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.

Carnicke, S. (1998) Stanislavsky in Focus, Gordon & Breach Publishing Group
Chekhov, M. (2002) To The Actor, Routledge
Demidov, N. (2016) Becoming and Actor-Creator, Routledge
Donnellan, D. (2005) The Actor and the Target, Nick Hern Books
Grotowski, J. (1975) Towards a Poor Theatre, Methuen
Guskin, H. (2004) How to Stop Acting, Methuen
Merlin, B. (2001) Beyond Stanislavski, Routledge
Merlin, B. (2007) The Complete Stanislavski Toolkit, Nick Hern Books
Nachmanovitch, S. (1990) Free Play, Penguin Putnam
Toporkov, V. (2008) Stanislavski in Rehearsal, Methuen
Zarrilli, P. (2009) Psychophysical Acting, Routledge

Preliminary workshops will provide an introduction to the process of Active Analysis, explore how to apply its principles across a variety of texts and seek to apply those principles within the context of current working methods in Britain.
Through a combination of practical workshops, seminar discussion, practical presentations and performance of written texts students will be introduced to the practice and theory of leading practitioners both past and present enabling them to assimilate ideas and apply them in useful ways.
In addition to this students will develop the ability to analyse peer work and give appropriate critical feedback within a creative environment.
Students will also develop their ability to identify personal learning challenges and means of working through these both independently and within a group.

Key Information Set:
24% scheduled learning and teaching activities
76% guided independent learning

Consisting of
Continual Assessment [Learning Outcomes 1,2,3,4]
A Performance of approximately 30 minutes [Learning Outcomes 1,2,3]

Key Information Set:
100% practical exams (skills assessment and presentations)

This module introduces the students to the rehearsal process known as Active Analysis. Students will be encouraged to explore ways in which this unique method of rehearsal can be used both in itself and in line with more traditional 'script in hand' rehearsal methods.

Key texts and practitioners will be chosen for their suitability to selected stimulus and will support much of the practical exploration undertaken.

In addition to their practical exploration of the module, students will be required to take part in oral reflection on the work through a combination of round table conversation, post-show discussion and/or viva voce.

1. PARTICIPATE IN THE CREATION OF A PERFORMANCE USING ACTIVE ANALYSIS.
[Creativity]

2. APPLY AN UNDERSTANDING OF ACTIVE ANALYSIS THROUGH ITS PRACTICAL APPLICATION IN REHEARSAL AND PERFORMANCE.
[Knowledge and Understanding]

3. WORK POSITIVELY AND CREATIVELY WITH OTHER MEMBERS OF THE GROUP.
[Creative Collaboration]

4. UNDERTAKE CRITICAL ANALYSIS OF THE PRACTICE OF ACTIVE ANALYSIS.
[Communication]