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Courses may be offered in one of the following modalities:

  • Traditional in-person courses (0–29 percent of coursework is delivered online, the majority being offered in person.)
  • Hybrid/blended courses (30–79 percent of coursework is delivered online.)
  • Online courses (100 percent of coursework is delivered online, either synchronously on a designated day and time or asynchronously as a deadline-driven course.)
  • Hyflex (Students will be assigned to attend in-person or live streamed sessions as a reduced-size cohort on a rotating basis; live sessions are also recorded, offering students the option to participate synchronously or view asynchronously as needed.)

If you are enrolled in courses delivered in traditional or hybrid modalities, you will be expected to attend face-to-face instruction as scheduled.


Psychological Acting I (PFA-300)


Semester: Spring 2024
Number: 0192-300-001
Instructor: Sean Mcintyre
Days: Monday Wednesday 11:00 am - 12:45 pm
Note: Traditional In-Person Class
Location: Garden City - Performing Arts Center 216
Credits: 2
Notes:

For majors only

Course Materials: View Text Books
Related Syllabi: James Oneil for Spring 2020*

*Attention Students: Please note that the syllabi available for your view on these pages are for example only. The instructors and requirements for each course are subject to change each semester. If you enroll in a particular course, your instructor and course outline may differ from what is presented here.

Description:

The fifth semester of a six-semester cycle on Stanislavski-based scene study, this course investigates the deep psychological rooting of character in modern theatre and media on an advanced level. Authors such as, but not limited to, Williams, Miller, O’Neill, Ibsen and Strindberg provide the raw material. (Distribution Reqs:Arts)

Learning Goals:   0192-300: PSYCHOLOGICAL ACTING IStudents will:1) confirm a working knowledge of creating a character, of developing relationships with other actors in a working environment, and active incorporation of objectives as an actor’s tool in the rehearsal process;2) work with material from Chekhov and other masters of psychological realism to practice advanced rehearsal techniques using the Stanislavski vocabulary;3) deepen their personal approach to the psychological grounding and sub-textual script-content inherent in modern, psychologically based realistic drama;4) explore deeply the use of a “process’ method of working, rather than a “goal” oriented one.

*The learning goals displayed here are those for one section of this course as offered in a recent semester, and are provided for the purpose of information only. The exact learning goals for each course section in a specific semester will be stated on the syllabus distributed at the start of the semester, and may differ in wording and emphasis from those shown here.

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