1. Scene Intensive Part Deux
Objective: Collaborate with peers to assist in the direction and acting of a contemporary dramatic scene.
Warm-Up:
Fortuitous
Adj.
Happening by accident or chance rather than design. (2) Lucky.
Call it a fortuitous turn of events, or call it a miracle. John knew his prayers had been answered. Just over the horizon he saw it. It was a used car dealership. Instinctively, John touched his back pocket. Wouldn’t you know it? His wallet was there. He knew today was going to be a red letter day, although he still wasn’t completely sure where he was.
Agenda:
Warm-Up
Standards/Objectives
Scene Notebook
Acting/Directing Chat
Actor/Director Master Class
Closure
Scene Intensive Part Deux

2. State Objectives - Theatre
I.C.2 Use performance to communicate ideas and feelings.
I.C.2.1 Use improvisation and acting skills, such as observation, concentration, and characterization, to demonstrate given situations. I.C.2.2 Interpret scenes through formal and informal presentations.
I.A.1 Analyze literary texts and performances.
I.A.1.2 Evaluate the works of theatre artists for strengths, weaknesses, and suggestions for improvement.
So…
Actors – Act
Directors – Direct
All of us – Analyze, Interpret and Evaluate
Objective: Collaborate with peers to assist in the direction and acting of a contemporary dramatic scene.

3. ACTORS – Remember this?
Your scene should be cut out and pasted/taped into a composition notebook.
Your lines should be highlighted.
There should be ample room for writing notes and stage directions/blocking.
Set aside 2-3 pages after scene has been put in for images to be pasted in. (you WILL have to include brief explanations of why you chose the image and how it connects you.)
One page after that to write moment before
One page after that to explain substitutions.
One page after that for play/playwright research.
Label these section/areas so you know what you are to put there.

4. Directors - Scene Notebook
Your scene should be cut out and pasted/taped into a composition notebook.
There should be ample room for writing notes and stage directions/blocking.
Set aside 2-3 pages after scene has been put in for images to be pasted in. (you WILL have to include brief explanations of why you chose the image and how it connects you.)
One page after that to write Setting justification.
One page after that to explain Underscore choices and reasoning.
One page after that for other production notes.
A TENTATIVE REHEARSAL LOG
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6. Going Over the Elements
Theatre in the round
Elements to consider in the round/this unit. (ACTING)
UNDERSCORE – Talked about this last class.
PREPARATION – Let’s talk rehearsal process.
CHARACTERIZATION – Nitpicky this Go-Round
OTOs – Objectives, Tactics, Obstacles.
Elements to consider in the round/this unit. (DIRECTING)
BLOCKING – VITAL in the Round
PRODUCTION ELEMENTS – Costume/Set/Props

7. Directing (Short Video)
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8. The Seagull
By Russian dramatist Anton Chekhov, written in 1895 and first produced in 1896. The Seagull is generally considered to be the first of his four major plays. It dramatizes the romantic and artistic conflicts between four characters: the famous middlebrow story writer Boris Trigorin, the ingénue Nina, the fading actress Irina Arkadina, and her son the symbolist playwright Konstantin Tréplev.
Though the character of Trigorin is considered Chekhov's greatest male role like Chekhov's other full-length plays, The Seagull relies upon an ensemble cast of diverse, fully developed characters. In contrast to the melodrama of mainstream 19th-century theatre, lurid actions (such as Konstantin's suicide attempts) are not shown onstage. Characters tend to speak in ways that skirt around issues rather than addressing them directly; in other words, their lines are full of what is known in dramatic practice as subtext, or text that is not spoken aloud.

9. TheWild Duck
Hjalmar Ekdal, a photographer, lives with his wife Gina and daughter Hedvig in a combined studio and apartment with a large adjoining loft where they keep chickens and rabbits. Living with the family is old Ekdal, a former lieutenant who was earlier imprisoned for a financial offence for which Werle, a wholesaler, was actually responsible. Gina was Werle's housekeeper earlier. At the beginning of the play his son, Gregers Werle, has come home to attend a dinner given by his father. Gregers discovers that Gina Ekdal was his father's mistress before she married Hjalmar, and that his father had brought the two of them together and helped them financially. Gregers now considers it his duty to get Hjalmar to see the truth behind his marriage so that he and Gina can live together in a marriage based on truth. Hjalmar confronts Gina with her background and asks her whether he is Hedvig's father. Gina replies that she does not know, and in distraction Hjalmar rejects Hedvig as his daughter. Meanwhile Gregers has convinced Hedvig that she can win back her father's love by sacrificing the wild duck that lives in the loft and to which she is deeply attached. But Hedvig shoots herself instead of the wild duck, and the play ends with general despair at the death of the child. 

10. Decent Resources Our shelves. Barnes & Noble
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MUCH MORE INFO TO COME WEDNESDAY