Vocal Production III – Fall 2018 – TTH-10 -11:50

Location – PAC 110

Enrollment Requirements: Corequisite(s): “C” (2.0) or better in TPP 3711C .

Academic Calendar Link:

https://calendar.ucf.edu/2018/fall

Professor - Be Boyd Office – PAC 223

Phone – 407-823 - 0872

Email - Belinda.Boyd@ucf.edu

Office Hours – MW – 1:30 – 3:30, TTh – 1- 2 and/or by appointment

***If possible, please email Professor Boyd to make an appointment ahead of

time - during office hours, I am often already scheduled with other students.

GTA - Darren John Cajipo - darrenjohncajipo@Knights.ucf.edu

UCF library link - https://library.ucf.edu/

Course Description

This course is a continuation of the work in Voice II with an emphasis on the study of

Shakespeare’s language and style.

Using Shakespeare’s plays, the class will focus on:

Language (scansion – clarity of language, rhythm, figures of speech)

text analysis (time period, given circumstances, character, action verbs)

voice and physicality (breath accessibility and suspension, vocal color, diction,

pronunciation, vocal and physical commitment)

connection to given circumstances and character motivations, connection to

partner (listening and responding)

good clean, clear, committed blocking that makes sense based on the given

circumstances, characters and moment in the script

the comic style of the commedia dell arte stock characters for the comic scene

(character type, physicality and motivations)

Course Goals and Learning Outcomes **** Course Goals and learning outcomes based on the course description

Student will demonstrate a clear understanding of the vocal and physical

techniques studied in Voice II through Shakespeare’s language and

performance.

Student will demonstrate a basic understanding of Shakespeare’s language and style

through:

o monologue and scene work from Shakespeare’s cannon

o character and text analysis

o rhythm and figures of speech, table work, rehearsal and performance.

Student will articulate a clear understanding of Shakespeare’s plays and the

Elizabethan era through historical research and study of Shakespeare’s

characters through written and oral assignments and performance.

Student will successfully demonstrate the comic style of the commedia dell

arte stock characters for the comic scene (character type, physicality and

motivations)

Course Texts Access to a Shakespeare anthology for class everyday (recommendation: The

Riverside Shakespeare or The Complete Pelican Shakespeare) or any

Shakespeare anthology

Helpful Websites:

Shakespeare Resource Center

http://www.bardweb.net/

No Fear Shakespeare

http://www.shakespeare-online.com /

List of action verbs

http://texasartsproject.com/wp-content/uploads/2012/03/TacticList21.pdf

Suggested Movies

The Tempest - (Helen Mirren)

Hamlet – Kevin Kline, UCF Library

Much Ado About Nothing (Branagh), UCF Library

Shakespeare Uncovered -David Tennant – Hamlet, UCF Library

Henry V – (Branagh), UCF Library

Richard III – Ian McKlellen, UCF Library

Love’s Labor’s Lost – (Branagh), UCF Library

Course Requirements

Assess to a Shakespeare anthology

Yoga Mat or something to put under your face if necessary, knee pads and clothing in which you can move easily and which does not bind the trunk of your body or your arms – do not wear jeans or anything that does not allow your mid -section to receive breath unless they are required for your scene – in that case, you will wear warm-up clothes as usual and then change into jeans or whatever costume is required for your scene.

You must remove all lose jewelry, tie up long hair and find a way to get bangs up and away from your face and take off warm-up jackets or bulky pull overs shirts, sweaters, jackets, etc while working on scenes, monologues and for performances unless required for the scene.

We will work barefooted unless there are specific shoe requirements for a scene

All cell phones, Ipods must be turned off at the beginning of class time. Do not take notes on your phone.

Guests will not be permitted in class without prior consent of the instructor.

As we will work with partners and on the floor at times, it might be a good idea to bring a small bottle of hand sanitizer to class.

If you miss class, you must make up the work assigned for the day you missed and you must be prepared to participate fully in class exercises or performances upon the day of your return.

If you are absent during a group performance or presentation, you will not be allowed

to make up this assignment, unless you have a certified excused absence. In this

case, the other members of the group will be given an amended list of guidelines for

completing the project without you.

Your first unexcused absence will lower your final grade five points, your second unexcused absence will lower your grade 10 points (which will lower it a full letter), and your third unexcused absence will result in a failure of the course.

Participating in a show is not a valid excuse for missing class or lack of preparation for

an assignment.

ONLY THE FOLLOWING ARE CONSIDERED EXCUSED ABSENCES:

• university sponsored and excused events

• serious illness that is documented by a doctor’s note

• death or serious illness in the immediate family – please be aware you may be asked

to provide documentation

• Or see excused absences under UCF Core statements.

Attendance

Acting training is a progressive process. Do not miss class. Acting training is about changing your technique and approach to acting. Every class is a valuable step toward altering your process.

Punctual attendance for class - as for rehearsal calls - is mandatory – you are to be

on the floor ready to go at the beginning of class time. Repeated neglect of this will

result in a lowering of the final grade. You will be given a daily attendance and

participation grade. (Participation is defined as daily in class exercises and

assignments and/or daily constructive, professional feedback for your classmates that

is based on techniques in class.) Instruction / Content

Theatre requires the use of mind, voice, and body, therefore there will be situations

requiring a certain amount of physical contact between you and the instructor and the

other students. You will work with the instructor and your partner/s to develop

physicality and/or physical contact that is comfortable for all parties involved and

matches the given circumstances of the script.

There are plays and materials which may express adult or controversial themes as well

as strong language.

You must inform the instructor during the first week of class if you have any physical

challenges or otherwise that might impede your full participation and development of

in class work. No need to go into details, just basic information to help the instructor

understand your parameters and to set you up for success in the class.

Grading

All work will be based on a 100pt grading scale (See specific points for each assignment)

Your overall grade for the class will be based on the accumulation of points for the

following areas:

Major Assignments (see weekly schedule)

Possible Quizzes

Participation in daily assignments and exercises

Assignment deadlines and punctuality

Willingness and Consistency when rehearsing with partners outside of the

scheduled class time

Professionalism (including attitude toward criticism, and respect for fellow

classmates

Grading Scale

95 – 100 /A 83 – 80/ B- 69 - 67/ D+

94 – 90 / A- 79 – 77/ C+ 66 - 64/ D

89 - 87 / B+ 76 - 74/ C 63 - 60/ D-

86 – 84/ B 73 – 70/ C- Below 60/ F

Major Assignments

*The instructor reserves the right to amend the syllabus and schedule according to the

needs of the class.

*Turn in All Written Work to Professor through Knights Email on Due Date

According to the Assignment – Assignment is LATE if it does not arrive by 5pm

on the due date. Late assignments will not be accepted. There will be no extra

credit.

***For all first showings you should be performance ready: ie, off book, basic

text analysis, basic staging, basic character work, props, basic costume choices

and set design.

Unless otherwise notified, we will conduct a warm-up at the beginning of every

class period. Please dress appropriately and be on the floor ready to begin the

warm-up at the beginning of class.

Class Schedule

****You may be asked to turn in written work based on your rehearsal process

with your partners, analysis of your scene or monologues, journal entries. All

written assignments are worth 100points.

Week 1 – 3 – August 21 – September 11

Work on first monologue described in number 1 below.

You will also receive your second monologue during the first or

second week of class.

Begin memorization on the second monologue directly after you

receive it. There will be a very quick turn- around for the

performance of this piece once we finish the first monologue

1) First Classical Monologue 200pts

On the first day of class, you will perform the monologue you were given at

the end of the spring semester. We will spend the first couple of weeks or

so work-shopping your monologue. The focus of the first monologue is to:

o Assess your performance growth from the last day of Voice II to now

o Demonstrate a specific understanding of the text for your monologue

(what your character is saying) as well as the character’s point of view

(what’s going on in the scene and how are you responding to it) and

physical actions (what are you doing and what do you want).

You will perform a dress rehearsal of the piece on or around September

6

The Final performance of your first monologue– Tuesday September

11

For the final performance, you will create a costume that you feel expresses the

character in your monologue. You may choose to set your costume in the

contemporary period. For example, what would Romeo wear now based on your

understanding of the content and character of your monologue. Be creative

with your choice, but do not choose a costume in which you cannot comfortably

move.

The final grade for the first scene will be determined by the preparation demonstrated in the first

showing, growth from the first showing of the monologue according to the feedback you received

from the instructor to the final performance.

Preparation (memorization, well-rehearsed) 40pts

Breath awareness (Consistent Breath, Not sitting on your breath) 20pts

Physicality (Natural Blocking – Not Stiff, Blocking that is well executed and well -staged) 20pts

Tempo (Taking time to respond to what is really happening and taking time to make sure we get your words) 20pts

Articulation (Make sure each word is clear - articulators are warmed-up and not sluggish) 20pts

Clarity of Language (what you are saying is clear- the major points you are trying to say are clear to us, we can hear/understand every word) 20pts

Clear Character/Personality (Choices are made to help us recognize the type of personality in this piece, the relationship you have with the other character) 20pts

Connection to Material/ Clarity of Given Circumstances in the Monologue (Throwing yourself emotionally/physically/vocally into the monologue and demonstrating clear action/story and objectives 20pts

Imagined Acting Partner The piece is delivered like you are talking to a real person/s in front of you) 20pts

Week 4 – 7 – September 13 – October 4

Work on the second monologue described below in

number 2

Begin work on scansion for the second monologue –

see information for rhythms, figures of speech in

Handout document sent in this email

You will also receive first comic scene during the 4-7

week

2) Second Classical Monologue 200pts

You will have received a classical monologue from Shakespeare’s tragic

canon that directly addresses your acting challenges on the first or second

week of class. Work on this monologue will include a demonstration of the

skills acquired from the first monologue as well as a basic understanding of

rhythm/ figures of speech for this monologue.

We will begin scansion for the second monologue on September 13 (or after

the final performance of the first piece.) For scansion work, run off your

monologue with a double space in between so you can write the rhythm and

figures of speech in between each line of your monologue and bring to class

on September 13. We will aim for a final performance on Thurs October 4.

Please dress for the character and given circumstances. You will turn in a

written version of the rhythm and figures of speech as a daily assignment for

this monologue. (Rhythms and Figurative Language Handout Below)

The final grade for the first scene will be determined by the preparation demonstrated in the first

showing, growth from the first showing of the monologue according to the feedback you received

from the instructor to the final performance.

Preparation (memorization, well-rehearsed) 40pts

Breath awareness (Consistent Breath, Not sitting on your breath) 20pts

Physicality (Natural Blocking – Not Stiff, Blocking that is well executed and well -staged) 20pts

Tempo (Taking time to respond to what is really happening and taking time to make sure we get your words) 20pts

Articulation (Make sure each word is clear - articulators are warmed-up and not sluggish) 20pts

Clarity of Language (what you are saying is clear- the major points you are trying to say are clear to us, we can hear/understand every word) 20pts

Demonstration of Rhythm and Figures of Speech - 20pts

Clear Character/Personality (Choices are made to help us recognize the type of personality in this piece, the relationship you have with the other character)

Connection to Material/ Clarity of Given Circumstances in the Monologue - demonstrating clear action/story and objectives 20pts

Imagined Acting Partner The piece is delivered like you are talking to a real person/s in front of you) 20pts

Week 8 – 11 – October 8 – November 1

You will have already received your comic scene during week

4 – 7 and will need outside rehearsals with your partner

while you are workshopping second monologue

You will apply Commedia dell arte style to the comic scene –

Information on Commedia dell arte style found in Handout

Document sent in this email

Work for Classical Comic scene described below in number 3

3) Classical Comic Scene 200pts

You will receive a classical scene from Shakespeare’s comic canon on or around

Sept 11 or 12 that directly addresses your acting challenges. Please be aware that

you will be rehearsing this piece with your partner while working on your second

Shakespeare Monologue

Work on this scene will include:

The skills acquired and demonstrated from the first two assignments

We will add physical comedy based on the commedia comic archetypes

***Commedia Character Handout in Handout Document

This scene will also have a fast turn-around.

Instead of work -shopping your scene you will prepare it outside of class

and receive notes based on the performance. You will need to work on this

scene outside of class with your partner. You might have some inside class

time to work on this piece should time allow, however do not count on

that.

If additional work -shopping of the scene is needed with the professor, it

will take place outside of class. Begin memorization, scoring the script and

devising blocking with your partner on the piece right away. Working

Shopping of the scene will begin on Tuesday October 9

You will show this piece for the first time on Tuesday October 23. At this

time, dress in costume according to character. Final showing October 30

The final grade for the first scene will be determined by the preparation demonstrated in the first

showing, growth from the first showing of the scene according to the feedback you received from the

instructor to the final performance, the rehearsal process with your partner and the following areas:

Preparation (memorization, well-rehearsed) 40pts

Breath awareness (Consistent Breath, Not sitting on your breath) 20pts

Physicality and Commedia (Lazzis are Clear, Blocking that is well executed and well -staged) 40pts

Tempo (Taking time to respond to what is really happening and taking time to make sure we get your words) 20pts

Articulation (Make sure each word is clear - articulators are warmed-up and not sluggish) 20pts

Clarity of Language -Rhythm and Figures of Speech (what you are saying is clear- the major points you are trying to say are clear to us, we can hear/understand every word) 20pts

Clear Character/Personality (Choices are made to help us recognize the type of personality in this piece, the relationship you have with the other character) Connection to Material/ Clarity of Given Circumstances in the Scene - demonstrating clear action/story and objectives 20pts

Working with Acting Partner 20pts

Week 12 – 15 – November 6 – November 29

You will receive the scene while you are working on your comic

scene

Work for this scene described in number 4

4) Final Scene - Classical Scene – 400pts

A final scene selected from Shakespeare’s Tragic Cannon. You will receive the scene around

while working on the comic scene in order to prepare for the oral presentation of this scene

(see oral presentation assignment below).

Once you receive your scene, begin research on it immediately. The rest of the

semester will be dedicated to working your final scene. This will be the scene

that is your final for the class. The final is Tuesday, December 4, 2018

10:00 AM – 12:50 PM

You will have two showings of this scene before your final. T h e a i m i s t o

perform one half of your scene on Nov 15 and 20. (Costumes, Set and Props

required). You will be given feedback on this performance. The other will occur

outside of class and will include the entire scene during the final week of class right

after Thanksgiving Break (November 26 – 30). You must secure a time with

the professor to show your final scene and secure a location for the showing

by November 12. (Please contact Sam Waters about how to schedule a

classroom through the theatre scheduler).

The final grade for the first scene will be determined by the preparation demonstrated in the first

showing, growth from the first showing of the scene according to the feedback you received from the

instructor to the final performance, the rehearsal process with your partner and the following areas:

Preparation (memorization, well-rehearsed) 50pts

Breath awareness (Consistent Breath, Not sitting on your breath 30pts

Physicality (Natural Blocking, Blocking that is well executed, well- staged) 40pts

Tempo (Taking time to respond to what is really happening and taking time to make sure we get your words) 30pts

Articulation (Make sure each word is clear - articulators are warmed-up not sluggish) 30pts

Clarity of Language, Rhythm and Figures of Speech (what you are saying is clear- the major points you are trying to say are clear to us, we can hear/understand every word 50pts

Clear Character/Personality (Choices are made to help us recognize the type of personality in this piece, the relationship you have with the other character) 50pts

Connection to Material/ Clarity of Given Circumstances in the Monologue/Scene (Throwing yourself emotionally/physically/vocally into the monologue/scene and demonstrating clear action/story and objectives 50pts

Connecting to Acting Partner (Maintaining eye contact and specific awareness of your scene partner. Responding specifically to what they are saying and doing) 70pts

5) Oral Presentations Format for Final Scene – 200pts

You and your partner will present and oral presentation on the research and analytical

elements of your play/scene to the professor during class time (this will give the class

the opportunity to continue to work on scenes while the presentations are being

delivered.)

Presentations on Nov 6, Nov 8. See format and requirements

for Oral Presentation Below.

Presentations should be no shorter than 20 minutes and no

longer 25 minutes in length.

Requirements for Oral Presentation

Background info on Play and Contemporary Relevance - 40pts

When was it written? First performance?

Historical relevance (did Shakespeare base the play on myth, history, are there differences between real historical characters and characters in the play?)

How has this play influenced culture, literature, art?

Playwright’s Statement and Plot – 40pts

One statement that describes the play - what do you think Shakespeare was trying to say about this play

Brief description of the plot AND brief description of your scene. Also include: a brief personal experience that reminds you of the situation in this play/scene

What do you find interesting or attractive about the play/character/scene?

Character – 40pts

Describe your character – personality type

Define three major objectives of your character AND three major actions you will play to achieve these goals

Relationship – 40pts

Define your relationship in this scene. Three or Four descriptive words that define it.

What TV or movie relationship does this relationship remind you of? Define how and why?

Directorial Concept – 40pts

What is your concept – Same period as play? Difference period – why?

Production Elements – Set Design, Costumes, Props, Sound, Lighting

One final interesting fact/anecdote about the play

UCF Core Statements

Academic Integrity

Students should familiarize themselves with UCF’s Rules of Conduct at

<http://osc.sdes.ucf.edu/process/roc>. According to Section 1, “Academic Misconduct,”

students are prohibited from engaging in

1. Unauthorized assistance: Using or attempting to use unauthorized materials, information or

study aids in any academic exercise unless specifically authorized by the instructor of record.

The unauthorized possession of examination or course-related material also constitutes

cheating.

2. Communication to another through written, visual, electronic, or oral means: The presentation

of material which has not been studied or learned, but rather was obtained through someone

else’s efforts and used as part of an examination, course assignment, or project.

3. Commercial Use of Academic Material: Selling of course material to another person, student,

and/or uploading course material to a third-party vendor without authorization or without the

express written permission of the university and the instructor. Course materials include but are

not limited to class notes, Instructor’s PowerPoints, course syllabi, tests, quizzes, labs,

instruction sheets, homework, study guides, handouts, etc.

4. Falsifying or misrepresenting the student’s own academic work.

5. Plagiarism: Using or appropriating another’s work without any indication of the source,

thereby attempting to convey the impression that such work is the student’s own.

6. Multiple Submissions: Submitting the same academic work for credit more than once without

the express written permission of the instructor.

7. Helping another violate academic behavior standards.

For more information about Academic Integrity, consult the International Center for Academic

Integrity

<http://academicintegrity.org>.

For more information about plagiarism and misuse of sources, see “Defining and Avoiding

Plagiarism: The WPA Statement on Best Practices” <http://wpacouncil.org/node/9>.

Responses to Academic Dishonesty, Plagiarism, or Cheating

Students should also familiarize themselves with the procedures for academic misconduct in

UCF’s student handbook, The Golden Rule

<http://goldenrule.sdes.ucf.edu/docs/goldenrule.pdf>. UCF faculty members have a

responsibility for students’ education and the value of a UCF degree, and so seek to prevent

unethical behavior and when necessary respond to academic misconduct. Penalties can include a

failing grade in an assignment or in the course, suspension or expulsion from the university,

and/or a “Z Designation” on a student’s official transcript indicating academic dishonesty,

where the final grade for this course will be preceded by the letter Z. For more information

about the Z Designation, see <http://goldenrule.sdes.ucf.edu/zgrade>.

Course Accessibility Statement

The University of Central Florida is committed to providing access and inclusion for all persons

with disabilities. Students with disabilities who need disability-related access in this course

should contact the professor as soon as possible. Students should also connect with Student

Accessibility Services (SAS) <http://sas.sdes.ucf.edu/> (Ferrell Commons 185, sas@ucf.edu,

phone 407-823-2371). Through Student Accessibility Services, a Course Accessibility Letter

may be created and sent to professors, which informs faculty of potential access and

accommodations that might be reasonable. Determining reasonable access and accommodations

requires consideration of the course design, course learning objectives and the individual

academic and course barriers experienced by the student.

Campus Safety Statement

Emergencies on campus are rare, but if one should arise during class, everyone needs to work

together. Students should be aware of their surroundings and familiar with some basic safety

and security concepts.

In case of an emergency, dial 911 for assistance.

Every UCF classroom contains an emergency procedure guide posted on a wall near the door.

Students should make a note of the guide’s physical location and review the online version at

<http://emergency.ucf.edu/emergency_guide.html>.

Students should know the evacuation routes from each of their classrooms and have a plan for

finding safety in case of an emergency.

If there is a medical emergency during class, students may need to access a fi rst-aid kit or AED

(Automated External Defibrillator). To learn where those are located, see

<http://www.ehs.ucf.edu/AEDlocations-UCF> (click on link from menu on left).

To stay informed about emergency situations, students can sign up to receive UCF text alerts

by going to <https://my.ucf.edu> and logging in. Click on “Student Self Service” located on the

left side of the screen in the toolbar, scroll down to the blue “Personal Information” heading on

the Student Center screen, click on “UCF Alert”, fill out the information, including e -mail

address, cell phone number, and cell phone provider, click “Apply” to save the changes, and

then click “OK.”

Students with special needs related to emergency situations should speak with their instructors

outside of class.

To learn about how to manage an active-shooter situation on campus or elsewhere, consider

viewing this video (<https://youtu.be/NIKYajEx4pk>).

Campus Safety Statement for Students in Online-Only Courses

Though most emergency situations are primarily relevant to courses that meet in person, such

incidents can also impact online students, either when they are on or near campus to participate

in other courses or activities or when their course work is affected by off-campus emergencies.

The following policies apply to courses in online modalities.

To stay informed about emergency situations, students can sign up to receive UCF text alerts

by going to <https://my.ucf.edu> and logging in. Click on “Student Self Service” located on the

left side of the screen in the toolbar, scroll down to the blue “Personal Information” heading on

the Student Center screen, click on “UCF Alert”, fill out the information, including e -mail

address, cell phone number, and cell phone provider, click “Apply” to save the changes, and

then click “OK.”

Students with special needs related to emergency situations should speak with their instructors

outside of class.

Make-Up Assignments for Authorized University Events or

Co-curricular Activities

Students who represent the university in an authorized event or activity (for example, student-

athletes) and who are unable to meet a course deadline due to a conflict with that event must

provide the instructor with documentation in advance to arrange a make-up. No penalty will be

applied if documentation is presented and confirmed. For more information, see the UCF policy

at <http://policies.ucf.edu/documents/4-

401.1MakeupAssignmentsForAuthorizedUniversityEventsOrCocurricularActivities.pdf>

Religious Observances

Students must notify their instructor in advance if they intend to miss class for a religious

observance. For more information, see the UCF policy at

<http://regulations.ucf.edu/chapter5/documents/5.020ReligiousObservancesFINALOct17.pdf>.

Deployed Active Duty Military Students Students who are deployed active duty military and/or National Guard personnel and require

accommodation should contact their instructors as soon as possible after the semester begins

and/or after they receive notification of deployment to make related arrangements