t%e: Co#r$e Co&e: Pre.Re/#!$!te$: Cre&!t$: D#rat!on: Le4e%: COURSE OUTLINE BFA Drama Per"orman e In&epen&ent St#&' II (A t!ng Tra )* TT+,-B In&epen&ent St#&' I an& D!re t!ng I 0 (+12r$* T2eor' an& Pra t! a% 3 Seme$ter IV

RATIONALE Given the dearth of contemporary dramatic plays that provide suitable degrees of difficulty and variety of stylistic demands for the actor, the student of performance (Acting) needs to be challenged to create their own work either by integrating various pieces of material or via improvisation. They must also have the expertise to create original work independently, based on their own interests as artists. COURSE DESCRIPTION tudents are re!uired to complete and present an independent study pro"ect of their choice, which should be an approximately #$ minutes long piece of theatre, which should demand the embodiment of multiple characters and be devised in accordance with research on a theme of social relevance,that is developed from the working text presented at the end of TT#%&A. tudents will have to create or develop literary'plastic, etc. materials that they will work on throughout the process. A series of workshops based on the dramaturgical and stylistic choices made by the students will be mounted to consolidate the knowledge and skills of the students in a practical way in order to boost their critical play creation and staging of their productions. AIMS: (. To develop students) personal artistic statement &. To guide students towards the creation of an original one person performance *. To develop relevant dramaturgical skills #. To guide students towards the development of disciplined independent acting work $. To empower students to make free use of different plastic resources e.g. puppets, masks, costumes, etc. +. To empower students to make free use of different theatrical resources e.g. dancing, singing, mime, movement, etc.

,. To encourage collage construction of texts e.g. plays, poetry, songs, etc. -. To develop the students) understanding of a documented artistic process .. To hone students) skills of critical performance thinking and self/analysis (%. To allow students the opportunity to synthesi0e all the knowledge gained over the years of study ((. To develop students) resourcefulness in using different elements to articulate creative concepts e.g. sounds, masks, costumes, etc. OB5ECTIVES: At t2e en& o" t2e $eme$ter t2e $t#&ent $2o#%& 6e a6%e to: (. how substantial awareness of the theatrical'aesthetic demands of the text selected and created1 &. 2emonstrate independent application of physical and vocal range1 *. how good awareness of technical demands and application on stage1
#. 3valuate elements of his'her own choreographic tendencies1

$. 4dentify areas in their performance techni!ues that are in need of strengthening with some awareness of strategies to address them1 +. 2emonstrate considerable development in analysis and research1 ,. 2escribe and evaluate in writing the process'creation of the performance -. how focused inclination and discipline on developing their own ideas on the theme selected1 .. 2emonstrate maturity in managing and promoting a performance pro"ect1 (%. 4dentify and discuss the relevance and value of elements of the workshops to their pro"ect1 ((. 2emonstrate effective and imaginative selection and use of plastic resources and production values1 (&. Articulate, through creative work, a clear artistic perspective and outlook. CONTENT OUTLINE: T2e In&epen&ent Re2ear$a% Pro e$$ UNIT 3 (7ee)$ 3 .+*: 5oncept 2evelopment (Text and performance) tory, plot, characters events, images, props, costumes and spatial design(through writing and improvisation and review). UNIT - (7ee)$ 1.8* 3diting the final script and formal rehearsal defining'refining the plot points, scenes, movements, plot beats and cleaning the performance. UNIT 0 (7ee)$ 9 .3+* 4ndependent 6ehearsal 7odel8 7ounting, promoting managing and documenting the performance. UNIT + (Ma'.5#ne* 9ost/ 3xam 9ush towards 9erformances week of :une (+ ;<8=orkshops relevant to the thematic choices of the 4ndependent tudies will be arranged by the Academic Advisor in each unit, with faculty and guest professionals in the field.

METHODOLOGY =orkshops with outside Artists. Table work with the Advisor. 9eer review and rehearsals, improvisations, re/working and re/devising, and many more rehearsals. SCHEME OF EVALUATION Co#r$e:or) ;,< F!na% Pro=e t +,< Co#r$e:or): Tutorials (weekly/ research and chapter presentations) Timely, creative and dramaturgically incisive play drafts 5reative application to staging and role creation 5ommitted > creative involvement at =orkshops 9roduction 7anagement and liaison with tech team (%% Per"orman e F!na% pro=e t:>+1? 5haracter ?profile >development@ ($ (% (% (% &% &% *$ ($ (%

Ase of space and Bb"ects Ase of action'activity Ase of costumes De$!gn an& Te 2:>3,? et' pace design Technical (lights and sound) Ora% De"en$e an& Boo):>+1? Civa Coce Thesis <ook ($ D*% (%% Re ommen&e& Rea&!ng: $


<rook, 9eter. T2e Open Door. ;ew Eork8 The 5ommunications Group, (..$.

Farrison, 9aul carter. 3d. Mother/Word in Totem Vo! e$: P%a'$ "rom T2e B%a ) 7or%& repertor'@ ;ew Eork8 Grove 9ress, (.-.. Fughes. Folly. 3d. O So%o Home: t2e ne: /#eer per"orman e@ ;ew Eork8 Grove 9ress, (..-. Gane,3ric and ;ina hengold. 3d. Ta%) To me: Mono%og#e P%a'$@ ;ew Eork8 Cintage <ooks, &%%#. mith, 2eavere Anna@ F!re$ !n T2e M!rror. ;ew Eork8 Anchor books, (..*. Tharp, Twyla. T2e Creat!4e Ha6!t: Learn It an& U$e It For L!"e@;ew Eork, ;E8 imon > chuster, &%%*. =hitmore, :on. D!re t!ng Po$tmo&ern T2eatreA S2ap!ng $!gn!"! an e !n Per"orman e@ 7ichigan8 Aniversity of 7ichigan 9ress, (..#. INDEPENDENT STUDY: CONTENTS OF THE ACTORBS THESIS BOOC

TITLE PAGE The general format should be similar to this example8 Ta6%e o" Content$ All chapters and items in the appendix must be listed, labelled with a title and assigned page numbers. A )no:%e&gement A6$tra t DDDDDDDDDDDDDDDD DDDDDDDDDDDDDDDD@ (!* (ii)

C2apter One a. 2iscussion of the topic in a clear and precise way b. =hat is the local, background or context'importance of the topic to the 5aribbean':amaican society and'or to you personally (in other words why did you choose to pursue this topic) C2apter T:o Theoretical background (review of literature) a succinct account of a closely related research should be given using such sources as "ournals, book, plays relevant newspaper articles etc. interviews may also be included in the research based on the nature of the study. C2apter T2ree 4mplementation of the tudy (i) 3xplain clearly the thesis statement and argument for the study

(ii) (iii) (iv)

Butline the theoretical and practical approach and why it is relevant to your topic and context 2escribe the population and context of the study =hat are the limitations of the study

C2apter Fo#r The critical approach to the study (i) Asing the theoretical and practical approach that you have chosen, discuss your argument using - 9roduction 5oncept8 a) 9roduction 3lements b) Calue function and effectiveness of the text selected (if any) c) Calue function and effectiveness of your own writing used d) tructure and style of the final composite text. e) 5haracter analysis f) Themes g) 4mages h) 9erformance style C2apter F!4e: T2e P%a' (i) cored play script (ii) :ournal of rehearsal process including improvisations C2apter S!E 6ecommendations or conclusion8 - 3valuation of the performance ummary evaluation of the process - 3valuation of the audience response and new meanings discovered - Accomplishments and failings B!6%!ograp2' Appendices 9hotographs Texts borrowed 5riti!ue 3tc

Policy on Academic Honesty
As members of the academic community of the 3dna 7anley 5ollege, students area expected to recogni0e and uphold standards of intellectual and academic integrity. 9lagiarism is unethical and will result in disciplinary action. 4f you do

not understand what constitutes plagiarism, please refer to page *& of the 6ules and 6egulation section in 3dna 7anley 5ollege Fandbook. Guidelines in the Edna Manley College Student Handbook will be strictly followed. The Plagiarism Co er sheet M!ST accom"any all written assignments. Please not that you own the co"yright of e ery "iece of work you "roduce. The examples and definitions given below are intended to clarify the standards by which academic honesty and acceptable academic conduct are to be "udged. The following list is merely illustrative and is not intended to be exhaustive. • P#AG$A%$SM& 9lagiarism is presenting another person)s works as one)s own. 4t includes paraphrasing or summari0ing the works of another person without acknowledgement, including submitting another student)s work as one)s own. CHEAT$'G& This involves giving or receiving unauthori0ed assistance before, during or after an examination.

• •

!'A!TH(%$)E* C(##A+(%AT$('& ubmission of work'assignment for grade'credit, product or a part thereof, represented as being one)s own effort that has been developed in substantial collaboration with or without assistance from another person or source is a violation. ,A#S$,$CAT$('& 4t is a violation to misrepresent material or fabricate information in an academic exercise or assignment. M!#T$P#E S!+M$SS$('S& 4t is a violation of academic honesty to ubmit substantial portions of the same work for credit more than once without the explicit consent of the lecturer(s) to whom the material is submitted for additional credit. 4n cases where there is a natural development of research or knowledge in a se!uence of courses, use of prior work may be desirable or even re!uired.