Course Title: Direct performers
Part B: Course Detail
Teaching Period: Term1 2015
Course Code: VART5923C
Course Title: Direct performers
School: 345T Media and Communication
Campus: City Campus
Program: C6087 - Advanced Diploma of Screen and Media
Course Contact : Program Administration
Course Contact Phone: +61 3 9925 4815
Course Contact Email:mcvet@rmit.edu.au
Name and Contact Details of All Other Relevant Staff
Teacher: Alan Woodruff
alan.woodruff@rmit.edu.au
9925 4982
Nominal Hours: 50
Regardless of the mode of delivery, represent a guide to the relative teaching time and student effort required to successfully achieve a particular competency/module. This may include not only scheduled classes or workplace visits but also the amount of effort required to undertake, evaluate and complete all assessment requirements, including any non-classroom activities.
Pre-requisites and Co-requisites
none
Course Description
This unit describes the performance outcomes, skills and knowledge required to direct performers during the filming or recording of productions. You participate in a series of classes and workshops aimed at familiarizing you with key elements of working with actors and directors.
National Codes, Titles, Elements and Performance Criteria
National Element Code & Title: |
CUFDRT502A Direct performers |
Element: |
1 Prepare for actual Production |
Performance Criteria: |
1.1 1.2 1.3 1.4 1.5 |
Element: |
2 Facilitate performances |
Performance Criteria: |
2.1 2.2 2.3 2.4 2.5 2.6 2.7 |
Element: |
3 Wrap productions. |
Performance Criteria: |
3.1 3.2 3.3 3.4 3.5 |
Learning Outcomes
Details of Learning Activities
In class learning activities include, but are not limited to:
• lectures and predsentations
• group discussion
• participation in teacher directed group activities/projects
• workshops
Out of class activities include, but are not limited to:
• online research
• independent project based work
Teaching Schedule
Week | Assess Tasks | Assess tasks due |
1 | Preparing for direction: understanding drama and understanding the job of the actor. Dramatic structure and analysis. |
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2 | The building blocks of drama for director and actor. The role of the director. Aims of rehearsal. |
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3 | Readings and rehearsals. The job of the director. Practical workshop. |
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4 | Exploring scenes. Text and improvisation. | Task 1 Script analysis and notes. |
5 | Facilitating performance. Shot lists and blocking based on actors’ improvisations. Beats and fulcrums. Staging and shots. |
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6 | Rehearsals and improvs as starting point for blocking, storyboarding and shot listing | |
7 | Formulating blocking strategies for drama. |
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8 | Formulating shooting plans for drama. |
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9 | Identifying key points: beats, fulcrums, scene start, scene finish. Review, analysis and discussion of previous week’s video work. | Task 2 Rehearsal notes |
10 | Storyboards and shotlists. Preparation for shooting. Distilling observations into shots and sequences. Staging and floor plans. | |
11 | Directing styles, strategies and techniques surveyed and compared. | |
12 | On set protocols. Procedures and roles during the shoot. Communication between director, cast and crew. |
Task 3 Demonstration of protocols. |
13 | Practical workshop and assessments continue. | Task 3 Demonstration of protocols. |
14 | Director and actor communication on set. | Task 3 Demonstration of protocols. |
15 | Director and performance optimisation. | Task 3 Demonstration of protocols. |
16 | Methods and techniques reviewed. |
Task 3 Demonstration of protocols. |
Learning Resources
Prescribed Texts
You are advised to look at the course Blackboard site for ongoing updated information and course resource materials on a weekly basis. |
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Please check for more notes and information through the RMIT webites - access via 'MyRMIT' / 'Blackboard'. |
References
Other Resources
Access to the internet may be required for some research tasks. Please check facilities offered by RMIT (eg library access to the WWW.)
Hagen, Ute Respect for Acting Wiley Publishing, 1973
Macaulay, Adam. Don’t tell me, show me: directors talk about acting Currency Press 2003
Mamet, David On directing film. New York : Penguin, 1992
(available RMIT building 94 library Call No. 791.430233 M264)
McKee, R. 1998 Story, Substance, Structure, Style and the principles of screenwriting, Methuen, London. This is a book on screenwriting, which is useful companion reading for the other acting-directing references. It is included here because of its methodical emphasis on analyzing structure of scenes and stories, which is directly relevant to the job of the director.
Meisner, Sanford. Sanford Meisner on Acting, Vintage, 1987
Proferes, Nicholas T. Film Directing Fundamentals Elsevier/Focal Press, 2008 (electronic copy available via RMIT netLibrary)
Weston, Judith Directing Actors: Creating Memorable Performances for Film and Television, 1996 This book contains some key references to practices and assessment tasks in this course.
RMIT Screen Production Guide 2014 (notes on shoot protocols).
Organisations
Media, Entertainment & Arts Alliance (MEAA) http://www.alliance.org.au
Australian Screen Directors Association (ASDA)
Video / DVD
Holmes, P. O’Malley, J. 2004-2007 Hollywood camerawork – the master course in high-end blocking and staging.
Available for viewing in Carlton Library.
Overview of Assessment
Assessment for this course is ongoing throughout the semester and will involve practical exercises, workshops knowledge assessment tasks and group projects.
Assessment Tasks
To demonstrate competency in this course you will need to complete the following assessment to a satisfactory standard.
You will receive feedback on all assessment and where indicated, you will receive a grade. Graded assessment tasks are equally weighted and will determine your final result for this course.
ASSESSMENT TASKS : (ungraded)
1. Mark up a script with notes on character objectives, obstacles, beats and fulcrums.
A script will be provided for analysis in class for dramatic analysis. The aim of this type of analysis is to examine the source of drama in a particular screenplay.
You will be required to mark precise points in the script where there is evidence or suggestion of: characters’ objectives, obstacles to those objectives, beats (for actor), and fulcrums (potential turning points).
Marked up script. Due: Week 4
2. Analysis of actors performing scene.
Students will be required to make a record / take notes to observe and comment on actors as they work their way through a scene. This will be used to analyse and mark the significant dramatic moments in the scene. Each discernable pursuit of an objective, obstacles to those objectives, beats (actor), and fulcrum (potential turning points) will need to be identified, marked and described briefly. You will present your own analysis and opinion on each moment you think has significant potential as an actor’s beat, a narrative beat, a potential cutting point as well as good points to enter and leave the scene.
Due: Week 9
ASSESSMENT TASK (graded)
3. Demonstration of communication and protocols
Students will participate in running a set within class time to demonstrate your understanding of on-set shooting protocols. You will be required to participate in a number of roles including director and 1stAD in order to present evidence you understand the protocols, how they relate to cast and crew and can carry them out. You will be assessed on your ability to work with the protocols, communicate your performance analysis and directions to the actors from your marked up script. You will beed to explain the reasons for doing multiple takes. Due: During class time in Weeks 12, 13, 14, 15, 16 (these will be practical assessment activities scheduled throughout this period).
Grades used in this course are as follows:
CHD Competent with High Distinction
CDI Competent with Distinction
CC Competent with Credit
CAG Competence Achieved - Graded
NYC Not Yet Competent
DNS Did Not Submit for Assessment
For further details on these assessment tasks and the grading system and criteria used, please refer to the course blackboard site.
Assessment Matrix
The assessment matrix demonstrates alignment of assessment tasks with the relevant Unit of Competency. These are available through the course contact in Program administration
Other Information
Please refer to the RMIT student page for extensive information about study support, assessment, extensions, appeals and a range of other matters: http://www.rmit.edu.au/students
Cover Sheet for Submissions:
You must complete a submission cover sheet for every piece of submitted work, including online submissions. This signed sheet acknowledges that you are aware of the plagiarism implications
Attendance:
The major learning experience involves studio based exercises, demonstration and production. It is strongly advised that you attend all sessions in order to engage in the required learning activities, ensuring the maximum opportunity to gain the competency.
Feedback:
You will receive verbal and written feedback on your work depending on the nature of individual assessment tasks. Where relevant, this feedback will also include suggestions on how you can proceed to the next stage of developing your projects.
Student feedback at RMIT: http://www.rmit.edu.au/browse;ID=9pp3ic9obks7
Student Progress:
Monitoring academic progress is an important enabling and proactive strategy to assist you to achieve your learning potential.
Student progress policy: http://www.rmit.edu.au/browse;ID=vj2g89cve4uj1
Special consideration Policy (Late Submission):
All assessment tasks are required to be completed to a satisfactory level. If you are unable to complete any piece of assessment by the due date, you will need to apply for an extension. Special consideration, appeals and discipline : http://www.rmit.edu.au/browse;ID=qkssnx1c5r0y
Academic Integrity and Plagiarism:
RMIT University has a strict policy on plagiarism and academic integrity. Please refer to the website for more information on this policy go to Academic Integrity : http://www.rmit.edu.au/browse;ID=kw02ylsd8z3n
Course Overview: Access Course Overview