This a Theatre/theory English bullet-pointed paper. Please refer to the assignment instructions. Just do it to your best of your ability. I just want to at least pass. Please also refer to the syllabus the one that highlights the assignment and requirements. Or have an overview of the readings so you can reference the Chicago style accurately, please. Use the main sources and readings. As well as whatever sources you can to highlight the theatre approach and link it to the question being asked. Please make sure there are primary and secondary sources. Thanks
Microsoft Word - CASE STUDY 1 - ASSIGNMENT INSTRUCTIONS AND GRADING RUBRIC-2.docx CASE STUDY 1 - ASSIGNMENT INSTRUCTIONS AND GRADING RUBRIC Dr. Jennifer Roberts-Smith THPERF 301: Performance Creation Theatre and Performance Program, Department of Communication Arts, Winter 2020 Online group office hours: W 3:30-4:50 at https://us02web.zoom.us/j/5934662183 Email:
[email protected] Assignment Create a prototype, supported by a clearly-articulated, two-page rationale, that illustrates the central metaphor in your auteur-driven approach to staging Act 1, Scene 1, ll.1-136 and Act 5, ll.2145-2206 of A Midsummer Night’s Dream. Guidelines Assigned Excerpts: These excerpts (Act 1, Scene 1, ll.1-136 and Act 5, ll.2145-2206) consist of exposition of the status quo that precedes the line of action of the play, and exposition of the new status quo established by the action of the play. They do not contain the crisis or climax moments in the play. Creation Process: In this assignment, you are the auteur. Auteur-driven theatre depends principally on the concept or vision of the auteur, so your creation process will be a process of conceptualization and envisioning. For this assignment, your process will be based on the visioning process that you learned in THPERF 100. For a refresher, refer to these documents. Your first impressions of A Midsummer Night’s Dream are especially important in this assignment. Begin by thinking back to your response to the play, when you first read or viewed it for this class. How did you feel? What did it make you think about? Why do you think you responded in that way? Then begin analyzing the text of A Midsummer Night’s Dream for genre, style, and structure; determine the line of action represented in the text and write a one-sentence statement of theme. But pause at that point, and ask yourself: does that theme represent my perspective as an artist? Is that the line of action (the human experience) that I am most interested in communicating? If not, change the line of action and theme so that they do represent your perspective. You may need to make changes to your analysis, and even to the texts of the assigned excerpts, so that they represent your new line of action; if so, that’s fine. Now return to the visioning process. Define a central metaphor that represents your line of action. Remember that the central metaphor illustrates change; how will your image evolve over the course of the play? For inspiration, look for examples from of how your central image has been rendered in other artworks. Which elements of theatrical production (light, sound, costume, props, spatial arrangement, choreography, music, words, etc…) will you need to emphasize in order to express your central metaphor on stage? Finally, determine how you will render your metaphor using the emphatic elements you have chosen, in Act 1, Scene 1, ll.1-136 and Act 5, ll.2145-2206 of A Midsummer Night’s Dream. The world of the play changes significantly over the course of the action, so you will need to emphasize the differences between the beginning and end states of your central metaphor. These differences should clearly indicate that the line of action you’ve defined has happened. They should show the contrast between your central metaphor in its initial state, and the central metaphor in its end state. Prototype: Submit your prototype in the form of a PowerPoint slide deck that includes: 1. A summary of your first impressions to A Midsummer Night’s Dream. Name one feeling, one thought, and one reason you think you thought/felt as you did. 2. The analysis that drives your conceptualization and visioning (the genre, style, structure, line of action, theme, and central metaphor that you developed to represent your perspective). 3. At least three images showing your central metaphor in other artworks, which inspired your approach to rendering your metaphor. Cite these images using a caption and parenthetical reference in Chicago Author-Date Style. 4. A drawing, diagram, or collage showing how you would render your central metaphor in Act 1, Scene 1, ll.1-136 using at least three emphatic elements of theatrical production. 5. A drawing, diagram, or collage showing how you would render your central metaphor in Act 5, ll.2145-2206 using at least three emphatic elements of theatrical production. 6. A list of the textual changes you would make to the assigned excerpts from A Midsummer Night’s Dream (if any). Rationale: 1. Content: Your rationale describes how your auteur-driven approach to staging A Midsummer Night’s Dream fits into our understanding of auteur-driven theatre as a whole. Write a summative sentence that proposes an answer to the question, “in what ways is my work an example of auteur-driven theatre?” Provide evidence in bullet-points under these headings: circumstances; purposes; auspices; participants; process; means; media; conventions. You may refer to your own discussion contribution for auteur-driven theatre, as well as to the contributions made by others, when you are thinking about the characteristics of auteur-driven theatre. Under each heading, provide evidence drawn from at least one of our assigned reading or viewing materials, as well as at least one example from your prototype. 2. Format: Use the format we use for discussion contribution posts to organize your argument. Bullet-points please, not continuous prose in paragraphs. There is no need to provide citations for your own work, but you must provide citations for evidence drawn from assigned reading and viewing materials, in Chicago Author-Date style. 3. Reference List: For this assignment, you must provide a reference list for all works cited (except your own) in Chicago Author-Date style. Grading Rubric Prototype (40%): Is your prototype complete? Is it coherent -- in other words, is there a clear relationship among your analysis, metaphor, inspirations, choice of emphatic elements, textual changes (if any), and renderings? Do your renderings contrast one another significantly? Is the contrast between renderings clearly related to your central metaphor? Rationale (40%): Is your list of evidence complete? Does your evidence represent the preparatory reading and viewing materials accurately? Does it represent your prototype accurately? Is your summary plausible on the basis of your evidence? How clearly have you linked evidence to your summary sentence? Expression (10%): How easily can I understand your writing? Have you used standard English? Are your grammar and spelling correct? Have you followed the instructions for formatting your post under headings? Is the length correct? Are the images in your slide deck clear? Documentation (10%): Have you identified each piece of evidence using parenthetical in-text citations in Chicago Author-Date style? Have you provided correctly-formatted image captions? Have you provided a complete and correctly-formatted Reference List? Late Penalties Extensions on assignments will be granted only in case of illness, emergency, religious accommodation, or pandemic conditions. Contact JRS with your request and provide credible documentation of your situation. Assignments submitted late without approved extensions will not be accepted. Sample Format for Image Captions and Citations Figure 1. Jonathan Groff sings “ ‘cause when push comes to shove…” as King George in Hamilton (Miranda 2020, 22:47). Microsoft Word - update Jan 21 - THPERF 301 PERFORMANCE CREATION W21 JRS.docx THPERF 301: PERFORMANCE CREATION Theatre and Performance Program, Department of Communication Arts Winter 2020, T-TH 2-4:50 -- HH 180, ML 135, https://us02web.zoom.us/j/5934662183 Dr. Jennifer Roberts-Smith Online group office hours: T-TH 3:30-4:50 at the Zoom link above Email:
[email protected] COURSE DESCRIPTION AND LEARNING OBJECTIVES In this course, students study, apply, and critique a range of processes for making theatre and performance, paying close attention to the relationship between the approach to creation and the significance of works in the communities where they are performed. The key questions we will address in this iteration of the course are: How do we make theatre differently for and/or with particular audiences? How does the social purpose of a production affect our approach to making it? Over the term, we will explore five different categories of theatre-making: ritual theatre, festival and commemorative theatre, repertoire-based theatre, auteur-driven theatre, and artist-community collaborations. We will analyze examples of each category and apply our insights in case-study experiments with different sections of Shakespeare’s play, A Midsummer Night’s Dream. In each case study, we will work with different emphatic elements (including props, costumes, repertorial practices, conceptual images, and words) to manifest our creation approaches. By the end of this course, you should be able to: 1. Recognize, articulate, and challenge the contexts for your work as a maker of theatre and performance. 2. Describe, apply, and critique a range of influential historical and contemporary methods for making theatre and performance, relevant to the course’s themes. 3. Design, plan, and create prototypes and rationales for performances, which effectively communicate your understanding of key methods learned in class. ASSESSMENTS Discussion board contributions based on preparatory reading and viewing: best 5 out of 6 @ 4% =20% These will be based on questions assigned by the instructor. You will be expected to cite preparatory reading and viewing materials in your verbal and/or written responses (using direct quotations, description, and/or paraphrase, with page references and/or timecode). A grading rubric will be posted to LEARN and discussed in class. Case studies: best 4 out of 5 @ 20% = 80% The best four out of five grades will be counted. The fifth case study (with the lowest grade) will be counted as a course milestone, so all five must be submitted in order to pass the course. In each case study, students apply the unit’s insights to the realization of an excerpt from our common production text, A Midsummer Night’s Dream. The case study consists of a 2-page rationale plus documentation of a conceptual prototype