Richard Brestoff, Seattle Central Community College, 1616 31st Avenue, Seattle, WA. 98122, RBrestoff@aol.com

Richard Brestoff is the author of The Camera Smart Actor (Smith and Kraus, 1994; ISBN Number-1-880399-76-8).

DIRECTION AND PERFORMANCE FOR THE CAMERA

This 11 week, 5 credit hour course will provide interaction between students from the Media Communications and Technology Department, and students from the Drama Department, to help prepare both for the demands of presenting dramatic material for the electronic and film media. This will beaccomplished through a series of lectures, exercises, scenes, film and video clips, guest speakers, and field trips. Students will take different roles during the shooting of scenes and exercises such as Director of Photograhy, Script Supervisor, First Assistant Director, Camera Operator, Performer, Director and so on. 30% of the course will be devoted to history and theory, while 70% will be devoted to the hands- on classroom exercises.

Course Goals:

1. To present the benefits of cooperation
2. between those in front of the camera, and those behind it.
3. To present the dramatic and visual requirements that are unique to electronic and film media production.
4. To acquaint Drama students with the specialized techniques of performing in the non-linear style required by the electronic and film media.
5. To show Media Communications and Technology students how to apply their knowledge of electronic media to the performance and direction of dramatic material.
6. To present the future trends and technologies affecting the performance and direction of electronic and film media.
7. To give students practical experience in the skills required on a professional set.
8. To acquaint students with the different and specialized jobs necessary in the creation of dramatic material for the electronic media.

The course will meet twice a week for two and one half hours, for a total of five hours per week. Prerequisites for admission are: Media 112, 210 and 212, Drama 101, and either 151 or 153. Students will be allowed no more than three unexcused absences. A written mid-term test and final exam based on the course material will be required. In addition, major hands- on projects must also be completed. Projects will account for 60% of the student's grade. The mid- term and final exams will account for 20% each of the final grade. The required texts are: Film Directing Shot By Shot, by Steven D. Katz, and Secrets of Screen Acting, by Patrick Tucker.

Objectives and Weekly Topics:

All objectives begin with the phrase: "Upon completion of the class, the student will be able to..."

Week 1 - INTRODUCTION AND HISTORICAL OVERVIEW

1. List at least five differences between live theater and electronic dramatization.
2. List and discuss three styles of directing and performing that existed before the introduction of broadcast media.
3. Cite three contributions of Constantine Stanislavsky and Vselevod Myerhold to the practices of directing and performing.
4. List at least five contributions of D.W. Griffith to performing and directing for the camera.
5. Discuss the evolution of continuity shooting and the development of the Classic Hollywood Style.
6. Trace the development in America of the Provincetown Players, the Group Theater, the Actor's Studio and their influence on live television drama, and media performance.
7. Explain the "Kuleshov Effect".

1. List three ways to overcome inhibition in front of the camera.
2. Cite at least three ways in which the optics of the camera differ from the visual system of the human eye.
3. Cite and explain three or more specific ways the electronic media can enhance, exaggerate or diminish a performance.
4. Explain and demonstrate Persistence of Vision.
5. Demonstrate the electronic media's ability or inability to differentiate between lies and truth.
6. List and discuss at least three ways the electronic media can manipulate time and space.

1. List and discuss the five component parts of story structure: exposition, complication, crisis, climax and resolution.
2. Chart the arc of action of a dramatic scene.
3. List and demonstrate the four basic shots used to shoot dramatic scenes: master, two or three shot, over-the shoulder, and close-up.
4. Cite and demonstrate the dramatic use of the pan, the tilt, the crane, the tracking and the hand-held shot.
5. List and discuss the functions of the various crews and individuals that make up a professional shooting set.
6. List at least five pre-production preparations that need to be done for dramatic video work.
7. List three ways that the use of improvisation can improve or weaken a dramatic scene.
8. Discuss at least three differences between directing and performing in four-camera vs. one-camera style.
9. List three ways that changing the context of a dramatic scene can alter its content and meaning.

1. List the four types of "objectives" used in the performing and directing of dramatic scenes: "line objectives", "scene objectives", "plot objectives" and "character objectives".
2. Define and demonstrate the dramatic uses of an "obstacle", a "strategy", and an "action".
3. List five ways to help a performer emotionally commit to a scene: 1) play an opposite, 2) play an action not a feeling, 3) recall the preceeding incident, 4) voice the inner monologue, 5) use an event from personal life.
4. Cite and discuss ten terms and phrases used on a media set:
   1. First team.
   2. Camera right and camera left.
   3. Shooting "MOS".
   4. In five.
   5. Second team
   6. On a bell.
   7. Back to number one.
   8. Roll camera, sound, speed, action.
   9. Pick-up.
   10. Wrap.
5. List three reasons why performers and directors need to communicate clearly with one another.
6. List three reasons why performers need to know how to direct for the electronic media.
7. List three reasons why media students need to know how to perform for the electronic media.

1. Cite and discuss four ways to disguise a cut: 1) action, 2) dialogue, 3) music, 4) sound.
2. List four ways to effectively violate the 180o rule.
3. List three reasons why performance intensity must remain consistent.
4. List and discuss three reasons why matching actions is important to the smooth presentation of a dramatic scene.
5. List five reasons why storyboarding is important.
6. List and explain three ways a director can help a performer improve a performance.

1. List three techniques for hitting marks and three reasons why performers and cameras need to be on their marks.
2. Cite and discuss three reasons why performers need to know their frame lines.
3. List and explain the sequence of shots used to record dramatic scenes in the electronic media: master first, two-shot next, then the over-the- shoulder and finally the close-up.
4. List two reasons why performers should not overlap dialogue in a close-up.
5. Cite and discuss three ways in which shooting multiple takes affects a performance.

Week 8 - Continuation of week 7

Week 9 - SHOOTING OUT OF SEQUENCE

1. List two reasons why media productions are shot out of sequential order.
2. List and discuss three problems that the performer faces when shooting scenes out of order.
3. List and discuss three problems that the director faces when shooting scenes out of order.
4. Cite three ways that performers and directors can overcome the disadvantages of out-of-order shooting.
5. Cite five preparations that can make out-of-sequence shooting efficient and effective.
6. List and discuss five ways that performers and directors can aid the work of the editor.
7. List five ways that reading a Call Sheet can be useful.

1. List five current post-production processes that can alter the elements of an already recorded electronic dramatization (Light saturation, background matting, automated dialogue replacement, morphing, pacing).
2. Cite and discuss two current and three future uses of digitized performers.
3. List three advantages and three disadvantages of computer modeling in pre-production.
4. List and discuss three advantages and three dis- advantages of shooting dramatic film material with video-assist.
5. Cite and discuss the ramifications of rotoscoping and sampling for performers in the electronic media.
6. Cite and discuss five advantages and five dis- advantages for the director and the performer of 500 channel television.