Acting
BA (Hons)

Acting 1: Methodologies

A module that introduces acting methodologies. These might include the theories and practice of Stanislavsky, Hagen, Strasberg, Meisner, Michael Chekhov, Mike Alfreds and Max Stafford-Clark. Object exercises, relationship improvs, active analysis and actioning might be considered.

Students are encouraged to develop systems of work by incorporating these various theories into their own, personal methodology. Students are also introduced to textual analysis through the study of script extracts and apply acting theories to the realisation of those texts in performance.

Students are assessed in a mini production

Assessment: 100% practical

Acting 2: Methodology to Text

This module focuses on the application of methodologies to a variety of dramatic texts. In the first five weeks the work of key practitioner/ theorists is applied to appropriate texts. In the following five weeks scene studies focus on 20^th Century plays and in the final five weeks scenes from contemporary plays are studied. Students will be expected to learn and prepare texts outside of class time and be able to articulate their working processes in post-performance discussion. 

Students are assessed on their performances in scene-study exercises.

Assessment: 100% practical

Contextual Studies 1: Acting in Theory and Practice

The first half of this module (semester 1) explores a range of acting theories and histories and might include the work of Stanislavsky, Meyerhold, Strasberg, Hagen, Meisner, Michael Chekhov, Grotowski, Barba, Boal, Mamet.

The second half of the module (semester 2) examines key stages in Theatre History – Epic Theatre; the Greeks and European tradition (to support Mask & Ensemble), Post-war British Theatre; The Royal Court and The English Stage Company, Theatre Workshop, The National Theatre and the Old Vic (to support Scene Studies) and London Theatre today; the current theatre scene including trips to the Young Vic, The Bush etc.(to support Contemporary Plays).

Assessment: 100% 3,000 word essay

Performance 1: Skills

An introductory course which develops a common performance vocabulary. The notion of performance is investigated at a basic level, including ideas about space, actor-audience relationship, proxemics, communication skills through the use of body and voice.

Performance skills and understanding are taught through drama games and exercises, improvisation and devising. 

Students are assessed in a mini production which is rehearsed and presented in the final two weeks of the module.

Assessment: 100% Practical

Performance 2: Ensemble

This module explores a variety of techniques of ensemble work. Building on Performance 1, which focused on individual development, this module broadens listening, sensing and playing with other performers. Students may work on a variety of techniques through the study of Greek Theatre, Copeau, Lecoq and others.

The module will explore most recent developments in chorus and mask work. Students will explore and practically analyse neutral, larval, expressive and half-masks, as well as the masks for Commedia dell’Arte and other forms of masked play. There is an investigation of patterns of movement and gesture whilst working towards the discovery of new forms of devised theatre.

Assessment: 100% practical

Voice and Movement 1

Voice and Movement is taught both in discrete classes (1 hour per day) and in joint sessions.

Voice

The module explores the potential of the voice as a means of expression and communication. Techniques are taught so that students acquire vocal confidence when speaking text and develop listening skills. There is a particular focus on posture, breath, resonance, tone and articulation.

Movement

The module starts with an exploration of human anatomy and progresses to a study of physical alignment, spatial awareness and creative movement. Systems of movement are studied (such as Lecoq and Laban) and there is an initial focus on core strength, conditioning and stamina.

Assessment: 100% practical

Acting 3: Classical

This module focuses on classical text and performance style. A range of texts are studied beginning with ‘Period’ acting (Chekhov, Ibsen & Strindberg), moving on to ‘Classical’ - Shakespeare and his contemporaries. Restoration comedy, Wilde and Shaw may also be considered. Various theories and methodologies are explored in relation to possible playing styles appropriate to a number of classical texts.

Students are assessed on their performances in a workshop production project.

Assessment: 100% practical

Acting for Film and TV

Acting for Screen and Radio extends performance skills acquired at Level 5 in the context of recorded performance. Students explore TV Drama production, radio production, presenting for TV and auditioning for screen. As the module progresses students acquire a portfolio of recorded audio and a show-reel to help gain professional employment.

A series of mini-productions/performances are recorded and assessed.

Assessment: 100% practical

Contextual Studies 2: Theatre History

This is a theatre history module which considers three periods: the period of Naturalism & Realism, the period from the first public playhouse in 1576 to Shakespeare’s last major plays in 1611 and British theatre-making and the avant-garde over the last decade.

In the first part of the module Naturalism & Realism are considered (to support Chekhov, Ibsen, Strindberg in Acting module), the second part focusses on Shakespeare, his craftsmanship and his legacy (to support Shakespeare in Acting module) and the third part contemporary and avant-garde theatre (to support Performance Devising module). Some consideration will be given to modern productions of Shakespeare and nineteenth-century plays and the challenges of performing them in the 21st century. 

The craft and techniques of theatre-making will be considered across the three periods.

Assessment: 100% 3,000 word essay

Performance 3: Devising

A module concerned with creating new work through stage-writing and devising. Each week students will be introduced to the various methods of devising work as practiced by contemporary theatre companies. Classes will focus particularly on the construction of narrative, of issue and theme –based work, of working from character, from movement and from image. Scenographic and technical approaches will also be explored and there will be practice in improvisation and the research and sourcing of dramatic material.

At the end of the module students will be expected, in groups, to present a rehearsed extract from a plan of a devised production.

Particular attention is given to collaborative methods of working and the development of group working skills.

Assessment: 100% practical

Performance 4: Applied Theatre

The module begins with an introduction to Theatre in the Community, past and present practice, and moves on to the theoretical underpinning of practice in this area. Early sessions are also concerned with devising, writing and performance techniques for applied theatre.

Students use their research and investigation during the early part of the course to develop an original piece of work in partnership with a local community group.

Assessment: 100% practical

Voice and Movement 2

At level 5 Voice and Movement progresses from the exploration of the student’s own physical and vocal potential to using the body and voice in the transformation process to character. Specific skills and techniques are explored which might include choral singing, accents & dialects, period movement, Laban effort actions and animal studies.

Semester 1 is concerned with general skills acquisition, semester 2 focuses on coaching in specific skills for the end of semester production.

Assessment: 100% practical

Acting for Screen and Radio

Acting for TV and Film begins with an introduction to the medium and an explanation of how narratives are constructed. This is followed by classes on acting for camera techniques including an exploration of how these techniques differ to stage acting. Students have the opportunity to practice, on camera, such skills as actors’ continuity, hitting marks, control of facial and body movements/emotions / volume /pace and size of performances in relation to shot sizes.

Students have the opportunity to practice, on camera, such skills as actors’ continuity, hitting marks, control of facial and body movements/emotions / volume /pace and size of performances in relation to shot sizes.

The module culminates in mini-productions which are recorded and assessed.

Assessment: 100% practical

Contextual Studies 3: Professional Practice

This module aims to equip students with some necessary experience and knowledge to help them to enter the theatre profession or apply for postgraduate training.

There are a series of seminars and presentations on key topics like Spotlight, Equity, accountancy, budgeting, day jobs, representation, social media, finding auditions, approaching casting directors for specific work.

Students build websites, write CVs, set out business plans and target key contacts.

The module prepares students for the audition process. There are workshops with casting directors and agents which prepare students for auditioning and develop professional contacts. Visiting professionals will give advice on career management and how to find work in the creative industries. There is also advice offered on how to set up and run a theatre company.

Assessment: 50% 3,000 word professional portfolio; 50% mock audition

Creative Thinking and Theatre-Making

This module attempts to teach ‘creativity’ by exploring various established techniques of creative thinking through the setting and solving of problems. Lectures will introduce selected theorists and their work in the field of creative thinking both in the arts and in commercial organizations.

Techniques might include Random Input, Problem Reversal, Ask Questions, Applied Imagination - Question Summary, Lateral Thinking, Six Thinking Hats, The Discontinuity Principle, Checklists, Brainstorming, Forced Relationships/Analogy, Attribute Listing, Morphological Analysis, Imitation, Mind mapping, Storyboarding, Synectics, Metaphorical Thinking, Fuzzy Logic. At the close of each lecture students will be invited to attempt to solve a problem in groups using these techniques.

In the latter half of the course these techniques will be applied to theatre projects. These projects might be writing briefs, design problems or organizational / company projects. The focus is on an overview of theatre-making rather than on devising skills.

Assessment: 50% group presentations; 50% Individual portfolio

Finalists Productions

This is a production module which gives students the opportunity to put into practice the advanced skills developed in the Professional Practice module.

A number of student companies are formed and, working with a professional theatre director, showcase events are devised and rehearsed. Performances take place at an appropriate London venue in front of an invited audience of agents and casting directors as well as friends and family. Students will put into practise networking and self-promotional skills developed as part of Professional Practice.

Students are assessed on their acting by a team of assessors.

Assessment: 100% practical

Production

This is a production module which aims to enhance students’ individual performance and technical skills and to give them production experience at a professional level.

A number of student companies are formed and the students are cast in published plays, or devised material and directed by a professional theatre director. Students will be cast in these productions based on their progression in each of the strands in levels 4 and 5, as well as through personal tutoring and mentoring.

Students will be assigned to particular productions/projects which may be presented in a variety of venues as appropriate to the particular production. Students are expected to conduct individual research in the production preparation stage of the project.

Students’ performances are assessed in production by a team of assessors. There are also post-production viva voce examinations where students are questioned on their research and production preparation as well as their process. There is formative feedback at every stage of the production process.

Assessment: 90% Performance; 10% Viva Voce