This module develops the learning outcomes of the Acting for the Screen I module through in depth practice of the principles of acting for the screen/television. You will acquire a thorough working knowledge of the possible camera positions and their impact to your performance. You will train to relax in front of the camera, position yourself in relation to the camera and react to the camera. You will work on close up shots, general shots, voice-over ‘subtext’ narration and you will be given the possibility to improvise in front of the camera.

The aim of the module is to allow you to understand the main practical issues in relation to acting for the screen and to enable you to become an innovative and creative individual in the workplace. You will be able to put into practice and use creatively concepts such as ‘given circumstances’, ‘bits’ and ‘actions’ for the work on camera. You will work on given scripts and experience 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 circumstances, concentrate on your part irrespectively of external disruptions and difficulties, be present and truthful as well as to act with and react to your partner(s) on location or in the studio.
Applying acting techniques on camera
Utilising and applying ‘given circumstances’, ‘bits’ and ‘actions’ to help you act out of context and time sequence on location and in the studio
Utilising your skills and abilities of acting techniques for the screen on location and in the studio to repeat the same scene using a different point of view/perspective/approach
Extensive work on camera positioning (close ups, general shots etc.)
Use of your body
Physical presence
Realising and rediscovering the proxemics of scenes
Establishing connection with partners
Approaching group scenes
Approaching duets’ scenes
Practical use of script analysis (part, scenes etc.) on location and in the studio
Utilising the concept of the ‘subtext’ as a tool for connecting with your partner and acting on camera

Assessment 1: LO 1,3,4
Assessment 2: LO 2
Assessment 1 (performance) will be accompanied with a script in the language of the performance and appropriate translation and subtitles in English if not performed in English.
Assessment 2: this assessment will be done in English

The module will employ a range of learning strategies, including:

Tutor led tutorials and lectures on acting for the screen. Workshops in class, in the studio and on location in front of the camera to experience and apply knowledge and learning.
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 deepen theoretical reading around script analysis.
Guided Independent Learning will be utilised for subject specific digital upskilling through online digital resources
Further Guided Independent Learning will be scheduled as self-led ensemble working rehearsals for practice-based project work.

Module Learning Outcome
1. Execute a clear approach to scripts, character development and scene work grounded in the principles of acting for the screen/television.

University Learning Outcome
Learning, Application

Module Learning Outcome
2. Apply and align advanced knowledge of the teachings of Konstantin Stanislavski, Michael Chekhov and Sanford Meisner for screen acting.

University Learning Outcome
Knowledge and Understanding, Analysis

Module Learning Outcome
3. Create intuitive, ingenious and truthful performances in your acting for the screen.

University Learning Outcome
Reflection, Application

Module Learning Outcome
4. Adapt to different shooting conditions.

University Learning Outcome
Problem solving, Communication

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

This is the indicative bibliography:
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
Churcher, M. (2003) Acting for Film: Truth 24 Times a Second, London: Virgin Books
Comey, J. (2002) The Art of Film Acting, London: Routledge
Fliotsos (2011). Interpreting the Play Script. Red Globe Press
Knopf, R (2017) Script Analysis for Theatre. London: methuen
Meisner, S. (1987) On Acting, New York and Toronto: Vintage Books
Rafailidis,V (2006) Filmoconstraction. A Method of Reading Film, Athens: Aigokeros
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
Thomas, J. (2005) Script Analysis for Actors, Directors and Designers, Burlington: Elsevier
Tucker, P. (2014) Secrets of Screen Acting, London and New York: Routledge, 3rd edition

Successful completion of Acting for the Screen 1