Acting BA (Hons)

Acting 1: Intro to Acting

A module that focusses on imagination and improvisation, exploring a variety of acting methodologies.

These might include the theories and practice of Stanislavsky, Uta Hagen, Meyerhold, Mike Alfreds and LeCoq.

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 assessed on their practical work in class.

Assessment: 100% practical

Acting 2: Text

This Semester 2 module focuses on the application of the methodologies explored in Intro to Acting to a variety of dramatic texts, enabling students to examine scripts, build character and breathe life into the written word.

Starting with contemporary and 20th Century plays, students are assessed on their performances in scene-study exercises.

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. 

Assessment: 100% practical

Contextual Studies 1: Acting in Theory and Practice

This module runs across both Semester 1 and 2, taught through weekly lecture-seminars that accompany your practical work.

The first half of this module (semester 1) explores the acting theories explored in your Acting and Performance classes and might include the work of Stanislavsky, Meyerhold, Strasberg, Hagen, Meisner, Michael Chekhov, Grotowski, Barba, Boal, and 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 and London Theatre today; the current theatre scene including trips to the Young Vic, The Bush etc.(to support Text).

Assessment: 6 x 500 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.

Games and exercises reveal and develop the essential qualities necessary for training and performance: listening, playfulness, focus and awareness.

The fundamentals of voice are explored through a range of practitioners, and awareness of the body is developed through the work of Rudolf Laban.

Students are assessed practically on their progress through their work in class.

Assessment: 100% Practical

Performance 2: Ensemble

With a focus on breath, complicity and collaboration, this Semester 2 module explores a variety of techniques of ensemble work.

Building on Basic Skills, 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. There is an investigation of patterns of movement and gesture whilst working towards the discovery of new forms of devised theatre.

This module also incorporates Stage Combat. Students learn a fight  and are examined in rapier, dagger and unarmed combat.  This culminates in a Standard (Level 1) Qualification from the British Academy of Dramatic Combat.

Students are assessed practically through the creation of an ensemble piece.

Assessment: 100% practical

Voice and Movement 1

Voice and Movement are taught both in discrete classes which energise and focus students for the day ahead, and longer workshops which work in greater depth.

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 Text

This module applies the acting techniques explored throughout the first year to classical text. Students apply their imaginations to more complex language, both verse and prose, and the explore the depth and possibilities of landmark plays.

A range of texts are studied including Shakespeare and his contemporaries and restoration comedy. Wilde, Shaw, Ibsen and Chekhov may also be considered.

Students are assessed on their performances in a workshop production project, directed by a staff member or visiting director.

Assessment: 100% practical

Acting 4: Acting for TV and Film

Acting for TV and Film is an intense five-week introduction to screen acting. It 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 in which 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 aseries of mini-productions/performances.

Assessment: 100% practical

Contextual Studies 2: Theatre History

This lecture-seminar module runs across both Semester 1 and 2 and illuminates the historical contexts of the second year practical modules.

Naturalism & Realism are considered as are Shakespeare, his craftsmanship and his legacy to support the practical work in the Classical Text module.  Contemporary and avant-garde theatre are explored to support practical work in the Devising module.

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 working from character, of contracting meaning 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.

Devising skills such as puppetry, music and clown add to a student’s skillset.

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 comprises of two related projects, The Production Project and the Facilitation Project.

In the Production Project, students are cast in a play which they rehearse for 5 weeks with a Lecturer or Visiting Director to create an hour long performance appropriate for a community audience.

In the Facilitation Project, students are introduced to Theatre in the Community and facilitation practices before creating and running an educational workshop to accompany the Production Project.

Students are assessed on rehearsal and production, preparation and workshop delivery.

Assessment: 100% practical

Voice and Movement 2

In Year 2, 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 to accompany Applied Theatre Productions, screen acting and voice over.

Assessment: 100% practical

Acting for Screen and Radio

Acting for Screen and Radio extends performance skills acquired in 2nd year in the context of recorded performance.

Students explore auditioning for screen via self-tape and acting on set, as well as voice acting for animation, commercials and gaming.

The module culminates in bespoke showreels and voice reels for each student to help gain professional employment throughout their third year.

Assessment: 100% practical

Contextual Studies 3: Professional Practice

This module takes place at the beginning of the third year and aims to equip students with the 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.

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

Creative Thinking and Theatre-Making

This module teaches ‘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