TPP 3711 - Vocal Production II

Class Time – T/Th – 10:30 -12:20 – PAC 115

Prerequisite(s): None. Corequisite(s): None. Prerequisite(s) or Corequisite(s): “C” (2.0) or better

in TPP 2710C

Professor: Be Boyd

Phone – 407 – 823 -0872

Email - belinda.boyd@ucf.edu

Office Hours – MW – 12:30 – 2:30 TTh – 2-3 and/or by

appointment

TA – Brian Wiegand – brianwiegand@knights.ucf.edu

Academic Calendar Link: https://calendar.ucf.edu/2019/spring

UCF Library Link: https://library.ucf.edu/

Course Description

The focus of the class will be on the mechanics of the voice: breath support and reliance, vocal

color/variety, articulation, vocal animation and clarity/communication of language. Last

semester you explored how words are put together – this semester you will play with words

and sound and investigate the language in your text. You will complete a collection of warm-

ups and exercises that:

stimulate and sustain breath and vibrational energy

encourage modulation of your voice

explore how the vocal ladder can color and personalize text

discover how the voice clarifies vocal and physical objectives/actions/intentions

investigate how the musicality and flexibility of your voice can develop and enhance

character and relationship

develop a stronger, healthier voice and a practice toward healthy voice maintenance

You will apply this knowledge by acting in monologues and scenes, through daily “on your

feet” assignments and other acting performances to connect your personal individual

process to a final product that demonstrates the techniques practiced in the class.

The class approach is based on the work of voice master Kristin Linklater and physical

relaxation and improv techniques (Alexander, Skinner (physical) Release Technique.)

About Kristin Linklater

Kristin Linklater is a world-renowned teacher of voice production who has produced a highly successful academic and theatrical career in the United States and Europe for the past fifty years.

Linklater was a founding member in 1973 of Shakespeare & Company. She served as co-director, with Tina Packer. She left in the mid 1990s to develop her own approach to voice for actors, influenced by her teachers at LAMDA as well as the Alexander Technique. Her work is designed to liberate the natural function of the vocal mechanism as opposed to developing a vocal technique. Her writings on voice include Freeing the Natural Voice (1976) and Freeing Shakespeare's Voice (1992);

Linklater has trained many well-known actors, including Patrick Stewart, Donald Sutherland, Alfre Woodard, Mary Tyler Moore, Bill Murray, Angela Bassett, Courtney Vance, Sigourney Weaver, Sam Rockwell and Bernadette Peters.

Linklater’s approach is that everyone, unless born with medical issues, is born with a voice that embodies a 2 -4 octave range. She asserts that babies and children often demonstrate this ability. As we get older, we often allow pre-conceived notions about who and what we “should be” to weaken and even eliminate that skill. Her technique aims to remove the physical tensions and blocks we often exhibit as adults and return us to what we freely demonstrated with the voice, body and imagination as children.

About Skinner Release Technique

Skinner Releasing Technique is a movement training method which employs imagery, voice and music stimuli for unstructured, improvised movement. Its overview is that we are all born dancers, with innate coordination and animal-like grace. As time goes by, we tend to lose touch with this natural ease. Muscles tense unnecessarily, and our alignment goes askew. The Skinner Releasing Technique™ (SRT) lets us practice letting go: letting go of stress, letting go of unnecessary holding in our body, letting go of preconceptions about what is supposed to happen, letting go of fear of awkwardness.

SRT can be beneficial to professional dancers, actors, musicians and artists of all kinds, to people recovering from injuries as well as movers at any level. It helps the individual connect to their own physical frame and promotes a more natural, efficient and cooperative physicality.

Class Environment

I am invested in your success. I am tough, but nurturing. Please be on the floor

ready to go when class begins - this means not taking off clothes or walking in

at the beginning of class time.

Also, when we begin class, please let go of social energy - class time is about

focusing on yourself and technique. You must be able to pay attention to the

small and large ways your body operates in order to make adjustments. Have a

good time, but remain professional and focused on personal growth not

fellowship with classmates.

Take your love for each other and turn that into assessing technique and

working together as professionals and company members so you can all leap

forward as actors and human beings.

Kristin Linklater

"Know your voice—it's strong, it's sensitive, it's resilient, and it's you,"

Maya Angelou

“Words mean more than only what is set down on paper. It takes the human voice to infuse them with

deeper meaning.”

Henry Wadsworth Longfellow

“The human voice is the organ of the soul.”

***Next Tuesday – I will ask you to speak out loud, to the class, your own quote about your

voice or the human voice. Start giving it some thought now.

Specific Course Goals and Objectives

The “Big Ideas” for Correct Application and Success in the Class

Breath awareness

I am demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o I am defining, adjusting and eliminating what is getting in the way of me taking a full incoming breath.

o I am taking in an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should have breath as well).

o I am breathing while the other person/actor is talking. o I am fully expelling the amount of outgoing breath/sound from the beginning to

the end of the phrase, sentence or thought

Expression and Clarity of Text

I am demonstrating that I know what my text means. o Do I know what the playwright, author is saying with this sentence, paragraph,

and monologue? o Have I personalized these words so that they have meaning to me and my own

life? o Am I allowing these words to affect me? o Am I sharing myself through these words with my fellow actors, my audience? o I am enjoying language in my mouth and body.

Pitch, Vocal Ladder, Vocal Color, Tone

Is my voice animated? o I have eliminated a flat or monotone sound. o I am demonstrating that I have a variety of notes and pitches o Does my voice have tonal fullness, energy (not breathy or thin)?

Physicality

I am demonstrating that my body is open o I am adjusting the areas of my body that impede my breath and sound. o I am open to physical play so that I can expand my range of motion and expand

the physical opportunities when developing a role. o I am committing to my physical choices.

Articulation

I am demonstrating that I am attempting to pronounce every sound in every word while speaking and acting.

o I am practicing diction exercises to eliminate sluggish sounds when I speak. o My diction is clear, crisp and committed. o I am exploring the IPA I learned from the previous semester.

Tempo

I am demonstrating a grounded tempo. o I am demonstrating that I have removed the need to speed through lines while

speaking and acting. o I am taking my time so that what I say resonates with me.

Working with Partner/s

I am demonstrating a collaborative and productive working relationship with my partner/s

o I am contributing the rehearsal process by having lines memorized, having a clear back story based on the given circumstances in the text

o I am listening and responding to my partner o I am making progress during the rehearsal process by meeting the expectations

of every rehearsal o I am contributing to the design elements of the scene

Response to Feedback

I am focused on the instructions I am being giving during feedback. o I am fully committed to carrying out the instructions I receive during feedback. o I have let go of my ego and pushed aside my fear of looking silly in order to carry

out the instructions I receive during feedback.

Course Requirements

Attire/Requirements

Clothing in which you can move easily and which does not bind the trunk of your body- do not wear jeans or wear a belt to class

bring a towel or yoga mat or a small blanket to class every day

wear knee pads – we will do work on the floor and on your knees

You must remove all loose jewelry

Street shoes must be removed at the door

We will work barefoot or in a soft shoe unless there are specific shoe requirements for your scene

Please pull hair up or away from your face and remove extremely baggy clothing before we work – working on your voice means we need to see how your face, jaw, shoulders, belly, etc respond to breath and sound

Cell phone use – please put away cell phones during class. Cell phones should not be used for taking notes or reading scripts. Please have a small notebook that allows you to write and take notes and have a hard copy of your materials, scripts, texts, etc.

Attendance

Acting training is a progressive process. Do not miss class. Acting training is about changing your technique and approach to acting. Every class is a valuable step toward altering your process.

Punctual attendance for class - as for rehearsal calls - is mandatory. Repeated neglect of this will result in a lowering of the final grade. You will be given a daily attendance and participation grade. (Participation is defined as daily in class exercises and assignments and/or daily constructive, professional feedback for your classmates that is based on techniques in class).

If you miss class, you must make up the work assigned for the day you missed and you must be prepared to participate fully in class exercises or performances upon the day of your return.

If you are absent during a group performance or presentation, you will not be allowed to make up this assignment, unless you have a certified excused absence. In this case, the other members of the group will be given an amended list of guidelines for completing the project without you.

Your first unexcused absence will lower your final grade five points, your second unexcused absence will lower your grade 10 points (which will lower it a full letter), and your third unexcused absence may result in a failure of the course.

Participating in a show is not a valid excuse for missing class or lack of preparation for

an assignment.

ONLY THE FOLLOWING ARE CONSIDERED EXCUSED ABSENCES:

• university sponsored and excused events

• serious illness that is documented by a doctor’s note

• death or serious illness in the immediate family – please be aware you may be asked to

provide documentation

• Or - see excused absences under UCF Core statements.

Instruction / Content

Acting requires the use of mind, voice, and body, therefore there will be situations requiring a certain amount of physical contact between you and the instructor and the other students. You will work with the instructor and your partner/s to develop physicality and/or physical contact that is comfortable for all parties involved and matches the given circumstances of the script.

The class will include plays and materials which may express adult or controversial themes as well as strong language.

You must inform the instructor during the first week of class if you have any physical challenges or otherwise that might impede your full participation and development of in class work. No need to go into details, just basic information to help the instructor understand your parameters and to set you up for success in the class. Communication is the key!!

It is imperative that we treat each other with respect in the class. Respect includes: feedback that is constructive, a working relationship that is collaborative and an environment that promotes professionalism and focuses on everyone’s success. If you have a communication challenge with a colleague or colleagues in the class, please discuss the challenge with your professor. Remember, the ultimate goal is classroom success, respect and collaboration.

Grading

All work will be based on a 100pt grading scale (See specific points for each assignment). Your overall grade for the class will be based on the accumulation of points for the following areas:

Major Assignments Points (see weekly schedule and assessment guidelines for each major assignment)

Continual growth from assignment to assignment throughout the semester

Preparation when presenting acting scenes

Possible Quizzes and/or written assignments

Participation in daily assignments and exercises

Assignment deadlines and punctuality

Willingness and Consistency when rehearsing with partners outside of the scheduled class time

Professionalism (including attitude toward feedback, and respect for fellow classmates)

Classroom behavior

Grading Scale

95 – 100 /A 83 – 80/ B- 69 - 67/ D+

94 – 90 / A- 79 – 77/ C+ 66 - 64/ D

89 - 87 / B+ 76 - 74/ C 63 - 60/ D-

86 – 84/ B 73 – 70/ C- Below 60/ F

Schedule and Major Assignments

Major Assignments

*Syllabus might change to accommodate the needs of the class.

*Each monologue and scene should be memorized and performance ready on

the first showing.

*As you and I are working on your pieces in class, I will give you specific feedback and side coaching - designate a person who will take specific notes on my feedback so that when you and I are finished working – they can hand you the notes

Week 1 - 4

I. Monologue

(200pts)- We will spend the first couple of weeks work shopping the monologue you perform on the first day. The final showing of your monologue will be assessed in the following ways:

Breath awareness – 50pts

Demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o Demonstrating an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should

have breath as well) o Demonstrating that I am fully expelling the amount of outgoing breath/sound

from the beginning of the end of the phrase, sentence or thought o Demonstrating a relaxed belly, jaw and shoulders

Expression and Clarity of Text – 40pts

I am demonstrating that I know what my text means (each word, phrase, sentence) o Demonstrating personalized and immediate connection to words o Demonstrating that I am allowing words to affect me o Demonstrating that I am sharing the text with the receiver o Demonstrating that I am enjoying language in my mouth and body.

Tempo, Modulation /Articulation - 40pts

I am demonstrating that I am taking my time with language and moments and not rushing through

o Demonstrating that I am elongating words and phrases to get the most use out of language

o I am demonstrating crisp and clear diction Physicality – 40pts

I am demonstrating that my body is open o Demonstrating a commitment to my physical choices o Demonstrating good alignment o Demonstrating movement that is free and natural to the moment

Preparation and Rehearsal of Monologue - 30pts

I am demonstrating growth in technique from the first showing, to the workshopping, to final performance

o Demonstrating clear and specific given circumstances according to text o Demonstrating a clear receiver that I am talking to and sharing with during the

performance

*Because of the large number of students in this class it might be necessary for me to finish the

working sessions with this monologue outside of class.

You will have a final performance of this monologue on or around Jan 29.

Ways to approach Monologue rehearsal and performance:

All monologues, have a strong start, discoveries during the middle and a firm end.

Every monologue is directed toward a specific “other.” It can be a single person, a group of people, the audience, etc. It is important from an acting standpoint to have a clearly defined “other.”

Create a personal connection with the language - every word.

Take your time, give yourself time to respond to your own discoveries, they will be new every time if you are in the moment

How are you different at the end of the monologue?

Did you discover something while speaking?

Try to keep the monologue in the present, in other words, what are you trying to say now, how are you feeling now, how do you want the other person to feel now?

Take the audience on some sort of journey – a story told in an active way

Have clear beat changes, transitions that make sense

Week 4 - 7

II. Short Scene - (300pts)

https://mthoyibi.files.wordpress.com/2011/05/antigone_2.pdf

*Note you will be working on this scene with a partner while working individually on your

first monologue.

You will receive a short scene from Antigone through email the first or second week of class. The scene will be about three minutes in length. In addition to the skills developed from monologue work, as we work on this scene we will begin to incorporate the elements associated with scene work (i.e, back story, character/personality work, blocking, etc.). Vocally, we will incorporate vocal ladder and color.

Begin work on this scene with your partner as soon as you receive it (read the play, determine clarity of language of the text, general blocking, determine character behavior, start rehearsals, etc).

A suggested rehearsal process to create productive rehearsals:

o although this is a short scene – plan on rehearsing for at least 45 minutes each time you meet

o you have approximately four weeks from the time you get the scene til you present it the first time – you should try to meet a least three to four times a week for the first two weeks and every day for the last two weeks

Read the play before the first rehearsal, through email, break your scene down into five major sections with your partner so you two are on the same page about how the scene should flow before your first rehearsal. Send your breakdown to me as soon as it is created.

At the end of each rehearsal make sure you discuss your discoveries so you leave the rehearsal on the same page.

First Rehearsal – Briefly discuss the play and your scene (what is going on in the scene, what is your relationship, what is the major conflict)

o Read the scene all the way through slowly, then read each of the five sections individually, slowly – talk about the given circumstances, how your character shifts from each section, the conflicts in each section of the scene.

o Discuss how you can help each other have a successful rehearsal process (what is a helpful way for you to learn lines? What have you been told about what you need to work on in class and how can you help each other spot that during the process? Divvy up the responsibilities for room reservation, bringing in props, etc, have a goal for each rehearsal)

Second Rehearsal – Repeat the process of reading each section, this time sit in front of each other –try to look at your partner as much as possible. Focus on what is coming up in them as you are delivering the line, how does it change how you say the next line? Continue to focus on discussing the given circumstances, relationship, conflicts, add to this what your character wants and is doing to try to get what they want in each section, talk about how the other person gets in your way.

o Begin to create a clear storyline for your scene (i.e. this is what the audience should see in your performance, come up with as many details about relationship, given circumstances, what you want, how you are feeling and the tone of each section – some this might change as you continue to work, but this will keep the two of you working on the same page)

o If there is time at this rehearsal, if not through email – make some decisions about your set design for the next rehearsal

Third Rehearsal – Read the scene again sitting in front of each other – by this time you should have some familiarity with your lines so that you can try to include your partner with each line. Work together on each moment, responding to everything that is being said and done.

o Then play around with some movement on your set design so you have a skeleton for blocking –even though you are up and moving continue to look at your partner as much possible for their reaction. Afterwards, continue to talk through and make discoveries and play with blocking

Fourth Rehearsal – Focus on each section of your scene. Rehearse one section at a time, talk about what comes up and how what you are doing leads you to the next section. Be specific about what you want for each section of your scene. Include your partner in all of the lines your deliver.

o Bring in relevant props, clothing pieces you need for the scene, continue to play with blocking and move the scene forward. Continue to talk about new discoveries. Discuss any challenges you are having

Rehearsals from now on until the First Showing - move toward trying to create a performable scene, i.e, getting off book as quickly as possible, meeting as much as possible, wearing what you need for costuming, working with props, working on your set, etc.

Feb 12 will be the first showing of the scene. At the First Showing- you should be off book, and have a performable scene that we can discuss (fully blocked, fully scored, clean, fully prepared - with props and costumes / set design.

The final showing of the first scene will be on or around Feb 21. The final showing for the first scene will be assessed in the following ways: Breath awareness – 50pts

Demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o Demonstrating an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should have breath as well)

o Demonstrating that I am fully expelling the amount of outgoing breath/sound from the beginning of the end of the phrase, sentence or thought.

o Demonstrating a relaxed belly, jaw and shoulders Expression and Clarity of Text – 40pts

I am demonstrating that I know what my text means (each word, phrase, sentence) o Demonstrating personalized and immediate connections to words o Demonstrating that I am allowing the words to affect me o Demonstrating that I am enjoying language in my mouth and body.

Vocal Ladder, Vocal Color, Tone – 50pts

I am demonstrating that my voice is animated

o Demonstrating a variety of notes and pitches o Demonstrating that I am utilizing and beginning to strengthen the weaker areas

of my voice (i.e chest voice, mid voice, upper voice)

o Demonstrating tonal fullness, energy (not breathy or thin)? Tempo, Modulation /Articulation - 40pts

I am demonstrating that I am taking my time with language and moments and not rushing through

o Demonstrating that I am elongating words and phrases to get the most use out of language

o I am demonstrating crisp and clear diction Physicality – 40pts

I am demonstrating that my body is open o Demonstrating a commitment to my physical choices o Demonstrating good alignment o Demonstrating movement that is free and natural to the moment

Working with Partner/s – 30pts

I am demonstrating a collaborative and productive working relationship with my partner/s

o I have contributed to rehearsal process by having lines memorized, having a clear back story based on the given circumstances in the text

o I am listening and responding to my partner o I am making progress during the rehearsal process by meeting the expectations

of every rehearsal o I am contributing to the design elements of the scene

Preparation and Rehearsal of Monologue - 50pts

I am demonstrating growth in technique from first showing, to the workshopping, to final performance

o Demonstrating a well- organized scene o Demonstrating clear story and specific given circumstances according to text o Demonstrating clear character/personality choices based on the text o Demonstrating clear and purposeful movement and clean blocking

Week 8 – 11 – Including Spring Break

III. Second Scene – 300pts

The Three Sisters by Anton Checkov

https://ebooks.adelaide.edu.au/c/chekhov/anton/three_sisters/act3.html

You will receive a second short scene from The Three Sisters. You will receive the scene while

you are working on Antigone - begin your individual work right away. The focus of the work

will be on increasing the development of the vocal ladder/vocal color. The first showing for

second scene will be on March 5. The final showing will be on March 19.

Breath awareness – 50pts

Demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o Demonstrating an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should have breath as well)

o Demonstrating that I am fully expelling the amount of outgoing breath/sound from the beginning of the end of the phrase, sentence or thought.

o Demonstrating a relaxed belly, jaw and shoulders Expression and Clarity of Text – 40pts

I am demonstrating that I know what my text means (each word, phrase, sentence) o Demonstrating personalized and immediate connection to words o Demonstrating that I am allowing the words to affect me o Demonstrating that I am enjoying language in my mouth and body.

Vocal Ladder, Vocal Color, Tone – 50pts

I am demonstrating that my voice is animated

o Demonstrating a variety of notes and pitches o Demonstrating that I am utilizing and beginning to strengthen the weaker areas

of my voice (i.e chest voice, mid voice, upper voice) o Demonstrating tonal fullness, energy (not breathy or thin)?

Tempo, Modulation /Articulation - 40pts

I am demonstrating that I am taking my time with language and moments and not rushing through

o Demonstrating that I am elongating words and phrases to get the most use out of language

o I am demonstrating crisp and clear diction Physicality – 40pts

I am demonstrating that my body is open o Demonstrating a commitment to my physical choices o Demonstrating good alignment o Demonstrating movement that is free and natural to the moment

Working with Partner/s – 30pts

I am demonstrating a collaborative and productive working relationship with my partner/s

o I have contributed to rehearsal process by having lines memorized, having a clear back story based on the given circumstances in the text

o I am listening and responding to my partner o I am making progress during the rehearsal process by meeting the expectations

of every rehearsal o I am contributing to the design elements of the scene

Preparation and Rehearsal of Monologue - 50pts

I am demonstrating growth in technique from first showing, to the workshopping, to final performance

o Demonstrating a well- organized scene o Demonstrating clear story and specific given circumstances according to text o Demonstrating clear character/personality choices based on the text o Demonstrating clear and purposeful movement and clean blocking

Week 11 – 13

IV. Third Scene – 300pts

The Tragical History of Doctor Faustus – Christopher Marlowe

You will receive a third short scene from The Tragical History of Doctor Faustus. You will

receive the scene while you are working on The Three Sisters - begin your individual work right

away. In addition to the previous work on technique, the work for this scene will incorporate

character/ non – human voice and physicality. We will begin to play with character voice work

using these scenes on March 21. The in class work on this scene will have a tight turn-around.

This scene will not have a first showing but a final showing only. This means that the in class

work or the playing with character/non-human voice and physical work will require your

attention outside of class. The final showing will be on April 2.

Breath awareness – 50pts

Demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o Consistently demonstrating an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should have breath as well)

o Consistently demonstrating that I am fully expelling the amount of outgoing breath/sound from the beginning of the end of the phrase, sentence or thought.

o Consistently demonstrating a relaxed belly, jaw and shoulders Expression and Clarity of Text – 30pts

I am demonstrating that I know what my text means (each word, phrase, sentence) o Consistently demonstrating personalized connection to words o Consistently demonstrating that I am allowing the words to affect me o Consistently demonstrating that I am enjoying language in my mouth and body

Vocal Ladder, Vocal Color, Tone/Character/Non-Human Voice– 60pts

I am demonstrating the character/non-human element with my voice

o Consistently demonstrating a variety of notes and pitches o Beginning to demonstrate strength in all areas of my voice (i.e chest voice, mid

voice, upper voice) o Consistently demonstrating tonal fullness, energy (not breathy or thin)?

Tempo, Modulation /Articulation - 30pts

I am demonstrating that I am taking my time with language and moments and not rushing through

o Consistently demonstrating that I am elongating words and phrases to get the most use out of language

o I am consistently demonstrating crisp and clear diction Physicality – 50pts

I am demonstrating character/non-human physicality? o Demonstrating a consistent commitment to my physical choices o Demonstrating character/non-human physicality o Demonstrating consistent movement that is free and natural to the moment

Working with Partner/s – 30pts

I am demonstrating a collaborative and productive working relationship with my partner/s

o I have contributed to rehearsal process by having lines memorized, having a clear back story based on the given circumstances in the text

o Consistently demonstrating that I am listening and responding to my partner o I am making progress during the rehearsal process by meeting the expectations

of every rehearsal o I am contributing to the design elements of the scene

Preparation and Rehearsal of Monologue - 50pts

I am demonstrating growth in technique from first showing to the workshopping to final performance

o Consistently demonstrating a well- organized scene o Consistently demonstrating clear story and specific given circumstances

according to text o Consistently demonstrating clear character/personality choices based on the text o Consistently demonstrating clear and purposeful movement and clean blocking

Week 13 - 15

V.Final Scene - ( 400pts) (Final)

Final’s Day - Tuesday, April 30, 2019

10:00 AM – 12:50 PM

This will be a longer scene.

Play - TBA

You will receive a final scene near the end of March (while you are working on the third scene -

Title – TBA). Begin your individual and perhaps partner work right away. The work for this

scene will incorporate all of the techniques practiced in the class. We will begin in class work on

this scene on April 2. This gives you roughly four weeks to work on the final scene until the

final’s day. The first showing for the scene will be on April 16.

Breath awareness – 60pts

Demonstrating that I am accessing and consistently using my breath for maximum breath support while speaking and acting

o Consistently demonstrating an incoming breath every time I pause – i.e. taking a full incoming breath after each phrase, sentence or thought (silent moments should have breath as well)

o Consistently demonstrating that I am fully expelling the amount of outgoing breath/sound from the beginning of the end of the phrase, sentence or thought.

o Consistently demonstrating a relaxed belly, jaw and shoulders Expression and Clarity of Text – 40pts

I am demonstrating that I know what my text means (each word, phrase, sentence) o Consistently demonstrating personalized connection to words o Consistently demonstrating that I am allowing the words to affect me o Consistently demonstrating that I am enjoying language in my mouth and body.

Vocal Ladder, Vocal Color, Tone– 70pts

o Demonstrating character voice if the text supports this during the scene o Consistently demonstrating a variety of notes and pitches o Consistently demonstrating strength in all areas of my voice (i.e chest voice, mid

voice, upper voice) o Consistently demonstrating tonal fullness, energy (not breathy or thin)?

Tempo, Modulation /Articulation - 40pts

I am demonstrating that I am taking my time with language and moments and not rushing through

o Consistently demonstrating that I am elongating words and phrases to get the most use out of language

o I am consistently demonstrating crisp and clear diction Physicality – 60pts

I am demonstrating character/non-human physicality? o Consistently demonstrating a commitment to my physical choices o Consistently demonstrating character/non-human physicality o Consistently demonstrating movement that is free and natural to the moment

Working with Partner/s – 40pts

I am demonstrating a collaborative and productive working relationship with my partner/s

o I have contributed to rehearsal process by having lines memorized, having a clear back story based on the given circumstances in the text

o I am consistently listening and responding to my partner o I am making progress during the rehearsal process by meeting the expectations

of every rehearsal o I am contributing to the design elements of the scene

Preparation and Rehearsal of Monologue - 60pts

I am demonstrating growth in technique from first showing to the workshopping to final performance

o Consistently demonstrating a well- organized scene o Consistently demonstrating clear story and specific given circumstances

according to text o Consistently demonstrating clear character/personality choices based on the text o Consistently demonstrating clear and purposeful movement and clean blocking

Academic Integrity

Students should familiarize themselves with UCF’s Rules of Conduct at

<http://osc.sdes.ucf.edu/process/roc>. According to Section 1, “Academic Misconduct,” students

are prohibited from engaging in

1. Unauthorized assistance: Using or attempting to use unauthorized materials, information or study

aids in any academic exercise unless specifically authorized by the instructor of record. The

unauthorized possession of examination or course-related material also constitutes cheating.

2. Communication to another through written, visual, electronic, or oral means: The presentation of

material which has not been studied or learned, but rather was obtained through someone else’s

efforts and used as part of an examination, course assignment, or project.

3. Commercial Use of Academic Material: Selling of course material to another person, student,

and/or uploading course material to a third-party vendor without authorization or without the

express written permission of the university and the instructor. Course materials include but are

not limited to class notes, Instructor’s PowerPoints, course syllabi, tests, quizzes, labs,

instruction sheets, homework, study guides, handouts, etc.

4. Falsifying or misrepresenting the student’s own academic work .

5. Plagiarism: Using or appropriating another’s work without any indication of the source, thereby

attempting to convey the impression that such work is the student’s own.

6. Multiple Submissions: Submitting the same academic work for credit more than once without the

express written permission of the instructor.

7. Helping another violate academic behavior standards.

For more information about Academic Integrity, consult the International Center for Academic

Integrity

<http://academicintegrity.org>.

For more information about plagiarism and misuse of sources, see “Defining and Avoiding

Plagiarism: The WPA Statement on Best Practices” <http://wpacouncil.org/node/9>.

Responses to Academic Dishonesty, Plagiarism, or Cheating

Students should also familiarize themselves with the procedures for academic misconduct in

UCF’s student handbook, The Golden Rule <http://goldenrule.sdes.ucf.edu/docs/goldenrule.pdf>.

UCF faculty members have a responsibility for students’ education and the value of a UCF

degree, and so seek to prevent unethical behavior and when necessary respond to academic

misconduct. Penalties can include a failing grade in an assignment or in the course, suspension or

expulsion from the university, and/or a “Z Designation” on a student’s official transcript

indicating academic dishonesty, where the final grade for this course will be preceded by the letter

Z. For more information about the Z Designation, see <http://goldenrule.sdes.ucf.edu/zgrade>.

Course Accessibility Statement

The University of Central Florida is committed to providing access and inclusion for all persons

with disabilities. Students with disabilities who need disability-related access in this course should

contact the professor as soon as possible. Students should also connect with Student Accessibility

Services (SAS) <http://sas.sdes.ucf.edu/> (Ferrell Commons 185, sas@ucf.edu, phone 407-823-

2371). Through Student Accessibility Services, a Course Accessibility Letter may be created and

sent to professors, which informs faculty of potential access and accommodations that might be

reasonable. Determining reasonable access and accommodations requires consideration of the

course design, course learning objectives and the individual academic and course barriers

experienced by the student.

Campus Safety Statement

Emergencies on campus are rare, but if one should arise during class, everyone needs to work

together. Students should be aware of their surroundings and familiar with some basic safety and

security concepts.

In case of an emergency, dial 911 for assistance.

Every UCF classroom contains an emergency procedure guide posted on a wall near the door.

Students should make a note of the guide’s physical location and review the online version at

<http://emergency.ucf.edu/emergency_guide.html>.

Students should know the evacuation routes from each of their classrooms and have a plan for

finding safety in case of an emergency.

If there is a medical emergency during class, students may need to access a first-aid kit or AED

(Automated External Defibrillator). To learn where those are located, see

<http://www.ehs.ucf.edu/AEDlocations-UCF> (click on link from menu on left).

To stay informed about emergency situations, students can sign up to receive UCF text alerts by

going to <https://my.ucf.edu> and logging in. Click on “Student Self Service” located on the left

side of the screen in the toolbar, scroll down to the blue “Personal Information” heading on the

Student Center screen, click on “UCF Alert”, fill out the information, including e -mail address,

cell phone number, and cell phone provider, click “Apply” to save the changes, and then click

“OK.”

Students with special needs related to emergency situations should speak with their instructors

outside of class.

To learn about how to manage an active-shooter situation on campus or elsewhere, consider

viewing this video (<https://youtu.be/NIKYajEx4pk>).

Campus Safety Statement for Students in Online-Only Courses

Though most emergency situations are primarily relevant to courses that meet in person, such

incidents can also impact online students, either when they are on or near campus to participate in

other courses or activities or when their course work is affected by off-campus emergencies. The

following policies apply to courses in online modalities.

To stay informed about emergency situations, students can sign up to receive UCF text alerts by

going to <https://my.ucf.edu> and logging in. Click on “Student Self Service” located on the left

side of the screen in the toolbar, scroll down to the blue “Personal Information” heading on the

Student Center screen, click on “UCF Alert”, fill out the information, including e -mail address,

cell phone number, and cell phone provider, click “Apply” to save the changes, and then click

“OK.”

Students with special needs related to emergency situations should speak with their instructors

outside of class.

Make-Up Assignments for Authorized University Events or Co-curricular

Activities

Students who represent the university in an authorized event or activity (for example, student-

athletes) and who are unable to meet a course deadline due to a conflict with that event must

provide the instructor with documentation in advance to arrange a make-up. No penalty will be

applied. For more information, see the UCF policy at <http://policies.ucf.edu/documents/4-

401.1MakeupAssignmentsForAuthorizedUniversityEventsOrCocurricularActivities .pdf>

Religious Observances

Students must notify their instructor in advance if they intend to miss class for a religious

observance. For more information, see the UCF policy at

<http://regulations.ucf.edu/chapter5/documents/5.020ReligiousObservancesFINALOct17.pdf>.

Deployed Active Duty Military Students

Students who are deployed active duty military and/or National Guard personnel and require

accommodation should contact their instructors as soon as possible after the semester begins

and/or after they receive notification of deployment to make related arrangements.