Course Description
Applying theatre acting techniques to the demands of modern media. Practical work in class with emphasis on the vocal and physical demands of dramatic material designed for television and cinema.
Athena Title
Acting for the Camera
Prerequisite
THEA 7522 or THEA 7540
Semester Course Offered
Offered fall
Grading System
A - F (Traditional)
Course Objectives
To assist students in making the transition from performing in the theatre to performing on camera. Students will understand both the practical and artistic issues which must be taken into consideration when acting for the camera, such as continuity problems, hitting their mark, toning down their projection, and displacing scenic reality. They will determine their on-camera strengths and learn to accentuate them. They will be knowledgeable of equipment, terminology, protocol, and procedure that is specific to and necessary for finding work as a film/TV performer. In addition to learning basic on-camera acting techniques and script analysis, they will experience the process of finding work from agent to audition, casting director to callback, to getting the gig and getting on camera. Students will become knowledgeable in using camera, lighting, and editing equipment.
Topical Outline
The classroom time will be divided into three areas: lecture, exercises, and scene assignments. The exercises, exploring various on camera techniques will be done in class and will be on camera and then discussed/critiqued. The scene assignments will include two commercials and two movie/TV scenes. These assignments will be based on the steps one must take in finding work as an on-camera performer. For each project the student will be required to go through script analysis, casting process, a call back with the "casting director," a possible second callback, a booking, and the final performance "on set." Students will also have required reading in the following texts; Barr, Tony. Acting for the Camera, Harper Perennial, 1997. Caine, Michael. Acting in Film, Applause, 1997. Henry, Mari Lyn and Lynne Rogers. How to be a Working Actor, Watson-Guptill, 2000. Students will also be required to obtain film scripts. Most will be obtained from free online sources. A. Film Form 1. Theatre performance vs. On Camera 2. Mise-en-scene a. Cinemotography b. Editing c. Sound B. Aspects of the Business. 1. The Process of Finding Work a. the agent b. the talent c. the casting director d. the producer e. the director 2. Presenting Yourself and Getting to Know You And Your Type a. Headshots b. Resumes c. How to dress 3. The Audition C. The Importance of the Storyboard 1. Shot breakdown 2. Framing a. Working the long shot b. Working the medium shot c. Working the closeup 3. Screen Directions D. The Creation of a Commercial 1.From Storyboard to Audition E. Text Analysis 1. Marking a script 2. Making strong choices 3. Character types 4. Cold readings 5. Commercial reading tricks F. On-Camera Exercises 1. Volume exercises 2. Distance exercises 3. Cold reading exercises 4. Subtext exercises 5. Reaction shots G. On The Set 1. Roles on Set a. Camera b. Director c. Assistant Director d. Sound f. Continuity g. Camera Reports h. Lights i. Grips 2. Working with Set and Props and Mikes. a. Focus. b. Hitting your mark. c. Taking Direction. d. Displacing scenic reality e. Continuity H.Editing Scenes 1. How to edit a scene 2. Work on VHS deck to deck editors 3. Work on Adobe Premiere video editing I. Commercial and Scene Work 1. Prep 2. Audition process 3. Storyboard and shot analysis 4. Character analysis 5. Beat breakdown 6. Rehearsal 7. Film in studio setting 8. Edit 9. Present and critique J. Final Presentation 1. Study of Actor's body of work 2. Research 3. Relativity to approaches discussed in course 4. Preparation K. Methodology 1. Performance of two commercials and scenes involving a partner 2. In class exercises on camera and critiques 3. Participation in class and on set in production capacity
Syllabus