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    Tollefson Script Analysis Syllabus

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    Anonymous gApn0Z9w
    This document provides an overview of a script analysis course. The course objectives are to study three approaches to script analysis through assignments and class discussions, and to determine which approach works best. The philosophy is that students learn through doing small assignments analyzing scripts. Students will analyze four scripts using different methods over the semester and write a final paper comparing the approaches. Grading is based on assignments, projects and papers. The schedule outlines the scripts, readings, and assignments to be completed each week.

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    Tollefson Script Analysis Syllabus

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    Anonymous gApn0Z9w
    237 views6 pages
    This document provides an overview of a script analysis course. The course objectives are to study three approaches to script analysis through assignments and class discussions, and to determine which approach works best. The philosophy is that students learn through doing small assignments analyzing scripts. Students will analyze four scripts using different methods over the semester and write a final paper comparing the approaches. Grading is based on assignments, projects and papers. The schedule outlines the scripts, readings, and assignments to be completed each week.

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    This document provides an overview of a script analysis course. The course objectives are to study three approaches to script analysis through assignments and class discussions, and to determine which approach works best. The philosophy is that students learn through doing small assignments analyzing scripts. Students will analyze four scripts using different methods over the semester and write a final paper comparing the approaches. Grading is based on assignments, projects and papers. The schedule outlines the scripts, readings, and assignments to be completed each week.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    237 views6 pages

    Tollefson Script Analysis Syllabus

    Uploaded by

    Anonymous gApn0Z9w
    This document provides an overview of a script analysis course. The course objectives are to study three approaches to script analysis through assignments and class discussions, and to determine which approach works best. The philosophy is that students learn through doing small assignments analyzing scripts. Students will analyze four scripts using different methods over the semester and write a final paper comparing the approaches. Grading is based on assignments, projects and papers. The schedule outlines the scripts, readings, and assignments to be completed each week.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 6
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    The key takeaways are that the course will cover three approaches to script analysis and students will practice each approach through assignments and discussions. By the end of the course students should be able to explain which approach or combination works best for them and why.

    The three approaches to script analysis that will be covered are the Ingham approach, the Ball (Backwards and Forwards) approach, and the Thomas approach.

    The required texts are Ingham's From Page to Stage, Ball's Backwards & Forwards, Thomas' Script Analysis for Actors, Directors, and Designers, and four plays: The Glass Menagerie, Mother Courage, Hamlet, and A Raisin in the Sun.

    Script Analysis Kristina Tollefson

    Course Objectives:
    In this course we will study three different approaches to script analysis. You
    will practice each of the approaches through class assignments and discussions. By the
    end of this course you should be able to explain which approach or combination of
    approaches works best for you and why.

    Course Philosophy:
    I believe that students learn through doing. For that reason there are several
    small assignments that give you the opportunity to analyze sections of a script based
    on the method we are exploring. I hope this class will not overwhelm you with the
    amount of work, but that we can take a steady pace through the different approaches.

    Required Texts:
    Ingham, Rosemary. From Page to Stage: How Theatre Designers Make
    Connections Between Scripts and Images. Heinemann:
    Portsmouth, NH, 1998.
    Ball, David. Backwards & Forwards: A Technical Manual for Reading Plays.
    Southern Illinois UP: Carbondale, IL, 1998.
    Thomas, James. Script Analysis for Actors, Directors, and Designers.
    Focal Press: Boston, 1999.

    Required Scripts:
    The Glass Menagerie by Tennessee Williams
    Mother Courage by Bertolt Brecht
    Hamlet by Shakespeare
    A Raisin in the Sun by Lorainne Hansberry

    Additional Optional Sources:


    The Actor's Script : Script Analysis for Performers by Charles Waxberg
    Script Analysis : Reading And Understanding The Playscript For
    Production by David Grote
    Play Directing; Analysis, Communication, And Style by Francis Hodge
    Script Into Performance : A Structuralist Approach by Richard Hornby.
    Understanding Playscripts : Theory And Method by Roger Gross
    Studying Plays by Mick Wallis and Simon Shepherd
    Course Grading: There are 1400 points possible in this class. I will use a traditional
    10 point grading scale 100%-90%=A, 89%-80%=B, 79%-70% =C etc.

    1350 1215 =A 3 Play Synopsis @ 100 pts each 300


    1214 1080 =B 10 Assignments @ 50 pts each 500
    1079 945 =C 2 Creative Writing Projects @ 150 pts each 300
    944 810 =D 2 Peer Evaluations @ 25 pts each 25
    1 Final Paper @ 200 pts 200
    Below 810 =F 1350 total points

    Written Assignment Guidelines:


    All assignments you turn in must be typed, double-spaced, with 1 margins.
    Please use Times or Times New Roman for your font and a point size of 13. The
    Creative Writing Assignments are the only time Standard Written English is not a
    requirement. Please proof-read and spell check. 1 point will be deducted for every
    misspelled word or typo.
    Play Synopsis:
    These assignments are intended for you to think about the play you just read.
    The play synopsis should be no longer than a half a page(see guidelines above). This
    should not be an attempt to re-tell every detail of the play, but a chance for you to
    reflect on the main events of the script.
    Creative Writing Projects:
    These assignments give you a chance to reflect on the material in a creative,
    non-academic way. While Standard Written English is not a requirement for these
    assignments, I still do expect you to proof read carefully.
    Four copies of your rough draft will be due in class and will be evaluated by
    your peers as well as by me. You will get to take these written evaluations home to
    help you revise before turning in your final project. The rough draft is worth 50 of
    the 100 points of your CWP grade. Spelling and typos will not be counted against
    you in the rough draft stage. Spelling and typos will be graded in your final draft.
    CWP #1: You are Shakespeare. Write a 1 page typed letter to a friend about
    Hamlet, the new play you are writing. In this letter describe some of the techniques
    you are using to capture the audiences attention and tell your story. Why will
    audiences love this play. Please cite at least 5 examples from the script.
    Contemporary language is appropriate, however you may venture into Old English if
    you wish. Use the techniques described in David Balls book Backwards & Forwards
    and those we discussed in class. Perhaps you could include in your letter some ideas
    that you (as Shakespeare) have decided not to use. If so, why wouldnt they work?
    Remember, this is a creative project, so allow yourself some freedom.
    CWP #2: Choose one character from A Raisin in the Sun and write a 1 page diary
    entry in their voice, from their point of view. Concentrate on how that character
    speaks. You may use events from the script, or elaborate upon the action of the play.
    Perhaps you write about the day before the play begins, or the day after. It should be
    plausible, reflect the attitude, age, and biases of the character, and sound realistic to
    the language of the character.

    Final Paper:
    In your final paper you will compare the three texts we used in class. You
    should consider the following questions. Which method works best for you? Is there
    one that is the most complete or are they all lacking in some way? If they are all
    lacking, what combination of approaches would be the most helpful? Do you know
    of an approach that is more appropriate for you? Is there another book, perhaps one
    on the optional reading list, which enables you to more clearly analyze a script?
    Please give SPECIFIC examples from our work in class as well as from the books
    themselves. Which of these would work best for actors/designers/directors/ scholars?
    This paper should be 3-5 pages in length and use Standard Written English. Please
    follow the guidelines for written assignments on the previous page.

    Attendance Policy:
    I understand that you all have other classes and obligations pulling you in
    many directions. If you need to be gone from class for any reason please let me know
    ahead of time. Please do not ask me for permission. This class is important too. You
    have three free absences. Any absences above three will reduce your final grade by
    half a letter grade (equivalent to 70 points). Three tardies equal one absence. A bit
    of advice: if you know you will need to be absent for a legitimate reason, dont waste
    your freebies on frivolous activities.

    Late Work:
    Late work will not be accepted unless accompanied by a doctors note or a
    letter from the Dean of Students.

    ADA:
    If you have a disability and need classroom accommodations, please notify me
    as soon as possible. You should also register with the Adaptive Programs Office at
    494-1247.
    Day In Class Discussion At Home Activity

    1 What is Script Analysis? Read Chapter 2


    Why do it? in Ingham

    2 How are Plays Different Read Chapter 3


    from Novels? How must in Ingham
    we approach them?

    3 Inghams Playscript Analysis Outline Read The Glass Menagerie


    Write Brief Synopsis

    4 Synopsis of The Glass Menagerie DUE Complete Sections:


    Discussion of Script Where are they?
    When are they?

    5 Where are they?/When are they DUE Complete Who are they?
    Discussion of where and when for Amanda and Tom

    6 Who are theyAmanda & Tom DUE Complete Who are they?
    Discussion of Who are They? For Laura and Jim
    all characters

    7 Who are theyLaura & Jim DUE Complete the function of


    What happened before the play began each character section

    8 The Function of Each Character DUE Complete What Happens?


    How does each character function? And Scene Breakdown
    What kind of dialogue do they speak?
    What is a Scene Breakdown?

    9 What Happens and Scene Read Mother Courage


    Breakdown DUE Write 3 questions about
    What does happen? topics you could use more
    What is the theme? information on that would
    help you understand the
    play better.

    10 Questions DUE Read Ingham Chapter 4


    Discuss Mother Courage Stop on page 96
    What questions need answering?
    11 Do you have a new understanding Read Hamlet
    of Mother Courage? Write Brief Synopsis
    Does Inghams approach work for you?

    12 Synopsis of Hamlet DUE Read Ball Section 1


    Group Synopsis including Foreword and
    Intro pages vii 35

    13 How is this different from Ingham? Complete Hamlet Back to For.


    Begin Backwards to Forwards on Hamlet

    14 Hamlet Backwards to Forwards DUE Read Ball Section 2


    What have we learned from this? Pages 37-76

    15 Exposition, Forwards, Action, Image Do Action/What, Action/Why


    ThemeWhat can they tell us? Hamlet
    See Pg. 63 in Ball

    16 Action/What, Action/Why DUE Read Section 3 in Ball


    What were his actions and why? Pages 79-95
    Which moments qualify as
    theatrical moments and what do
    we learn from them?

    17 How do these sections apply to Hamlet? CREATIVE WRITING


    How could our understanding be PROJECT #1 Rough Draft
    deeper by studying these ideas?

    18 CWP #1 Rough Draft DUE Revise CWP #1


    Peer Evaluation Due in Class

    19 CWP #1 Final DUE Read A Raisin in the Sun


    Does Backwards to Forwards Write Brief Synopsis
    work for you? How does it compare
    to Ingham?

    20 Synopsis of A Raisin in the Sun DUE Read Appendix A and B


    Group Synopsis in Thomas
    21 Would these considerations give a Read Chapters 1 & 2 in Thomas
    deeper understanding to the script?
    How do they apply to A Raisin in the Sun?

    22 What are the given circumstances in Read Chapters 3 & 4 in Thomas


    A Raisin in the Sun? What is the
    Background story?

    23 Page 80. Answer Structure Questions Read Chapter 5 in Thomas


    as a class for A Raisin in the Sun Answer Questions on page 100
    for one character in the play

    24 Chapter 5 Questions DUE Read Chapter 6 in Thomas


    Is this a complete character analysis?

    25 What is the idea in A Raisin in the Sun? Read Chapter 7 in Thomas


    Answer Questions on page 119 as a class

    26 What kind of dialogue does each CREATIVE WRITING


    character speak in A Raisin in the Sun? PROJECT #2 Rough Draft

    27 CWP #2 Rough Draft DUE Revise CWP #2


    Peer Evaluation Due in Class Read Chapter 8 in Thomas

    28 CWP #2 Final DUE Read Chapter 9 in Thomas


    What effect do Tempo, Rhythm, and Answer Questions on Page 186
    Mood have on your reading of under Statement of Playscript
    A Raisin in the Sun? Style for A Raisin in the Sun

    29 Answers to Questions on pg 186 DUE Be ready for a discussion of the


    What is the style of A Raisin in the Sun? three texts we used in class.
    Which worked best for
    you and why?

    30 Which text worked best for you and why? Final Paper
    Is a combination of methods most helpful?

    Final Paper DUE: AT THE BEGINNING OF THE


    SCHEDULED FINAL EXAM TIME

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