Acting 1 (THTR 1611)

Fall 2022
Tuesday and Thursday 9:00am to 10:50am
11:00am to 12:50pm
Neely Auditorium 106
In-Person

René Millán, M.F.A. (he/him)

O ce: Neely Auditorium 203 A-B
O ce hours: Tuesdays, 1:00pm to 2:00pm
[Link]@[Link]

Course description
Welcome to Acting 1. This is an introductory acting class designed to give you a
foundation to acting whether it be onstage or in front of a camera. In this class we will
explore the human body as your instrument, active listening, voice, imagination and
presence, plus various other acting techniques. You will be introduced to the Suzuki
Method of Actor Training, a Japanese movement designed to align the mind and body,
and how to apply it to your work as actors. We will train at the beginning of each class.
We will also delve into text analysis and study the concept of “actor as detective” to
fully esh out a character and the story so as to allow for three dimensional
performances. You will learn monologues and scenes and work closely with partners to
perform.

Course objectives
• To learn to quiet the mind and allow for inspiration.

• To familiarize you with terminology and the vernacular of the stage and screen.

• To use what you learn in physical actor training as the foundation in nding your own
voice as an actor.

• To gain a better sense of trust and collaboration.

• To nd a greater sense of con dence in front of an audience.

• To learn how to build a character.

• To analyze and break down scripts, looking for clues that will inform character
choices, relationships, motivations, intentions/objectives, and actions.

• To tap into your own humanity to give truthful, honest and three dimensional human
performances.
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Required Text
-A Practical Handbook for the Actor by Brunder, Cohn, Olnek, Pollack, Previto, Zigler
-Angels in America: Part 1, Millennium Approaches by Tony Kushner

These books will be available at the Vanderbilt bookstore. For faster service, you can
purchase them on Amazon. You must have your required texts by Tuesday, August 30.
You will also have required readings of articles and short comments assigned through
Brightspace. These comments should be made by 7am on the morning that they are
due. These readings will be discussed in class and will count towards your
participation grade.

Course Requirements

Acting Journal (10%)

You will bring a physical notebook and writing utensil for every session beginning on
your second day of class. In this journal you will take notes, write observations on
particular exercises, challenges, breakthroughs, discoveries, character traits, and so
on. This semester you will submit ve journal entries on Brightspace. Each journal entry
should be no less than 500 words.

Participation (20%)

Being in an acting class requires preparation, trust, courage, and collaboration. You will
not be graded on “talent” or “ability.” For participation, you will be graded on:
1. Being prepared for and having insightful observations during class discussions
based on readings, completed reading comments, exercises, and acting work.
2. Letting go and doing all of the exercises in class fully with an open mind and heart.
3. Your own individual growth as an actor. This is very personal work and you will be
met where you start.
4. Being on time and ready to work when class begins. Tardiness will be counted
against your participation grade.
5. Showing support for your ensemble members without giving them direction.

Response Papers (20%)

You will attend two shows from the current Vanderbilt University Theatre Department
season. You will write a response paper for each show of a minimum of 750 words
double spaced, 12 pt font. You will take what you have learned from our class and
write about aspects of performances you found compelling and noteworthy. This could
be one character, two characters, their relationship and their work together. More
information will be shared in class.
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 Shows
-Antigone by Sophocles
September 30 October 1,2,6,8,9 at Neely Auditorium

-Un nished Women Cry in No Man’s Land while a Bird Dies in a Gilded Cage by Aishah
Rahman
November 4-6 at Neely Auditorium

Monologue (25%)

You will chose an age appropriate, contemporary monologue from a full length play
written after 1980. This monologue will be no shorter than 1 minute 30 seconds long,
with a maximum length of 2 minutes. You will:
1. Read the play the monologue comes from and write notes about the play in your
journal.
2. Upload your monologue to Brightspace.
3. Print a copy of your monologue.
4. Rehearse it during and outside of class.
5. Memorize it.
6. Write observations on the monologue’s themes, character, objectives, intentions,
actions in your journal.
7. Write self-evaluations.
8. Present it during in-class rehearsal times.
9. Present it as your mid-term.

Scenes (25%)

You will be partnered with another actor from this class for your nal scene. You will be
given the choice of two scenes for you and your partner to choose from. You and your
partner will:
1. Read the play the scene comes from.
2. Rehearse the scene during and outside of class.
3. Memorize it.
4. Write observations on the scene’s themes, characters, objectives, intentions,
actions, back stories in your journal.
5. Create a rehearsal schedule and rehearsal log.
6. Fill out a scene breakdown.
7. Write self-evaluations.
8. Present the scene during in-class rehearsal times.
9. Present the scene as your semester nal exam.
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 A Note on Studio Respect
Acting is a unique art. It requires a lot of the actor: mentally, emotionally, and physically.
Everyone in this class comes from a unique background, and some people are new to the
process. I want this to be an inclusive classroom that welcomes everyone and makes each
student feel comfortable.

Sometimes we act out roles that depict a wide array of human experience, and this can
occasionally bring up emotions and discussions about life, our world, and personal realities.

I expect all of my students to be respectful of each other, and to help keep this a safe space to
create authentic art and communication. If you see another student bravely sharing
vulnerability, I expect you to relate to one another with kindness, openness, and a respect for
privacy once class ends. In other words— the artistic expression that happens in class stays in
class. This means no video, no gossiping, and extend unconditional positive regard to each
other at all times.

Attendance Policy
Participation makes up 20% of your nal grade. When you show up to class, you have
the opportunity to earn all of your participation points given you meet the participation
criteria. If you do not show up to class, that makes participation more di cult. The
nature of this class is experiential and collaborative. This studio is your laboratory, your
workshop. Perfect and punctual attendance is preferable. Keep in mind:
1. Life happens and sickness can occur. DO NOT come to class sick. This is a big one
given the circumstances around the world. If you feel sick, have a runny nose, a
little cough or soar throat, if you’re feeling feverish, please stay home. If you feel
you’ll need a COVID test, please take it and we’ll go from there. We cannot risk the
spread of any virus given the amount of responsibilities we all have in our daily
lives. Some of us have other work obligations and family/kid responsibilities along
with coursework. None of us can a ord to get sick. Please take it seriously. We’ll
gure out how to get you caught up.
2. If you have three unexcused absences, then you will be advised to think about
dropping the class. The work you’ll do in class requires attention and presence.
Growth comes with consistency. When you get into scene work, you will have a
scene partner that will be counting on you to show up. We have no understudies.
Please attend class regularly and consistently.
3. Please show up to class on time. Class will start promptly at the designated hour. If
you show up late, you are considered tardy. Two tardies will equal one absence.
Please set alarms and reminders. Be realistic as to how long it takes you to walk,
drive, bus to campus and to the Neely. How long does it take you to grab a cup of
co ee and get to class?

Physical Safety
The work that you will do in class will be very physical in nature. If you have physical
conditions or injuries that will make it di cult to perform speci c exercises, please
bring that to the attention of Professor Millán and he will alter, or modify any exercise
for you. This is a safe space and all are welcome regardless of physical ability.
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 The Space
Please be mindful of the fact that you are in a working theatre space. The space will be
transformed throughout the school year depending on the production and you must
make sure you stay in the designated areas of your class space. The unauthorized
areas of the space will be cordoned o with yellow caution tape.

Attire
Because of the physical nature of our work please wear comfortable workout clothes.
Socks are required. More about attire and costumes will be discussed during class.

Class Rules
1. No food and drink. Bottled water is permitted.
2. At the end of class or rehearsal, students must clear the space of all litter and
remove any acquired chairs, blocks, props, etc. from the playing space.
3. No phones, tablets, computers during class. If there is an emergency and you
need your phone next to you, arrange this with Professor Millán PRIOR to class.
4. No one is allowed to record any part of class with any recording device. Now, if
you would like someone to record the monologue or scene that you will be
performing for the midterm and nal, you must arrange this with Professor Millán
and your scene partner PRIOR to performances.

O ce Hours
Weekly o ce hours will be on Tuesdays from 1:00pm to 2:00pm in Neely 203 A-B. If
you are not able to make it to o ce hours, you are free to make an appointment by
emailing me at [Link]@[Link]. Zoom appointments can also be
scheduled.

Ability & Disability

This class respects and welcomes students of all backgrounds, identities, and abilities.
If there are circumstances that make our learning environment and activities di cult, if
you have medical information that you need to share with me, or if you need speci c
arrangements in case the building needs to be evacuated, please let me know. I am
committed to creating an e ective learning environment for all students, but I can only
do so if you discuss your needs with me as early as possible. I promise to maintain the
con dentiality of these discussions. If appropriate, also contact Student Access
Services to get more information about speci c accommodations.

Honor Code
All students are required to acquaint themselves with the provisions of the Honor
System through the information in this Handbook ([Link]/ student
handbook/chapter-2-the-honor-system). Undergraduate students may obtain further
information from the dean of each school, from the Undergraduate Honor Council at
Vanderbilt University, PMB 351598, 2301 Vanderbilt Place, Nashville, TN 37235-1598,
telephone 615-322-7868, from the Honor Council website, from the Honor Council
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 adviser or from the O ce of Student Accountability, Community Standards, and
Academic Integrity. Graduate and professional students may obtain information from
the o ce of the dean of their respective schools.

Sexual Misconduct
Vanderbilt is committed to providing a community built on trust and mutual respect,
where all can feel secure and free from harassment. Sexual misconduct including
sexual violence, sexual harassment, intimate partner violence, and stalking, violates a
person’s rights, dignity and integrity and is contrary to our community principles and
the mission of the college. The University is committed to fostering a community that
promotes prompt reporting of sexual misconduct and timely and fair resolution of
sexual misconduct reports. Creating a safe, respectful, and inclusive environment is the
responsibility of everyone at Vanderbilt. We encourage all members of our campus
community to seek support from the Project Safe Center; 615-322-7233. We
encourage community members to report all incidents of sexual harassment and
sexual misconduct directly to the Title IX Coordinator (615-322-4705). Sta in these
departments will assist in eliminating the misconduct, preventing its recurrence, and
addressing its e ects.

Inclusivity & Diversity

Respect: Students in this class are encouraged to speak up and participate during
class meetings. Because the class will represent a diversity of individual beliefs,
backgrounds, and experiences, every member of this class must show respect for
every other member of this class.

Mental Health & Well Being

If you are experiencing undue personal and/or academic stress during the semester
that may be interfering with your ability to perform academically, Vanderbilt’s Center for
Well Being o ers a range of services to assist and support you. I am available to speak
with you about stresses related to your work in my course, and I can assist you in
connecting with the Center for Well Being.

Grading
10% Actor’s Journal
20% Participation
20% Response Papers
25% Midterm Monologue
25% Final Scene
100% TOTAL
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Scale
A 94% - 100%

A- 90% - 93%

B+ 87% - 89%

B 84% - 86%

B- 80% - 83%

C+ 77% - 79%

C 74% - 76%

C- 70% - 73%

D+ 67% - 69%

D 64% - 67%

D- 60% - 63%

F 0 – 59%

Class Schedule: *Subject to change at the discretion of Professor Millán

Date Class Agenda Readings and Assignment

Thursday, August 25 Meet and greet. Syllabus review.

Tuesday, August, 30 Stillness, focus, presence, and Read and comment on “Culture
breath. is the Body” by Tadashi Suzuki.

Finding a monologue. and

Sourcebooks and guides will be
discussed. “The Job of the Actor” and
“Technique Outline” pg. 3-10 in
A Practical Handbook for the
Actor.

Find a monologue and the play it

is from.

Thursday, September 1 The Suzuki Stomp, Slow Innocuous moment exercise.

Walking and Basic Action
Memorize “Oh Splendour.”
The imagination.
 Date Class Agenda Readings and Assignment

Tuesday, September 6 The Suzuki Walks 2-5, Read and comment on “Physical
Shakuhachi Action” pg. 13-18 in A Practical
Handbook for the Actor
The Innocuous Moment
and

“The Target” by Declan

Donnellan.

Thursday, September 8 Review walks 1-5, Learn Suzuki Monologue choices due. Make
walks 6-10, Basic #1. sure you found the play it is
from.
Intention/Objective and Action.
Read the play your monologue is
from.

Read and comment on “How the

Method Made Acting Modern”
by Alexandra Schwartz.

Tuesday, September 13 All walks, Basic #2, Standing Read and comment on
Statues, Hamlet and Ophelia. “Analyzing a Scene” pg. 19-39 in
A Practical Handbook for the
Your monologue: the gist of it, Actor
avoiding pre-planning and
everyone gets a shot. Begin monologue memorization
process.

Thursday, September 15 All walks, Basic #3, Sitting Rehearse monologue.

Statues, The Train Station.
Memorization at 50%
Truth and a little history.
Read and comment on “The
Truth of the Moment” pg. 40-47
in A Practical Handbook for the
Actor.

Journal entry #1 due on

Brightspace.

Tuesday, September 20 All walks, Basic #1,2 & 3, Read and comment on “The
Stomping and Shakuhachi. Madness of Method Acting” by
Jordan Kisner.
Monologue analysis, three
dimensionality and rehearsal. Character building exercise on
Brightspace.

Thursday, September 22 All walks with shape, standing Rehearse and memorize
statues with speech, the monologues.
Marches.

Monologue rehearsal. Let the

moment nd you and speci city.
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 Date Class Agenda Readings and Assignment

Tuesday, September 27 All walks with shape/change Monologue O -Book deadline.

shape.
Read and comment on an article
Monologue Rehearsal about the Alexander Technique.
This article is being chosen by
Professor Jana Tift.

Thursday, September 29 All walks. Watch Antigone September 30-

October 2 Neely Auditorium, VU
Monologue Rehearsal Theatre.

Journal entry #2 due on

Brightspace.

Tuesday, October 4 The Alexander Technique with Rehearse monologues.

Jana Tift.

Thursday, October 6 Monologue Performances Antigone response paper due in

class. Print your paper out and
hand in to me.

Tuesday, October 11 Monologue Performances

Thursday, October 13 Fall Break

Tuesday, October 18 Suzuki review. Finish reading and comment on

Angels in America: Part 1,
Antigone discussion. Millennium Approaches.

Begin reading Angels in

America: Part 1, Millennium Angels in America scene
Approaches in class. breakdown assignment.

Cold reading and the art of

choices.

Scene options and partnering

up.

Thursday, October 20 Training. Read and comment on

“Externals” pg. 48-54 and
Angels in America discussion “Preparing for a Scene” pg.
and work: 55-58 in A Practical Handbook
Script/scene analysis: for the Actor.
characters, objectives,
motivations, actions, beats, and Scene choices due.
actor as detective.
Read the play your scene is
from.

Print scenes.
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 Date Class Agenda Readings and Assignment

Tuesday, October 25 Training Read and comment on

“Troubleshooting” pg. 59-64 and
Scene analysis and scene work “The Tools of the Craft” pg.
with scene partners. 65-66.

The gist of the scene and the art Create rehearsal schedule, and
of making choices. rehearsal log.

Rehearse scenes.

Thursday, October 27 Training and the voice. Journal entry #3 is due on

Brightspace.
Scene work.
Read and comment on “Part 2:
Pitfalls (Working int the Real
World)” pg. 67-86 in A Practical
Handbook for the Actor

Scene memorization.

Tuesday, November 1 Rehearsal Day Rehearse. Scenes 50%

memorized.

Make costume and prop

choices.

Continue rehearsal log.

Thursday, November 3 Training and voice work. See Un nished Women…

November 4-6 Neely Auditorium
Scene work: work in pairs and VU Theatre.
Prof will come to you.
Read and comment on “19.
Emoting Emotions”
“20. Being Consumed by
Naturalness” and “21. Keeping it
Fresh” from The Real Life Actor
by Je Seymour.

Begin bringing costumes and

props for storage.

Tuesday, November 8 Training Work on response papers.

Un nished Women… class Rehearse scenes.

discussion.
Scenes 100% memorized.
First showings.
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 Date Class Agenda Readings and Assignment

Thursday, November 10 Training Un nished Women… response

papers due. Print your paper out
First showings. and hand it to me.

Tuesday, November 15 Training Journal #4 due.

First showings. First showings self-evaluation in

Brightspace.

Begin scene breakdown

(Template will be provided).

Thursday, November 17 Training Bring in costumes and props for

storage.

Nov. 19-27 Thanksgiving Break Stay fresh on your scenes.

Tuesday, November 29 Final scene presentations.

Thursday, December 1 Final scene presentations. Journal #5 due.

Tuesday, December 6 Final scene presentations:

make-up day.

Thursday, December 8 Training Final scene self-evaluation due

in Brightspace.
That’s a wrap.
Rehearsal log due.

Scene breakdown due.

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