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 an 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
Radman, Z. (2013) The Hand, an Organ of the Mind: What the Manual tells the Mental, MIT Press
Thomas, J. (2016) A Director’s Guide to Stanislavsky’s Active Analysis, Bloomsbury.
Toporkov, V. (2008) Stanislavski in Rehearsal, Methuen
Zarrilli, P. (2009) Psychophysical Acting, Routledge

First: CONTINUAL ASSESSMENT including Performance of 1-2 hours (dependent on cast size) weighted at 80%
[Learning outcomes 1,2,3]

You will be assessed individually on your ability to attune to and develop the key sensitivities required to perform using experiential rehearsal methods, your articulacy of process throughout the module and your willingness to question both your own practice and the practice of others.

Final: ORAL REFLECTION weighted at 20% [Learning outcomes 2,3,4,5]
You will be assessed individually on your ability to articulate the complexity contained within the experiential rehearsal methods and your understanding of the arguments around their history and use.

This module introduces the students to the rehearsal processes of Nikolai Demidov and Konstantin Stanislavski and sees them prepare and perform a full production with the use of these methods.

Students will be encouraged to explore ways in which these methods of rehearsal can be used both in themselves 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 reflections on the work through a combination of rehearsal conversations, round table conversations and, post-show discussions.

Preliminary workshops will provide an introduction to the process, explore how to apply 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, group discussions, 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.

1. APPLY A HOLISTIC UNDERSTANDING OF DEMIDOV AND STANISLAVSKI METHODS THROUGH PRACTICAL APPLICATION IN REHEARSAL AND PERFORMANCE.
[Knowledge and Understanding]

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

3. UNDERTAKE CRITICAL ANALYSIS OF THE PRACTICES OF DEMIDOV AND STANISLAVSKI. [Communication]

4. IDENTIFY AND ADAPT DISCRETE ELEMENTS OF THESE PROCESSES FOR A RANGE OF ACTING PURPOSES. [Creativity]