TEXT IN PRODUCTION

THR 496 TEXT IN PRODUCTION

Edward Gero, Instructor

X3116 Office A400 by appt.

egero@gmu.edu

REQUIRED TEXT:

Shakespeare, William. MEASURE FOR MEASURE

RECOMMENDED READING LIST:

Asimov, Isaac. Asimov’s Guide to Shakespeare

Bloom, Harold. Shakespeare: Invention of the Human

Berry, Ralph. On Directing Shakespeare

Campbell, O. J. Shakespeare's Satire. New York, l943.

Foakes, R. A. The Dark Comedies to the Last Plays, Charlottesville, Va., l971.

Kott, Jan. Shakespeare Our Contemporary.

Lawrence, W. W. Shakespeare's Problem Comedies, New York, l931.

Partridge, Eric. Shakespeare's Bawdy.

Redgrave, Michael. Actor's Ways and Means.

Taylor Gary. Reinventing Shakespeare.

Tillyard, E. M. W. Shakespeare's Problem Plays, Toronto, l949.

Traversi, D.A. An Approach to Shakespeare.

Ure, P. Shakespeare: The Problem Plays.

COURSE OBJECTIVES: Text in Production is designed to broaden and deepen understanding of the collaborative process of Dramaturgy, Direction, Design and Performance in relation to mounting a production for the stage. Students will have the opportunity to meet with professional theater practitioners to discuss the processes of creating contemporary Shakespearean production. The course will focus on an in-depth exploration of MEASURE FOR MEASURE. Students will work collaboratively in small groups and research, design, direct and perform scenes from the play.

CLASS REQUIREMENTS:

I. ON TIME completion of all assigned readings, papers and scene work. HONOR CODE IS FULLY OBSERVED IN CLASS. 100% attendance. Absence must be prearranged with the instructor. Emergencies must be reported to the department office at 703-993-1120 before the end of class. ONE unexcused absence results lowering one full grade; TWO in an automatic failure.

II. GRADES: Grades are determined by level of participation in class discussions, punctual completion of required assignments, and mastery of subject matter reflected in written and oral presentations: directorial, dramaturgical, design and acting pre-production presentations; weekly rehearsal reports, etc. This course requires partnered scene work relying on collaboration and responsibility to the group process. Because your work directly impacts other students, there can be no incomplete grades given.

III. WEEKLY REHEARSAL REPORTS: During workshop sessions you will report weekly with a form detailing work goals, time rehearsed, strategies for improvement and any specific problems encountered during the week’s work.

IV. APPROACH PAPER: Each student will prepare an approach paper which will articulate your vision of the play from your particular specialization. It is due on the first day of rehearsal. See attached guidelines.

CLASS SCHEDULE WEEK BY WEEK

I. 8/28. Distribution of Syllabus

II. 9/11. Guest Lecture on the theory and practices of Dramaturgy. Guest Lecturer.

III. 9/18. Guest Lecture on process of Directing and Performing Shakespeare Text. Guest Lecturers.

IV. 9/25. Read and discuss Measure for Measure

V. 10/2 Continue read Measure for Measure. Discuss themes and issues.

VI. Tuesday. 10/10. Lecture on process of designing the Shakespearean Production. Guest Lecturer.

VII. 10/16 View Video MEASURE FOR MEASURE.

IX - X. (WORKSHOP SCENES)

• Round 1: October 23 / October 30

Reading. Teams will present scene readings and design presentations. On this day, each member of the artistic staff (Director, Dramaturg, Designer) will make a presentation on their ideas about the play, ideas about set and any historical or important text issues that have been identified in this scene. Director’s Approach Due.

XI - XII.

• Round 2: November 6 / November 13

First Staging. Teams will perform scene using appropriate staging showing a clear progression of intentions, actions and objectives, justification as they appear in the text, and certain clarity of phrasing and delivery of the text. Each beat must be observed. Staging required.

XIII-XIV.

• Round 3: November 20 / November 27

Final Presentation. Scene presented using memorized text, props, costume and setting.

XV. Final Exam: December 4

In lieu of a final exam, the presentations will be assessed by a faculty panel (2 or more members) with critique.

APPROACH PAPER GUIDELINES

The purpose of this document is to help you organize your preparation and rehearsal process, and to provide a record of your work as it progresses. It should be a well-organized and clearly written set of notes that answers the following questions--but it may range far beyond this introductory range of inquiry. Please make your Approach easy for your humble instructor to read (i.e., follow the instructions below, and type it!).

The Director's Approach:

The Approach is due on the day you present your first round scene.

1. Why do this play? What are the compelling reasons that you, as a director, and we, as an audience need to see this work in the here-and-now? What drives you to it? What do you love about it?

2. What are several key pieces of information about the playwright and the text? Such information might include the date of composition, the inspiration for the play, the author’s other work that relates to the play (through similarity or difference), and something about the context in which the play was written.

3. What is the main action of the play? Put another way, what is accomplished, within the world of the play, by the events of the play? You might also consider the words "superobjective" (Stanislavski) or "spine" (Clurman) in looking at this question.

4. What are the main objectives and strategies of the principal characters? Or, what do they want and how do they go about getting it? Which of them succeed, which fail, which are modified?

5. What is the structure of the play? Or, how is the play organized so that it develops its action, makes its impact, reveals its essence?

6. What is your directorial approach to the play? For example, will you alter its period, style, look, behavior, or text in any way? Justify your choices, whether they involve departures from or adherence to the givens of the original text.

7. What are some key visual images in the play? In your scene? Is there are commanding image or central visual metaphor that you can articulate? What information do your design colleagues need to begin their work? Are there particular moments that you know will require specific design support?

Notes in pursuit of these questions may run in the order suggested above, or may weave in and out of some alternative flow of ideas. It is important, however, that each subject be addressed. The typical length for an introductory set of notes will be about 10 typed pages (or 2500 words)

APPROACH PAPER GUIDELINES

The Actor’s Approach:

1. Read the script for the story and theme.

2. Outline the scenes in chronological order with specific reference to what your character is doing in each.

3. Find your character's relation to the theme, his purpose in the play.

4. List all the facts about your character: his attitudes, beliefs, wants, occupation, prejudices, etc.

a. What are you? What do you do in life?

b. What do you want out of life?

c. What do you do to get it?

d. What is your relationship to the other characters in the play? (Relation means more than "brother," "son," etc. You may love or hate your brother. We are interested in the emotional and psychological relationship.)

e. What do others say about you? How do you express yourself? Are you forthright or vague? Are you honest?

f. What actions are implied in your lines?

g. What are your beliefs and convictions?

h. Are there any special stage directions which offer clues to your role?

5. Write down your actions, objectives, and justifications for your scene. You should be able to answer these questions:

a. Where am I coming from?

b. What am I doing here?

c. Why did I leave?

d. Why have I come here? And why right now?

e. What will I do here? What do I want?

f. Whom do I know here?

g. What is my relationship to the people here?

h. Have I been here before?

i. What do I need?

j. Why do I need it? Why must I have it? Why must I do this?

6. List all the character traits or characteristics that are actually in the script.

7. Create a parallel or analogous situation from your own experience that will support a psychologically personal and intimate connection to the situation in the script.

8. Make inferences about your character from the facts you have.

9. Fill in the gap's in your character's life.

10. Consult other sources to deepen your understanding of your character and the period.

11 Mark your text for anomalies in the rhythmic pattern and the associated quality of

thought; define all unknown words; underscore your operative words.

APPROACH PAPER GUIDELINES

The Dramaturg Approach:

1. Short summary of the play, giving the main actions and events in clearly readable, efficient form. This may include an event-by-event or action-by action breakdown of the scenes.

2. Dramaturg’s critical interpretation, including discussion of any thematic, symbolic or allegorical aspects of the play. It may be helpful to read several secondary critical works so that your interpretation does not emerge from a vacuum. You may reproduce especially significant articles if you believe the director and other collaborators would benefit from reading them.

3. Present any historical information on the playwright, play or other productions that you find useful in rehearsal, or may provide useful background for the director and actor in their process.

4. Are the any specific textual problems or editorial problems inherent in the play or the scene in particular? Develop this list in consultation with the director

5. Discuss issues related to verse: metric analysis, pronunciation guides, etc.

The Designer’s Approach:

1. Identify any scenic problems inherent in the script and provisional solutions for production: listing the setting for each scene and how you plan to create these environments on the stage.