THEA101_FinalProjectPowerpoint
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School
University of Illinois, Urbana Champaign *
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Course
101
Subject
English
Date
Nov 24, 2024
Type
Pages
23
Uploaded by elgelie7
FINAL PROJECT
The following will guide you in both Version #1 and Version #2 of your final presentation. (REMEMBER- you need only select and complete one of the versions for this assignment.)
Here is YOUR chance to put the theories we’ve covered this semester into actual practice
O
REMEMBER: This is meant as a guide- you should also read carefully through the Final Presentation Assignment for specific details and due dates
O
AGAIN- you need only choose ONE of the two possible versions of the final presentation
WHICHER VERSION YOU CHOOSE:
O
Work from other 101 assignments done as part of this class this semester can ONLY be used if that original work has been revised, edited, and adapted. Those earlier assignments may serve as practice for this assignment. That earlier work CANNOT be used without substantial revision. Work for this assignment must, therefore, result in original content creation for this assignment.
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VERSION #
1
O
A VIDEO SUBMISSION- With this option you get to create an entirely ORIGINAL piece of work
which will be submitted as a video!
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What you will submit: O
A short, written treatment of character choices
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A copy of your original script
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A brief program note
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A video recording of the piece
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PDF and DOCX files should be submitted. Do not submit “share point” files or URLs.
VERSION #
1
: Short Written Treatments of Character Choices
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Please answer the following questions from the perspective of the character delivering the monologue. O
You want to base your answers on the story or source material that you are using (allow the setting and other information to help you come to logical answers). O
Some information may have to be invented- not all of the questions will be directly answered but it is an actor’s job to be specific in the details a normal person would know about themselves. Feel free to be creative but don’t forget to use the reality and the FACTS of the play as a basis for your creation. First facts- then creativity.
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Your answers for the following questions should comprise of more than one sentence. Please provide specific details and thorough responses:
O
1. What is your full name, age, and date of birth? O
2. What do you learn during the monologue? O
3. Who has been the most influential person in your life? O
4. What is your current marital status? Do you want it to change?
O
5. Do you have children? (If so who are they? If not, do you want them?) O
6. What is your occupation? Why? O
7. What is the single most important event in your life so far? O
8. What is your level of education? O
9. What is your overall goal in the monologue? O
10. Where do you want to be in five years?
VERSION #
1
: The Original Copy of the Script
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You must submit a copy of your original, self-
created script. O
You might even consider using your Playwriting Assignment as a starting point.
O
Remember- for a video submission between 45seconds and 1:15seconds the written script is likely to be approximately 1 full page in length.
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VERSION #
1
: A Brief Program Note
O
As you’ve seen in the programs that accompanied the shows you’ve attended this semester, there is often a program note offering context to the particular piece of theatre you are seeing.
O
This should simply explain your vision for the piece. It may include your creation process or perhaps your own feelings about the choices made in the work. IT NEED ONLY BE APPROXIMATELY 2 PARAGRAPHS IN LENGTH!
VERSION #
1
: An Example of a Program Note
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The note below is taken from a production of A History of the American Film,
a musical staged by Tom Mitchell in 2010
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A History of the American Film is a comic musical satire that spoofs our cultural history and makes fun of our need for happy endings and tidy resolutions. The 1930s movies parodied in Christopher Durang’s play intended to give their audiences a lift during that last major economic crisis, but we know too much now to fall for the contrivances of that earlier era. Now we laugh at ourselves because of our desperate need to have things end neatly. It is a dream to believe that all will work out well since time has shown us that it usually doesn’t. Yet we go on with faith in the most shallow and artificial part of our culture: the movies.
VERSION #
1
: An Example of a Program Note, Continued
As Duran writes in the anthem-like finale, “Our Father- Who art in heaven, -Give us this Doris Day- Your Grace and Nancy Kelly,- An Robert Donat into temptation- But deliver us Gene Tierney- As it was in the beginning- Is now, and ever shall be-
Zazu Pitts, Amen.” We hope that laughing at our foolish idolatry and ridiculing our belief in fantasy will soothe the all-
too-real aches of budget cuts, furlough days and dim forecasts. – Tom Mitchell, Director
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VERSION #
1
: The Video Submission Itself
O
A simple single-camera set up to capture the piece is all that is required (although you may opt for more creativity based on your own abilities.) O
Be certain to read the Video Instructions for Theatre 101 Final Presentation description located on the course Canvas site- this will explain how to submit your final presentation. These must be captioned so look at the directions closely!
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Closed Captioning Instructions for the Final Project
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Please use the following instructions to add closed captions to your final project. Closed Captioning is mandatory for this assignment, and points will be taken off for videos that do not include closed captions. We recommend reading through all of these instructions before beginning.
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Closed Caption Instructions
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Upload your video through YouTube.
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Publish as Unlisted or Public, we will be unable to access private videos.
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Go to your Video Manager by clicking your account in the top right: Creator Studio >Video Manager >Videos.
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Next to the video you want to add captions or subtitles to, click the drop-down menu next to the edit button.
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Select Subtitles/CC.
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Click the Add new subtitles or CC button.
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When you get to a section of your video that involves sound, type your content into the box. Don't forget to add text describing other sounds happening in the video. For example, you can add sounds like applause or thunder as [applause] or [thunder] so viewers know what's going on in the video.
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If you need to, adjust when the caption starts and ends by dragging the borders around the text under the video.
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Repeat this process for all the spoken words in the video. If you don't have time to finish the whole video, your changes will be saved in your drafts and you can pick up again later.
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When you are done, select Publish.
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To speed up your work, you can also use these keyboard shortcuts:
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Shift + left arrow: Seek back one second.
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Shift + right arrow: Seek forward one second.
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Shift + space: Pause or play the video.
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Shift + enter: Add a new line.
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Shift + down arrow: Edit next subtitle.
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Shift + up arrow: Edit previous subtitle.
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Enter: Add the subtitle.
VERSION #
2
O
A FULL, FORMAL PRODUCTION TREATMENT
O
You should only choose this option if you are completely unable to submit a video.
O
You can think of this as a research project aimed toward leading a theatre in the creation of a full-length work.
O
PDF and DOCX files should be submitted. Do not submit “share point” files or URLs.
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VERSION #
2
: You MUST choose one of the following scripts for this project
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Romeo and Juliet by William Shakespeare- a version of the full text can be found at http://shakespeare.mit.edu/romeo_juliet/full.html
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Oedipus Rex by Sophocles- a version of the full text can be found at http://www.ancient-
mythology.com/greek/oedipus_rex.php
O
Death of A Salesman by Arthur Miller
VERSION #
2
: There may be alternate titles you wish to explore BUT
O
You will need to contact your TA to discussion the possibilities of the explorations!
VERSION #
2
: You will be required to submit materials in support of the following areas
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Directorial Vision Statement
O
Root Conflict Statement
O
Design Elements
O
Floor Plan
O
Program Note
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VERSION #
2
: The Directorial Vision Statement
O
This is a statement of your vision of the piece, supported by research and developed through your own thought processes and vision. This should include your justification for the selection of the particular piece, research about the genesis of the script and the writer (or writers), supported justifications for your own point of view about the piece, and a guide for the process of how to create the piece as you see it. This submission should be at least 5 pages in length.
VERSION #
2
: The Root Conflict Statement
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This is a statement interpreting the root conflict of the piece. This should be a supported exploration of conflict as presented by the piece itself, without reference to how you intend to interpret the piece in production. This is a purely textual or script-based analysis of the conflict of the play. This submission should be several paragraphs in length.
VERSION #
2
: The Root Conflict Statement, Continued
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Remember- We are asking you to explore the central conflict as created by the drama itself. You need to clearly state the conflict, how you came to choose that as the conflict, and provide supporting evidence both from the play itself and additional research that supports your choice of the root conflict. ALL SOURCES MUST BE CITED!
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VERSION #
2
: The Design Elements
O
This would include a treatment of the design world of your play as you see it. This must include all elements of design: set, costumes/make up, lights, sound, and props. You are required to provide specific, graphic examples of each of the areas of design. For example- you would create a costume rendering (an actual picture of how you envision the costume) as well as a description of why you made the choices you made.
VERSION #
2
: The Design Elements, Continued
O
A brief statement describing your choices, explaining those choices, and offering research in support of those choices should accompany each of these graphic representations of the design elements:
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Set—
a drawing or some other graphic representation of the physical world of the piece.
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Costumes/Make Up
—
a drawing or some other graphic representation of the costume choices for the piece
O
Lights
—
a drawing or some other graphic example of the lighting you would use for the piece
O
Sound
—
since graphically representing sound would be a great challenge you are asked to offer examples of the needed sound elements for the piece either through your description or through specific examples.
O
Props
—
a drawing or some other graphic example of the props (hand-held items used by actors) that you would use for the piece
VERSION #
2
: REMEMBER
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You may need to create these graphic elements and scan them into a file that can be electronically submitted
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You may also use WORD to create the images but be sure to check with your TA that the documents are submitted correctly in a format that can be read through the Canvas COURSE SITE
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VERSION #
2
: The Floor Plan
O
This is a graphic treatment of your anticipated floor plan for the physical world of the piece. You will need to select the type of theatre space in which you would choose to mount the production (see pg. 141 in your text) and offer a bird’s eye view of the placement of the scenic elements of the piece. This would be a drawing or some other graphic example of the layout of the space and placement of design elements you require in the space.
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VERSION #
2
: The Program Note
O
This is a one-page essay that you would create for inclusion in a program accompanying the piece. This is meant to offer any needed insight on the piece to a potential audience. This may include coverage of your creation process or perhaps your own feelings about the choices made in the work. This should also include any needed historical context for the piece or about the genesis of the piece (which may include a brief history of the script itself or previous productions of the piece). If you need examples, please take a look at any of the programs from the shows you have seen this semester as well as reviewing Chapters 5 and 11 in your textbook.
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