EDNA MANLEY COLLEGE OF THE VISUAL AND PERFORMING ARTS

SCHOOL OF DRAMA

Semester Plan

PROGRAMME: BFA
DEPARTMENT: Drama
SECTION: Acting
COURSE TITLE: Acting IIIB
COURSE CODE: TT301B
PREREQUISITES: TT301A
CREDITS: 3 (90) Practical
DURATION: 1 Semester
LEVEL: III (Semester 2)
TERM: Spring 2013
TIMETABLE: Monday 2-3 Seminar
Tuesday 2-5/ Friday 1-3 Practical
(see notice board for locations)
LECTURERS: Dr. Kelli Melson and Mr. Trevor Nairne
Office Hours: Tues 10-1/ Wed 12-1/ Fri 12-1
Email: kelli.melson@emc.edu.jm
Website: www.docmelsondrama.weebly.com
facebook: doc dappertuto / college watch emc

RATIONALE:
Although there have been several directors and dramatists who have experimented with
indigenous aesthetic and politically empowering modes of postcolonial performance, there are no
clearly defined theoretical or practical Caribbean approaches or styles of postcolonial performance.
This course is the culminating stage of the BFA in performance, which is intended to draw on the
‘doubled consciousness’ (Eurocentricity/Afrocentricity) of the Caribbean with the view of practically
creating a repertoire of performance approaches over time, based on a psychophysical training
methodology, the native textual material being used, the political perspectives of the year group, and
relevant contemporary ideology that will speak to a popular audience.

COURSE DESCRIPTION
This course serves to extend the exploration of Caribbean performance signifiers while
consolidating and diversifying the students’ grasp of the demands of postcolonial circum-Atlantic
drama. By using Vsevolod Meyerhold’s psychophysical training pedagogy called biomechanics as a
launching pad and theoretical base, the students will be guided through an exploration of the staging
possibilities of selected indigenous non-realistic textual material in the search for a culturally affirming
method of acting.

GENERAL OBJECTIVES:
At the end of this course students should be able to:
 Demonstrate a working knowledge of psychophysical approaches to training their instrument.
 Describe and discuss the philosophies and techniques of Meyerhold’s theatre.
 Show a fairly authoritative grasp of selected evolving performance styles inherent in a
poetically distilled and/or image-based postcolonial dramatic text.
 Show a detailed understanding of selected Afro-Caribbean cultural forms.

UNIT I: Meyerhold and Biomechanics

Content:

o Training in biomechanics.
o Research theatre as a tool for social change.
o Lecture and discussion of Meyerhold’s views on the role of the Virtuoso Actor: the Balagan.
o Lecture and discussion of the key socio-political and artistic elements that gave rise to
Meyerhold’s techniques and philosophies.
o Student presentations based on independent research into modern theatrical techniques.
o New literature demands new theatrical forms: devising techniques for staging Symbolism.
o Experiments with Symbolism/ Magical Realism and vocal interpretation.
o Experiments with Symbolism/ Magical Realism and the use of the playing space.

UNIT II: Blending Ideologies to Create New Forms

Content:

o On-going training in biomechanics.

o Exploration: Theatrical into Theatre—cultural forms and Walcott’s Ti Jean and His Brothers
o Training as a foundation for technique: cultural form into theatre
o Demonstrate an understanding of specific signifiers such as language, props, costume, and
movement within the presentation of devised scenes from assigned text
o Experiments with Form: combining a growing understanding of dynamic expression with
selected Afro-Caribbean Folk elements
o Experiments with music and rhythm as specific signifying Forms to be incorporated in the
voice, the body, and the physical dramaturgy of the ensemble

UNIT III: Creating the Performance: Derek Walcott’s

Ti-Jean and His Brothers
Content:

๐ Text Analysis:
๐ (a) The Actor as an agent of catharsis in society – a state of being which coincides with Derek
Walcott’s treatise on the actor as a mythic symbol of great significance to nation; Daniel Day
 Lewis’ comment at the 2013 Academy Awards; and Meyerhold’s view of the Actor as the
central force and focal point in the theatre.
๐ (b) In this treatment of Ti-Jean and His Brothers the community assembles to stage a ritual
revival reminiscent of religious festivals staged seasonally in traditional communities across the
globe. In some parts of Europe it is the morality play, in Africa and its Diaspora the spiritual
manifestation takes the form of ritual expression in service to a pantheon of Gods and
ancestors.
๐ (c) In this fictional Caribbean community a conceptual motif constructed from Jonkunnu play
and Bruckins party will combine with Walcott’s perceived intent at a folkloric environment for
the play.
๐ (d) The task “to cross it” recently gained popularity in the vernacular of Kingston dwellers if
not across the nation inspired by a male labourer who enthusiastically explained to the media
how bold he was as he attempted to assist stranded citizens ‘to cross’ a flooded fording in
rural Jamaica.
๐ (e) The focal point of Ti-Jean is the outwitting of the devil “Seared by the Torch” of youth the
common sense approach to adversity and confrontations / challenges between the devil and
the three brothers, climaxing with triumph of the third over the satanic force.
๐ (f) There are significant elements here that provide linkages through the philosophic insights of
Meyerhold, Daniel Day Lewis, Walcott’s essay, and the heroic efforts of a common labourer.

COURSE METHODOLOGY:
Lectures, research, training, experimentation, workshops, and textual interpretation.

STANDARDS: SCENE WORK I and II

The standards of these pieces of scene work should reflect in workbooks and performance a sound
awareness of the main ideas and theories behind the concepts explored (Meyerhold, Brecht, poor
theatre, etc) and the chosen devices employed for the voice, body, movement and spatial
composition.

STANDARDS : THE FINAL PROJECT

This project should demonstrate through workbook and performance, adequate research of the
contributing ideas and cultural forces of the piece. The performance aspect should reflect an
intelligent understanding of and a lyrical sensitivity to the inherent rhythm of the piece and a
harmonic engagement with the ensemble.

The workbook should describe in concise details the evolution of the actor’s process with insightful
reflection on challenges and discoveries, both in class and in outside rehearsals. Students should be
able to articulate clearly and intelligently to the jury of examiners questions about their interpretation,
process and the creation of the final performance.

The written assignment: (Essay) should discuss a particular concept/technique of performance

dealt with in the course with concise precise and coherent use of language relevant and adequate
use of references and sound critical discussion in the content.

ASSESSMENT SCHEME
Coursework 60%
Final project 40%
COURSEWORK DETAILS

Individual Presentations 10
2 pieces of scene work 20
Journal 20
Creative involvement
in class 25
Written assignment (Essay) 20
Essay Outline _ 5_
100
FINAL PROJECT DETAILS
Students will work with guest director Trevor Nairne on selections from Derek Walcott’s Ti Jean and
His Brothers as well as Walcott’s adaptation of the play titled Moonchild, along with other textual
excerpts to be selected by Mr Nairne, in order to create an original ensemble piece of theatre
approximately 30 minutes in length and which demonstrates clear understanding and application of
the techniques learned throughout the semester and justified theoretically in the journal and the
essay.

REQUIRED READING
 Derek Walcott’s Ti Jean and His Brothers, and Moonchild.
 The Tempest by William Shakespeare.
 A reading packet will be provided by the lecturer. Students are responsible for making time in
the library to read the articles provided or to make their own copies.

RECOMMENDED READING
 Ajayi, S. Omofolabo and Omofol Abo. Yoruba Dance The Semiotics of Movement and
Semiotics of Body Attitude in Nigerian Culture.
 Barba, Eugenio. Trans: Richard Fowler. The Paper Canoe. Routledge: London and New York,
1995.
 Boal, Augusto. The Rainbow of Desire. Routledge: New York, 1995.
 Braun, Edward. Meyerhold on Theatre. Eyre Methuen: London, 1969 and 1998.
 Chekhov, Michael. On the Technique of Acting. New York: Harper Collins, 1991.
 Schechner, Richard. Performance Theory. Routledge: New York, 1988.
 Taylor, Diana. Theatre of Crisis: Drama in Latin America. Kentucky University Press:
Kentucky, 1991.
 Turner, Richard. Ritual to Theatre. PAJ Publications: New York, 1982.

Policy on Academic Honesty

As members of the academic community of the Edna Manley College, students are expected to
recognize and uphold standards of intellectual and academic integrity. The examples and definitions
given below are intended to clarify the standards by which academic honesty and acceptable
academic conduct are to be judged. The following list is merely illustrative and is not intended to be
exhaustive.

• PLAGIARISM: Plagiarism is presenting another person’s work as one’s own. It

includes paraphrasing or summarizing the works of another person without
acknowledgement, including submitting another student’s work as one’s own.
 • CHEATING: This involves giving or receiving unauthorized assistance before,
during or after an examination.
• UNAUTHORIZED COLLABORATION: Submission of work/assignment for
grade/credit, product or a part thereof, represented as being one’s own effort
that has been developed in substantial collaboration with or without assistance
from another person or source is a violation.
• FALSIFICATION: It is a violation to misrepresent material or fabricate
information in an academic exercise or assignment.
• MULTIPLE SUBMISSIONS: It is a violation of academic honesty to submit
substantial portions of the same work for credit more than once without the
explicit consent of the lecturer(s) to whom the material is submitted for
additional credit. In cases where there is a natural development of research or
knowledge in a sequence of courses, use of prior work may be desirable or even
required.

Expectations and Mission Statement

I expect all students to work as if they were hired into a professional company. We will work and
train together to build an ensemble. We will support each other and be open to one another’s
ideas and visions. As practicing professionals we will work hard, play hard, and push ourselves even
harder. I expect that the studio space to be treated as though it were a sacred space. The floors
should be swept and debris disposed of before we leave each session. Each student is expected to
take personal responsibility for the maintenance of our space. All outside dramas and socializing
should be left outside the ‘space’ in which we work. If you need a ‘moment’ please feel free to step
outside for a moment in order to make sure that the space is a place for creativity and not
destructive ‘drama’. Leave the outside world outside. Please enter the space silently focusing on
the work about to begin.

You are to attend every class in CLEAN and APPROPRIATE clothing (this means no cleavage
in front or behind) and APPROPRIATE footwear or bare feet, with the
reading/research/rehearsal or other ‘homework’ ready for contribution to our work. I expect all
students to bring a bottle of water and a clean towel with them to every class, and conduct
themselves in an appropriate manner at all times. Fingernails must be trimmed and no jewellery of
any kind is allowed for safety reasons. Punctuality is mandatory, and you are expected to be in the
room, focusing your energy for the day’s task, before the session is scheduled to start.
Absences will be noted and reflected in your creative involvement grade (unless verified as a
personal/medical issue as per College guidelines noted below) and students missing classes for
any reason must do extra work/ independent projects for the class to make up for time
missed. In the professional world, absence and lateness results in being fined or even fired. Creating
professional standards and habits of self-discipline now will be one of our primary goals. Also, be
aware that our work will be very physically and psychologically challenging so I expect that all
students will be rested and have had healthy food to fuel their work throughout the studio time. Eat
a piece of fruit every day— drink plenty of plain water. You must learn to self manage!

If you are ill, contact me immediately. I still will request that you attend studio time. If you are on
your death bed and cannot drag your withering body to class, that is one thing... but a cold, hang
over, allergies, relationship troubles, etc. is no excuse to not attend. Being ‘ill’ is in many cases a
result of poor self-management. I expect all students to ‘care’ for themselves and keep healthy. Also,
our physical practice will help you forget about personal and external issues and improve your mind,
body and spirit. I expect that if you are feeling too ill to work (and are not contagious) that you still
attend class and ‘sit out’. Observing your peers is a wonderful way to learn. Our experiences together
in the studio can never be replicated and our shared time is an integral aspect of your learning
experience—don’t rob yourself of the education you are making sacrifices to achieve!—Time is the
only thing you really own—make conscious and responsible decisions about how you spend it.

I expect all students to continually check their physical well-being throughout our work. Know the
difference between pain and fatigue. Challenging a muscle may seem painful but it will not injure
you, sharp pain means that you are doing something incorrectly and you must stop that action
immediately!! If you are feeling dizzy, faint, strange etc. let me know and you may, at any time, sit
out and watch the class work, until such time as you feel strong enough to re-join the practice. Your
health and safety come first. Be cautious and self-aware. We have long hours to maintain
physical exertion at a professional level and the body may need a break at inopportune times. This is
perfectly fine and human. You must learn to listen to your own body and learn to manage your
energy output and needs, and above all, learn your own limits and protect yourself.

I expect that everyone will do all assignments on time and to the best of their abilities. If
you have any problems, do not hesitate to come to me for help/answers. I don’t want to hear the
day before the assignment is due that you couldn’t find the research books, studio space, etc. I
suggest that you form study groups and agree to meet for about an hour once per week to discuss
the reading—many creative people, myself included, find that an hour in conversation with peers can
enable them to understand the concepts underpinning the work more effectively than studying on
their own. Find the methods that facilitate your personal learning process and take responsibility for
your own progress. One private tutorial is required of each student during the semester.

I expect that all students resist the negative tendency of comparing their work to the work of their
peers or to the other classes. Remember that you are an individual and that we are an ensemble, a
specific configuration of unique individuals, and the experiences we share together are completely
unique and constantly evolving. I ask that all members of our company keep discussions of our
‘creative intellectual properties’ – positive or negative – contained to our members only. It is our
intention to create a safe space where risk-taking is encouraged and small failures are only small mis-
steps to be learned from and addressed again another time. You are expected to trust one another
with your creative selves without judgement, therefore what happens in class stays in class. Respect
one another. In the professional world this is called a ‘gag order’.

You are responsible for how well our company does...so if you are not happy, with some aspect of
the work or class, find a way to make your work satisfying within the class structure or offer an
alternative method or approach. Don’t suffer in silence!—however, if there are personal issues
between you and another member of the ensemble please keep them personal and do not let them
affect our collective working process. I expect all students to maintain a professional
demeanour towards one another at all times. Many famous creative partnerships have been
extremely successful, partly due to the personal friction and differences that the working partners
had to overcome in order to achieve their brilliance. In offering our different perspectives we will
achieve a much more valuable creative product than if we all bring the same point of view to the
collaboration. Never forget this. Gambatté!- En boca de lupo!!- Bon Chance!!!

ATTENDANCE POLICY
These regulations apply only to Major/Specialization and Adjunct drama courses
GRACE PERIOD
Students are required to be punctual for all classes. There will be a grace period of 15 minutes from
the scheduled start of each class. Students who arrive for class after this period will be deemed
absent and marked accordingly. In the case of practical (studio) classes, participation in the said
class by these absentees will be determined by the lecturer. For example in the case of an Acting
class the aforementioned absentee might not be admitted to the class or might be allowed observer
status for that class.

DEFINITION
Absence refers to the non attendance or late arrival after the grace period without prior or
subsequent notification of the lecturer which is supported with an excuse that the lecturer considers
to be reasonable.

LECTURE BASED COURSES (with Final Written Exam)

a. 25% absence from class meetings over the entire semester will result in your final
coursework grade being lowered by one (1) letter grade. For example, if your final
coursework grade is A-, that grade will be lowered to B+.
b. 50% absence from class meetings over the entire semester will result in your final
coursework grade being lowered by two (2) letter grades. For example, if your final
coursework grade is A-, that grade will be lowered to B.

PRACTICAL (STUDIO) COURSES

a. 20% absence from class meetings over the entire semester will result in your final
coursework grade being lowered by one (1) letter grade. For example, if your final
coursework grade is A-, that grade will be lowered to B+.
b. 30% absence from class meetings over the entire semester will result in your final coursework
grade being lowered by two (2) letter grades. For example, if your final coursework grade
is A-, that grade will be lowered to a B.
c. 40% absence from class meetings over the entire semester will result in your final
coursework grade being lowered by three (3) letter grades. For example, if your final
coursework grade is A-, that grade will be lowered to a B-.
d. 50% absence from class meetings over the entire semester will result in the student being
barred from the final examination or final project and will result in failure for the course. The
student will be required to repeat the entire course.

A student must supply a medical certificate for absence of one week or more.

CLASS REGISTER

Class attendance or non-attendance will be recorded from the first timetabled class starting from the
first week of the semester to the final teaching week. Therefore absences within the entire semester
will be recorded as such where no acceptable excuse is provided to the lecturer. Late registration will
not be an acceptable excuse.

This policy refers to School of Drama courses only and is in addition to any College (EMC) regulation
on Attendance that is not referred to herein.
The above document has been and accepted under terms of the agreement between the
undersigned for the Course.
Acting IIIB Spring 2013

Lecturer: Dr Kelli Melson

I, ________________________________________________, have read the course document

provided by my lecturer and understand it is my responsibility to adhere to the course requirements

as laid down and as explained in full by my lecturer. I also acknowledge that I have agreed to meet

with my lecturer for at least ONE private tutorial, during scheduled office hours, to discuss my

progress and any difficulties I may be having with my course. It is my responsibility to make the time

for this mandatory tutorial, and if my schedule does not allow me time during my lecturer’s scheduled

office hours, I must communicate by email asking to schedule a time that suits both our schedules.

Signed: Lecturer_______________________________________Date________________________

Signed: Student_________________Student #_________________________Date_______________

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