A paragraph presents a claim/topic, and then provides support for it

Elements of the Paragraph:

• transition
• topic sentence
• support sentences
• point sentence

Getting paragraphs to flow:

• subject alignment in paragraphs
• given-new in paragraphs

deciding on paragraph length

you don’t need to state the topic idea in words when you are continuing an idea from the previous paragraph

support/evidence

1. quotation
2. statistics
3. secondary source/research
4. comparison
5. facts
6. reasoning/common sense
7. examples
8. personal experiences/anecdotes
9. detail

transitional sentence (optional)

• should be in the first sentence to move from paragraph to paragraph
• let them know examples etc

topic sentence

• always required unless you’re continuing from the previous paragraph

support sentence

• crucial
• definitely need every single paragraph
• always

point sentence

• at the end of the paragraph
• restating your point
• amplifying or reminding of topic

should always be focused on your idea

tight

precise

stage management

may or may not involve making the production calendar

is responsible for everybody backstage

first to arrive last to leave

role is to watch the rehearsal, mark down the blocking as accurately as possible with a pencil

at ufv we have 3 ASMs

props - works with props designer/manager to make sure actors have rehearsal props, tell hem what to pull
set - work with set designer so that they can pull things
costume - works with wardrobe manager/costume designer

have to be at all the rehearsals

have to be at all the cueings

• light: technicians, director, SM, operators required for cueing + someone to walk the stage
• sound: sound designer, operator, director, SM

^ have to write down when everything happens

dress/tech rehearsal

production meetings

the entire run of the performance

set strike

ASM sometimes has to stand in for an actor

may need to prompt lines

• noting any paraphrasing

learn to anticipate the director

listen to discussion and make notes, ask questions

• makes notes
• inform anyone this involves (managers/designers)
• never let an actor take it upon themselves to change something

ASMs take notes

not your job or place to direct

• you may not agree
• you may not like it
• that’s just the job
• it’s not your problem

keep track of what’s borrowed and what’s what

make sure you know all the technical details for the set

be prepared for all case scenarios

at some point in the process take your cast and crew on a safety tour

stage crew is trained for evac

backstage should always be safe and clean and tidy and organized and quiet

make a clean up list

process during auditions need a stack of scripts and audition forms and pencils etc be nice friendly

make sure the cast is aware of the times that they have to be available

may or may not have to call the cast/not cast

during the read through

• often invite crew
• tech students
• always make sure you have pencils and paper
• may have rehearsal schedules
• may be fitted/booked for fitting/measured

make notes on audition forms whether or not your appearance can be altered

spiking out the set

start prompt book

stage manager’s kit

a variety of things

• stopwatch
• reading light
• flashlights
• pliers
• hammer
• screwdriver
• tape measure
• exacto knife
• lighter
• string
• tape
• spike tape
• duct tape
• masking tape
• electrician tape
• scotch tape
• stapler
• staples
• glue stick
• pencils
• ruler
• sticky notes
• felt pens
• rubber bands
• toothsticks
• cough drops
• tums/rolaids
• bandaids
• ibuprofen
• kleenex
• safety pins
• sewing kit
• tensers
• hand sani
• paperclips

prompt script

• 3-ring binder

ground plan

• one for every page of the script
• opposite page from that page’s copy

should have a

• title page
• key
• cast list - emails addresses phone numbers
• crew list - “ ” “ ”
• prop list
• set list
• rehearsal schedule
• calendar
• costume list
• all typed out neat and organized
• the script
• number pages according to script page
• number lines

give warning cues

script will get busy

WT 322-330

drafting instructions:

five introductory moves:

1. identify your topic (state subject/topic)
2. state your purpose (make stance, signal word, thesis statement)
3. offer background info on topic (mention information on the topic, minute summary)
4. state main point (state your purpose, what you’re going to do)
5. stress importance of topic (make them want to read)

*do all five

grabber:

1. ask interesting question
2. state a startling statistic
3. make a compelling statement
4. begin with quotation
5. use dialogue

use a lead to draw in the readers
using the state of existing research

drafting conclusions

five concluding moves:

1. signal clearly you are concluding
2. restate your main point
3. stress importance of your topic again
4. call your readers to action
5. look to future

*do not have to do all five

WT 524-528

sentence fragments

errors in which partial sentences are treated as complete sentences

1. subordinate clause fragment (dependent clause fragment): a clause (any group of words containing subject and verb) that depends on atleast another (independent) clause to complete it by creating a single sentece.

eg. Although the marriage ceremony started late.
As soon as Melissa arrives in Halifax.
Which isn’t very big.

2. phrase fragments (missing piece fragment): a group of words punctuated as a sentence but missing one or both of the essential parts of a sentece: the subject and the verb.

eg. Won an award for creativity.
The puppy under the bed.
During their lunch break.

to correct a dependent clause fragment, join it either to the sentence that comes before it or to the one that comes after it - hichever linkage makes the most sense.

to correct a missing piece fragment, add whatever is missing: a subject, verb, or both.

James wept. <- independent clause
When his dog died. <- dependent clause
> James wept when his dog died. <- corrected

dependent clause fragment

begin with subordinate cues
not a complete thought

subordinate cues

connects a dependent clause to an independent clause

coordinating conjunctions

for
and
nor
but
or
yet
so

connect independent clauses
James wept. <- independent clause
Jane gave comfort. <- independent clause
James wept, so Jane gave comfort.

comma splice

James wept. <- independent clause
Jane gave comfort. <- independent clause
James wept, Jane gave comfort. < - comma splice
> James wept. Jane gave comfort. <- corrected

phrase fragment/missing piece fragment

missing the subject or the verb or both

semicolon

separates independent clauses (weak period)

review: a writing genre that features a reviewer’s informed opinion avbout a subject

overview

• introduction
• description
• discssion
• conclusion

orgnnizing and drafting review

• the intro
• description or summary of subject
• discussion of strengths and shortcomings
• conclusion

summary in review

informed opinion about subject

summary is keeping essence

review is adding opinion

writing to someone who hasn’t seen it

assume they know next to nothing about the topic/subject

assume they are mature well educated from upper social class

harpers, atlantic monthly (high) times magazine (lower)

formal review

pitch it to the appropriate audience

back it up with evidence from the text

INTRODUCTION

• identify your topic
• basic premise of story
• background information
• establish opinion - overall assessment
• thesis statement
• 1 paragraph

going in/prewriting

• understand what the genre is
• generate a list of expectations
• be open minded
• has to do the main things properly
• need to know what it’s made up of

academic expectations

• formality
• knowledge on your topic
• originality
• advances knowledge and addresses an important topic
• shows existing knowledge in the field and compared to similar texts on similar topics
• detailed in-depth analysis and sufficient research and evidence
• make a sound argument and takes a reasoned critical stance
• terminology/jargon specific to the field
• organized

description/summary of subject

• describe/summarize the essence of the film
• length depends on depth of movie
• 1-2 paragraphs to give a sense of the movie
• more summarizing will be involved in next step

strengths/shortcomings

• main body of the review
• largest part
• topic sentence at the beginning of each paragraph
• [statement at topic] [support of claim with evidence - reference specific scenes]
• don’t go to the film world
• go into specifics

conclusion

• remind reader of thesis
• conclude

Assignment: First Essay (film review)

Length: 800 words

Value: 10%

Due: Sept. 25th

 

In this essay you will review a film of your choice.  This is not an academic review, but do need to keep to a relatively formal tone. Think of your audience as mature, well-educated readers from the so-called “professional class.” Also keep in mind your angle, purpose, and the other elements of the rhetorical situation. Remember that a review is evaluative; that is, you will be judging the film- providing an overall assessment of it (see 67 WT), so make sure that you support your claims with sufficient evidence (including detail). Do not use any outside sources, including other reviews. If you quote, put the quoted material in quotation marks and put the film’s title in parenthesis, like this: “Luke, I am your father” (Star Wars). Organize your review according to either of the two models on page 59 of WT.  Here are some further guidelines:

   *Avoid excessively detailed summary or description

   *Use the present tense rather than the past tense when discussing the film

   *Summarize only what the reader needs to know to understand your argument

  *Avoid trying to deal with too many cinematic elements (cinematography, acting, lighting, soundtrack, special effects, etc.); rather, focus on only those elements that are pertinent to your evaluation.

 

I will also be looking for – and marking you on - the following:

  *A title that is interesting, informative, and centred above the first line of your essay

  *An effective introduction (see 66 WT for what I mean by effective)

*A succinct, clearly worded, underlined thesis statement expressing your main point

*Paragraphs that are unified by topic ideas

*Paragraphs that lead logically to one other via linking phrases and sentences

*Abstractions supported by details (see 68 WT)

*A conclusion that briefly recapitulates your discussion and evaluation (see 68 WT)

*Consistent and appropriate tone (see 69 WT)

*Correct spelling, grammar, and mechanics

*Your name, the course name and number, my name, and the date of submission in the upper left-hand corner (separate title page not necessary)

 * Pagination (means numbered pages), centred, bottom of each page

 *A separate Works Cited page - Use the following template for films viewed online:

Movie Title. Dir. Director’s Name. Studio or Distributor, Year of Publication. Name of Sponsoring Website. Web. Day, Month, and Year of Access.

Example:

Jimmy Bean. Dir. Max Schnell. Imagine Films, 1996. Netflix. Web. 17 September 2013.

RES DAY OF LEARNING

1. attended an event
2. demonstrating some form of reflection (watching/participating)
3. what you’ve learned what this means to you
4. attend one or more events
5. self reflection
6. demonstrate that you’re thinking

proscenium stage

• fly and trap
• audience in front
• mounted stage
• proscenium arch
• apron (area in front)
• sometimes scenery angled back for depth and vanishing point
• audience facing the stage
• in balconies
• originates in Renaissance
• most common stage

thrust stage

• surrounded by audience on 3 sides
• tech is much trickier
• tech is less often used and traditionally doesn’t have
• vomitories - straight through between audience or under audience
• classical greek theatre is the first idea of thrust

arena stage

• theatre in the round
• stage with audience on all sides
• most focus on props, costume
• little furniture, large objects, scenery
• probably oldest actor/audience configuration

black box

• empty black box that can be configured in any way
• tech is often very flexible
• speakers distributed throughout
• originates in 20th century germany
• converted factories/lofts

site specific staging

• when the theatre environment is connected to the performance
• can mean a play written to be performed in a specific place or a place that relates to that play
• specific connection between stageplay and placing
• became popular in 2nd half of 20th century

street theatre

• performances in public places that isn’t a purposely built theatre
• orgiinates in middle ages when plays were performed in town sqaures
• huge resurgance in the past 50 years
• audience members might not know they are going to theatre - guerilla theatre
• audience members choose their own perspective, might be free to come and go
• often very visual, spectical, music, not super text reliant, less narrative
• often used for political performances or for very avant garde edgy performances
• flash mobs

1. one sentence
2. in this article, [title] by [author], [signal word]
3. throughout, citing page numbers/the page range after sentences
4. complete citation in bibliography

use gender neutral language

writing essay

1. proposal: a way in which the education system can be approved upon *
2. best piece of advice you were ever given
3. most important person in your life

genres “kinds of writing”

academic summary writing

purpose of a summart is to highlight the main points or ideas of a topic

summary features

• accurate restatement of topics main argument and support (argument first, support for filler)
• greater brevity than original (obvious)
• reporting or signalling phrases (claims explains expresses etc)(pg 21)(expresses overall purpose, sub purposes)
• a logical structure (academic environment - same basic structure) *sometimes there is reason to mix up the structure to make the summary clearer or to help explain the original content, esp when it’s a chaotic structure in its original content)
• citation (academic)

developing your summary’s content (preparing to write)

• read and understand text 
• distinguish abstractions from details (abstraction not a detail, not talking about a specific thing, details support abstrations, facts/specific experiences/etc are often details)(be aware when the topic/abstraction shifts)
• retrace structure of argument
• research (not always necessary)(if you think the summary would be more affective with research then do so)

organizing drafting and structuring your summary

• accuracy (sometimes difficult because you’re obviously changing the phrasing, the wording, condensing, etc)
• originality (no patch writing, actually rephrasing and recommunicating the idea and text of another person)
• condensing (eliminating most of the support, filler, keeping the main abstractions, keeping support if you think it is needed)
• signal phrases
• citations (brief page span at the end of sentence/chunk, complete at the end)

patch writing

when you take a piece of text and you look for a synonym for each word - still considered plagiarism

summary writing

about speaking with your own voice

noting

if you can’t shorten the text by paraphrasing or it becomes longer, simply quote/cite

avoid quoting as much as possible

reason to quote: original writer used very expressive, emotive language that can’t be conveyed through paraphrasing

summary

• accurate
• clear
• comprehensive
• thesis
• concise

the audience

• audience always participates
• the audience forms a community
• no two audience members ever have exactly the same experience

conventions (aka the rules of theatre)

• standings of acting change over time
• conventions vary between cultures and between genres
• conventions evolve over time
• conventions can be highly visible or almost invisible (impact whether or not they are noticed)
• the sum of conventions = style (style is a set of rules that determine how theatre represents reality, how set design works, how actors behave)
• conventions govern the actor/audience relationship and audience behaviour (in some forms it is acceptable for the actor to break the 4th wall, in others it isn’t, when it is acceptable to laugh etc)

classical greece c 450 BCE

• all day events
• huge outdoor amphitheatres (15-20k ppl)
• formal actors, informal audience
• social audiences

roman empire c 100-300 CE

• audience behaviour v passionate, informal by current standards
• known for leaving theatre, not paying attention
• huge range of options of entertainment
• prologues
• social audiences
• plays written to engage audience

medieval europe 1350-1550 CE

• theatre produced by amateurs (local churches, guilds)
• no professional actors
• audience often knew performers
• audience had familiarity, could be included in productions themselves
• suspension of disbelief was much less likely due to relationship
• actors breaking character, addresing audience common
• most common ‘stage’ was a pageant wagon
• wagons moved through towns
• audience not necessarily fixed, not necessarily seated
• sometimes had to follow wagon, or watch several pass by

early modern europe 1550-1850 CE

• enclosed theatres, need for artificial light
• focus on whole social experience
• actors directly addressed audiences in more conventional ways - more asides, soliloquys
• cheapest seats closest to stage
• most expensive seats had best view of audience
• audience members could sometimes even sit on stage (best seats)
• move towards dimming lights over audience in this time, containing audience
• evidence that people would buy food, conduct business, purchase prostitutes in theatre

passive audience 1850-present

• continue to participate in popular things
• become passive in most, less participation
• auditorium dimmed
• acting becoming more realistic
• evolution of the fourth wall
• rise of realism
• actors don’t acknowledge the audience, focus on each other
• effect is that the audience members are drawn into play emotionally
• more directly engaged with story

activist audiences 1900-present

• react against realism, passive audience
• using theatre to change society
• politically motivated theatre aims to change society and empower audiences to create social examples
• examples

1. agit-prop theatre (1920s-1930s) marxist messages communicated to workers (not realistic, songs, skits, not often in theatres, goal is to spread political ideas)
2. bertolt brecht (1898-1956) epic theatre allows audience to think critically (does not want emotional involvement, wants the audience to think about what’s wrong on stage, concerned with alienating audience purposefully to remind them that they are watching the play, to remind them why the characters are doing what they are doing, intellectual involvement)
3. augusto boal (1931-2009) theatre of the oppressed created “spect-actors” (takes passive audience, purposefully involves audience, audience can stop, replace actor, continue the scene in a different way, political agenda)