SiMON FRASER UNIVERSITY
?
S79-
/34
MEMORANDUM
• . •...."...
......
From..
•
Senat
?
tee on Undergraduate
d r
S
Studies
Subject. .. .
?
I ?
Date
....979-lll
..........
For the Arts
Undergraduate Studies
to the following
Action taken by the Senate Committee on
at its meeting on November
6, 1979
gives rise
motion:
S
.
MOTION
That Senate approve and recommend approval to the Board,
as set forth in
S.79-134
the proposed changes for the
Centre for the Arts including the following:
(i)
New courses
FPA
126-3
Structural Approach to Ballet II
FPA
226-2
Ballet for Modern Dance II
FPA
133-3
Filmmaking Fundamentals
(ii)
Changes to courses
FPA
125-3
Title
FPA
225-2
Title, Credit, Vector (formerly
225-3,
0-0-10)
Note - FPA
126-3
and FPA
226-2
are designed as optional sequels
to FPA
125-3
and FPA
225-2
respectively. They are expected to
have relatively high enrollment for studio courses.
Provision for funding appropriate sessional staffing has been
incorporated in the emergent program budget.
FPA
133-3
(Film Making Fundamentals) is proposed to strengthen
both the conceptual and technical foundations for studies in film.
It will become part of the lower division prerequisite credit for
the film Minor, thereby raising lower division prerequisite credits
to twenty-four. A
$25.00
laboratory fee is proposed as a student
contribution towards the cost of expendable materials.
4e'
Daniel R. Birch
Chairman
SiMON FRASER UNIVERSITY
j((f
77/
MEMORANDUM
............
...... Secretary ... of ... SCUS .......... ............... .......... .....
............
Subject... ?
Changes ... ..... Centre ... for ... the...
Arts ?
I.S.C.79-15
ij/
FI°'• /2C-3
}
?
Z•-21
/'3-.7
t
From
jt.B1.anche
t
,. .ecretary
.
to the
............
Faculty of Interdisciplinary Studies
Undergraduate ..
0
rriculumConuni...e
Date .... ...
October ?
24......19.7.9 .... .. ................................. .... ........
......
[1
The attached Calendar Changes for the Centre for the Arts were approved at
a meeting of the Faculty of Interdisciplinary Studies Undergraduate Curriculum
Committee on October 23, 1979.
Would you please place this item on the agenda for the next meeting of the
Senate Committee on Undergraduate Studies.
Janet Blanchet
JB:jk
Attachments
40
SENATE CO-
g
1lTTF.F: ON UNDERGRADUATE. STUDIES
?
NFM COURSE, P' 1,010I
1. calendar Information
?
Department: Centre for the Arts
Abbreviation Code: F
?
Course Number:126 - CreditHours:
7
Vector:
°iIS
Title of Course: STRUCTURAL APPROACH TO BALLET II
Calendar DecriptiOfl of Course: An optional sequel to FPA.125, providing further
work in the development of placement and technique
through the application of structural principles as
they apply in basic ballet.
Nature of Course
?
Studio
Prerequisites (or special instructions): FPA.125 or permission of department
What course
(courses),
if any, is being dropped from the calendar if this course is
approved:
?
none
2.
1!a&
How frequently will the course be offered? once a year
Semester in which the course will first be offered? 1981-1
Which of your present faculty would be available to make the proposed offering
possible? ?
Santa Aloi, Lee Eisler
3.
Objectives of the Course
To deepen and refine kinetic understanding of the basis
of placement and technique. To work toward consistent
application of structural principles in movement.
4.
Budg
?
and Space Requirements
.
(for information only)
what additional resources will be required in the following areas:
Faculty
Staff
Library
Audio Visual
Space
Equipment
one sessional accounted for in emergent program funding
(see attached rationale)
pone
none
none
none
none
5. Approy
?
-
Date;
Department Chairman
1
4
?
Nov6
Dean ?
Chairman, ?
US
SCIJS 73-34b:- (When completing this form
)
for instructions see Memorandum SCUS 73-34a.
Attach course outline).
FPA.125-3 STRUCTURAL APPROACH TO BALLET I
FPA.126-3 STRUCTURAL APPROACH TO BALLET II
The work in these courses will be both experiential and theoretical.
It will consist of (1) a floor barre designed to improve placement
and technique by allowing for isolation and relatively independent
action of feet, legs, pelvis, spine, arms and head through work in
non-weight bearing positions, (2) specific relaxation exercises using
imagery to relieve stress and thereby facilitating proper alignment,
(3) work in basic ballet vocabulary to increase strength, range,
flexibility and control, (4) discussion of selected readings in anatomy
for the dancer. The principles of structure and function will be used
as the basis for all the above, though no attempt will be made at
extensive anatomical analysis of any given movements. Anatomy and
structure will be used, rather, as a means of understanding and visualizing
the possibilities of the body in movement.
I
OUTLINE
FPA.
125-3
STRUCTURAL APPROACH
TO
BALLET
I
FPA.
126-3
STRUCTURAL APPROACH
TO
BALLET
II
Note: anatomical and structural readings will take place concurrently
with the following experience-oriented work and will be used as
reference and basis for visualization.
1. Floor barre series integrating anatomical principles to the requirements
of ballet technique with the aim of developing strength, flexibility
and awareness of efficient muscle usage.
a)
the spine: exercises to improve alingnment through involvement of
abdominal support; work to release tension in the lower back as a
result of poor postural habit and/or of extraneous tension
resulting from extension and rotary leg movements;
b)
locating the hip joint through particular movements and with
reference to readings, diagrams and skeleton; movements designed.
to isolate action from the hip joint and to find its range of
action in the individual's body; the concept of 'turn out' and
placement of the leg in relation to the pelvis;
c)
the knee: flexion and extension as in Pli without extraneous
involvement of pelvis;
d)
positions of Pass6
and
attitude, front, side and back;
e)
flexion and extension of leg (the lever as machine for movement),
front, side and back;
f)
rotary movements (Ronds de Jambe);
g)
isolation of feet, arms, head.
2. The Barre, the fundamental system in' ballet for training correct
?
articulation, placement, promoting strength
and
flexibility.
a)
positions of feet
b)
Plié
c)
Tendus
d)
Ronds de Jambe
e)
Pass4s, attitudes and developps
f)
Battements
g)
Port de Bras
h)
Stretches.
?
' '
.11/
^
. ?
3. Centre
a)
Simple Adagio, incorporating work on floor and barre;
introduction of body facings (Croise and Efface)
b)
Turns
c)
Allegro
d)
Jumps
4.
Readings and discussion -
References: Gelebert, Raoul. ANATOMY FOR THE DANCER.
Vaganova, Agrippina. BASIC PRINCIPLES OF CLASSICAL BALLET.
Sweigard, Lulu. HUMAN MOVEMENT POTENTIAL.
Sparger, Cecelia. ANATOMY AND BALLET. Theatre Arts Books
New York, 1971.
Discussion of readings in relation to practical work will be held on
a regular basis.
5.
Evaluation:
Students will be evaluated on the basis of their progress in
application of principles to technique and by a written examination
based on the literature.
0
SENATE COMMITTEE ON I N
I DERCHADUATE
IDI
ES
NEW
COURSE PROPOSAL VORII
Department: Centre for the Arts
. calendar tnformatiofl
Abbreviation Code:_FPA.
?
Course Number:226
?
- Credit }Lours 2 - Vector:0-0-6
Title Of Course: BALLET FOR MODERN DANCE II
Calendar Description of Course:
?
?
An optional extension of FPA.225. This course is?
designed to provide further work in ballet at
an elementary to intermediate level.
Nature of Course Studio
Prerequisites (or special instructions): FPA.225.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
none
2. Scheduling
How frequently will the course be offered? once a year
Semester in which the course will first be offered? 1981-1
Which of your present faculty would be available to make the proposed offering
possible? none
- 3. Objectives Of
the Course
?
0
1.
to increase skill in efficient execution of ballet
technique
2.
to enlarge movement vocabulary.
4. Budgetaryand Space Requ1rCm
..
(for information only)
What additional resources will be required in the following areas:
Faculty ?
Sessional Appointment (net increment of 2 studio contact hours; see,
attached rationale)
Staff ?
accompanist
Library ?
none
Audio Visual
?
none
Space ?
none
Equipment
?
none
5. Approval
;:••' ;:''
?
/(-/c;•.
L.-
Department Chairman
tCc 7'?
Dean ?
Chairman, SCUS
SCUS 73-34b:-
(When completing this form, for instructions see Memorandum
SCUS 73-34a.
Attach Eource outline).
FPA.225-3 BALLET FOR MODERN DANCE I
FPA.226-3 BALLET FOR MODERN DANCE II
These courses emphasize ballet material for the modern dancer.
Following FPA.125, which concentrates on placement, this sequence
extends the practice of ballet vocabulary and style. The presentation
of terminology and conceptual material will continue. Content will
be selected with a view to its relevancy to the modern dance.
These courses are not a part of the major requirements but are
intended for students desiring further work in ballet.
C
0
-
-_7
OUTLINE
FPA.225-3 BALLET FOR MODERN DANCE I
FPA.226-3 BALLET FOR MODERN DANCE II
1.
Barre
a)
plies
b)
battementS
c)
Rond de Jambe
d)
Releves
2. Centre Work
a)
adagio
b)
connecting and auxiliary movements
c)
port de bras
d)
pirouettes and turning movements
3. Allegro
a) Jumps
1. changemeflt
2 ?
pas echappe
3. pas assemble
4. pas jete
5. sissone
6. soubresaut
7. rond de jambe en l'air saute
8. pas de chat
9. pas chasse
10. glissade
11. cabriole
12. pas en boite
b) Beats
1. pas battus
2. entrechats
a)
royal
b)
entrechat-quatre
3. Brise
.
'2
REFERENCES
Karsavifla, Tamara. Classical Ballet: The Flow of Movement.
New York: Theatre Arts Books.
Maynard, Olga.
The American
Ball. Philadelphia: MacRae
Smith Co., 1959.
Priddin, Deirdre. The Art of the Dance in French
,
Literatur
e.
.
London: A. and C. Black, 1952.
Sparger, Celia. Anatomy and Ballet. New York: Theatre Art
Books, 1976.
Anderson, Jack. Dance. New
TOK ?
u.w'
Bal'nchi ne, George.
?
^he Great Ballets.
New York: Garden City p
ublishing
Denby, Edwin.
Looki
n
g
a
t the Dance.
New York: Curtis Books,
1949.
.
0--
LI
S
-4
V
e
•EVALUATION
Students will be evaluated on their progress in the practical
work presented.
Daily work will be considered along with practical examination of
specific knowledge
Students may be asked to perforo phrases of movement and to
demonstrate their knowledge of balle, concepts presented during
the semester.
They may also be-asked to write a critique of a local ballet
performance.
.
0
4
FFA 126-3 - Structural Approach to Ballet II
FPA 226-2 - Ballet for Modern Dance II
RATIONALE
Withithe beginning of the Dance Major Program in 1980-81 it is highly
desirable that we provide the option for consecutive technical work in ballet
within the 1st two years. We presently have one required course, Structural
Approach to Ballet (FPA.125) and one optional Ballet for Modern Dance course
(FPA.225). The introduction of FPA.126 and FPA.226 will provide a 2-year
sequence in ballet for modern dance. These courses, building upon material
introduced in FPA.125 and FPA.225, will allow the depth of technical train-
ing which is the only way to refine kinetic understanding. As an adjunct to
our contemporary dance courses, this 2-year option would allow our first and
second year students more of the studio work which many desire and need. It
may, in fact, provide an avenue into the major at upper levels for those
entering the program with limited previous experience.
In dance,continUiflg attentiônto tne basics of techniqthe is essential.
The beginner must learn "how",and the more experienced dancer must maintain
and refine abilities. Therefore, some dance courses should not focus primarily
on the introduction of new conceptual material. Instead,the content of such
courses is the deepening of kinetic knowledge. With asecure technical base,
the student can progress very rapidly in other aspects of the art. This
optional 1½ year sequence will help students develop the control necessary to
work on aspects of style, focus, quality and dynamics which constitute the
visible "art" of dance. Increased control developed through these courses
allows a wider range of creative exploration for the student who will be
engaged in creative activity throughout this program.
In order to provide this 2 year sequence, some modifications of scheduling
• ?
and course description will have to occur. FPA. 125 would first be taught in
FALL 1980, to be followed by FPA.126 in the Spring of 1981. FPA.225 ,originally
intended to be taught in summer would be moved to Fall semesters, modified,
and then followed by
FPA.
?
226.
TPA. 225
will conform essentially to
its
initial description
and intent,
but its vector will be changed from
0-0-10
to 0-0
7
6, and it's credit value changes from 3 to 2 credits. Ballet For
Modern Dance I and II then becomes a 4 credit sequence which covers and
broadens the content originally described for FPA. 225.
It is important to note that the requirements for the dance major and
dance minor will not be changed by these new arrangements, nor will the focus
and direction of the dance program be significantly shifted. We have simply
come to recognize the advantage of offering more ballet works concurrently
with the early stages of university training in modern technique. The margin-
al cost of these changes is very small - a total of eight contact hours of
studio work per year. Furthermore by waiting until 1981-82 to introduce FPA.
225 and 226 we can fully absorb the incremental cost through emergent program
funding already granted for the dance major.
.
.1 1 (,^-
FPA. 225-2
?
BALLET FOR
MODERN DANCE
I
Credit hours: 2
Vector: ?
0-0-6
Rationale: This adjusts the sequence with the addition of the proposed FPA.226-2.
0
.
?
RELATED CALENDAR CHANGES
1.
Title
FPA.125-3 ?
STRUCTURAL APPROACH TO BALLET I
Prerequisite: Admission to FPA.122-3 or permission of the Department.
Rationale: This adjusts the sequence with the addition of the proposed
FPA. 126-3.
2.
Title
1 (1-)
SENATE co1mF:
ON UNDERGRADUATE STUDIES
?
NEW COURSE PROPOSAl. FORN
?
1. Calendar Information
?
Department: Centre for the
?
Abreviati0flC0deT1
?
Course Number:133
?
Credit Hours:
?
Vector: 2-
Title of Course: FILMMAKING FUNDAMENTALS
Calendar Description of Course:
An extension of the work begun in FPA.132 with
emphasis on the techniques of 16mm film production.
Nature of Course lecture/studio
Prerequisites (or special
instructions):
FPA.132
Students should expect to pay a laboratory fee.
What course (courses), if any, is being dropped from the calendar if this course is
approved:
?
none
2.
1ifl
.
Bow
,
frequently will the course be offered?
?
Twice a year
Semester in which the course viii first be offered? 1981-1
Which of your present faculty vud be available to make the proposed offering
possible?
?
Tony Westmari, with assistance of M.Smith(labOratOrY instructor)
3.
ObectiVC9 of the Course
?
.40
See attached rationale and course outline
4.
BudetarY and Space RequIrements (for information only)
What additional resources will be required in the following areas:
Faculty ?
A maximum of two sessional stiperS and two T.A.'s
Staff ?
None
Library ?
None
Audio Visual Centre for the Arts materials costs maximum net $4000
Space ?
None
Equipment
?
None
5.
Approval
?
od-
?
1
-
-
-
?
.-: ?
-._--
?
Department Chairman
or
Dean ?
Chairman, SCUS
SCUS 73-34b:- (When completing this form, for instructions see Memorandum SCUS 73-348t
Attach course outline).
.
?
FPA. 133-3 Rationale and Course Outline
The present first year filmmaking course, FPA.132-3 has proven too
brief to introduce students properly to both the conceptual and practical
aspects of filmmaking. What has tended to happen is that students get so
overloaded with the necessity to learn technical matters that they find it
difficult to maintain a creative approach to the medium. Some students
have access to FPA.176-3 Photography as an Art Form, through which they
gain relevant experience, but too often students enter the second year
sequence FPA.230-231 inadequately prepared for the detailed instruction
in the crafts of film those courses involve.
The introduction of FPA.133 will enable us to emphasize the creative
and conceptual aspects of .filmmaking in FPA.132 without the introduction of
relatively sophisticated equipment. In FPA. 133 then, students will make
the application of these concepts to the production process with a more
extensive orientation to the technology of the medium. In addition to
providing an adequate base for FPA. 230 and 231, the first year sequence
will provide a rounded introduction to filmmaking with a clear emphasis
on creativity for those students who do not proceed further.
The importance of this course to the academic integrity of the film
program is such that,if necessary,We would offer it instead of the Spring
section of FPA.132, despite the fact that enrollment pressure on 132 is
S ?
very high. Ideally, we would offer 132 in Fall semester and in Intersession,
followed by 133 in Spring semester and Summer Session. This pattern would
enable us to offer a coherent first year program, making the most efficient
use of available equipment and without reducing our total intake of students.
It would require at the maximum two additional sessional stipends, two
Teaching Assistants and a $4000 net increment in operating costs. Although
we have requested additional funding for this purpose we will, if necessary,
accommodate this course as well as we can within present funding levels.
FPA.133 should become part of the lower division prerequisite credit
for the film minor. Because there is no course which can be dropped from
the present requirements without significantly altering the balance between
historical and practical work, this will mean raising the lower division
prerequisite credits for the Film Minor to 24. The establishment of a
laboratory fee of $25 is also requested.
S
(
OUTLINE
?
S
The course is designed to take students through the processes of
film production and to introduce techniques of 16mm film production
along the way. Each student will be working on a 1 to 3 minute film
as his or her major project during the term. After an overview of the
entire process the specific breakdown of the course will be designed
to concentrate sequentially on the significant elements of film
production both theoretically and practically. The lab sessions will be
directed at assisting students in gaining necessary technical expertise
in utilizing 16mm production equipment and in exploring problems related
to their own creative work.
Week 1
Lecture:
?
Introduction to the film production process. Initial course
and production outline.
Lab:
?
Equipment orlentation:BoleX camera, video cameras and switcher.
Week 2
Lecture: ?
Film as a light-sensitive material; exposure control; thematic
lighting.
Lab:
?
Lighting; light reading; light ratios; thematic lighting
exercises; recap of previous work.
Week 3
Lecture:
?
Point-of-view: action in the frame;camera angles; camera movement;
specific purpose lenses; geometry of action within the frame.
Lab:
?
Video exercises exploring the above.
Week 4
Lecture: ?
Editing: nature of film assembly; sequential and parallel
structures; pace; continuity.
Lab:
?
Editing equipment orientation; explorations of conventional and
experimental cutting techniques designed to achieve various
effects.
Week 5
Lecture:
?
Sound: importance of sound in film; thematic sound and how it alters
visual perception; techniques involved in achieving various effects
of sound.
Lab: ?
Recorders and microphones; exercise in constructing sound drama
o]S
documentary.
•
?
Week 6
Lecture:
?
Scripting: conception; outline; script forms; script as a
means of translation from concept to visualization.
Lab:
?
Brief group video production from script prepared in class -
assessed as to success in getting across a basic concept.
Week 7
Lecture: ?
Production planning: necessity for organization; delineation
of roles; scheduling.
Lab: ?
Evaluation of finished scripts and discussion of production
organization for each script; recap of all technical lessons.
Week 8/9
During weeks, 8,9, and 10 students will be shooting their own films. Class
time in weeks 8 and 9, both lecture and laboratory, will be given over to
discussing individual production problems.
Week 10/11
During weeks 9,10, and 11 students will be editing their own films. Class time
in weeks 10 and 11, both lecture and laboratory, will be given over to group
S ?
discussion of student projects, with particular attention to reviewing theoretical
and practical issues raised by completed projects.
Weeks 12/13
Lectures: Review of the production process with special emphasis on the
organization and roles of group productions and critical lessons
from completed projects.
Labs:
?
Video production exercise exploring organization and roles within
group productions.
Required Text: Malkiewicz, Cinematography.
Evaluation: Based on achieved competence in filmmaking fundamentals as
demonstrated through individual projects ,participation in
group projects and a series of quizzes on individual areas of
study.
0
