Practical element comprising: Presentation 1 hour in length [Learning Outcomes 1,2]
Evaluative journal of 1200 words [Learning Outcome 3]
Fulfilment of general assessment criteria for practical work (see Award Handbook)

A series of workshops (3.5 hours per week total) will introduce you to a wide range of exercises designed to examine through practice the physical, vocal, psychological and emotional roots of performance. The skills learnt will be tested by the rehearsed and presentation of an hour long piece of drama based on the ability to work as a group; improvisational abilities; the concept of character and communication. The writing of a 1200 word essay will develop analytical and reflective skills, knowledge of the subject, academic argument and the appropriate reference and bibliographical conventions.

Drama Studio, workshop and seminar spaces.
IT Software (e.g. word-processing)

Cicely Berry, Voice and the Actor, Virgin Books, 1989
Cicely Berry, The Actor and the Text, Virgin Books, 1992
Augusto Boal, Games for Actors and Non-Actors, Routledge, 1992
Margaret Eddershaw, 'Acting Methods: Brecht and Stanislavsky', in Britain and Waine (eds), Brecht in Perspective, Longman, 1982
Keith Johnstone, Impro: Improvisation and the Theatre. Methuen, 1981
David Magarshack (ed), Stanislavsky on the Art of the Stage, Faber & Faber, 1967
David Mamet True and False' Heresy and Common Sense for Actors, Faber & Faber 1998
Litz Pisk The Actor and His Body. Harrop 1975
J. Newlove Laban for Actors and Dancers (New York and London: Routledge and Nick Hern Books (1999)
Jacques Lecoq, The Moving Body (translated by David Bradby): London Methuen (2000)

A practical module in which students reflect upon and explore the nature of the dramatic experience. A broad range of the means of communication will be considered leading up to an exploration of acting both as concept and performance. Students will engage with a diversity of methods and techniques from past to present that introduces them to the nature of performance and the different ways in which a relationship between audience and performer can be established.