1. Demonstrate an understanding of the nature of the acting and rehearsal process and the need for an approach to acting/rehearsal which incorporates the body, mind and spirit in the context of studio based exercises and rehearsals.
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 and rehearsal 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

Continual Assessment 100% (Outcomes 1,2,3,4)

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 will go on to explore techniques used by a variety of practitioners including Stanislavski’s key collaborator Nikolai Demidov. Post-Stanislavski practitioners such as Declan Donnellan, Kristin Linklater, Jacques Lecoq, Sanford Meisner, David Mamet, Uta Hagan, Janet Adler and Keith Johnstone may also be explored. Concepts such as free reaction, action, obstacles, presence, status, organic versus representational acting, somatic movement and vocal support and release 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 and movement workshops will allow you to examine the vocal and physical skills required to speak and move with power, clarity and confidence. The skills learnt will be examined under assessed presentation conditions.

The writing of a 1500 word reflective piece of creative writing will develop basic analytical and reflective skills, knowledge of the subject, academic argument and the appropriate referencing and bibliographical conventions.

Merlin, B. (2001) Beyond Stanislavski, Routledge
Merlin, B. (2007) The Complete Stanislavski Toolkit, Nick Hern Books
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
Nachmanovitch, S. (1990) Free Play, Penguin Putnam
Stanislavski, K. (2009) An Actor’s Work, Routledge, London.

Library Facilities, computers and internet access.
Rehearsal rooms and performance spaces.
The Blackboard Virtual Learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.

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. Voice and Movement workshops will allow you to examine the physical and vocal skills required to speak and move with power, clarity and confidence. Skills development will be continually assessed throughout the first semester.

Merlin, B. (2001) Beyond Stanislavski, Routledge
Merlin, B. (2007) The Complete Stanislavski Toolkit, Nick Hern Books
Cicely, B. (1989) Voice and the Actor, 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
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
Stanislavski, K. (2009) An Actor’s Work, Routledge, London

Library Facilities, computers and internet access.
Rehearsal rooms and performance spaces.
The Blackboard Virtual Learning environment will be available (where relevant) to support this module. Details will be supplied in the module handbook.