This module will introduce the fundamental concepts and practice-based ways of working for acting on screen and as such will be a foundational link between the student’s previous knowledge and the advanced work that will be carried out in the MA Acting for the Screen. It will combine theory and practice in order to create an actor aware of the prevailing acting theories and techniques, and the way that they have been and can be put to practice for the screen. You will build on previous practical based work and experience the main differences between acting for the theatre and for the screen/television. This module is designed to naturally lead into the Acting for Screen II module.

The aim of the module is to enable the skills and understanding required for creativity and innovation in professional screen acting. You will be able to approach theoretically and to analyse methodically concepts such as ‘given circumstances’, ‘bits’ and ‘actions’ for the work on camera, which will give you the theoretical and methodological background to understand how you will act scenes out of time order and context, repeat the same scene with a different point of view/perspective/approach, adapt to difficult filming circumstances, concentrate on your part irrespectively of external disruptions and difficulties. A theoretical and methodological approach of script analysis applying Stanislavsky’s concepts of ‘supertask’ (the theme of the play/script – the reason it has been written) and ‘through action’ (the logical sequence of all the actions in the play/script that gives coherence to the performance) will help you approach scripts and texts for an intuitive and creative performance. You will also learn the technical terms of acting for screen.
Indicatively:
Exploring, analysing and methodologically approaching the prevailing acting theories and working methods (Stanislavsky, Chekhov, Meisner)
Establishing the difference between acting for the theatre and acting for the screen/television
Theoretically analyse Meisner’s technique in order to grasp the concept of action/reaction and being, experiencing the moment
Theoretically analyse Stanislavsky’s concepts of ‘given circumstances’, ‘bits’ and ‘actions’
Theoretically and methodologically approach the concept of the ‘subtext’
Establishing the difference between a play for the theatre and a script for the screen/television
Script analysis
Character analysis
Use the theory and methodology provided to construct a character for a performance on screen
Learning the technical terms (terminology) of film and television and of acting for screen

Assessment 1 is linked to LO 1,2, 3, 4
Assessment 2 is linked to LO 1, 2
All assessments (written and presentation/viva) will be done in English

The module will employ a range of learning strategies, including:
Tutor led tutorials and lectures on acting for the stage and for the screen. Workshops in class and in front of the camera to experience the difference between the two genres.
A range of learning strategies will be used to share practices and inform and develop independent projects of each student and the individual project for the assessment.
Guided Independent Learning will be structured around the use of VLE to support theoretical reading and upskilling through digital resources
Further Guided Independent Learning will be scheduled as self-led ensemble working rehearsals for practice-based project work.

Module Learning Outcome
1. Adapt effectively your acting techniques from acting for theatre to acting for screen.

University Learning Outcome
Knowledge and Understanding, Learning, Application

Module Learning Outcome
2. Evidence an advanced knowledge of the teachings of Konstantin Stanislavsky, Michael Chekhov and Sanford Meisner and the way that their practice can be utilised for screen acting.

University Learning Outcome
Knowledge and Understanding, Enquiry

Module Learning Outcome
3. Critically evaluate approaches to scripts

University Learning Outcome
Analysis, Reflection

Module Learning Outcome
4. Reflect upon the process of constructing a character/part for a performance on camera

University Learning Outcome
Analysis, Reflection

The rehearsal rooms and studios of UNICERT College – Cameras and filming equipment.

This is an indicative bibliography:
Autant-Mathieu, M (ed) (2015) The Routledge Companion to Michael Chekhov. London: Routledge
Chekhov, M. (1985) Lessons for the Professional Actor, New York: PAJ Books
Chekhov, M. (2002) To the Actor: On the Technique on Acting, London: Routledge, 2nd Edition
Kalogeropouloy-Kallas, Christina. Script. The Art of Devised and Narration in Film. 66 Exercises and 1 Method, Athens: NefeliMeisner, S. (1987) On Acting, New York and Toronto: Vintage Books
Merlin, B. (2014) The Complete Stanislavski Toolkit. London: NHB
Stanislavski, K. (2008) An Actor’s Work: A Student’s Diary, trans. and ed. Jean Benedeti, London and New York: Routledge
Stanislavski, K. (2009) An Actor’s Work on a Role, trans. and ed. Jean Benedeti, London and New York: Routledge
Shevtsova, M. (2020) Rediscovering Stanislavsky, Cambridge: Cambridge University Press
Petit, L (2009). Michael Chekhov Handbook. London: Routledge

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