Embedded Files
INCLUSIVITY STATEMENT
All bodies, identities, abilities, and needs are welcome. Period.
It is our intent that students from all diverse backgrounds and perspectives be well-served by this course, that students' learning needs be addressed both in and out of class, and that the diversity that the students bring to this class be viewed as a resource, strength and benefit. Please let me know ways to improve the effectiveness of the course for you personally, or for other students or student groups.
GET THE MOST OUT OF CLASS:
In addition to the textbooks, you will need the following supplies for this course:
Comfy clothes
Water
Enjoying the Homework
Curiosity
STATEMENT OF ENGAGEMENT:
This is your course!
We encourage open dialogue. If you have questions or need additional coaching with class work, please talk to us.
We will make every effort to help you succeed. Above all...let’s find joy in our work!
I encourage you to:
I encourage you to:
Care for yourself, the space, and others
Yawn
Inform me of your needs
Have Fun!
COURSE DESCRIPTION
This course emphasizes the development of the actor’s physical instrument, the voice and body. Voice emphasis is on establishing good vocal habits through practical application of various vocal techniques. Students will study phonation, respiration, articulation, phrasing, textual analysis to establish the effective use of the voice for the stage. Movement emphasis will focus on body control with ease, use of performance space, and ensemble movement. Students will study various movement practices (Lessac, Margolis, Laban, Viewpoints) as a basis for effective use of the body on stage.
COURSE OVERVIEW
This course is team-taught and combines two major components of actor training. Students will spend one half of the semester concentrating on VOICE training and the other half on MOVEMENT training (not necessarily in that order!) Both units share the same evaluation and point system for grading. Your final grade will be the combination of points from both components (see grading details below.)
I am convinced that the most thrilling choices are made when there is a trust in the process, in the artists and in the material. The saving grace in one’s work is love, trust, and a sense of humour. — Anne Bogart
Stay Connected with TADA!!!
Students may receive weekly departmental news and happenings from this list/address. Sign up for TADA online at: https://theatreanddance.appstate.edu/students/join-tada-weekly-news-email
You may post news to TADA in text form by emailing asutheatre@appstate.edu each Friday by noon.
TEXTS
VOICE
Berry, Cecily. Voice and the Actor. Macmillan, 1973
Additional reading assignments will be posted on AsULearn.
MOVEMENT
Margolis, Kari, Margolis Method Virtual Textbook Plan
Bogart, Ann and Tina Landau, The Viewpoints Book: A Practical Guide to Viewpoints and Composition, Theatre Communications Group, 2005.
Reading on AsULearn from Body Wisdom: The Use and Training of the Human Body by Arthur Lessac, 2019.
Margolis Method Network- Appalachian State University
Margolis Method Network- Appalachian State University
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