#4 Quiz-Wksht (Ch. 7+) CANVAS (THAR 10B)

THAR 10B:  Quiz-Worksheet #4 on Scene Study (10 pts.)  (Rev. F21 for Canvas)

Ch. 7 + excerpts from Ch. 5 & 8  (10 pts.)

 

INSTRUCTIONS

You have two ways you can complete this assignment:

Option 1:  Click "Submit Assignment."  Select Text Entry submission option.  Then, highlight the quiz heading and all the questions, including the spaces between them, and paste directly into your text entry box.  Then, type your answers directly after each question as you read the chapter.  When done, click "Submit Assignment."   (Tip:  It can be helpful to print out the PDF of the Quiz-Worksheet if you'd like to refer to the questions as you are reading, then insert your answers on Canvas after you've read the chapter.)

OR

Option 2:  Print out the PDF of the Quiz-Worksheet (using the link below or in the module below these instructions) and answer the questions.  If you type your answers, make sure to save a copy of your completed work before you submit it here.  If you handwrite your answers, scan or photograph your pages; then, submit them here. 

10B Worksheet Quiz Ch. 7+ (S21).pdf Download 10B Worksheet Quiz Ch. 7+ (S21).pdf

 

Chapter 5:  Working With a Partner (6^th Edition Pg. 149-152; 7^th Edition Pg. 152-156)

As we move into the scene study portion of our class, you will be working with scene partners more extensively.  After reading these Ch. 5 pages, select one point that you found particularly beneficial about Working With a Partner; describe it and explain its value to you below:

 

 

 

 

 

Chapter 7:  Finding Character Through Script

1.  Scene Selection (6^th-Pg. 199-201; 7^th-Pg. 204-05): While this section may be more important when you get to your Risk Scenes, what was one detail from this section that you found particularly helpful to keep in mind when selecting scenes? Why?

 

 

 

 

 

2.  Script Analysis (6^th-Pg. 212-14; 7^th-Pg. 216-19): The author gives you a list of values and concepts to think about within the play’s world, encouraging you to ask, “How close or far away is my character from the majority of people within this world?”  Think about a character you’ve played in the past and explain your most interesting answers for TWO of the items from the list below:

 

 

 

 

 

 

3.  Cutting the Scene (6^th-Pg. 214-15; 7^th-Pg. 219-20): In this class, you may need to cut your Class Play scene down, as well as your Risk Scene.  Why is cutting “a valuable skill for actors” to learn?

 

 

 

 

 

4a.  Character Analysis (6^th-Pg. 215-18; 7^th-Pg. 220-23):  Fill in each of the “3 I’s” of Character Analysis discussed in your reading and give a clear definition that you will find easy to remember and apply:

      I                            

 

 

 

 

      I                            

     

 

 

 

      I                            

 

 

 

 

4b. Character Past, Present, Future (6^th-Pg. 217-18; 7^th-Pg. 222-23):  Earlier in the semester you completed a Personal Profile on your own past, present and future.  Soon you will be applying those same questions to the characters you’ll be working on.  Select one of the statements that you found particularly interesting to apply to a future character and explain why.

 

 

 

 

 

5.  Abstracting (6^th-Pg. 218-20; 7^th-Pg. 223-25): Define this tool for character development.  Then, explain the quotation at the top of Pg. 219 from John Gielgud.

 

 

 

 

 

 

6.  Staging (6^th-Pg. 220-21; 7^th-Pg. 225-26): If you’ve completed a beginning acting class or been in a show before, you know something about staging and blocking a scene already, but this section includes good advice to review.

  A.  Explain what to keep in mind when developing your floor plan for a scene.

 

 

 

 

 

  B.  Explain #5 on pg. 221 (6^th ed.) or pg. 226 (7^th ed.) in your own words.

 

 

 

 

 

 

Script Awareness Improvs/Keys/Shaking Up the Scene/Character Explorations (6^th-Pg. 222-25; 7^th-Pg. 226-230):

7a.  Read these last pages of the chapter.  Then, explain two points that the author suggests that you think might be particularly helpful for you to use in developing a character (other than “Keys”)

 

 

 

 

 

 

7b. Character Keys:  Explain what this tool is and how you could apply it to developing a character.  Also, give a clear example from a past character you’ve played and how the Character Key helped you create your characterization.

 

 

 

 

 

 

Chapter 8 (excerpts):  Scene Study  Jump to pg. 237 for 6^th edition/pg. 243 for 7^th edition

1.  Adapting Show Process to Class Process: “It’s a 10-minute scene?  That means the bare                            

     rehearsal period before the first time it’s done in class is 10                       .”

2.  Schedules and Objectives: As obvious as the advice in this section might be, these are some of the most common problem areas for scene partnerships.  Explain one piece of advice you think would be particularly helpful for you.

 

 

 

 

 

3.  Memorization: Read this whole section, then fill in the blanks below.

• “Always memorize according to what the character                                       rather than doing

       words by rote.  Memorize                                                           and intention clusters rather

       than word clusters.”

• For Scenes: “Start memorizing from your                             , not from the first word of your lines.

      Memorize at least the last half of your partner’s                                    and listen closely as they

      near the end of each.”

• “Cue yourself off                                       words (action cues) within your partner’s speeches –

       the words that                                                       response, not off the last line of his speech.”

• “If you are running lines at home or in any space with enough room, set up                             

       so that that it is close to your set and then actually walk through your blocking.”

 

4.  Working With…/Without Others…: For each of the following sections, explain one piece of advice or information you didn’t know and/or found particularly helpful:

  A.  Working with a Teacher, Coach, or Director

 

 

 

  B.  Working Without a Director

 

 

 

  C.  Working With a Non-Director

 

 

 

  D.  Working with Untrained Observers

 

 

 

 

5.  Criticism: Give and Take

• “Many beginning actors simply will not take part in                                           a classmate’s 

      work…. you’re still worried about others thinking you’re cruel, opinionated, or out of line,

      you are                                 yourself and them.  It’s                              to keep to yourself

      and not dare to risk disapproval.  You are                                       in these people and they

      in you.”

• “How to take criticism that seems                                               ?  Remind yourself that

       nobody criticizes unless he                             ; it takes too much                                   .”

6.  Critiquing: “Everyone in class should be                                           in critiquing the 

      performances of others.  The teacher brings experience and training.  Everyone else

      brings                                               and peer support….  Learning to                              

      in a way that others are able to                                it will serve you in countless other

      contexts.”

      Hits and Misses, Roses and Thorns:  “A critique session should always                                

      what is already working                       you move on to suggestions for change.

      Why Always Positive Strokes:  “If you don’t                                    some actors for their

      strong suits, they’ll go back to the                                                                    and throw out

      all the good stuff!  Most of us lack the                                         … to recognize when we

      are doing our                              work.”

     Receiving Criticism:  “….while it might have been lovely to bask in adoration, this is all

     about                         .  Always ask yourself, “What am I getting here that will help me

     get                               ?” instead of all the mind traps such as “Why do they                 me

     so much?  Why do I                                 ?”

    REFLECTION:  What was the best piece of advice that you found in this section and why?

 

 

 

 

 

7.  Grace under Fire: “Never, ever                        ,                       ,                                        or

     in any way disagree with anything being said.  Do not speak at all unless it is to

                                                your understanding of what has just been said…. Realize

    that what they                               may have been different from your                            .” 

 

8.  Read the rest of this section (“All Feedback is a Gift”, “Record It as Spoken”, “Sleep on It”).  Along with “Grace Under Fire”, what was the best piece of advice that you found in this section and why?