Assessment: Course Four Column - El Camino College descriptive preparation ... Spectacle: the visual...

El Camino: Course SLOs (FA) - Theatre

SPRING/SUMMER 2015Assessment: Course Four Column

ECC: THEA 103:Theatre Appreciation

Course SLO Assessment MethodDescription Assessment Data & Analysis Actions

SLO #2 Applying Aristotle’s Poetics -Upon successful completion of thiscourse students will be able tocategorize and apply Aristotle’spoetics to plays.

Course SLO Assessment Cycle: 2014-15 (Spring 2015)

Course SLO Status: Active

Input Date: 12/12/2013

null.courseAction: TeachingStrategies:One of the strategies discussedwas the need to possibly generatemore descriptive preparationmaterials for each of theproduction’s our theater studentssee. Each instructor is told aboutour productions, but there is nogeneralized preparation for thedifferent sections. This may helpstandardized SLO’s across severalsections. The Laramie projectbeing a theme based docudramahas specific narrative qualitiesthat can be challenging forstudents. This production projectmay have benefited from a morestandardized introduction. (05/02/2016)Action Category: TeachingStrategies

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard MetDATAPlot: Mechanics of storytelling including the sequence ofcomings and goings of the characters; in either a linear ornonlinear form, the timetable of the play’s events,discoveries, and actions.Does not meet expectations: 22% of studentsMeets expectations: 60% of studentsExceeds expectations: 18% of students

Character: the human figures-the impersonated presence-who undertake the actions of the plot.

Does not meet expectations: 15% of studentsMeets expectations: 53% of studentsExceeds expectations: 32% of students

Theme: the plays abstracted intellectual content and overallstatement; its topic, central idea, or message.Does not meet expectations: 12% of studentsMeets expectations: 45% of studentsExceeds expectations: 43% of students

Diction: the pronunciation of the spoken or sung dialogueincluding tone, imagery cadence, and articulation.

Essay/Written Assignment - For thepurposes of this SLO assessmenttheater students were required toattend the theater department’sproduction of the Laramie Project.Students were asked to analyze theLaramie project using Aristotle’sPoetics. Students were required towrite this analysis in essay form.Students were asked to categorizethe play into its specific parts.RubricTraits1. Plot: Mechanics of storytellingincluding the sequence of comingsand goings of the characters; ineither a linear or nonlinear form, thetimetable of the play’s events,discoveries, and actions.Does not meet expectation: Unableto identify the sequence of comingand goings of characters, thedifference between a linear ornonlinear form, the timetable ofevents discoveries, and actions.Meets expectation: Some ability toidentify the sequence of coming and

10/15/2015 of 17Generated by TracDat® a product of Nuventive


Standard and Target for Success:Plot: Mechanics of storytelling:Standard of expectation: 70% of thestudents in this class will achieve“meets expectations” or “exceedexpectations” level.Character:Standard of expectation: 75% of thestudents in this class will achieve“meets expectations” or “exceedexpectations” level.Theme:Standard of expectation: 75% of thestudents in this class will achieve“meets expectations” or “exceed


Music: the rhythm of spoken sounds or the musical scoreused in support of plot character dialogue and theme


Spectacle: the visual aspects of the production: scenerycostumes, lighting makeup, and properties the overall lookof the stage.Does not meet expectations: 12% of studentsMeets expectations: 53% of studentsExceeds expectations: 35% of studentsOBSERVED PATTERNS AND FINDINGS FROM DATASamples of student essays from several sections wereanalyzed the following is some of the observed patterns andfindings from our data. In the area of plot or the mechanicsof storytelling students seem to have a little difficulty inidentifying exactly how the Laramie Project was being told.Students were informed that this is a docudrama which is aunique type of theatrical form. Students seem to feel morecomfortable when asked about the plot to retell the story.As every plays’ different styling is going to create differentresponses the faculty teaching these sections found thatmaybe more time should have been spent on describing thenature and the plot structures related to this production.Actor’s impersonated different characters throughout thisproduction. One actor may have impersonated 4to 5different characters. Our theater students seem tounderstand this convention going in and had very littleproblems distinguishing the different characters and theirwants and needs. The theme of the Laramie project iscentral to the storytelling. Students seem to understand thethematic nature and responded to it very well in theiressays. Again this type of production is very theme oriented

goings of characters, between linearor nonlinear form and the timetableof events, discoveries, and actions.Exceeds expectation: Severalcoherent examples and the ability toidentify the comings and goings ofcharacters, between linear andnonlinear form including thetimetable events, discoveries, andactions

2. Character: the human figures-theimpersonated presence-whoundertake the actions of the plot.Does not meet expectation: Not ableto identify the impersonatedpresence who undertakes theactions of the plot.Meets expectation: Some ability toidentify the impersonated presenceand their relationship to the story.Exceeds expectation: Severalcoheren



expectations” level.Diction:Standard of expectation: 75% of thestudents in this class will achieve“meets expectations” or “exceedexpectations” level.Music:Standard of expectation: 75% of thestudents in this class will achieve“meets expectations” or “exceedexpectations” level.Spectacle:Standard of expectation: 80% of thestudents in this class will achieve“meets expectations” or “exceedexpectations” level. Faculty Assessment Leader: William

GeorgesFaculty Contributing to Assessment:Reviewer's Comments:

and this was not a surprise to the instructors. Students hada relatively difficult time discussing the nature of dictionand music for this play. Dialogue was written in moderncolloquialisms and although there was a cellist playingthrough the entire production the students seemdisconnected to the music. Students had an easy timeidentifying the use of spectacle in this production. The playhad an elaborate platform arrangement that allowed forthe staging to be reinforced through the setting. There wasalso quite a bit of multimedia in the way of projections thathelped establish time and place. Students wrote succinctlyregarding the spectacle including scenery, costumes,lighting, and properties.

(04/06/2015)


ECC: THEA 114 :Fundamentals of Acting


SLO #2 Elements of Acting - Uponsuccessful completion of this coursestudents will be able to analyze andcritique the elements of acting.




null.courseAction: CurriculumchangesI recommend that students berequired to pass a basic Englishwriting class before taking thiscourse so they are able to write incomplete sentences andunderstand basic grammar so theycan succeed in the writingassignments in this course. I alsobelieve that students need tohave a basic mastery of thespoken English language in orderto succeed in this class. Irecommend that one of therecommended pre-requisites forthis course is basic competence inspeaking English. (03/02/2017)Action Category: CurriculumChangesnull.courseAction: TeachingStrategiesOne of the things I noticed wasthat as the semester progressedand students did more vocalexercises with me, their ability tolisten critically improved. Also, aswe orally critiqued the scenestogether as a class, studentsdeveloped a more precisevocabulary and critical ear and thecritiques, both written and oral,improved. (11/15/2016)Action Category: TeachingStrategies

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard MetData

1. Written evaluations where the student clearly identifiesthe actor’s vocal skill in terms of articulation and projectionDoes Not Meet Expectation: 10% of studentsMeets Expectation: 60% of studentsExceeds Expectation: 20% of students

2. Oral critiques where the student identifies the actor’svocal skill in terms of articulation and projectionDoes Not Meet Expectation: 15% of studentsMeets Expectation: 50% of studentsExceeds Expectation: 15% of students

Observed Patterns and Findings from Data

Written evaluations where the student clearly identifies theactor’s vocal skill in terms of articulation and projection(students met expectation)For this part of the assessment students were asked toobserve a performance of a duet scene and at theconclusion of the performance to fill out a detailedevaluation form where the student identifies theperformers strength of projection in terms of energizing theperforming space and reaching all audience members. Thestudent evaluator also writes out a detailed evaluation ofthe performer’s articulation identifying words, phrasesand/or consonants that are not clearly enunciated. Moststudents are able to listen critically and pinpoint in writingthe performers vocal strengths and weaknesses. Some arenot able to observe vocal deficiencies and pinpoint areasthat need correction.

Oral critiques where the student identifies the actor’s vocal

Project - In this project the studentwill identify the actor’s vocalstrength and weaknesses as he/sheperforms a duet scene for the class.Specifically, the student will identifythe vocal communication of theactor in terms of projection andarticulation both throughparticipation in oral critiques andwritten evaluations of the scenesperformed.RubricTraits1. Written evaluations wherethe student clearly identifies theactor’s vocal skill in terms ofarticulation and projection

Does Not Meet ExpectationStudent shows little or no ability toarticulate the strengths andweaknesses of the performer’s vocalskill in terms of projection andarticulation.Meets ExpectationStudent exhibits some evidence ofthe ability to articulate the strengthsand weaknesses of the performer’svocal skill in terms of projection andarticulation.Exceeds ExpectationStudent demonstrates considerableevidence of the ability to selectactive verbs that are appropriate tothe given circumstances.2. Oral critiques where the studentclearly identifies the actor’s vocal



Standard and Target for Success:Written evaluations of class scenework where the student identifiesthe vocal skill of the performer interms of projection and cleararticulationStandard of expectation: 90% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” levelOral critiques of class scene workwhere the student identifies thevocal skill of the performer in termsof projection and clear articulationStandard of expectation: 80% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level

Faculty Assessment Leader: RonScarlataFaculty Contributing to Assessment:Reviewer's Comments:

skill in terms of articulation and projectionMost students were able to pinpoint the performers vocalstrengths and weaknesses, but some are nervous andinarticulate and not able to identify areas that needcorrection. With prodding from the instructor, manystudents develop a more critical “ear”.

(05/05/2015)

skill in terms of articulation andprojection.

Does Not Meet ExpectationStudent shows little or no ability toarticulate the strengths andweaknesses of the performer’s vocalskill in terms of projection andarticulation.

Meets ExpectationStudent exhibits some evidence ofthe ability to articulate the strengthsand weaknesses of the performer’svocal skill in terms of projection andarticulation.

Exceeds ExpectationStude


ECC: THEA 184:Stagecraft


SLO #2 Constructing a Theatrical Flat- Upon successful completion of thiscourse students will be able to usesafe scene shop practices to constructa theatrical flat.




null.courseAction:Program/CollegeThe college needs to continue toprovide tools for the students tobe able to complete this class. Astools age and break the collegewill need to continue to replacevarious scene shop tools. As newtools become available totechnology it would beappropriate at the college providethese new tools for our students. (09/01/2016)Action Category: Program/CollegeSupport

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard MetData

1. Measuring and Marking for the Purposes ofCreating a Cut List

Does Not Meet Expectation: 5% of studentsMeets Expectation: 30% of studentsExceeds Expectation: 65% of students

2. Constructing and Covering a 3’ x 4’ FlatDoes Not Meet Expectation: 5% of studentsMeets Expectation: 35% of studentsExceeds Expectation: 60% of students

Observed Patterns and Findings from DataMeasuring and Marking for the Purposes of Creating a CutListStudents were asked to use scale rules to takemeasurements from the drawing the instructor provided.After the instructor demonstrated how to use the scalerules most of the students were able to provide a cut listwith which they were to use in the shop. Students wereasked to use a tape measure and 1” x 3” stock lumber tomeasure out the styles, rails, and toggles needed for theflat. Some students still seem to have a bit of a problemusing tape measures. The instructor would work withstudents having issues with the use of tape measures. Ithink it is important to note that one of the strategies theinstructor for this class uses his peer to peer instruction.Students are organized into relatively random groups andare instructed in how to complete a task by the instructor.The group that has been instructed by the instructor willthen work with the second group. The second group willthen work the third and so on and so on. Instructor finds

Project - For the purposes of thisassessment students were given adrawing of a 3’ x 4’ flat and asked toprovide a cut list for that flat. Thestudents were then asked to usetape measures and 1” x 3” lumberand measure and mark for thepurposes of cutting lumber neededfor the flat. Students were thenasked to construct the theatrical flatusing safe scene shop practices andcover their 3’ x 4’ flatRubricTraits1. Measuring and Marking forthe Purposes of Creating a Cut List

Does Not Meet ExpectationStudent shows little or no ability tosafely measure, mark, and create acut list for a 3’ x 4’ theatrical flat.Meets Expectation to identifyindividual tools and their categoriesStudent exhibits some evidence ofthe ability to safely measure, mark,and create a cut list for a 3’ x 4’theatrical flat.Exceeds ExpectationStudent demonstrates considerableevidence of the ability to safelymeasure, mark, and create a cut listfor a 3’ x 4’ theatrical flat.2. Constructing and Coveringa 3’ x 4’ Flat

Does Not Meet ExpectationStudent shows little or no ability to



Standard and Target for Success:Measuring and Marking for thePurposes of Creating a Cut ListStandard of expectation: 90% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” levelConstructing and Covering a 3’ x 4’FlatStandard of expectation: 85% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level

Faculty Assessment Leader: WilliamGeorgesFaculty Contributing to Assessment:Reviewer's Comments:

this to be a valuable method of instruction. After a studenthas provided instruction on how to complete a task thatstudent then has a firm grasp of how to perform that duty.Constructing and Covering a 3’ x 4’ FlatOnce the material has been measured and marked thestudents then safely use the various shop tools to cut fastenand cover the flat. During this project students work fairlyindependently in the shop. In preparation for this projectstudents will have completed several other projects andalso have had the opportunity to work on scenery for ourtheater productions. Students are expected to know wherethe tools are stored in the scene shop. For the most partstudents embrace the concept of working independently.The instructor supervises the students as they work in theirsmall workgroups. One of the natural outcomes of thestudents working together is how some students who arevery comfortable in the scene shop will start to mentorother students on their projects. For instance a student whois new to using tools may have a question for the instructor.The instructor will then ask one of the students morecomfortable with tools to provide the answer. This createsan environment of collaboration within the scene shop. Italso fosters leadership training and mentorship. Anotherimportant part of these projects is the supervision from theTheater Department Scene Shop Foreman. The studentsworked directly with the Scene Shop Foreman and theinstructor and the completion of their projects as well asworking on theater Department productions. The SceneShop Foreman is essential part of the educational processfor the stagecraft class. (04/08/2015)

use scene shop tools in anappropriate and safe manner for thepurposes of constructing andcovering a 3’ x 4’ flat.Meets ExpectationStudent exhibits some evidence ofthe ability to use scene shop tools inan appropriate and safe manner forthe purposes of constructing andcovering a 3’


ECC: THEA 188:Fundamentals of Stage Makeup


SLO #2 Applying Theatrical Makeup -Upon successful completion of thiscourse students will be able toanalyze, assess, and measure facialbone structure for the purposes ofapplying theatrical makeup.




null.courseAction: No Changeexcept for the time the classes areheld. Since many of the studentsare working in the theater at nighton productions and do not leavethe theater until after 11 at night,forcing them to take an earlymorning class has created adifficulty in their attendance inthis class. This class historicallywas meeting one day a week from10:20 3:50 with enough time forthe instructors lecture and demo.By having it once a week thestudents had plenty of timebetween each class session to dotheir research, practice and designhomework. Not only was the classtime cut along with the move to a2 day a week class but, they arestruggling to make it in for a 8am1 hour lecture. This is cause forconcern when out of 20 studentsin the class only 5 to 7 students’show up for this class missing thelecture and or demo and comingonly on the lab days. It has beenbrought to my attention by manyof the students that this is ahardship for them and I havenoticed many are dropping theclass for this same reason.(01/01/2016)Action Category: Program/CollegeSupport

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard Met1. The Skull makeup

Does not meet expectation: 5%Meets Expectation: 20%Exceeds Expectation: 75%

Observed Patterns and Findings from DataThe Skull makeupThis project helps the students understand the underlyingbone structure of the face in order to assist them inanalyzing, assessing and measuring the features for beauty,aging, character and fantasy creations.Students work on themselves in the makeup lab.Students were asked to use photocopy of the front and sideview of a skull as their reference. They had to color eachbone a different color as they said the name of the facialbones. They are asked to bring this assignment back to classon day two as well as research photos’ of skull s. During thedemonstration I name the facial bones as I sketch and thenpaint them and discuss the placement of the highlights andshadows to create the illusion of bones on the skin.Students are asked to feel their own bones as they do thesame makeup on their own faces. This enforces their abilityto analyze and assess facial bone structure. The majority ofstudents did very well at sketching their bones and paintingthe appropriate highlights and shadows in the properplaces. Some students struggled with the cheek orzygomatic bone placement and after working with themindividually seemed to grasp the bone placement. Somestudents tended to put too much product on their face andwere instructed to take some off and repaint. There areusually only a couple of students who do not seem tocomprehend the bone placement even after individualinstruction. These are often the same students who did not

Project - Assessment Methods:ProjectsAssessment Method Description:Various projects are used to assessstudents’ abilities in theatricalmakeup application. From the 1stday of instruction we begin analyzingthe bone structure of the face. Thereis no single project that assesses thestudent’s ability to analyze, assessand measure the bone structure fortheatrical makeup application.PROJECT 1 the SkullStatementStudents are asked to create a skullmakeup from a line drawingprovided as homework the 1st day.They have access to a realistic plasticskull and their own research. Themakeup is demonstrated on astudent and the students are shownhow to find their own bone structureas well as the appropriate tools,various products and techniquesthey will be using to create this look.

RubricTraitsDoes not meet Expectation: Studentshows little or no ability to select theappropriate colors, analyze, assessand measure facial bone structurefor the purposes of applyingtheatrical makeup.Meets Expectation: Student exhibitssome evidence of the ability toselect the appropriate colors and



Standard and Target for Success:Standard of Expectation: 90% ofstudents will achieve “meetsexpectations” or “exceedexpectations” level

Faculty Assessment Leader:Christine StahlFaculty Contributing to Assessment:Reviewer's Comments:

do their initial homework assignment to prepare for themakeup. The students sometimes work with each otherreminding them by looking at each other’s makeup of theinstruction and this can often help the students who arestruggling get a better grasp on the makeup. (10/12/2015)

correct placement of the makeup onthe face.Exceeds expectation: Studentdemonstrates considerable evidenceof the ability to select theappropriate colors and placement ofhighlights and shadows to recreate askull in order to understand theirfacial bone structure.


ECC: THEA 215 :Improvisation


SLO #2 Critiquing Scenes - Uponsuccessful completion of this coursestudents will have the ability tocritique and appraise impromptuimprovisational scenes.





null.courseAction:Teaching Strategies: I willcontinue to start the class with afull warm-up so students are“loose”, creative, and trusting. Ineverything I do and say, I willencourage students to accesstheir “right brain”. (02/01/2017)Action Category: TeachingStrategies

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard MetData1. Creativity and SpontaneityDoes Not Meet Expectation: 25% of studentsMeets Expectation: 60% of studentsExceeds Expectation: 15% of students

2. Stage Technique/Technical SkillDoes Not Meet Expectation: 15% of studentsMeets Expectation: 70% of studentsExceeds Expectation: 15% of students

Observed Patterns and Findings from DataSpontaneity and Creativity (students met expectation)Most students were able to verbally identify specificmoments in the scenes that demonstrated creativity andspontaneity. Some students only judged the success of thescene in terms of their own personal enjoyment or interestin the story of the improvised scene.

Stage Technique/Technical Skill (students met expectation)Most students were able to appraise and identify theperformer’s vocal skills and deficiencies. However, manystudents are not able to clearly identify the performer’sstrengths and weaknesses in terms of body positioning anduse of the stage space. (05/05/2015)

Performance - This project was usedfor the purposes of assessing thestudents’ ability to identify thecriteria for a well-performedimprovisation in terms ofspontaneity and creativity, and alsoin terms of using skillful stagetechnique to share the scene withthe audience.RubricTraits1. Appraising the creativity &spontaneity of the improvised scene.

Does Not Meet ExpectationStudent shows little or no ability toidentify the performer’s skill level interms of creativity or spontaneityMeets ExpectationStudent exhibits some evidence ofthe ability to appraise theperformer’s skill level in terms ofcreativity and spontaneity.Exceeds ExpectationStudent demonstrates considerableevidence of the ability to appraisethe performer’s skill level in terms ofcreativity and spontaneity.

2. Appraising the actor’sstage technique in terms of skillfulvocal work and use of the stagespace to share the scene with theaudience.



Standard and Target for Success:Standard and Target for SuccessAppraising the creativity &spontaneity of the improvised scene.Standard of expectation: 75% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” levelAppraising the actor’s stagetechnique in terms of skillful vocalwork and use of the stage space toshare the scene with the audience.Standard of expectation: 80% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level.

Does Not Meet ExpectationStudent shows little or no ability toidentify the performer’s technicalskills.Meets ExpectationStudent exhibits some evidence ofthe ability to appraise theperformer’s technical skills.Exceeds ExpectationStudent demonstrates considerableevidence of the ability to appraisethe performer’s technical skills


ECC: THEA 240:Fundamentals of Stage Direction


SLO #2 Working on Psychologicaland Technical Levels - Uponsuccessful completion of this coursestudents will be able to work withactors on a psychological andtechnical level to realize a theatricalscene.




null.courseAction: I recommendthat due to the advanced level ofthis course, the pre-requisite forthis course should include anaudition/interview with theinstructor. Also, the currentrequirement, the successfulcompletion of TH 114, should bestrictly enforced. (09/08/2017)Action Category: CurriculumChanges

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard MetData1. Coaching the Actor to Achieve Psychological TruthDoes Not Meet Expectation: 20% of studentsMeets Expectation: 70% of studentsExceeds Expectation: 10% of students

2. Coaching the Actor to Achieve Strong Stage TechniqueDoes Not Meet Expectation: 15% of studentsMeets Expectation: 70% of studentsExceeds Expectation: 15% of students

Observed Patterns and Findings from DataCoaching the Actor to Achieve Psychological TruthMost students are able to coach the actors effectively toproject truthful performances. Some student directors finddifficulty find an “arc” for the character and developing aconsistently truthful performance that makes psychologicalsense. The less skilled directors surrender truth for a quicklaugh or illogical piece of stage “business”. The 20% ofstudents who do not meet expectations have difficulty withcoaching truth from each moment of the scene and areusually more comfortable staging the scene rather thanassisting the actors to achieve consistently truthfulperformances.

Coaching the Actor to Achieve Strong Stage TechniqueMost students were able to stage the scene in an “open”manner and assist actors with vocal production. Thesedirectors usually employ pre-blocking techniques to ensurethat the scenes are well-staged. The students who usuallymeet or exceed expectations usually use vocal warm-upsand detailed vocal notes during rehearsals to assist studentactor with the vocal demands of the scenes. Those who donot meet expectations are usually directors who lack strong

Project - These projects were usedfor the purposes of assessing thestudents’ ability to coach actors tobring out the truth of the characterthat is consistent with the author’sscript and the concepts of modernpsychology. In addition, theseprojects were used to assess thedirector’s ability to assist the actor inpresenting his performance withstrong stage technique as evidencedby good projection, articulation, andan effective use of stage movementand positioning.RubricTraits1. Coaching the Actor to AchievePsychological Truth

Does Not Meet ExpectationStudent shows little or no ability tocoach the actor to achieve aperformance that achievespsychological truth.

Meets ExpectationStudent exhibits some evidence ofthe ability to coach the actor toachieve a performance that achievespsychological truth.

Exceeds ExpectationStudent demonstrates considerableevidence of the ability to coach theactor to achieve a performance thatachieves psychological truth.



Standard and Target for Success:Coaching the Actor to AchievePsychological TruthStandard of expectation: 80% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level

Coaching the Actor to AchieveStrong Stage TechniqueStandard of expectation: 85% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level


stage technique in their own acting and who need morereview on these important techniques. (09/03/2015)

null.courseAction: Coaching theActor to Achieve Strong StageTechniqueTeaching StrategiesI review stage terms and stageterminology in the first two weeksof the course to be sure thatstudents understand these termsand techniques. Perhaps morereview during the remainingsessions should be employed. (09/08/2017)Action Category: TeachingStrategies

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard Met1. Coaching the Actor to Achieve Psychological TruthDoes Not Meet Expectation: 20% of studentsMeets Expectation: 70% of studentsExceeds Expectation: 10% of students

2. Coaching the Actor to Achieve Strong Stage TechniqueDoes Not Meet Expectation: 15% of studentsMeets Expectation: 70% of studentsExceeds Expectation: 15% of students

Observed Patterns and Findings from DataCoaching the Actor to Achieve Psychological TruthMost students are able to coach the actors effectively toproject truthful performances. Some student directors finddifficulty find an “arc” for the character and developing aconsistently truthful performance that makes psychologicalsense. The less skilled directors surrender truth for a quicklaugh or illogical piece of stage “business”. The 20% ofstudents who do not meet expectations have difficulty withcoaching truth from each moment of the scene and areusually more comfortable staging the scene rather thanassisting the actors to achieve consistently truthfulperformances.

Coaching the Actor to Achieve Strong Stage TechniqueMost students were able to stage the scene in an “open”manner and assist actors with vocal production. Thesedirectors usually employ pre-blocking techniques to ensurethat the scenes are well-staged. The students who usuallymeet or exceed expectations usually use vocal warm-ups

2. Coaching the Actor to AchieveStrong Stage Technique

Does Not Meet ExpectationStudent shows little or no ability tostage the class projects with strongstage technique as evidenced byopen staging and strong vocaldelivery.

Meets ExpectationStudent exhibits some evidence ofthe ability to stage the class projectswith strong stage technique asevidenced by open staging andstrong vocal delivery.

Exceeds ExpectationStudent demonstrates considerableevidence of the ability to stage theclass projects wi




and detailed vocal notes during rehearsals to assist studentactor with the vocal demands of the scenes. Those who donot meet expectations are usually directors who lack strongstage technique in their own acting and who need morereview on these important techniques. (04/28/2015)


ECC: THEA 274abcd:Musical Theatre Production


SLO #2 Basic Acting Skills - Uponsuccessful completion of this coursestudents will be able to demonstrateand apply basic acting skills for arealized musical theater productionwhile applying a professionaldemeanor.




null.courseAction: TruthfulRendering of Dialogue and VocalsTeaching StrategiesIt is crucial in musicals that thedirector/teacher explore thecharacters and the script in detailwith his performers as he would ina non-musical. The full librettoshould be fully explored and lyricsfor each song should be exploredas “dialogue” and connected tothe through-line of the libretto.

Technical Skill in Sharing Voiceand BodyTeaching StrategiesIt is important thatteacher/directors carefully stageall scenes and musical numbersand record all blocking so actorsuse the most communicative bodypositions. Even though actors willbe using microphones, performersneed to be taught the importanceof projection and articulation.Microphones still need a certainlevel of energy and cleararticulation to support the vocalaspects of a performance. (10/14/2016)Action Category: TeachingStrategiesnull.courseAction: The collegeand the Fine Arts Dept. needs tooffer a musical theater workshopclass to teach students effectiveapproaches to performing this

Semester and Year Assessment Conducted: 2014-15(Spring 2015)Standard Met? : Standard Not MetData

1. Truthful Rendering of Dialogue and Vocals.


2. Technical Skill in Sharing Voice and Body


Observed Patterns and Findings from DataTruthful Rendering of Dialogue and Vocals (students metexpectation)For this part of the assessment students were asked toperform a role from a Broadway musical and bring truthand a sense of a full life history to the character. After anextensive rehearsal period where the actor would undergoa variety of rehearsal exercises and assignments, moststudents were able to find truth and a sense of a back storyto their characters and connect the vocals to the dialogue.A minority of actors give in to the temptation to “perform”the piece rather than presenting a three-dimensionalcharacter.

Technical Skill in Sharing Voice and Body (students metexpectation)Most students were able to successfully perform a role froma Broadway musical in an effective manner where theywere able to share their performances with their audiences.Since we use wireless microphones in musical

Performance - This project was usedfor the purposes of assessing thestudents’ ability to bring truth to thedialogue and songs of the musicalwhile creating a three-dimensionalcharacter. This project was alsoused to assess the actor’s technicalability to achieve effective stageprojection and articulation and usehis body in a communicativemanner.RubricTraits1. Truthful Rendering ofDialogue and Vocals.

Does Not Meet ExpectationStudent shows little or no ability torender truthful performances of thedialogue and vocals.

Meets ExpectationStudent exhibits some evidence ofthe ability to render truthfulperformances of the dialogue andvocals.

Exceeds ExpectationStudent demonstrates considerableevidence of the ability to rendertruthful performances of thedialogue and vocals.

2. Technical Skill in SharingVoice and Body



Standard and Target for Success:Standard and Target for SuccessTruthful Rendering of Dialogue andVocals.Standard of expectation: 80% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level

Technical Skill in Sharing Voice andBodyStandard of expectation: 85% ofstudents will achieve “meetsexpectations” or “exceedsexpectations” level


unique and challenging material.(05/20/2016)Action Category: Program/CollegeSupport

theater, the challenge of vocal production is less of aconcern in musicals than it is in unamplified “straight” plays.

(05/22/2015)

Does Not Meet ExpectationStudent shows little or no ability toshare his voice and body with theaudience.

Meets ExpectationStudent exhibits some evidence ofthe ability to share his voice andbody with the audience

Exceeds ExpectationStudent demonstrates considerableevidence of the ability to share hisvoice and body with the audience.


Assessment: Course Four Column - El Camino College descriptive preparation ... Spectacle: the visual...

Documents

Transcript of Assessment: Course Four Column - El Camino College descriptive preparation ... Spectacle: the visual...