Acting for Non-Majors

TPP 2185

Instructor: Sybil St. Claire

Email: Sybil.StClaire@ucf.edu
Cell: 407/267-6815
Office: T205 (PAC)

Class Time: T/TH 3:30 4:45 PM

Class Location: TR 541, Room101
Office Hours: T
12:15 1:15 PM
W 12:00 3:00 PM

This class has a Facebook Page, UCF Acting, 2016. Please join asap!

Overview
Acting for Non-Majors is the study of the principles and techniques of acting and the
process of discovering and developing your craft from the inside out. Emphasis will be
placed on personal development, authenticity, practicing deep listening, and both
honoring and building story. We come to the theatre not to hide behind a mask but to
reveal that which lies beneath it, accordingly, much of your work here will involve self
study, self reflection and self evaluation. YOU will be at the center of this learning
experience. If you are ready, willing and able to take risks, make mistakes and co-create
a safe, honest, and nurturing environment in which to hone a craft and feed your
creative spirit welcome home. Bring with you an open mind and the desire to learn and
grow.

Text:
Bogart, Ann, Landau, Tina, The Viewpoints Book: A Practical Guide to Viewpoints and
Composition, New York: Theatre Communications Group, August, 2004.

Salas, Jo, Improvising Real Life: Personal Story in Playback Theatre, New York: Tusitala
Publishing; 20th Anniversary edition, June 1, 2013.

Course Objectives:
Students will...
Demonstrate the ability to transport into the demands of the acting moment.
Demonstrate the ability to practice deep listening, respond truthfully in the moment, and
honor self and other through story.
Build trust and portray truthful relationships in the acting moment.
Exhibit a willingness to move beyond his/her own comfort zone in the acting moment.

Demonstrate competency with specific craft techniques such as Viewpoints Playback,

and other acting methodologies presented in class.

Class Jam Sessions

Generally, you are asked not to join in the critique discussion of your own work, but to
remain rather a "fly on the wall," overhearing the candid reactions which your work has
inspired (even if you disagree with them). In this way you can hear "audience reaction"
without attempting or needing to engage in explanation or debate to defend your work.
This parallels the situation in "real life," in which the actor cannot gracefully follow the
audience out of the theatre explaining what was meant, or pleading that, with more
time, the performance would have been more successful.

Course Requirements

1) Attendance:
You will be allowed TWO excused absences. Afterwards, each class missed will result in
the drop of one letter grade. If you miss more then five classes you will FAIL THIS COURSE.
Failure to attend on a performance days will result in a zero for the assignment.
Attendance and participation are essential to the successful completion of this course.
You cannot cram for acting.
Participation: (10 points) You will earn participation points twice during the semester,
once at mid semester and once at semesters conclusion. YOU will grade yourself in this
arena. For grading criteria please see the rubric on page 21 of this syllabus.
Tardies: Please be on time to class, we have much to do and very little time in which to
do it. Two late arrivals to class equal one absence. In the theatre your behavior affects
everyone else. Please be a diligent and courteous member of our community.
PLEASE DO NOT BE LATE TO CLASS! Two late arrivals equal one absence.

Extra Credit: If you have perfect attendance you will receive 5 extra credit points at
semesters conclusion.

3) Play Attendance (15 points 5 points each)

Attend three shows Theatre UCF is presenting this semester. Turn in your ticket stub with
your name on it to receive credit. Tickets are $10 with UCF ID.
The Box Office is located in the PAC Building (119) and is open Noon 6 PM. The number
is: 407/823-1500. Performances are in the Theatre auditorium (by Chemistry).

http://www.theatre.ucf.edu
theatre@ucf.edu

If you attend Project Spotlight, which is free, you will need to sign the sign-in sheet in the
lobby in order to receive credit.

Choose from:
SPUNK AND THE HARLEM LITERATI (Mainstage)
January 21, 22, 23, 28, 29, 30 at 8PM
January 24 & 31 at 2 PM
By Zora Neale Hurston
Adapted by Be Boyd
Directed by Be Boyd
Treasured local author Zora Neale Hurston (Their Eyes Were Watching God) weaves
together song and story in a dramatic retelling of her award-winning short story of the
same name. A collaboration with the Association to Preserve the Eatonville Community
and an official part of the ZORA! Festival 2016 program.
REELING (Black Box)
By Barry Kornhauser
Music composed by Michael Koerner
Directed by Christopher Niess
January 21, 22, 23, 28, 29, 30 at 8:00 pm
January 24, 31 at 2:00 pm
Based on the life of Buster Keaton, Reeling tells the light-hearted story of Little Fellows
trials and triumphs as he navigates the big city and love, without using a single word.
Appropriate for all ages.

The shows roots lie in the time-transcendent soil of the pratfall and the struggle of the
little guy to make good. From that fertile ground comes laughter and wisdom that
rings loud and clear. - St. Paul Pioneer Press

ROMEO AND JULIET (Black Box)

by William Shakespeare
Directed by Be Boyd
February 18, 19, 20, 25, 26, 27 at 8:00 pm
February 21, 28 at 2:00 pm
Set in the racial borderlands of the 1930s Harlem Renaissance and prohibition era, when
jazz brought disparate communities together, and love tore them apart.

She Loves Me (Main Stage)

Book by Joe Masteroff
Music by Jerry Bock, Lyrics by Sheldon Harnick
Based on a play by Miklos Laszlo
Directed by Earl Weaver
March 17, 18, 19, 24, 25, 26 at 8:00 pm
March 20, 26 at 2:00 pm (note: Saturday matinee due to the holiday)
Two feuding perfume clerks have no idea they are in love
In a 1930s perfumery, rivals Amalia and Georg respond to a lonely hearts ad in the
newspaper, in hopes of finding their soulmates.
a continuously melodic evening of sheer enchantment and complete escape.
New York Times

PROJECT SPOTLIGHT (Mainstage)

April 21st 24th
(Thursday, Friday, Saturday 8 PM, Sunday 2 PM)
A FREE festival of new plays brought to you by Project Spotlight, a registered student
organization, in cooperation with Theatre UCF. This event showcases student writers,
directors, actors, designers, and managers and prepares them for their professional
careers.
Free. No tickets are required. Sign in via sign-in sheet in lobby for credit.
More information about Project Spotlight is available at:
https://www.facebook.com/ProjectSpotlightUCF.

4) Self Reflection Papers (15 points 5 points each)

A) Write a two-three page paper. Include and discuss the writing prompts below. Include
stapled rubric at end of the paper (page 20).
Self Reflection Paper #1:
Discuss your assets and blocks as a performer (Body, voice, imagination,
psychological challenges, where your tensions lie, etc.) Please label as follows:
A) Physical and vocal observations of self.
B) Whether you feel you are open or closed emotionally, physically.
C) Your comfort level with vulnerability, trust, giving up control.
D) What strikes you as the most exciting aspect of this class?
E) What strikes you as the most daunting aspects this class?
F) What you are most hoping to gain from this course?

Self Reflection Paper #2

Write a three-four page mid-semester paper that explores and reflects on your
journey thus far. Please label and address topics in the following order and
include rubric at end of paper.

Discuss:
A) UCF Shows
B) Viewpoints Experience
C) Playback Experience
D) Areas of Growth
E) Strengths developed
F) Challenges encountered and how you moved through them.
G) Take-Aways
H) Sum your experience thus far up in one sentence.
I) Final thoughts

Self Reflection Paper #3

Write a three-four page end of semester paper that discusses and assesses the
development of your acting process and progress in this class. This is an honest,
insightful assessment of your journey during the semester.
Please label and address topics in the following order. Include rubric at end of
paper.
A) Life Story Assignment
B) Areas of growth
C) Strengths developed
D) Challenges encountered and how you moved through them.
E) Physical and vocal observations of self
F) Whether you feel you are open or closed emotionally, physically.

G) Your comfort level with vulnerability, trust, giving up control.

H) What was the most exciting aspect of this class?
I) What was the most daunting aspects this class?
J) What did you most gain from this course?
K) What could you have done without?
L) Take-aways?
M) How (or) will you integrate this experience into your life beyond this class?
N) Sum your experience up in one sentence.
O) Any advice on how I may craft a better experience for future students?
P) Final Thoughts.
Papers should be typed, double-spaced and stapled. Please use 12 point New Times
Roman font. Grammar/spelling, sentence construction, clarity, following directions count.

5) Playback Theatre Performance (25 points)

Playback Theatre: A form of improvisational theatre in which the audience shares stories
from their lives and watch them enacted (played back) on the spot.
We will learn/rehearse during class time to create a Playback Theatre troupe. The class
will be split into three to four groups to perform on campus. Performances will be
mid/end of March and are listed in this syllabus. If you have suggestions for additional
performance venues do let me know. J

6) Life Stories/Transformational Performance Art (35 points)

This model of performance gives voice to personal stories. The true-life stories of people
are performed by the people themselves as performance art as we collectively share the
medicine in our stories and celebrate the power of the human spirit to grow and
transform.
Students will create a life story monologue with a partner (aka personal performance
art) using The Viewpoints. The Life Story should be between 2 3 minutes MAXIMUM
and should include props, costumes, and perhaps music, dance, paint, technology,
spoken word, etc., as suitable. THINK SYMBOLICALLY, SHARE TRUTHFULLY. We will write and
direct our partners Life Story. Afterwards, be prepared to discuss your work and your
partners, receive verbal feedback from the class and the instructor, take careful notes,
and then go back to the drawing board to grow and deepen your story for a second
share.
You will hand in your Life Story Study the first time you perform, for which you will receive
a grade on dramaturgy (15 points) and design (10 points). You will perform your Life Story
twice, the first time for feedback, the second time for a grade (10 points).
Performance 10 points
Dramaturgy 15 points (playbill, rehearsal report, character analysis)
Design 10 points (set, costumes)
Life Story Studies should be labeled and include in the following order:

Title page (your name, the name of your partner, title of this class, my
name, date, title of your Life Story).
Copy of the script
Character Analysis
Journal Entries (minimum of five)
A separate entry for every rehearsal (2 4 paragraphs per
rehearsal). Include dates, times, location, duration, and reflect on
each of the following and label as follows each time:
A) Discoveries/Surprises
B) Successes
C) Challenges and what you did or will do to overcome them
D) How you are using The Viewpoints and what you think of them
E) How creating/sharing Life Stories has (or has not) impacted you
F) Take-Aways
Costume Design
Renderings of costume designs. See the link below for inspiration.
http://www.google.com/search?q=costume+design+pics&hl=en&client=f
irefox-a&hs=I83&rls=org.mozilla:enUS:official&prmd=ivns&tbm=isch&tbo=u&source=univ&sa=X&ei=yZ4cTsXsA
oTW0QG7492xDw&ved=0CBkQsAQ&biw=1290&bih=638
A Full Page Set Design: Example Veronicas Room below.
Playbill - Cover design reflecting the play and its genre, character
description (main/minor, protagonist/antagonist), summary of dramatic
plot (without giving away the climax) biographies, anything else youd like
to add.
https://images.search.yahoo.com/yhs/search;_ylt=A0LEVig_gaxUC1QAtUIPxQt.;_ylu=
X3oDMTBsa3ZzMnBvBHNlYwNzYwRjb2xvA2JmMQR2dGlkAw-?_adv_prop=image&fr=yhs-mozilla001&va=playbill+example&hspart=mozilla&hsimp=yhs-001
Life Story Study Rubric

Sample Set Design

GRADING
Participation

10

Personal Observation Papers

15 (5 points each)

Play Attendance

15 (5 points each)

Playback Performance

25

Life Story:
Performance
Dramaturgy (playbill, journal,
character analysis)
Set/Costume Design
Total Possible

10
15
10
100

GRADING SCALE:
100 - 90
A
89 80
B
79 - 70
C
69 - 60
D
59 - 50
F
No work submitted = 0
Late assignments will not be accepted

Plagiarism:
You will fail the course if you plagiarize. Plagiarism is the unacknowledged use of ideas
(whether paraphrased, summarized or quoted) by a writer who seeks to pass off those
ideas as his or her original thought. If you fail to document or attribute a source of the
idea, even if you restate another writer's ideas, you have plagiarized. A serious university
offense, plagiarism may be punished by failure or expulsion. Students who plagiarize on
the research paper will receive an F on the paper. To avoid plagiarism, you must
document your papers using the MLA citation format.

Disclaimer

Additional reading material may be assigned.

This syllabus is subject to change at the discretion of the instructor.
This class may include material that expresses adult or controversial themes as well as
strong language. If this presents a problem for you, please see the instructor immediately
to access your chances for success in the course.
Any student in this course who has a disability that may prevent him or her from fully
demonstrating his or her abilities should contact me personally so we can discuss
accommodations necessary to ensure full participation and facilitate your educational
opportunity.
It is the policy of the University to reasonably accommodate absences due to observed
religious holidays. However, the student will be held responsible for any material covered
during the absence and must inform the instructor two weeks prior to the holiday.
Since theatre requires the use of mind, voice, and body, there might be situations that
will require a certain amount of physical contact between you and the instructor and
you and other students. If this presents a problem for you, please see the instructor
immediately to access your chances for success in the course.

Please note:
Theatre is fundamentally an exploration of the human condition. This course, of necessity,
WILL include and invoke a wide range of human behaviors; some of which may touch
upon language and subject matter that some might find offensive. Should anything we
cover be outside your comfort range speak to me immediately to assess your chances
for success in this course.
I am here to help you. See me if you have any problems or questions, or if you just need
some advice. The art of acting deals with highly personal material and you may want to
discuss your experiences. Please do not hesitate to seek me out.
Please wear comfortable clothing to class.
From time to time we may work on the floor.

Class Schedule
Subject to change at the Instructors discretion

Week 1: January 12 & 14

T: Introduction
Homework:
1) Read and print syllabus. Please bring to every class.
TH: Introduction, Syllabus/Questions
Homework:
1) Bring sentimental object to next class (1/20) to share.

Week 2: January 19 & 21

T: Share sentimental objects
TH: Devising
Homework:
1) Write Self Reflection Paper A. Due next class (1/26).
Include rubric on page 20.
2) Begin reading The Viewpoints book. Complete by 2/4.

Week 3: January 26 & 28

T: Stanislavski/The Heros Journey
TH: Warm Ups
DUE: Self-Reflection Paper #1

Week 4: February 2 & 4

T: Warm Ups
TH: TBA
Homework:
1) Begin reading Improvising Real Life. Complete by 2/19.

Week 5: February 9 & 11

T: Viewpoints
TH: Viewpoints

Week 6: February 16 & 18

T: TBA
TH: Playback

Week 7: February 23 & 25

T: Playback
TH: Playback

10

Homework:
Participation rubric (pg. 21). DUE 3/3.

Week 8: March 1 & 3

T: Playback
TH: Playback
LIFE STORY PAIRS/SIGN UP TO SHARE
Due: Graded Participation Rubric #1
Homework:
Write Mid semester Self Reflection Paper B. DUE 3/17.

Week 9: March 8 & 10 SPRING BREAK

NO CLASS SPRING BREAK

Week 10: March 15 & 17

T: Playback
DUE: Self Reflection Paper B
Include rubric (pg. 20)
TH: Life Story Introduction
PERFORM: PLAYBACK SHOW & TO workshop 5:30 9:30 PM, Trailer 541

Week 11: March 22 & 24

T: Life Story/The Heros Journey/Viewpoints
PERFORM: PLAYBACK SHOW& TO WORKSHOP 5:30 9:30 PM, Trailer 541
TH: Life Story/The Heros Journey/Viewpoints
PERFORM: PLAYBACK SHOW & TO WORKSHOP 5:30 9:30 PM, Trailer 541

Week 12: March 29 & April 1

T: Life Story
PERFORM: PLAYBACK & TO WORKSHOP 5:30 9:30 PM, Trailer 541
TH: Share: Life Stories (2 pairs per day)

Week 13: April 5 & 7

T: Share: Life Stories (2 pairs per day)
TH: Share: Life Stories (2 pairs per day)
Homework:
1) Complete Life Story Dramaturgy Assignment.
DUE next class (4/12). Include rubrics on page 22 & 23.

11

Week 14 April 12 & 14

T: Share: Life Stories (2 pairs per day)
TH: Share: Life Stories (2 pairs per day)

Homework:
1) Write Self Reflection Paper C for 4/2. Include rubric on page 20.
2) Complete Participation Paper. Include rubric on page 21.
3) Prepare to turn in proof of play attendance (ticket stub with your name on it).

Week 15: April 19 & 21

T: Share: Life Stories (2 pairs per day)
TH: Encouragement Feast
DUE: Self Reflection Paper C
DUE: Participation Paper/Rubric
DUE: Proof of Play Attendance

Week 16: April 26 & 28 FINALS WEEK: Wednesday, April 28th Tuesday, May 4th
T: Creation Dance
OUR FINAL: Thursday, April 28th 1:00 3:50 PM (Share all Life Stories)

12

Tips on How to Earn an A in this Class

Communicate respectfully and effectively with the Instructor.
Articulately speak up in class and take leadership in exercises.
Listen to other opinions and allow others space to express themselves.
Incorporate materials discussed in class and from the readings into the scenarios and
exercises.
Be Prepared. Be Bold. Be Creative.
Critique your own performance and that of your fellow classmates while being
respectful and sensitive to the topic and to your classmates.
Play the role of the audience attentively during class and take initiative to replace the
characters in the scenes.
Be supportive of your classmates and work as a team.
Use I statements when discussing issues.
Take responsibility for your own well-being. This includes grounding experiences,
communicating often, effectively and appropriately with classmates and with the
facilitator.
Remember to only share that which you desire to share.
Be on time to class.
Do not miss more than two classes.
Follow directions and turn your work in on time.
Communicate in advance with the class and the facilitator if they are going to miss
class.
Contribute fully and adhere to the standards agreed upon by the group.
Bring a positive, eager, and adventuresome attitude to class.
Demonstrate willingness to move through uncomfortable moments.

13

Sinquain Poem Template

_______________
Noun
_______________
Adjective

_______________
Adjective

______________________________________________________________
A phrase describing how it feels or what it does
_______________
Verb

_______________
Adverb

_______________
Adjective

_______________
Adverb

_______________
Adjective

_______________
Synonym for Noun

14

Viewpoints
*Viewpoints is a technique for training performers, building ensemble & creating
movement on-stage. It is about points of awareness.
*We work with 9 Physical Viewpoints within the Viewpoints of Time and Space. There are
also Viewpoints of Sound.

VIEWPOINTS OF TIME AND SPACE

View Points of Time

Tempo
Duration
Kinesthetic Response
Repetition (internal/external)

Viewpoints of Space
Shape (lines, curves, combo)
Gesture (behavioral/expressive)
Architecture (mass, texture, light,
color, sound)
Spatial Relationship (to others, to
architecture)
Topography (pattern, landscape,
shape, density)

VIEWPOINTS OF TIME
1) TEMPO - how fast
2) DURATION - how long
3) KINESTHETIC RESPONSE a spontaneous reaction to motion outside of you.
4) REPETITION (of something on-stage)
Internal repeating a movement from within your own body
External repeating a movement of something outside your body
VIEWPOINTS OF SPACE
5) SHAPE The outline bodies make in space. All shape can be broken down into lines,
curves, and a combo of lines & curves.
Shape can also be stationary and moving.
Shape can also be made into one of three forms:
The body in space
The body in relationship to architecture
The body in relationship to other bodies
6) GESTURE
A gesture is a movement involving the body. Gesture is shape with a beginning a middle
and an end. Gestures can be made with hands, arms, feet, mouths, eyes, stomach, etc.
Gestures can be broken down into:
Behavioral Gesture - an everyday human behavior {waving hello, pointing,
waving, sniffing, scratching.}
Expressive Gesture - an abstract or symbolic gesture that represents and emotion,
an idea, a desire, a value. {Representative of joy, grief, anger).

15

7) ARCHITECTURE
The physical space you are in and how awareness of it affects your movement.
{swimming pool, black box, large, lavish set, etc.} In working with architecture we learn to
dance with the space, to be in dialogue with it, to allow it to effect movement and
emotion.
Broken down into:
Solid Mass - walls, floors, ceiling
Texture - metal, fabric, wood
Light - the source of light, shadows
Color Movement off of color. How one red chair among many black chairs
would effect movement in relation to that chair, etc.)
Sound sound created by and from architecture. The sound our feet make on
the floor, the creak of the door, etc.
8) SPATIAL RELATIONSHIPS
The distance between things:
One body to another
One body to a group of bodies
The body to the architecture
9) TOPOGRAPHY
The landscape, the pattern, the design we create in movement through space. Ex.
dense downstage, difficult to move through. Less dense upstage, more fluidity and faster
tempos, figure 8 traffic patterns, etc.
And those are the 9 viewpoints of time and space.

THE VOCAL VIEWPOINTS

1) PITCH the level of a sound within the vocal range from high to low.
2) DYNAMIC volume
3) TEMPO speed
4) ACCELERATION/DECELERATION speeding up and slowing down.
5) REPETITION repeating on your partners pitch, dynamic, or tempo.
6) TIMBRE producing sounds from various physical resonators nasal, deep throated,
full-bellied, etc.
7) SILENCE where it is placed, how often it is used, how long it is used. In-between
words, only once in a sentence, in the middle of words, etc.

Viewpoints
Helps us work from impulses and intuition.
Imbues space and movement on-stage with meaning.
Is a collaborative way to discover the meaning of a moment, scene, play.
Is non-hierarchical.
Allows emotions to arise from the physical.
Gets rid of the words, I want. And asks what does the work want?
Gets rid of Ill do it when I feel it and allows emotions to arise from the physical.
Continues actor training.
Relieves the pressure to invent by yourself.

16

Shifts emphasis from making something happen to letting something happen.

Frees us from the statement, My character would never do that. In Viewpoints there is
no right or wrong, good or bad - there is only possibility, and choice.
Leads to greater awareness, which leads to greater choice, which leads to greater
freedom.
Gets us out of our heads and out of the sense of sight. We learn to listen with the entire
body and see with the entire being and our intuition.

The Vocal Viewpoints

PITCH high or low

Pitch is where sound lies within the possible range of the instrument. In this case the
instrument is your voice. So high to low vocally. Begin to repeat your line of dialogue at a
medium pitch, now low.
DYNAMIC - loudness
In vocal viewpoints dynamic is the term used to connote loudness or volume. Say your
line of dialogue as softly as possible, as loudly as possible, explore volume.
TEMPO
Tempo is speed. In vocal viewpoints its the speed at which you say things. Try saying your
lines as fast as possible, as slow as possible, try one person fast and one person slow, one
person slow and one person medium, switch it up one line slow the next fast.
Surprise yourselves, explore on your own. Let your partners tempo effect you.
ACCELRATION/DECELATION Slow to fast and vice versa
Start slow get faster and vice versa. Collaborate on accelerating and decelerating, let it
be fluid. Notice how the vocal viewpoints change meaning.
REPETITION
Factoring in tempo, dynamic (loudness), pitch (high or low) begin to repeat what your
partner is doing. If they increase tempo increase with them, if they move to a high pitch
copy them. Try not to let anyone lead or follow.
TIMBRE
Timbre has to do with shape size and substance. To experiment with timber you will
explore producing sound from various physical resonators - nasal, deep throated, chest,
belly.
SILENCE
We all know how powerful it can be but instead of using silence between lines the vocal
viewpoints ask you to find silence within sentences, between words, even in the middle
of words. Make sure there is no silence between lines of dialogue look for it only within
your lines and words, so breathe while your partner is talking and be ready to speak as
soon as they are finished.

17

CHARACTER ANALYSIS

1) AUTOBIOGRAPHY - Give a 3 - 4 page summation of your characters life. Then

complete the following.
2) CONFLICT - What is the major obstacle facing this character? Define as one or more
of the following. Explain.
Human vs. God{s}
Human vs. Human
Human vs. Nature
Human vs. Society
Human vs. Self
3) ABSTRACTION - Describe you character in different abstract ways. What would the
character be if s/he were a{n}: Explain, each answer!
Animal

Drink

Piece of Jewelry

Plant

Cartoon Character

Piece of clothing

Food

Book

City

Color

Song

Musical Instrument

Kind of Day

Piece of Furniture

Car

4) PHYSICAL CHARACTERISTICS - Describe your character physically, height, build, hair,

eyes, face, power, age, agility, voice. Pick one trait and describe how it influences the
emotional makeup of the character. For example, does a character's limp cause
him/her to be nasty, tolerant, eccentric, shy.
5) CHARACTER CHANGE/DRAMATIC ACTION - Describe one way in which your character
changes from the beginning to the end. Have the character's goals changed? If so, how
so?

18

The Heros Journey

Stages of the Journey

The twelve stages of the Hero's journey:

1.
2.
3.
4.

The Ordinary World- the hero is seen in his/her everyday life

The Call to Adventure- the initiating incident of the story
Refusal of the Call- the hero experiences some hesitation to answer the call
Meeting with the Mentor- the hero gains the supplies, knowledge, and
confidence needed to commence the adventure
5. Crossing the First Threshold- the hero commits wholeheartedly to the adventure
6. Tests, Allies and Enemies- the hero explores the special world, faces trial, and
makes friends and enemies
7. Approach to the Innermost Cave- the hero nears the center of the story and the
special world
8. The Ordeal- the hero faces the greatest challenge yet and experiences a symbolic
death and rebirth
9. Reward- the hero experiences the consequences of surviving death
10. The Road Back- the hero returns to the ordinary world or continues to an
ultimate destination
11. The Resurrection- the hero experiences a final moment of death and rebirth so
they are pure when they reenter the ordinary world
12. Return with the Elixir- the hero returns with something to improve the ordinary
world
The Archetypes:

1. Hero- someone who is willing to sacrifice his own needs on behalf of others
2. Mentor- all the characters who teach and protect heroes and give them gifts
3. Threshold Guardian- a menacing face to the hero, but if understood, they can be
overcome
4. Herald- a force that brings a new challenge to the hero
5. Shapeshifter- characters who change constantly from the hero's point of view
6. Shadow- character who represents the energy of the dark side
7. Ally- someone who travels with the hero through the journey, serving variety of
functions
8. Trickster- embodies the energies of mischief and desire for change

19

Name: _____________________________

Self Reflection Paper Rubric

(5 points 1 point each)

SELF REFLECTION
Clearly communicates ideas. Demonstrates
significant and insightful self-reflection
ORGANIZATION AND COHERENCE
Uses logical structure and discipline specific vocabulary.
Guides the reader through chain of reasoning, and/or
progression of ideas.
SUPPORT
Makes connections and evidences higher-level thinking.
STYLE
Chooses words for their precise meaning and uses an
appropriate level of specificity. Sentence style is clear
and concise, and makes sense to the reader.
MECHANICS
Free of spelling and grammatical errors. Followed directions.

20

Participation Rubric
(5 points 1 point each)

Please do the math before turning in.

Name: ____________________

Focused, active, cooperative participation

during warm ups
Willingness to take direction and instruction.
Willingness to push through uncomfortable
moments/activities. Willingness to experiment
and take risks
Personal growth. Contribution to the growth of
Others. (talkbacks, emotional support, etc.)
Communicates effectively with Instructor and
Classmates. Attitude (professional, positive, attentive,
Cooperative)
Completes assignments on time.
Work submitted according to directions

Total

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Life Story Dramaturgical Rubric

(25 points)

Dramaturgical Component (15)

Character Analysis (8)
Rehearsal Journal (5) five entries. 1 point each
Playbill (2)

Design Elements (10)

Costume Renderings (5)

Set Renderings (5)

(professionally and creatively executed (within reasons).
Reflective of actual show elements.

Note: You will lose points for:

*Spelling/grammatical issues (.5 each)
*Not following directions
*Not including all required information

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Character Analysis Rubric

(8 points 2 points each)

Included and answered all writing prompts, followed directions

Presentation of content included clarity of expression/writing style
Grammar, punctuation, spelling, and sentence structure
Substantive discussion/exploration of subject
Total
*Additional points may be subtracted for excessive grammatical errors.

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Life Story Performance Rubric

(10 points)

Performance (10)
Preparation/Memorization (1)
Given Circumstances (1)
Connection (to self, to other, to audience) (1)
Blocking/Pacing/Viewpoints (1)
Playing dramatic action/pursuing objectives (1)
Set/Costumes/Music (1)
Articulation/Projection (1)
Growth (3)

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Playback Performance Rubric

(25 points)

Preparation (5)
Improvisation/Story Creation (5)
Connection to Character/Connection to Partner(s) (5)
Audience Engagement/Pacing (2)
Playing dramatic action/pursuing objectives (3)
Articulation/Projection (2)
Growth (3)

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Summary Explanation for Exempt Research

__________________________________________________________________

EXPLANATION OF RESEARCH
Title of Project: Transformational Theatre: Raising Consciousness While Honing a Craft
Principal Investigator: Sybil St. Claire
Other Investigators: N/A
Faculty Supervisor: Sybil St. Claire
You are being invited to take part in a research study. Whether you take part is up to you.

The purpose of this research is to study using Theatre for Social Change techniques to teach
acting with an eye on helping students to develop/foster emotional awareness and intelligence,
community, and empathy (among other positive traits) while honing a craft.

Students will reflect on their personal, artistic, and educational experiences and journeys via a series of
self-reflection papers, discussions, taped interviews and photographs. The self reflection papers and
discussions are a required part of the class. The video taping and photography are additional and
optional. This data will then be collated in an effort to pinpoint what feeds into and what detract from the
above objective. Research will take place at the UCF Main Campus in Trailer 541. Participants must be
students in Sybil St. Claires Acting for Non Majors course at the University of Central Florida.

Expected duration: Spring 2016. Techniques will be introduced during class. Papers and other data
collection (specifically video and photographs) will be created inside and outside of class time.
Total time commitment outside of class, is expected to be approximately four hours (most of which
involves normal homework assignments (writing self reflection papers).

You may be video taped and photographed during this study. If you do not want to be video taped
or photographed, you will still be able to be in the study. Discuss this with the researcher or a
research team member. If you are video taped and/or photographed the tape will be kept in a
locked, safe place. The photos may be used in articles/books only with your permission. Tapes and
photos will be kept indefinitely.

*You must be 18 years of age or older to take part in this research study.

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*Participation is entirely voluntary. You are not required to participate in the study. There will be no penalties
of any kind for not participating.
Study contact (for questions about the study or to report a problem): If you have questions, concerns,
or complaints please contact Sybil St. Claire, Faculty Investigator, School of Performing Arts, Department of
Theatre by email at: Sybil.StClaire@ucf.edu or by phone at: 407/267-6815.

IRB contact about your rights in the study or to report a complaint: Research at the University of
Central Florida involving human participants is carried out under the oversight of the Institutional Review
Board (UCF IRB). This research has been reviewed and approved by the IRB. For information about the
rights of people who take part in research, please contact: Institutional Review Board, University of Central
Florida, Office of Research & Commercialization, 12201 Research Parkway, Suite 501, Orlando, FL 328263246 or by telephone at (407) 823-2901.

IRB #: SBE-15-11706

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