Other lectures, performances and workshops may be assigned and/or suggested

Evaluation. Participation 60 %
(attendance, readings, journal, assigned text work
Research paper 10 %
Final written exam 30 %

Assignments:

raymon — Sun, 20 Oct 2002 02:53:17 GMT

1. Keep a class journal. An entry for each class documenting your experience. (Profile Questions)

2. Select and memorize a three minute text. Choose any text except writings written for the world of theater. (Further guidlines)

3. Research Paper. (Topic)

4. Final Exam. Study Guide Questions

Profile

raymon — Tue, 27 Sep 2005 23:45:04 GMT

- where I'm coming from and where I'm going

- what makes me an artist

- needs and expectations for the class

- any other into

Student Page

raymon — Sun, 25 Sep 2005 05:18:04 GMT

Resources:

Files:
Open Pantomime
Contentless Scenes

Course Description Drama 10. 20 and 30

raymon — Sun, 25 Sep 2005 04:16:20 GMT

Class Announcements
Drama 10
Drama 20
Drama 30
Files & Resources

Course Descriptions for Drama 10, 20 and 30 follow the the Saskatchewan Curriculum Guides. For course overview of foundational objectives and student assessment please refer to the extensive on-line material presented by the Saskatchewan Government.

Raymon Montalbetti
E.D. Feehan Catholic High School
Drama 10, 20 and 30

Course Outline.

Class Format involves three components:
1. A physical warm-up and development
2. A vocal exploration
3. Synthesis of movement and voice in acting
using practical theater training, exercises,
improvisation and script study.

Topics of Exploration:

1. The way of the Actor
Exploring resources - the senses, imagination, physical self, speech, emotion and intellect. Relaxation and flexibility.
Contacting self, environment and others.
Motoric/Kenetic communication. Vibration and voice. Energy. The creative experience. The Ensemble.

2. Improvisation as Invention
Concentration, spontaneity and discipline
Stimulating the imagination and extending awareness.
Sensing Shape, Rhythm, Symbol and Tension.
Exploration of Mood and Atmosphere (Feeling)
Inventing, creating, analogy, text, context and subtext
Playing a role to building a character.

3. The Cycle of Theater
Experience the universal truths that have been explored for centuries through the art of theater.
Compare Styles and Attitudes / Concepts and Techniques.
Understand the social exchange that theater generates: the actor/audience relationship.
Ritual, Greek Drama, Religious Drama, Comedy, Shakespeare, Absurd, Epic and beyond.
Composition and Reflection.

4. Theater Scripts
Understanding the nature of Dramatic Text
Beginning to explore a script for meaning and to discover the voice of the play. Analysis and Interpretation.

5. Production
Preparation, choosing material, casting, organizing the rehearsal, lighting and music, props and the staging.

Evaluation
Class Participation
(attendance, daily exercises, discussions, assigned readings and class work)
To mid-term . . . . . . . . . . . . . . 30%
To final . . . . . . . . . . . . . . . . . 30%
Projects . . . . . . . . . . . . . . . . . 40%

The Projects:

Drama 10:

1. Scene Study
Open Pantomime and Contentless Scene

2. Monologue
Audio, Digital and Stage Presentation of invented text. An actor prepares.

3. Improvisation
Understanding the Fundamentals

4. Scripted Drama
What Theater Really Is by James Saunders

5. Film Acting
Respond to issues. Green Mile

6. Theater Attendance
Learn conventions

Drama 20:

1. Scene Study
Open Pantomime, Contentless Scene and Improvised Scene.

2. Monologue
Audio, Digital and Stage Presentation of found text. Building a Character.

3. Improvisation
Role plays.

4. Scripted Drama
Macbeth by Shakespeare

5. Film Acting
Performance Analysis. One Flew over the Cuckoo’s Nest

6. Theater Attendance
Critically respond

Drama 30:

1. Scene Study
Open Pantomime, Contentless Scene, Improvised Scene, Group Scene and Scripted Scene.

2. Monologue
Audio, Digital and Stage Presentation of theater text. Creating a Role

3. Improvisation
Building a drama with focus on theme and character.

4. Scripted Drama
Ecstasy of Rita Joe by George Ryga

5. Film Acting
Role of the director. Apocalypse Now

6. Theater Attendance
Develop an historical perspective

Drama 121.3 Assignments

raymon — Sun, 18 Apr 2004 05:56:10 GMT

1. Journal/ Class entry (approx. 18 items)

2. Student Profile/
where you’re coming from & where you’re going
needs & expectations
related arts experiences
any important info

3. Auto drama (p. 4)/
write moments, events, scenes from your life
guideline of six events

4. Pick a Play(32)/
gut response
- why did I choose this play
- what connections to my life
- what does it indicate about
- what is the story about in your own words
- what is being suggested to you
staging & structure

5. Research Paper/
Research a Director (5 page fully documented/ 800-100 words)
- background: personal & training
- body of work
- philosophy (how they describe what they do)

6. Record a Dream

7. Play Preparation/
Theater Etiquette Expectations
Rehearsal Schedule (Monthly overview)
Daily Schedule ( one week)
Sample production note
Stage Design
Lighting Design
Costume Design

7. Project/TBA.

Research Paper 117

raymon — Sun, 08 Feb 2004 04:19:46 GMT

Research some aspect from the World Theater Scene.

Some examples:

Research the play, the playwright,
the period or style of the scene,
the performance history,
some aspect of a character,
or any other aspect of the scene deemed relevent.

Do make connectins to your play and your playing/acting.

800 - 1,000 words
fully documented & cited
internet sources allowed

World Theater Scenes

raymon — Fri, 06 Feb 2004 01:55:44 GMT

The Trojan Women – Euripides (trans. Gwendolyn MacEwen) (415 BC)

Twelfth Night
Othello – William Shakespeare (1600)

The School for Scandal - Richard Brinsley Sheridan (1777)
Online Text - Act Second Scene One

Woyzeck – Georg Büchner (1837)

A Doll's House - Henrik Ibsen (1879)

Blood Wedding - Federico Garcia Lorca (1933)

A Streetcar Named Desire - Tennessee Williams (1947)

The Crucible – Arthur Miller (1953)
Why I Wrote The Crucible (application/msword, 57 KB)

Look Back in Anger - John Osborne (1956)

Betrayal – Harold Pinter (1978)

A Couple of White Chicks Sitting Around Talking – John Ford Noonan (1979)

True West – Sam Shepherd (1980)

On The Verge or The Geography of Yearning - Eric Overmyer (1985)

Course Description 104.6

raymon — Thu, 12 Sep 2002 07:23:13 GMT

University of Saskatchewan Drama Department/ Drama 104.6 Introduction to Theatre
Raymon Montalbetti/ JMB 291 / 966- 5190 / rmontalbetti@hotmail.com / raymon.montalbetti@usask.ca

Course Description: The study, through direct experience, of theatre arts and crafts. The course is designed to encourage the individual’s creative impulse. Dramatic activities for teachers of all levels, are explored as students move towards an understanding of drama as education.

Material Fee: $20.00 & tickets to Greystone.

Course Outline

I. Preparing for Drama

The Individual
Begin to work in drama with everyone in the whole class, free from observation.
Learn about yourself as you participate.
Build on personal strengths.
Learn how you think and feel and, at the same time, develop your communication and awareness skills.

Discovery of resources
Concentration, the sense, imagination, physical self, speech, emotion, intellect.
Personal release and mastery of resources.
Sensitivity to others within discovery of environment.

The Group
Drama as a group process. Building trust & team work through cooperation and participation.
Partner exercises. Small and large group dynamics.

Acting Orientation
Creative experience
Aspects of spontaneity
Physicalization
Sensitivity and characterization
Refining awareness

II. Aspects of Drama

Relaxation & flexibility
Sound & movement
Games & activities
Prepared Improvisation
Role - play
Spontaneous Improvisation
Drama & language

III. Moving into Drama

What is drama? Objectives and the functions of drama.
Modes of dramatic activity.

IV. Finding the Drama

Drama without words: mime, dance drama, tableaux. Simulation games.
Problem solving drama.
Ritual into drama.
Building belief in drama.
Storytelling - enactment, elaboration, extension and
invention.
Social drama.
Masks.
The Script.

V. Drama in Practice

Function of the drama teacher
Planning and control, observation and involvement, selectivityand belief.
Drama in the curriculum
Drama as subject.
Drama as developer of CELs.
Context Drama.
Drama as inquiry.
Drama as Education.
Historical summary and theoretical framework
Peter Slade, Brian Way, Dorothy Heathcote, Richard Courtney, John Hodgson, Gavin Bolton
Questioning
Reflection
Analysis
Evaluation

VI. Class Presentations

Drama Projects
Revise, shape, rehearse your work so that you can communicate your ideas to others in the class. If necessary share your explorations with audiences.
Text & Drama
Play making: design, rhythm & tempo
Lessons - structures & methods
Elements of performance: staging, light, costume, make-up

Lab
Class members are expected to complete all lab assignments. Masks & puppets.

Evaluation
Participation (activities, exercises, readings, discussions, journal) 40

Major & minor projects (determined in consultation) 30

Final Exam 30

Sections:

raymon — Fri, 16 Aug 2002 04:36:08 GMT

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Course Outline 119

raymon — Sun, 05 Jan 2003 05:19:17 GMT

Course Description (Prerequisite Drama 116.3)
Introduction to Acting 2: Approaching Text & Scene Study.Integrating the creative process in acting with the dramatic text.

Required Texts:

Wangh, Stephen. An Acrobat of the Heart. Vintage Books, 2000.
Xerox Fee: $3.00 & Tickets for two Greystone Productions.

Some topics for exploration & research
The Scene
Experiencing the work as play
Context/Text/Subtext
Acting the Text
Association, composition and reflection
Beginning & developing improvisation
Text/ Rhythm/ Melody
Structure & Action
Sensing Shape & Soul
Building Character/ The psychological gesture
Reality outside the text
The Mask
Primary focus
The Cycle of Theatre
Experience the universal truths that have been explored
for centuries through the art of theatre
Compare styles , attitudes, concepts and techniques
Understand the social exchange that theatre generates: The Actor/Audience relationship
Repetition, representation & assistance
Transformation, process & magic
. . . . Towards an Actor’s Manifesto

Evaluation

Class Participation (attendance, exercises, improvisations, assigned scene work, readings, journals & discussions)/ 60
Research Paper/ 10
Final Exam/ 30

Discuss 116/2005

raymon — Fri, 07 May 2004 15:39:43 GMT

Talkback: Articulate, Inquire, Inform, Involve . . .