PRACTICAL work weighted at 70% has two components:
CONTINUAL ASSESSMENT [Learning Outcomes 2, 3 & 4]
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
A FINAL PRESENTATION. [Learning Outcomes 1,2 & 4]
Group presentation(s) of no more than 2 hours 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 .

An ESSAY length 1500 WORDS weighted at 30%. [Learning Outcomes 1 & 3]
This individually marked work will allow students to reflect and contextualise their practical explorations

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

Key Information Set Data:
30% coursework
70% practical exams (skills assessment and presentations)

Semester One:
A practical module in which you reflect upon and explore the nature of the acting process and the skills required of a professional actor. You will engage with a diversity of methods and techniques that introduces you 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 Stanislavski tradition you go on to explore techniques used by a variety of practitioners post-Stanislavski such as Declan Donnellan, Kristin Linklater, Jacques Lecoq, Sanford Meisner, Uta Hagan, Maria Knebel, Janet Adler and Keith Johnstone. Concepts such as actions, obstacles, objectives, presence, status, organic versus representational acting, somatic movement and vocal support and release will be examined and explored.

Semester Two:
Working in small ensemble companies, a practical project will give you the opportunity to apply the theoretical and practical knowledge acquired in the first semester as well as applying analytical skills gained from other modules.

This project will involve the interpretation of a scripted piece using contemporary rehearsal techniques and the staging and performance of an extract (or extracts) from that piece. You will be expected to apply a professional theatre making approaches to your acting and rehearsal processes led by a staff or guest directors.

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 you 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 1500 word essay will develop basic analytical and reflective skills, knowledge of the subject, academic argument and the appropriate referencing and bibliographical conventions.

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.

Carnicke, S. (1998) Stanislavsky in Focus, Gordon & Breach Publishing Group
Chekhov, M. (2002) To The Actor, Routledge
Cicely, B. (1989) Voice and the Actor, Virgin Books
Cicely, B, (1992) The Actor and the Text, Virgin Books
Demidov, N. (2016) Becoming an Actor-Creator, Routledge
Donnellan, D. (2005) The Actor and the Target, Nick Hern Books
Gillet, J (2003) Acting on Impulse. Methuen
Grotowski, J. (1975) Towards a Poor Theatre, Methuen
Guskin, H. (2004) How to Stop Acting, Methuen
Johnstone, K. (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
Merlin, B. (2001) Beyond Stanislavski, Routledge
Merlin, B. (2007) The Complete Stanislavski Toolkit, Nick Hern Books
Nachmanovitch, S. (1990) Free Play, Penguin Putnam
Radman, Z. (2013) The Hand, an Organ of the Mind: What the Manual tells the Mental, MIT Press
Stanislavski, K. (2009) An Actor’s Work, Routledge, London.

1. DEMONSTRATE AN UNDERSTANDING OF THE NATURE OF THE ACTING PROCESS AND THE NEED FOR AN APPROACH TO ACTING WHICH INCORPORATES THE BODY, MIND AND SPIRIT IN THE CONTEXT OF STUDIO BASED EXERCISES.
Knowledge and Understanding

2. WORK POSITIVELY AND CREATIVELY WITH OTHER MEMBERS OF THE GROUP INCLUDING ATTENDANCE, PUNCTUALITY AND ENSEMBLE WORKING.
Creative Collaboration

3. IDENTIFY DIFFERENT METHODOLOGICAL APPROACHES TO THE ACTING PROCESS BOTH IN THE CONTEXT OF STUDIO EXERCISES/REHEARSALS FOR TEXT BASED PERFORMANCE AND IN WRITTEN REFLECTION ON YOUR LEARNING.
Communication

4. APPLY A HOLISTIC APPROACH TO THE REHEARSAL PROCESS USING YOUR DEVELOPING PHYSICAL, VOCAL, AND PSYCHOLOGICAL MEANS TO EXPLORE USEFUL AND CREATIVE CHOICES IN YOUR WORK.
Knowledge and Understanding