An ESSAY length 1000 WORDS weighted at 30%. [Learning Outcome 3]
This individually marked work will allow students to reflect and contextualise their practical explorations

A PRACTICAL ASSESSMENT weighted at 50%. [Learning Outcomes 1,2]
This group presentation of no more than 1 hour will be marked on an individual basis and will consist of a number of group and individual exercises demonstrating an understanding of the module content.

CONTINUAL ASSESSMENT weighted at 20% [Learning Outcome 2]
Professional work practice will be assessed, including attendance, punctuality, willingness to engage and work as an ensemble member. This will be assessed on an individual basis

Fulfilment of general assessment criteria for practical work (see Award Handbook)

A practical module in which you reflect upon and explore the nature of the acting process and the skills required of a professional actor. Students will engage with a diversity of methods and techniques that introduces them to the nature of acting and the different ways in which a relationship between the audience and the actor can be established.
Beginning with the Stanislavskian tradition, students may explore techniques used by practitioners post-Stanislavksi such as Lecoq, Strasberg, Meisner, Leigh and Hagan. Techniques such as actions and objectives, presence, organic versus representational acting and status will be examined and explored.

A series of weekly workshops will introduce you to a wide range of exercises designed to examine through practice the physical, vocal, psychological and emotional requirements of the professional actor.
Weekly voice workshops will allow students to examine the vocal skills required to speak with power, clarity and confidence. The skills learnt will be examined under assessed presentation conditions. The writing of a 1000 word essay will develop basic analytical and reflective skills, knowledge of the subject, academic argument and the appropriate referencing and bibliographical conventions.

Benedetti, J. (1989) Stanislavski: An Introduction. methuen
Cicely B, 1989 Voice and the Actor, Virgin Books,
Cicely B, 1992The Actor and the Text, Virgin Books,
Gillet, J (2003) Acting on Impulse. Methuen.
Hagan, U. (1973). Respect for Acting. Wiley.
Keith J, 1981 Impro: Improvisation and the Theatre. Methuen,
Lecoq, J (2000) The Moving Body (translated by David Bradby): London Methuen
Mamet, M. 1998 True and False' Heresy and Common Sense for Actors, Faber & Faber
Meisner, S. (1987) Sandford Meisner on Acting. Vintage
Newlove, J (1999)Laban for Actors and Dancers (New York and London: Routledge and Nick Hern Books
Stanislavski, C (1989) An Actor Prepares. Methuen.
Litz Pisk 1975 The Actor and His Body. Harrop

Drama Studios
IT software
Library
The Blackboard virtual learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.