This sub-organizer contains the following sections:

It is expected that students will:

• use voice and movement to create effective film and television roles
• maintain the integrity of a performance within the technical parameters of film and television
  

• On camera, have students develop plausible reactions to several strong emotional stimuli. Ask them to review the video and develop effective methods of portraying a character demonstrating a particular emotion (e.g., sadness). Encourage them to perform the emotion effectively and repeatedly on camera.
• Videotape students as they perform short dialogues. Have them repeat their performances several times, adjusting facial expressions, physical movements, and vocal deliveries. Critique playback with the class. Ask students to comment on the effect that physical changes have on viewer perceptions. Prompt them with questions such as: What is too much? What appears natural? Does delivery of any of the lines seem forced?
• Review the process of breaking down scripts, then have students work in pairs to perform a variety of short scenes that allow them to explore different roles (e.g., villain, romantic lead, ingénue, character). Videotape these scenes and critique them with the class.
• Suggest that students in pairs take turns performing telephone monologues that include several different actions (e.g., drinking a cup of coffee, writing a note). Challenge them to maintain freshness, energy, and accuracy as they repeat their performances for the master shot, the medium shot, and two different angles of coverage.
• Have students critique their performances in one-line commercials based on the format for one-liners:
  • Who is your character?
  • Where are you?
  • What is your activity at this moment?
  • Who are you talking to?
  • What prompts your action?
• Form small groups and challenge each group to compose and present in theatrical form a two-minute version of a well-known movie. Have each group justify its choices of artistic components.
  

• As students review videos of dialogues they performed while making various physical changes, note the extent to which they:
  • made deliberate changes that created a variety of perceptions
  • can describe their intentions
  • offer specific examples of how they developed their intentions
  • can identify specific techniques and strategies that might improve their performances
• After students have repeated performances for a variety of different camera shots, have them view and analyse their performances, paying particular attention to how well they are able to maintain:
  • energy and commitment
  • freshness
  • continuity in actions (accuracy)
• When the class critiques performances, look for evidence that performers are able to:
  • offer specific reasons for their acting choices (e.g., I looked away because I was lying.)
  • invite comments and suggestions (e.g., How effective was that choice?)
  • redo a scene using suggestions from others (e.g., This time, look into his eyes.)
  • compare the impact of different choices
• Provide opportunities for students to demonstrate their skills in a variety of genres. For example, in silent-on-camera (SOC) commercials, note how effectively they communicate:
  • identity (who they are)
  • activity (how they are using the product)
  • reaction to the product (how the product has improved their lives)
  • resumption of activity (give shape or form to the commercial)
• When students break down scripts into character types and play short scenes, note the extent to which they:
  • clearly identify character types
  • portray character types (e.g., delivery of lines showing intent, mannerisms, facial expressions)
• Play the videos without comment, asking the class to identify which stereotypes are being portrayed and to explain their choices.
  

Print Materials

• Acting
• The Actor's Audition
• Audition
• On Cue 2
• Understanding Movies, Seventh Edition
  

Video

• The Danger Zone (Aerial Effects)
• Ever-Changing Effects (Interactive Effects)
• Falling Stars (Falling Effects)
• Fright Factories (Horror Make-Up)
• The Hold Up
• How to Start a Career in Television, Movies & Commercials
• Making Grimm Movies
• Michael Caine
• No Strings Attached (Puppeteering)

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