1. ¿Demonstrate an understanding of the nature of the acting process and the need for an approach to acting which incorporates the body, mind, voice and imagination in the context of studio-based exercises and rehearsal strategies.
2. Work positively and creatively with other members of the group
3. ¿Apply a holistic approach to development of acting technique using your physical, vocal, and psychological means to explore useful and creative choices in your work.

Assessment 1: Continual Assessment [LOs 1,2]
The continual assessment will be assessed using the assessment criteria

Assessment 2: Group Performance [LOs 3]
A group performance of a scripted extract and short filmed scene, totalling no longer than 15 minutes.

All individually assessed.

This practical module continues and builds upon the work of semester one in which you reflect upon and explore the nature of the acting process and the skills required of an actor, performer and/or theatre maker. You will engage with a diversity of methods and techniques that introduces you to the nature of acting and rehearsal and apply these to a text or texts for both live and recorded mediums.

Working in small ensemble companies, a practical project on a given site that you choose will give you the opportunity to apply the theoretical and practical knowledge acquired through the workshops.

This project will involve an exploration of site sensitive theatre making, and the interpretation of scripted pieces using contemporary rehearsal techniques and the staging and performance of an extract (or extracts). You will be expected to apply theatre making approaches to your acting and rehearsal processes led by a staff or guest directors as well as reflect on your process.

You will then adapt these skills to a location and/or studio based short shoot, adapting your work to camera (as well as working as a crew on each other’s pieces), working with the film students on their Fiction Filmmaking module.

Brining together all of your skills from across Level 4, this module sees you trying out techniques and methods via scenes using site-specific theatre, as well as working on a short film as a performer with our film and media students.

You will learn from actively engaging with timetabled classes in studio and classroom settings, developing and advancing fundamental rehearsal and performance skills and actively exploring a variety of relevant strategies to develop, inform and sustain this intensive practice.

You will be required to continually reflect upon your personal skills development and identify areas for improvement. Your learning will be supported by frequent feedback from tutors and peers, as well as your own reflective practice.

Merlin, B. (2001) Beyond Stanislavski, Routledge
Merlin, B. (2014) 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
Donnellan, D. (2005) The Actor and the Target, Nick Hern Books
Gillet, J (2014) Acting Stanislavski. Methuen

Guskin, H. (2004) How to Stop Acting, Methuen
Johnstone, K. (1981) Impro: Improvisation and the Theatre. Methuen
Lawson, D. (2014). The Actor and the Camera. NHB
Lecoq, J (2000) The Moving Body (translated by David Bradby): London Methuen

Stanislavski, K. (2009) trans. Benedetti, J An Actor’s Work, Routledge, London.
Tucker, P. (2014). Secrets of Screen Acting. Routledge

Library Facilities, computers and internet access.
Rehearsal rooms and performance spaces.
VLE
Media Centre equipment