(Revised 1-14-02)
ALL ASSIGNMENTS MUST BE COMPLETED IN ORDER TO PASS THE COURSE. (You will not get a "C" for a "W" class unless you complete all the writing assignments). Each assignment can be significant when the difference between an A- and a B+ may be only a point or two. So extra credit, attendance, and revisions can all be important at the end of the semester.
PERFORMANCES in the class will be chosen from recognized authors of merit. Discussion of performances at the end of each session will consider qualities of excellent writing in the examples read by students for the class, as well as excellent matching of the oral performance to the written literature. No children's literature or original works unless specifically approved by the instructor.
PERFORMANCE GRADES are based upon the following rough criteria. (See the specifics in a Performance Evaluation Sheet posted on the Class Web Page). Performances which do not demonstrate smooth control of basic interpretative techniques such as placement, focus, script preparation (typed or handwritten), smooth page turning, and keeping the script high enough to avoid bending the head down will be graded in the D to F range. If two or three of these techniques are handled badly you will receive an F. If you control most of them smoothly, you will receive a D range grade.
Performances which adequately employ these basic techniques, and demonstrate minimal use of stress & emphasis, phrasing, pitch levels, movement and gesture which matches potential meanings in the literature, will receive grades in the 70-79 or C range. A repetitious "reading" or "reciting" intonation pattern will generally be in the C range.
Performances will be graded in the 80-89 or "B" range if they go beyond smooth control of the basic techniques to display meaningful performance behaviors for setting, characters, action, language and audience. These must be broad enough for the audience to perceive that they are intended ( recognizable as behaviors which are part of your performance). Specific examples are: significantly different pitches suggested for men & women voices, or young & old voices; grunts by the narrator as he/she describes blows delivered in a fight, or a shiver as the narrator describes the cold weather; a wink by the narrator as s/he works up to the punch line in a joke.
Performances which go beyond such behavior -- through varied timing & suggestion of thought before words are spoken, making the characters and narrator come alive in this performance for this audience-- will receive grades in the 90-100 or A range. This is shown by high energy level, commanding the audience's full attention and interest, and helping them to relax; by psycho- linguistic vocal qualities that show the performer to be deeply involved in the experiences described in the literature; and by varied timing, changes by the performer in rate, pause and other behavior that show the performer continuously thinking and living in the story. Show the characters thinking before you tell the audience what they're thinking.
PLEASE NOTE: The basics are IMPORTANT! Problems with a few of the basic conventions can reduce an otherwise "A" or "B" performance by a letter grade or more. Performers with problems in the basics (eye contact less than 50% of the time, script down so far as to required bending head for next line, difficulty handling script, running overtime) will NOT receive an "A."
A non-fiction monologue (one person's voice) from a diary, letter, essay, speech or similar composition---NOT a play (7 minute time limit plus 2 minute introduction); a dialogue (two voices) from a play, with two characters interacting (not a monologue) and no narrator, no stage directions (7 minute time limit plus 2 minute introduction); a narrative prose selection with a narrator telling the story, describing a scene with a minimum of two characters [the narrator may also be a character in the story being told, but there must be dialogue overheard by the audience and a narrator telling the story to the audience] (8 minute time limit plus two minute introduction); a poem or group of poems which may be in any of the above modes, monologue, dialogue, or narrative (5-7 minute time limit plus two minute introduction). Performances which run over the time limits more than one minute will be penalized, unless audience reactions (laughter, etc.) are a major factor. Introductions of up to two minutes will not be counted in the time limits. The instructor requires recognized authors; that is, authors mentioned in your textbook, in one of your literature classes, or in the SOURCE HANDOUT on the class WEB page. Others must be checked with the instructor first!
Performers will take their place before the class when the instructor indicates that he has finished evaluating the previous reading. The performer will then present an introduction (c. two minutes) which (a) establishes a personal relationship between the performer and the audience through direct eye contact and relaxed posture, (b) illustrates the performer's commitment to and enjoyment of the literature through a lack of giggles & other behavior indicating lack of interest, (c) explains difficult terms or allusions which the audience may not understand, and (d) describes the setting in terms of images (colors, smells, movement) that "set the stage" in the audience's imagination. The performer should appear poised and relaxed in order to help the audience relax; s/he should also pause to gather his/her concentration and focus the audience's attention before beginning the performance. After the performances for the day are completed, the instructor and the class will offer comments on them.
IMPORTANT NOTE: IF YOU ARRIVE LATE, DO NOT INTERRUPT A READING. Wait outside the room, then enter between performances. The instructor feels very strongly about those who distract other members of the audience while another student is performing. DO NOT READ YOUR COLLEGIAN, WHISPER TO YOUR NEIGHBOR, OR OTHERWISE DISTRACT FROM THE PERFORMER'S WORK---YOU WILL BE ASKED TO LEAVE THE CLASS! Live performance requires quiet cooperation from the audience. The same is true of lectures---if you don't wish to listen, please leave quietly.
Rehearsal with your instructor or an intern will be required before you present your first (and only the first) reading formally to the class. Thirty minute blocks of time will be available, usually on the Tuesday or Thursday before your assigned performance time. It is your responsibility to sign up for a rehearsal time at the class meeting before your performance; on Wednesday, for example, we would sign up for Thursday afternoon rehearsals for the group to perform on Friday. Your instructor devotes a lot of time to this rehearsal effort, time which does not count toward promotion. PLEASE TAKE THESE REHEARSALS SERIOUSLY AND COME PREPARED. FIRST PERFORMANCES MUST BE REHEARSED BEFORE THEY ARE PRESENTED TO THE CLASS, AND MISSED REHEARSALS WILL BE PENALIZED AS MISSED ASSIGNMENTS. In other words, if you don't rehearse your performance by the day before, you will not present your performance and it will be reduced in grade as a missed assignment.
WRITTEN ANALYSES are due the day of the class period BEFORE your rehearsal as preparation for your oral performance. A paper for a Wednesday performance is due Monday, a paper for a Friday performance is due on Wednesday.
Written assignments MUST be turned in before you present your performance to the class. Late papers will mean delay of the performance, and both the paper and performance will be penalized 10 percent. This requirement insures that performers will be concentrating on their performance at rehearsal and performance times, and that they have thought about the literature before they perform it. It also means that you should turn in something, even if a little rough, and anticipate revising it.
REVISIONS of THE FIRST TWO written assignments allow for writing to be considered as a process, with a well-written paper as the final result. The basic material of the papers and their organization will be discussed in a series of lectures and class exercises. The relationship between the written literature you analyze and the oral performance you present to the class will be the basic material for the composition of your papers. The principles of organization discussed will help you put them together. The computer will then provide for out-of-class discussion with the instructor about the papers, for you will be able to ask specific questions by electronic mail.
You will have access to sample papers, a lengthy Analysis Guide, and sample essays which demonstrate the organizational principles and clarity of description required on the WEB. There is also an interactive map of the "parts of a paper" where you can click on "Introduction" and see a sample, along with a description of why that's a good example. Graded papers will be returned to you with corrections in the text, along with a checklist including comment. The instructor will act as editor, often including sample theses, transitions and subpoints. You are free to adapt his examples to your personal style and use them in your revised work. His evaluation will be based on the ANALYSIS CHECKLIST [copy in the class website]. The most common error is leaving out one of the main parts of the paper; use the checklist before that happens. You are free to revise the papers, and get a higher grade. The revisions do not have to be returned until the last week of class, but it is to your benefit to look over the comments carefully before doing the next paper. NOTE: written analyses for the poetry assignment should cover only one poem. ALSO: THE ORIGINAL COPY OF YOUR PAPER AND THE CHECKLIST MUST BE RETURNED WITH THE REVISIONS TO GET THE GRADE RAISED, SO DO NOT LOSE IT! MAKE BACKUP COPIES OF ALL YOUR IMPORTANT COMPUTER FILES, AND COPY THE CHECKLIST.
Directors from SPCOM 485 (http://www.personal.psu.edu/faculty/t/2/t2l/485index.htm) and Dr. Lentz will direct a number of readers theatre productions during the semester. There will be children's stories rehearsed in class as per the syllabus (one absence credit for each out-of-class rehearsal and performance), along with one or more outside projects for professionally written stories (cast members receive credit for poetry paper and performance). Everyone in the class may participate either as a performer, a poster distributer, an announcement distributer, an assistant director, a tech crew person, etc., for extra credit. Different jobs will be weighted differently. A performer with one of the major productions (Kern or HUB presentations --- not Schlow stories) may skip both the poetry paper and the poetry performance. A publicity director or an assistant director will also cover 100% of their poetry grade. Others may use smaller jobs to compensate for class absences, or simply to raise their grade.
Attendance at readers theatre performances in Kern Building may substitute for a class absence. The instructor has evaluation forms for you to fill out which will give the student directors some feedback, and keep a record of your credits. See note under Attendance below.
Examinations
EXAMINATIONS will consist of a midterm on chapters 1-7, pp. 337-48, Lectures thru Week Four + the ANALYSIS GUIDE file on the class WEB page; and a final exam on chapters 8-16, Lectures for the rest of the semester, & the TOOLS OF THE ARTIST Handout on the computer. You are responsible for these materials even if they aren't covered directly in class. The tests will have 20 multiple choice questions (80%) and an essay (20%). The essay is in the format of the written analyses you will be writing for your performances, just shorter. (Examples essays are on the WEB page). The multiple choice questions usually have four possible answers; two that will obviously be wrong, one that might be right, and one that is. The difference in most cases should turn upon your ability to apply a term as it is defined in the text or in the class. You have a list of the terms from which the 20 questions will be drawn in the MIDTERM GUIDE and FINAL GUIDE on the WEB. Read over those terms listed for each chapter or lecture period to develop an understanding of the main ideas and definitions in the text---memorization won't be enough. The instructor also changes some questions each term, enough to flunk anyone relying on cheating alone. Occasionally in large sections he uses two versions of the exam to scramble the answer sheets. Exam questions should be returned immediately with your answers. Answer sheets for the exams will be provided; however, PLEASE BRING BLUE BOOKS for essay exam questions.
ATTENDANCE is encouraged by a grade which provides an incentive for you to provide an audience for the students who perform. The Speech Department's policy is that students are expected to attend all class sessions. Any absence will affect your grade. Each student begins the class with a 100 in attendance. Each absence will cost you 5 points; three absences means an 85, four an 80, etc. The instructor will be glad to listen to your excuses, in order to know if illness is affecting your work, but all absences or missed assignments will be penalized except for extremely serious accident or illness, for which the student can provide written evidence and make up the work missed. The Moral: attend class or take your chances. If you come into class after the roll has been taken, it is your responsibility to check with the instructor after class to be sure you're marked present. Don't expect me to believe you were late five days if you tell me the last week of class. If you are continually late you will lose five points for each three lates, unless you have a class in Wagner Annex the period before this one. Please see the instructor if there is a problem.
MISSED ASSIGNMENTS are a continual pain due to the rapid pace of the class once performances begin, because of the rehearsals that must be made up, and because the instructor must, in essence, be present to evaluate your performance twice. The instructor is not interested in excuses when assignments are missed or late, because he's not bright enough to tell who's really sick and who's just a good actor or actress.
THEREFORE ALL MISSED ASSIGNMENTS WILL BE PENALIZED EQUALLY, NO MATTER WHAT THE EXCUSE MAY BE. The first late assignment for each student will be docked 10% of the grade, the second 20%, and so on. Makeup performances will be scheduled as time allows in following class session, or for one special session toward the end of the semester. Exceptions may be allowed for illness and other emergency if written proof of same can be provided the instructor.
PERFORMANCE TIMES MAY BE TRADED with a person in another group, if the two parties involved confirm the swap with the instructor. The swap will be effective for one assignment only, unless permanent a switch is discussed with the instructor. In other words, after this one reading the students return to their regular groups.
START OFF ON THE RIGHT FOOT in the class: save your absences, do the readings before the lecture periods, check the readings against Midterm and Final GUIDES in the computer, and start looking for your selections NOW! Everyone will be rushed toward the end of the semester, so any work you can get done early will make the semester that much easier for you. According to a survey taken a few semesters ago, most students tend to look for selections at the last minute, write their analyses at the last minute, and read the textbook a few days before the examination. That's why deadlines were established for the analyses and for selections.
STATEMENT ON ACADEMIC INTEGRITY: The Faculty Senate has required that each instructor provide students with a statement on academic integrity. "Academic dishonesty includes, but is not limited to, cheating, plagiarizing, fabricating of information or citations, facilitating acts of academic dishonesty by others, having unauthorized possession of examinations, submitting work of another person or work previously used without informing the instructor, or tampering with the academic work of other students" (The University Faculty Senate Policies for Students). In this course, cases of academic dishonesty will be handled in accordance with the procedures outlined in Section 49-20.
Please be careful regarding plagiarism, or the quotation in your oral and written assignments of work by other authors or students, without giving credit to the other individual by oral citation or written footnote. Do not, in other words, repeat the words or ideas of another individual without giving them credit for those words or ideas. This concern is the basis of the instructor's insistence on footnotes in papers and oral citations in introductions. In the real world you may be challenged on the sources of your presentations, and it is always a good idea to keep track of the places where you found numbers, quotations, or examples.
NOTICE ON FIREARMS: Over the years the Speech Department has had several incidents occur in which students brought firearms, weapons or explosive devices into the classroom as exhibits in performance classes. Such devices are prohibited by University and Department policy, and those who bring them into this class will be reported to the Campus Police.
FINAL GRADES: Final grades will be available over the WEB thru "eLion" shortly after they are turned in 48 hours after the exam.
ACCESSIBILITY: The Pennsylvania State University encourages qualified persons with disabilities to participate in its programs and activities. If you anticipate needing any type of accomodation in this course or have questions about physical access, please tell the instructor as soon as possible.