UBARTACTI1314 (1)

BA in Acting

Programme and module

specifications and assessment

criteria for use in 2013/14

BA Acting Gold Copy 2013/14 2/62

Contents Page

BA (Hons) in Acting programme information

Part 1: BA in Acting programme specification 3

Part 2: BA module specifications 22

Year 1 Acting Studies 1 22

Voice and Speech Studies 1 25 Movement Studies 1 28

Rehearsal Projects 1 31

Acting Research 34

Year 2 Acting Studies 2 37 Voice and Speech Studies 2 40

Movement Studies 2 43


Year 3 Productions 49 Voice & Movement 52 Independent Study 54

Career Preparation 57

Part 3: BA assessment criteria 59

BA Acting Gold Copy 2013/14

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Programme information for BA (Hons) in Acting

Part 1: Programme specification: overview of Programme

1 Awarding Institution City University

2 Teaching Institution Guildhall School of Music & Drama

3 Programme Accredited By Drama UK (previously National Council for Drama Training)

4 Final Award BA (Hons) in Acting

5 QAA Benchmarking

Group(s)

Dance, Drama and Performance

6

Start of proposed new

validation period

September 2009

7 Admissions & APEL

7.1 Applicants for the BA and MA Acting programmes go through a similar admission process.

The Department takes applications from September of the year preceding entry and

processes them in the order in which they are received. Applicants attend a First Round

Audition, held between November and May. Applications for entry are closed when all

possible timeslots for First Round auditions have been filled, usually in January or February.

The Department currently processes over 2000 applications per annum. An appeals scheme

is in place which may be used if applicants believe they have not been treated fairly.

7.2 The First Round Auditions are conducted by a panel of two or three. It consists of a short

warm-up session, an audition, for which the applicant prepares three speeches, and an

interview. The criteria on which the panel make their decision are: believability,

connection and commitment, demonstrated in the audition, and focus, enthusiasm and

potential to benefit from the programme, demonstrated in the interview. Applicants who

are successful in the First Round Audition attend a Second Round Audition. Second Round

Auditions are conducted by a panel of three or four, at least two of whom are members of

the core staff in the Drama Department. The criteria are similar to, but more demanding

than the First Round Audition.

7.3 Applicants who are successful in the Second Round Audition are invited to return for the

Final Recall Auditions. The Final Recall Audition consists of voice, movement and

improvisation work, more detailed work on audition pieces and a short interview. The

Recall Auditions usually take place during May and are conducted by panels including the

Director of Acting, the Heads of Acting, Voice and Movement and other core members of

the Drama Department, with interviews conducted by the Head of Drama Administration.

The criteria are similar to, but more demanding than the Second Round Audition, and the

panels also look for the applicant's ability to shift' their work in response to working with panel members. If an applicant cannot attend the Recall Auditions, they are not

considered for a place on the programme. Between 75 and 100 applicants attend the

Recall Auditions.


7.4 All members of the Recall Audition Panels see all recalled applicants. At the end of the

Recall Auditions, the panel members meet to discuss every applicant's work and to select a cohort of the students who have demonstrated the most potential to benefit from the

Acting Programme either at undergraduate or graduate level.

7.5 The Preliminary and Recall Auditions are stewarded by past and present students of the

Drama Department, offering applicants support, advice and information at every point in

the process.

7.6 Approximately 24 students are offered places each year to begin their three-year

programme the following September. There is also a Reserve list. On a date set by the

Conference of Drama Schools in July, the member schools circulate names of applicants

who have accepted places; there is an agreement not to poach' any applicants after this date.

7.7 Students should normally be 18 years old when they begin, as the programme requires a

high level of maturity and life experience. The average age is 21/22 and some students are

older.

7.8 The Drama Department encourages applicants from disadvantaged and non-conventional

academic backgrounds. Normally students must meet City University's general entry requirements for undergraduate programmes, which is two A-levels or the national or

international equivalent. Those who do not meet these requirements are asked to submit

a piece of written work testing their cognitive and reflective skills. They are then

considered under the procedures for Non-Standard Entries; a report and recommendation

endorsed by the Director of Acting is presented to the Drama Programme Board for

approval.

7.9 Overseas candidates must be completely fluent in English and have excellent

comprehension. This will be tested by the audition/interview procedures.

7.10 The Department does not offer exemption from any part of the programme.

8 Educational aims

The aims of the programme are:

To provide a practical craft training that will be a lifelong foundation for a career in

professional acting.

To educate students to meet the varied demands of the acting profession in its current

state and also give them the flexibility, imagination and responsibility to reflect on,

contribute to and develop contemporary theatre, and drama in all media.

To promote each student's personal and artistic development, and their integration of the physical, intellectual, emotional and spiritual aspects of acting, within a collaborative

context.

To meet the specific developmental needs of each group of students and the individuals

within it.

To encourage students to take responsibility for reaching their highest level of creative

engagement.

To ensure that students are aware of the transferable skills acquired during the

programme.


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9 Teaching, Learning & Assessment Strategies

9.1 The teaching and learning strategies are designed to match the programme aims and

learning outcomes. The emphasis is on the individual growth of students as actors in an

ensemble. This requires students to be engaged in a continuous developmental process

through which they acquire technical and cognitive skills and subject knowledge, apply

these creatively and imaginatively within a clearly defined framework of values and

attitudes and reflect on their progress and achievement.

9.2 Teaching and learning takes place through practical classes, tutorials, seminars, rehearsals,

performances, field trips and private study.

9.3 At the beginning of the programme, the emphasis is on class-work, providing students

with a firm foundation of technique in voice, movement and stagecraft, and an

introduction to repertoire. Within each day's timetable, students experience a wide range of activities; for example, Voice and Speech, Acting Technique, Acting Research,

Movement, Singing. In each subject, students are taught through being set tasks and

exercises designed to develop specific skills and to offer opportunities to apply them

imaginatively. No subject is discrete, and students are encouraged to apply what they are

learning in one class to another. In particular, modules in Rehearsal Projects and

Productions are designed to draw together the different components of the programme.

9.4 Most of the classes are taught continuously through the year, so that students gain by

regular practice and exploration. Some class-work and rehearsal in the first and second

year is scheduled in week-long blocks, so that students also gain from more intensive

practice and exploration. The mixture of regular with intensive practice also reflects the

varied nature of professional work. There are opportunities for self-reflection at key points

in the programme.

9.5 In all classes, rehearsals and feedback, students are encouraged to develop the creative use

of their imaginations. Tutors seek to establish and sustain an environment of trust, and

working conditions that are physically and emotionally safe and healthy both for the

individual and the group.

9.6 By the end of the first year, students are expected to be secure in using the techniques of

their craft (for example, free and natural use of breath, voice and body; connection with

text and dramatic situation; awareness of individual and group space) to the extent that

these skills are fully assimilated and they no longer give them conscious thought when in

the acting space.

9.7 During the second year the emphasis changes, with more of the timetable devoted to

Rehearsal Projects, enabling students to apply and integrate their developing skills in a

wider and more demanding range of drama, to become more self-sufficient, individually

and within an ensemble, in preparing their minds and bodies for rehearsal.

9.8 In the final year of the programme, the acquisition of further skills and knowledge is fully

integrated in Productions. Students rehearse and perform in a range of public productions

which are open to prospective employers. They also undertake an independent study and

they prepare to begin their careers. The transition from the supportive environment of

the training to the varied demands of the profession is a challenge to many students. The

Department provides a range of information and guidance to ease their entry into the

profession and encourages a strengthening of their awareness of the knowledge, skills and

attitudes they have acquired.

9.9 Formative feedback to the students is an important feature of the programme. This occurs

organically within class-work and rehearsal, where experimentation and evaluation in the

performance of specific exercises is a key element in the learning/teaching strategy. As

well, there is a system of regular feedback after each Rehearsal Project in the first two


years of the programme. There are also frequent opportunities for group feedback.

During the final year, emphasis is put on students actively seeking feedback, rather than

having scheduled times, in order to develop their self-motivation and independence.

9.10 The modules for each Year of the programme are taught concurrently throughout the year

with summative assessment points occurring at appropriate intervals. For modules taught

through classes, there are two summative assessments (mid-year and end-of-year) of each

component in Years 1 & 2 (previously there were 3 summative assessments for each

component in Year 2 amendment approved at December 2010 Course Board); for modules taught through rehearsal and/or performance, there are summative assessments

at the end of each project or production.

9.11 The programme's assessment strategy places a strong emphasis on continuous assessment. This approach reflects the nature of an actor's development within the extensive contact

hours that students experience in their timetable. Whether in classwork, rehearsal or in

performance, continuous assessment reinforces the ethos of rigorous ongoing critique. Whilst acknowledging the significant dimension that the presence of an audience brings to

an actor's work, students are strongly encouraged to treat performances and showings as

further opportunities for exploration and development of their skills. Similarly in

classwork, exercises concentrate on craft and technique in the context of public

performance. This connection between process and performance is an important

educational and artistic principle of the programme and tutors frequently and consistently

engage students in a consideration of it. It is for this reason that performances and

showings are assessed using the same criteria as classwork and rehearsals.

9.12 Classwork, rehearsals, showings and performances increase in the level of demand

between years 1, 2 and 3. Students are required to demonstrate accomplishment in

response to more challenging texts and exercises. Similarly, written work also has a

growing level of demand over the three years as tutors set more difficult activities moving

from documenting research in Year 1, to analysing research in Year 2, to focusing and

communicating analysis in Year 3. Further details concerning the content of written work

are provided in the Student Handbook. This progressive increase in the complexity of the

tasks for classwork, rehearsals, showings, performances and written work corresponds to

QAA benchmarks for Levels 4, 5 and 6 as appropriate. These levels are identified in each

module's specifications.

9.13 There are two fundamental forms of assessment within the programme: assessment of

classwork, rehearsals, showings and performances; and assessment of written work. The

teaching, learning and assessment strategies promote a joinedup approach to these two different types of activity by ensuring they share many of the same assessment criteria.

This enhances the students' understanding that all aspects of their studies are structured in such a way that promote their development as an actor. The assessment strategy is

enshrined in the single set of assessment criteria which has varying criteria for written

work and performance/class work. This single document supports students and tutors of

diverse disciplines in assessment across all modules and articulates the core ethos of the

assessment strategy's values and principles. It should be noted that the programme's assessment criteria have been developed in reference to the principles and values of the

Schoolwide assessment criteria.

9.14 Students are informed about the programme's learning and assessment strategy on a very regular basis. Programme leaders and tutors ensure this happens at the beginning and end

of years, at the annual assessment induction session, at key assessment points and during

the regular feedback forums. In addition, when introducing a new learning activity and

subsequently during the timetable's extensive contact hours of rehearsals and classes, tutors ensure that students have a clear appreciation of what is expected of them in order

to meet the higher levels of achievement. This ongoing dialogue with students clarifies these levels of achievement in light of the assessment criteria and ensures students know


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what they need to do in order to improve. This is something which occurs both in a

oneonone context and in group settings.

9.15 Students with disabilities follow a Personal Learning Support Programme which outlines

additional support provided by the School and the Department.

10 Learning Outcomes

The programme provides opportunities for students to develop and demonstrate learning

outcomes which are generic to the Programme as a whole, as well as learning outcomes

which are specific to one or more modules.

The learning and teaching methods are: class, rehearsal, tutorials, private study, written

assignments; performance.

Assessment is through continuous monitoring of progress in class and rehearsal; assessment

of self-reflective tasks, presentation of ongoing practical work, public performances,

independent study.

A: Technique and knowledge

By the end of the programme students will be expected to have technique and knowledge

of the following:

A1 Methods of preparing and using breath, voice, speech, body and movement safely and

effectively for rehearsal and performance in a variety of acting spaces, including use of

microphone and camera.

A2 Range of acting techniques

A3 English language, its structure, codes and styles; poetry, prose and dramatic speech.

A4. Range of movement techniques, both pure and character-based.

.

A5 Theatrical repertoire in its social and historical background, including both an overview

of Western theatre and in depth knowledge of specific areas

A6 Resources for background research.

A7 The different elements that make up the collective art of theatre.

C2 Competence in vocal, physical and acting techniques.

D2 Be spatially and aurally aware.

D6 Analyse and interpret dramatic texts.


B: Communication and artistic values

At the end of the programme, students should be able to:

B1 Work openly, confidently, safely and supportively in an ensemble.

B2 Work to a high standard of discipline and readiness.

B3 Accept constructive criticism and use it to develop further.

B4 Be self-aware and acknowledge their own strengths and weaknesses.

B5 Be prepared to fail, in order to succeed.

B6 Practise and promote trust and respect, generosity of spirit and social responsibility.

B7 Begin to take responsibility for their professional future, through having confidence in

their own acting ability, artistic curiosity and personal initiative and determination.

D1 Demonstrate emotional honesty in their work.

D4 Achieve a fruitful balance between subjective response and objective analysis, between

emotional involvement and critical detachment.

D5 Appreciate and utilise the conditions in which the creative imagination thrives.

C Skills Performance and/or creative output

At the end of the programme, students are expected to demonstrate:

C1 Positive and effective contribution to all dramatic endeavours in which they are

involved.

C3 Truth, expressiveness and passion in acting.

C4 Ability to imagine, structure and realize dramatic life in the stage space.

C5 Ability to engage effectively with an audience.

C6 Ability to sustain roles effectively in a wide range of genres and styles of drama.

C7 Stamina required to fulfil intensive rehearsal and performance schedules.

D3 Project imaginatively into a rich variety of human situations.

E Professional protocols

At the end of the programme, students are expected to:

E1 Demonstrate effective time-management, personal organisation skills and ability to

work under pressure.

E2 Have an open, alert, confident and responsive physical demeanour.

E3 Show emotional intelligence, ability to empathise with other people and to adapt

behaviour to suit different contexts.


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E4 Demonstrate effective communication skills in spoken and body language in a wide

variety of situations.

E5 Have self-awareness and skill in teamwork and group dynamics.

E6 Be able to undertake background research, including use of Internet, and analytical

tasks.

E7 Communicate effectively in writing in English in different contexts, utilising word

processing skills.

11 Overview of Programme Structure 11.1 Summary of the programme structure

The programme is a 3-year full-time course of study in Acting at undergraduate level. All

students follow one pathway, with no elective modules.

11.2 The modes of delivery

The programme is delivered through practical classes, rehearsals, showings, performances,

workshops, tutorials and independent study.

11.3 Number of Parts to the programme and their duration

There are three Parts to the programme, each of one year's duration.

11.4 Credit value of the programme and overall student learning hours

Year 1 150 credits

Year 2 160 credits

Year 3 170 credits

Total 4800 overall student learning hours

11.5 Programme structure

Year 1 is 35 weeks, spread over three terms: normally 11 weeks commencing in September

followed by a five-week break over Christmas, 12 weeks followed by a three-week break

over Easter; 11 weeks with a one-week break during the term.

Year 2 is 36 weeks, spread over three terms: normally 12 weeks commencing in September

followed by a four-week break; 12 weeks followed by a two- or three-week break over

Easter; 12 weeks.

Year 3 is 39 weeks, spread over three terms and, normally 13 weeks commencing in

September, followed by a four-week break over Christmas; 13 weeks followed by a two-

week break over Easter; 13 weeks.


11.6 Core modules

Code Level Title Credit value

Year 1

GDACT1001 4 Acting Studies 1 35

GDACT1002 4 Voice and Speech Studies 1 35

GDACT1003 4 Movement Studies 1 35

GDACT1004 4 Rehearsal Projects 1 30

GDACT1005 4 Acting Research 15

Year 2

GDACT2001 5 Acting Studies 2 25

GDACT2002 5 Voice and Speech Studies 2 25

GDACT2003 5 Movement Studies 2 25

GDACT2004 5 Rehearsal Projects 2 85

Year 3

GDACT3006 6 Productions 145

GDACT3009 6 Voice and Movement 5

GDACT3010 6 Career Preparation 5

11.7 Elective modules

Students take one of the following two modules:

Code Level Title Credit value

Year 3

GDACT3007 6 Independent Study (Solo Performance) 15

GDACT3008 6 Independent Study (Research Project) 15

11.8 List of outcomes developed in each Year

Outcomes developed in Year 1

A1 - A6; B1 B6; C1 C4; D1 D6; E1 E7


A1 A6; B1 B7; C1 - C6; D1 D6; E1- E7


A1 - A7; B1 B7; C1 C7; D1 D6; E1 E7


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11.9 Outline of programme

Year 1

Year 2

Quotes.

Rehearsal Projects 2

Voice and Speech Studies 2

Acting Studies 2

Movement Studies 2

Year 3

Rehearsal Projects 1

Voice and Speech Studies 1

Acting Studies 1

Movement Studies 1

Acting Research

Productions

Independent Study (Research

project)

Voice and Movement

Career Preparation Independent

Study (Solo Performance)


12 Assessment Regulations

12.1 Requirements for progression, referral and re-sit procedures

Module regulations

In order to pass a module and acquire the associated credits, a student must meet any

attendance and participation requirements given in the Programme Handbook, complete

all the assessment components and achieve the required pass mark of 40% in aggregate

between components.

Progression regulations

To proceed to Project 3 in the Rehearsal Projects 1 module, the student must achieve 35%

in aggregate in Projects 1 and 2.

To proceed to Year 2, the student must have passed in each module in Year 1 and acquired

150 credits.

To proceed to Project 4 in the Rehearsal Projects 2 module, the student must achieve 35%

in aggregate in Projects 1, 2 and 3.

To proceed to Year 3, the student must have passed in each module in Year 2 and acquired

160 credits.

To pass Year 3, a student must have passed in each module in Year 3 and acquired 170

credits and passed in each module.

Compensation provisions

There are no modules where compensation may be applied across modules.

Re-sit after First Attempt

Where there has been a first valid attempt, re-sit provisions will apply to all failed modules.

The conditions for re-sit shall be prescribed by the Assessment Board:

If the Assessment Board permits a student to re-sit a module:

The failed assessment component must be redeemed before the beginning of the

following term

OR

The entire module assessment must be redeemed before the beginning of the

following term

OR

A specific assessment activity should be undertaken.

A student may re-sit a module or part of a module only once.

At the end of Project 2 in the Rehearsal Projects 1 module, students may re-sit the

first two projects as a single re-sit requirement only once. This re-sit must be

completed and the minimum qualifying mark of 35% achieved before progression to

Project 3 will be permitted.

At the end of Year 1, students may re-sit any module, provided that their average

over all modules is 40% or above.

At the end of Project 3 in the Rehearsal Projects 2 module, students may not re-sit

any of the first three projects.

At the end of Year 2, students may re-sit any Module except Rehearsal Projects 2

provided that their average over all modules is 40% or above.

At the end of Year 3, students may re-sit Independent Study, and/or Voice and

Movement, provided that their average over all Modules is 40% or above.


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A student who successfully completes a re-sit shall be awarded the credit for the module.

Where a successful resit has been undertaken, for the purposes of the award calculation,

the module mark will be capped at the pass mark (40%).

Failure in Part 3 and the Award of a Lower Level Qualification

Where a student fails to meet the requirements for Year 3, having exhausted all permitted

re-sit opportunities, but satisfies the requirements for Year 2, then the Assessment Board

shall recommend that the lower level qualification associated with Year 2, a Diploma in

Higher Education in Acting, will be awarded.

Fail Withdraw

Where a student fails to meet the requirements for a particular Year, and is not eligible for

the award of a lower level qualification, the Assessment Board shall require the student to

withdraw from the Programme.

12.2 Pass and Award Regulations:

Diploma in Higher Education in Acting

If a student wishes to cease their studies at the end of Year 2 and has passed all of the

modules associated with Years 1 and 2, the Assessment Board shall recommend that they

be awarded a Diploma in Higher Education in Acting.

The mark for the award is based on the assessment of modules taken in Year 2 of the

Programme with the following weighting:

%

Acting Studies 2 15

Voice & Speech Studies 2 15

Movement Studies 2 15


100

The classification of the Diploma Award shall normally be:

Distinction minimum 70%

Merit minimum 60%

Pass minimum 40%

Pass and Award Regulations: BA (Hons) in Acting

To qualify for the BA (Hons) in Acting, the student must satisfy the pass requirements for

Years 1, 2 and 3. The Overall Aggregate Mark for the Degree shall be calculated using the

following percentage marks achieved in Parts 2 and 3:

%

Rehearsal Projects 2 ` 20

Voice and Movement 10

Independent Study 15

Productions 55

100

The classification of the Degree Award shall normally be:

Class I minimum 70%

Class II Upper Division minimum 60%

Class II Lower Division minimum 50%

Class III minimum 40%


12.3 Regulations for attendance and engagement in classes, rehearsals, showings and performances, and for submission of written work

Students are expected to attend and fully engage, and will be assessed in all classes, all

rehearsals for which they are called, and all showings and performances in which they are

participating or have been cast. Deadlines for written work are announced well in

advance, taking rehearsal and performance schedules into account.

Adequate reasons for missing class, rehearsal, showing, performance or submission

deadline for written work include serious illness and death or serious illness of close family

member. Poor time management on the part of the student or problems with computers

would not normally warrant an extension.

If a student is seriously unwell and cannot come in to School, the student must contact

Drama Administration, preferably before their first scheduled class is due to start, but no

later than 9.30am and will need to phone in on subsequent days unless formally signed-off

sick.

If a student wants to be excused in advance from class, rehearsal, a showing or

performance, the student must ask the Director of Acting for permission, and if it is

granted, explain to the relevant tutor(s) or director(s).

If a student wants to request an extension for submission of written work, the student

must ask the Head of Academic Studies in advance for a new deadline, and if it is granted,

must meet all the submission requirements. Penalties for late submission are set out in the

School's General assessment regulations for taught programmes'.

Absence due to ill health effecting a key assessment point must be covered by adequate

medical certification (as defined in the School's policy Attendance at examinations & submission of coursework' in General assessment regulations for taught programmes'). The requirement to provide adequate medical certification as defined in this School policy

may also be invoked in the case of persistent problems with attendance or engagement

due to ill health.

Whilst acknowledging that unforeseen circumstances do sometimes occur that prevent a

student from attending or engaging fully, nonetheless the programme requires a very high

level of attendance and engagement in order that a student can meet the learning

outcomes, fulfil the requirements of continual assessment and achieve a pass. Additionally,

a high level of attendance and engagement is required in order that a student does not

adversely affect the learning experience of other students as they study and collaborate in

an ensemble. Whilst acknowledging there may not be 100% attendance for good reason,

this does not imply that a small amount of inexcusable absence is acceptable.

When assessing a student's work, the quality of the work is a key factor, however excused absence both generally and/or at specific assessment points may result in a reduction of

marks and possible failure of a module if the learning outcomes have not been met. In-

excused non-participation in a Rehearsal Project Showing, Performance or other key

assessment point results in a zero mark for that project/production/component.

In case of persistent problems with attendance, punctuality or engagement, students face

action under the School's Course Participation Regulations as well as jeopardising the result of their module.

12.4 Leave of Absence

A student may request leave of absence during Year 3 to undertake appropriate

professional work. If, in the opinion of the Director of Acting and senior staff in the

Drama Department, the proposed work is of sufficient educational value, permission will

be granted, and the following arrangements may be made to enable the student to

complete the requirements for the degree.


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If the student has not completed the SIX productions required to pass the Productions

module, the student may substitute professional work for a maximum of TWO as

assessment of the required productions, provided that the professional work will lead to a

performance which can readily be assessed by the internal and external examiners (eg a

live performance within reach of London, a film exhibited within reach of London, a

video). Additionally, a student may substitute professional work for a further TWO

productions as participation and thus be exempted for assessment in these productions.

On a case-by-case basis, the Director of Acting and senior staff in the Drama Department

will determine the equivalency of the volume of work and educational experience for each

professional engagement; double assessment weighting and/or participation will be

applied as appropriate. These decisions will be reported to the Drama Programme Board.

After submitting the performance(s) for assessment, the student must attend a viva voce

with the Director of Acting and one other senior member of the Drama Department.

The mark for the viva will substitute for the director's mark in a production and may contribute to a Pass in Voice and Movement.

An extension may be given, at the discretion of the Director of Acting and the Head of

Academic Studies, to allow the student to complete the Independent Study (Solo

Performance or Dissertation).

12.5 Submission and consideration of Extenuating Circumstances

In reaching an assessment decision, the Assessment Board will consider any extenuating

circumstances previously supplied in writing to the Registrar (Assessment) and the

recommendation of the Extenuating Circumstances Panel. Where the circumstances are

sufficiently serious (because of eg illness, injury or bereavement) and have affected the

student's performance, then it will have the discretion to take this into consideration when making the assessment decision.

12.6 Procedures for the internal double assessment of work

In Years 1 and 2 of the programme, Rehearsal Projects 1 and Rehearsal Projects 2, which

draw on the work done in other Modules, each project is assessed by four tutors (the

director, one acting tutor, one voice tutor and one movement tutor) after discussion with

other staff; the self-reflective writing is assessed by the Head of Academic Studies and, in

Year 2, moderated by the Director of Acting.

In Year 3 of the programme, Productions are assessed by the director of the production

and by two internal examiners. The Independent Study is marked by at least two internal

examiners.

12.7 The role of the External Examiner

The External Examiner shall be a person of seniority and experience in the professional

theatre and/or actor-training. He or she will normally be the External Examiner for the MA

in Acting.

The External Examiner normally attends all the final year public Productions (normally

eight or nine) and moderates the marks. He or she samples the Independent Studies, both

Solo Performances and Research Projects. He or she attends and moderates the marks for

six or more Rehearsal Projects in Year 2. There are normally between ten and twelve

Projects, with each student participating in six; the External Examiner sees each student

perform at least three times during the year. He or she is normally invited to meet students

on an informal basis to discuss the programme.


12.8 Assessment Boards

At the end of the academic year, the internal Drama Programme Assessment Board meets

to evaluate each student's achievement in the academic year and to make recommendations to the School Assessment Board on all matters of progression, fail and

referral, extenuating circumstances and awarding of Degrees and classifications.

The School Assessment Board operates in accordance with the City University's Assessment Regulations including its composition, quorum and decision procedures. The main

meeting of the School Assessment Board in each academic year is held in July following the

Drama Programme Assessment Board, normally after the completion of all relevant

assessments. The School Assessment Board considers the recommendations and makes

final decisions on awards and classification; it is also responsible for agreeing the

conditions of re-sits.

In September, the Drama Programme Assessment Board meets to consider the situation

with regard to students referred in July and to make recommendations to the School

Assessment Board, which normally meets on that day.

12.9 Arrangements for feedback to students on their assessed work

After each Rehearsal Project, normally on the same or following day, students are given

oral feedback about their progress. Students are expected to seek feedback on

Productions in Year 3. They are given written reports on their written assignments, which

are returned within two weeks of submission.

Marks are not normally disclosed to students as this is unhelpful to the natural

development of their acting, which has its peaks, troughs, plateaux and occasional

breakthroughs, as well as steady progress. Students are informed that they have the right

to ask to see their marks.

If a student's lack of progress is such that he or she is deemed likely to fail at the end of the year, he or she is informed and notified in writing (with a copy to the Registry) that

their work will be under close review by the staff for whatever period is necessary.

At the end of the academic year, students are informed of their results by letter.

12.10 Detailed Assessment Criteria

Detailed Assessment Criteria are included at the end of this volume.

13 Appeals Procedure (City University's regulations) & OIA

REGULATION 20b STUDENT APPEALS TAUGHT PROGRAMMES AT VALIDATED INSTITUTIONS1

The University validates programmes offered at other institutions leading to awards of the

University. Assessment Boards for validated programmes are subcommittees of the University

Senate and so appeals fall under Senate.

The University defines an appeal as a request from a student for a review of a decision made by

an Assessment Board regarding his/her assessment, progression, or award. These internal

regulations of the University will be operated in accordance with its Equal Opportunities and

Equality and Diversity Policies. The Equal Opportunities and Equality and Diversity Policies of the

Validated Institution will also be followed.

1 Students on research programmes at Validated Institutions should refer to Regulation 21b. City University students should refer to Regulation 20 (taught programmes) or Regulation 21 (research programmes).


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Appeal claims can be made after an Assessment Board. A student who submits an appeal claim

against one decision may submit an appeal claim against another decision at a later date, as long

as the appeal is submitted within the appropriate timescales.

The Regulations refer at various points to Officers' and members of staff'; (see Appendix A of Regulation 20b for outlines who should fulfil these roles).

A. Stage 1: Validated Institution-level appeal

1. Grounds for appeal

a) An appeal may only be made on one or both of the following grounds:

that there was a material error, either in the conduct of the assessment itself, or in the

proceedings of the Assessment Board, which affected the Assessment Board's decision; AND/OR

that the student was subject to previously undisclosed extenuating circumstances at the

time of the assessment which:

o meet the definition of extenuating circumstances as set out in the Assessment

Regulations, and

o were unknown to the Assessment Board, and were not made known to the

Assessment Board via the Extenuating Circumstances provisions in the Assessment

Regulations for a demonstrated, valid and over-riding reason outside the student's control2.

Dissatisfaction with the decision or academic judgement of the Assessment Board is not

alone a valid ground for an appeal.

b) An appeal, with appropriate evidence, should be submitted to the University Officer within

28 calendar days of the release of results following the Assessment Board.

2. Initial scrutiny

a) The student will receive an acknowledgement of receipt.

b) The appeal will be scrutinised by two members of University staff.

c) The possible outcomes of initial scrutiny are:

upheld (in full or part) with a recommendation for immediate corrective action by the

Chair of the Assessment Board (material error' cases only);

upheld (in full or part) with recommendations being made to the Assessment Board

(normally for an opportunity for re-assessment) (material error' cases only);

Extenuating Circumstances form submitted for consideration by the Extenuating

Circumstances Panel in accordance with section 12 of the Assessment Regulations

(undisclosed extenuating circumstances' only);

returned with an opportunity for the student to resubmit the appeal within 14 calendar

days;

rejected because the form was incomplete, incorrect, not accompanied by supporting

evidence, or did not demonstrate grounds for appeal;

referred for consideration by Validated Institution Appeal Panel because a hearing with

the option for representation by the student is warranted.

d) The student will be informed of the outcome of the initial scrutiny, normally within 28

calendar days of receipt. The notification will include the reasons for the decision.

2 The following will not normally be considered as acceptable reasons for delay: that the student says that s/he was unaware of the extenuating circumstances arrangements at the time; or that the student made an

assumption at the time of the assessment that his/her performance would not be affected by an event

which s/he has since decided has resulted in extenuating circumstances.


e) A student whose appeal has been rejected may be entitled to request a review of that

decision under section B of these Regulations.

f) The process and outcomes of the initial scrutiny will be documented and a record retained

for report to the Course Board and Senate.

3. Validated Institution Appeal Panel

a) A Validated Institution Appeal Panel will normally be convened within 28 calendar days of

the outcome of the initial scrutiny being notified to the student. The panel will have three

members and the Principal of the Institution or his/her nominee will be the Chair.

A senior member of University administrative staff, who will not be part of the Validated

Institution Appeal Panel, will attend the hearing to ensure that the conduct of the panel is in

accordance with the University's requirements. b) The student will be invited to attend the Validated Institution Appeal Panel hearing and can

choose to be accompanied by one other person. If the student chooses to be accompanied

s/he must provide information about that person to the Secretary of the panel at least 7

calendar days in advance. The information will include the person's relationship to the student and the reason for the person's attendance. A student should note that s/he may only be represented in his/her absence in exceptional circumstances. Any request for this

requires the agreement of the Chair of the Panel. If a student chooses not to attend, or fails

to attend without submitting written notification of valid reasons for postponement, the

panel may meet in the student's absence.

c) The Programme Director may attend the hearing but does not form part of the panel and

will not be present during the panel's deliberations. The Programme Director's role is to provide information and/or clarification to the panel.

d) The possible outcomes of the hearing are:

upheld (in full or part) with a recommendation to the Assessment Board to permit the

student to resit some/all failed assessments as a first or additional attempt, reinstating

him/her on the programme if necessary;

upheld (in full or part) with referral of the case back to the Assessment Board with

commentary (the panel may not recommend any alteration to the original marks);

rejected as the grounds for appeal have not been demonstrated.

e) The outcome of the Validated Institution Appeal Panel hearing will be provided to the

student in writing by the Validated Institution, normally within 14 calendar days of the

hearing.

f) A record of the outcome of the Validated Institution Appeal Panel hearing will be retained

for report to the Course Board and Senate.

B. Stage 2 University-level review

1. Grounds for review

a) A student may request a review of the Validated Institution decision on one or both of the

following grounds:

that there was a material error in the proceedings associated with the Validated

Institution decision, which affected that decision; AND/OR

that new information has become available, which is material to the original appeal, and

which could not have been made known to the Validated Institution for a demonstrated,

valid and over-riding reason.

This is not a reopening of the original appeal. Dissatisfaction with the decision of the

Validated Institution is not alone a valid ground for a review.

b) A review request, with appropriate evidence, should be submitted to the University Officer

or his/ her nominee within 21 calendar days of confirmation of the Validated Institution

decision.


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2. Initial scrutiny

a) The student will be sent a receipt of their review request.

b) Two members of University staff will scrutinise the review submission.

The possible outcomes of initial scrutiny are:

upheld (in full or part) with a recommendation for immediate corrective action by the

Officer responsible for the Validated Institution decision or his/ her nominee (material error' cases only);

upheld (in full or part) and referred back to the appropriate body responsible for the

Validated Institution decision for consideration. Following this consideration, a student

may then only request a review of the decision on the ground of a material error

('material error' cases only);

returned with an opportunity for the student to resubmit the request for review within

14 calendar days;

rejected because the form was incomplete, incorrect, not accompanied by supporting

evidence, or did not demonstrate grounds for appeal;

referred for consideration by University Review Panel because a hearing with the option

for representation by the student is warranted.

c) The student will be informed of the outcome of the initial scrutiny, normally within 28 calendar days of receipt. The notification will include the reasons for the decision.

d) The process and outcomes of the initial scrutiny will be documented and a record retained for report to Senate.

3. University review panel

a) A University review panel will normally be convened on behalf of Senate within 28 calendar days of the outcome of the initial scrutiny. The panel will have three members and the Chair

will be the University Officer or his/ her nominee. The University Appeals Administrator or

his/her nominee will attend the hearing to ensure the conduct of the panel is in accordance

with the University's requirements (the Administrator will not be part of the Appeal Panel).

b) The student will be invited to attend the University review panel hearing and may choose to be accompanied by one other person. If the student chooses to be accompanied s/he must

provide information about that person to the Secretary of the panel at least 7 calendar days

in advance. The information will include the person's relationship to the student and the reason for the person's attendance. A student should note that s/he may only be represented in his/her absence in exceptional circumstances. Any request for this requires

the agreement of the Chair of the Panel. If a student chooses not to attend, or fails to

attend without submitting, in writing, valid reasons for a postponement, the panel may

meet in the student's absence.

c) A representative from the Validated Institution with authority to comment on the Validated Institution decision at the first stage will be invited to attend the panel. The representative

does not form part of the panel and will not be present during the panel's deliberations.

e) The possible outcomes of the University appeal are:

upheld (in full or part), normally resulting in permission for the student to resit some/all

failed assessments as a first or additional attempt, reinstating him/her on the programme

if necessary;

upheld (in full or part) with referral of the case back to the Assessment Board with

commentary (the panel may not recommend any alteration to the original marks);

rejected as the grounds for appeal have not been demonstrated.


d) The outcome of the University review panel hearing will be provided to the student in writing, normally within 14 calendar days of the hearing. The notification will include the

reasons for the decision.

e) The outcome of the University review panel hearing will be reported to Senate and a record will be retained.

C. Office of the Independent Adjudicator

When the University's internal procedures have been concluded, a student will be issued with a Completion of Procedures (CoP) letter. Following this, a student who is dissatisfied with the final

decision on his/her case may be able to apply to the Office of the Independent Adjudicator (OIA)

for Higher Education. Information and eligibility rules are available at: www.oiahe.org.uk

Reapproved as a regulation: Senate 26.06.13

* Note the Guildhall School of Music & Drama is registered with the OIA.


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14 Curriculum Map

Ye

ar

1

Codes A1

A2

A3

A4

A5

A6

A7

B1

B2

B3

B4

B5

B6

B7

C1

C2

C3

C4

C5

C6

C7

D1

D2

D3

D4

D5

D6

E1

E2

E3

E4

E5

E6

E7

Acting Studies 1 GDACT1001 Voice & Speech Studies 1 GDACT1002 Movement Studies 1 GDACT1003 Rehearsal Projects 1 GDACT1004 Acting Research GDACT1005

Ye

ar

2 Acting Studies 2 GDACT2001

Voice & Speech Studies 2 GDACT2002 Movement Studies 2 GDACT2003 Rehearsal Projects 2 GDACT2004

Ye

ar

3

Productions GDACT3006 Independent Study (Solo Perf, Dissertation, Research

Portfolio)

GDACT3007 GDACT3008

GDACTXXX

Voice and Movement GDACT3009 Career Preparation GDACT3010

Technique and knowledge Performance and or creative output

A1 Methods of preparing safely and effectively. C1 Positive and effective contribution to dramatic endeavours.

A2 Range of acting techniques C2 Competence in vocal, physical and acting techniques.

A3 English language, structure, codes; poetry, prose, dramatic speech C3 Truth, expressiveness and passion in acting.

A4 Range of movement techniques, pure and character-based C4 Imagine, structure and realize dramatic life in the stage space.

A5 Theatrical repertoire C5 Engage effectively with an audience.

A6 Resources for background research C6 Sustain roles effectively in wide range of genres of drama.

A7 Elements that make up collective art of theatre. C7 Stamina to fulfil intensive rehearsal and performance schedules.

C2 Competence in vocal, physical and acting techniques. Professional Protocols D2 Be spatially and aurally aware. E1 Effective time-management, personal organisation skills and ability to work under pressure

D6 Analyse and interpret dramatic texts. E3 Emotional intelligence, ability to empathise and adapt behaviour to suit different contexts

Communication and artistic value E4 Effective communication skills in spoken and body language

B1 Work openly, confidently, safely and supportively in ensemble. E5 Self-awareness, skill in teamwork and group dynamics.

B2 Work to a high standard of discipline and readiness. E6 Undertake research, including using of Internet.

B3 Accept constructive criticism and use it to develop further. E7 Communicate effectively in written English, utilising word processing

B4 Be self-aware, acknowledge own strengths and weaknesses.

B5 Be prepared to fail in order to succeed.

B6 Practise and promote trust, respect, generosity of spirit, social responsibility.

B7 Begin to take responsibility for professional future.


D4 Achieve a fruitful balance between subjective response and objective analysis, between emotional involvement and critical detachment.



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Part 2: Module Specifications

Year 1

1. Module Title Acting Studies 1

2. Module Code GDACT1001

3. HE Level 4

4. Credit Value of Module 35

5. Location of Delivery Guildhall School

6. Module Type (eg project, placement,

taught)

Taught

7. Module Tutor Wendy Allnutt, Martin Connor, Peter Cregeen,

Wyn Jones, Kenneth Rea

8. Indicative Content

The content is drawn from exercises developed by 20th century acting teachers and further

developed by Guildhall School staff, past and present. Much of the work consists of

improvisation and storytelling, with some text work.

Acting Exercises I is a series of imaginative exercises undertaken in Term 1, developed from

work devised by Chattie Salaman.

Acting Exercises II is a series of technical exercises undertaken in Term 1, developed from

work devised by Peter Barkworth, Wyn Jones and others.

Acting Exercises III is a series of classes in which students develop their sense of self.

Acting Technique is a series of classes addressing some of the principles and terminology

devised by Konstantin Stanislavski and followers such as Michael Chekhov and Uta Hagen

and applying them in practice.

Improvisation is a series of classes exploring group and spatial awareness, introductory

mime techniques, physical improvisations and storytelling.

Towards the end of the module there is also a foundation course in Television, introducing

the special requirements of working front of a camera, and the ways in which the

technical processes of television can accommodate the acting techniques already studied.

9. Aims of the Module

This module aims to:

Begin a craft training in acting techniques that will lay a broad foundation for further

development.

Address some of the fundamental questions of acting and some of the different means

of actors' expression.

Develop awareness of individual and group identity and responsibility, encouraging

students to work openly within an ensemble.

Show the connection between voice, movement and acting.

Introduce methods of integrating experience and imagination to achieve truth in

acting.

10. Learning Outcomes


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Students begin working towards the following outcomes, which are continuously assessed:

A: Knowledge and understanding





B: Values and attitudes







C: Subject Specific/Professional Skills


involved.




D: Cognitive and intellectual skills




D4 Achieve a fruitful balance between subjective response and objective analysis,

between emotional involvement and critical detachment.


E: Transferable Skills









11. Module Pattern

a) Teaching Component Tutor Contact Hours

Acting Exercises I Wendy Allnutt 50

Acting Exercises II Wyn Jones 50

Acting Exercises III Wyn Jones 50

Acting Technique Martin Connor 60

Improvisation Kenneth Rea 65

Intro to TV acting Peter Cregeen 25


b) Assessment Component Weighting %

within module

Pass Mark Notional Hours

Acting Exercises II 30% 40%

aggregated

Continuous

assessment Acting Technique 35%

Improvisation 35%

Acting Exercises I 0% Pass/fail*

Acting Exercises III 0%

Television 0%

*Students must achieve a pass in these components in order to pass the module. A pass is

achieved through satisfactory participation.

c) Additional student Input Notional Hours

Preparation 50

d) Total notional hours for module 350

12. Reading and Resources

Prescribed texts where applicable; myths and legends selected by students; observation

exercises; TV documentaries and drama.

Books about acting are not recommended for this module.


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1. Module Title Voice and Speech Studies 1

2. Module Code GDACT1002`

3. HE Level 4




taught)

Taught

7. Module Tutors Kate Godfrey, George Hall, Charmian Hoare,

Patsy Rodenburg, Annemette Verspeak


The content is drawn from the approach to voice and speech developed over the last 30

years by Patsy Rodenburg.

Voice and Speech provides the foundation work in relaxation, breath and freeing the

voice, leading on to more intensive work on range, resonance, support and articulation.

Different uses of sound and language are explored, including the use of elaborated and

restricted codes of language. Phonetics are introduced, with some work on Received

Pronunciation.

Poetry introduces styles of language and verse structure from Anglo-Saxon to the 20th and

21st century, including students' own writing, and includes regular poetry workshops when each student speaks by heart a poem of a specific period.

Text introduces styles of language in prose, and includes practice of sight-reading.

Singing increases the vocal range and is linked with the speaking voice. This class is linked

with Music, consisting of classes in musical notation and culminates in a group

presentation of Music Hall songs.



Lay the foundation for the development of a healthy, flexible, strong, natural and

expressive voice.

Raise awareness of the range and significance of English speech.

Explore the interdependence of breath, voice and movement.

Develop connections between voice, speech and the expression of thought, emotion

and imagination.



Students begin to work towards the following outcomes which are continuously assessed:















involved.




















11. Module Pattern

a) Teaching Component Tutors Contact Hours

Voice and Speech Kate Godfrey, Patsy Rodenburg, Annemette

Verspeak

180

Poetry Patsy Rodenburg 35

Text Kate Godfrey 35

Singing Annemette Verspeak 35

Music George Hall 25


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within module


Voice and Speech 50% 40%

aggregated

Continuous

assessment Poetry 15%

Text 15%

Singing 10%

Music 10%


Preparation 40



Selection of poetry, prose and vocal music.

Books about voice and speech are not recommended for this module.


1. Module Title Movement Studies 1


3. HE Level 4




taught)

Taught

7. Module Tutors Wendy Allnutt; Sue Lefton, Danny McGrath,

Jonathan Waller


Classes cover a range of movement skills, introducing systemic and exploratory exercises.

Pure Movement introduces the practice of natural, functional movement appropriate to

actors; it lays the foundation of physical work, teaching how to release the spine and

breath, and develop flexibility, demonstrating how breath and voice cannot be divorced

from movement. Laban work is included, with the introduction of some of the related

terminology, together with work based on Litz Pisk and Moshe Feldenkreis. A

comprehensive movement sequence based on Grotowski's The Cat is introduced, which stretches and frees the body physically. Preliminary work on tumbling focuses on physical

accuracy, strength and safe falling, and develops partnership coordination and trust.

Classes also explore the use of space. There are supplementary classes in Corrective

Movement to help students achieve balanced posture and alignment with weight

distributed evenly.

Historical Dance introduces a wide range of social dances from the Middle Ages, Italian

Renaissance and 19th and 20th centuries, helping to create an awareness of period style and

behaviour. The work develops walking in parallel, balance, spatial awareness, partner

work and some understanding of period styles.

Movement Improvisation covers a series of exercises developing observation and

imagination and the application of movement skills to transform the body. It begins with

Animal Studies, studying the physical behaviour and rhythms of different animals, helping

a move away from personal rhythms and thought patterns towards an understanding of

instinctive behaviour and its relationship to human behaviour. This forms the basis for

further work on physical characterisation. Later work includes imaginative study of the

qualities of movement associated with materials, energies, the elements and

physicalisation of the Seven Deadly Sins.

Stage Combat develops practical skills in rehearsing onstage fights, beginning with

Elizabethan weaponry and supplementing work on period style ethos. It encourages

centring of body weight, co-ordination, focus of physical energy and develops partnership

co-ordination and trust.



Lay the foundation for safe and expressive use of the body.

Enable the release of breath and spine to increase mobility, co-ordination and

relaxation.


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Explore the interdependence of breath, movement and voice.

Develop students' strength, co-ordination, posture and walk.

Develop students' precision in movement, and their ability to repeat with freshness.

Develop awareness of personal and shared space.

Develop awareness of a wide range of physical behaviour and rhythms as a basis for a

vocabulary of imaginative movement.

Develop an environment of trust.


Students begin working towards the following outcomes which are continuously assessed:















involved.





















11. Module Pattern


Pure Movement Wendy Allnutt, Danny McGrath 150

Movement Improvisation Wendy Allnutt 50

Historical Dance Wendy Allnutt, Sue Lefton 50

Corrective Movement Wendy Allnutt, Danny McGrath 35

Stage Combat Jonathan Waller 30


within module


Pure Movement 25% 40%

aggregated

Continuous

assessment Movement Tumbling 20%

Movement Improvisation 25%

Historical Dance 20%

Stage Combat 10%


Preparation and observation 35



Observation including zoo visits, DVDs.

Books about movement are not recommended for this module.


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1. Module Title Rehearsal Projects 1


3. HE Level 4




taught)

Rehearsals

7. Module Tutors Staff and visiting directors


The content of Rehearsal Projects may vary to suit the needs of the group and of the

individuals within it. Normally there are three Projects.

1) The first project (usually seven weeks long) is based on a selection from the English

Medieval Mystery Plays, which offer clear, yet three-dimensional characters and

conflicts. Language is heightened, but the verse lines do not make excessive demands

on students' technical capabilities. The following principles of acting are applied: the importance of researching the world of the play, both academically and

imaginatively

the necessity of an accurate examination of the text to find clues to situation and character

the need for speech and movement to be a consequence of thought and feeling the need to justify moves and instructions that the director gives in rehearsal the process of adapting to the space and the other actors in it.

The approach to the content is non-denominational, but the material may awaken

students to the spiritual value of theatre as well as its emotional and intellectual

aspects.

2) The second Project (usually five weeks long) is normally based on a modern play where

the application of process and research still applies, whether or not the play appears

more accessible' at first glance. The same principles are applied and reinforced.

3) The third Project (usually ten weeks long) is normally based on a Russian naturalistic

play by Anton Chekhov or one of his contemporaries, such as Ivan Turgenev or Maxim

Gorki, offering the opportunity to work on developing an understanding of subtext

and of how thought motivates language and movement. The teachings of Konstantin

Stanislavski are a major reference point.



Develop response to a range of theatrical repertoire and directorial approaches.

Encourage application and integration of knowledge, understanding and skills

acquired in voice, movement, acting and acting research.

Promote each student's work within a collaborative framework.

Encourage students to begin to take responsibility in preparing and rehearsing a role.

Encourage self-reflection.



Students begin working towards the following outcomes, applying the knowledge,

understanding and skills acquired in Acting Studies 1, Voice and Speech Studies 1 and

Movement Studies 1:








A5 Theatrical repertoire in its social and historical background, including both an

overview of Western theatre and in depth knowledge of specific areas









C Subject Specific/Professional Skills


involved.




D Cognitive and intellectual skills








E Transferable Skills










tasks.


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11. Module Pattern


Project 1 Staff or visiting director 55

Project 2 55

Project 3 110

Oral notes/tutorials 10


within module


Project 1* 22% 40%

aggregated

Continuous

assessment Project 2* 22%

Project 3 44%

Overall achievement 12%

*Students must achieve an aggregate mark of 35% or more (based on a 50%/50% weighting for

Project 1 and 2) in order to progress to Project 3. After Project 1, a student whose marks are a

cause for concern will be informed and given guidance about how best to address their

situation. After Project 2, marks that fall below this threshold will be confirmed by a midyear Assessment Board who, where appropriate, will set the terms of a resit. A fail at resit will result in recommendation to the School Assessment Board that the student be made Fail/Withdraw at

the midyear point.


Research, preparation, field visits, private study and rehearsal, self-reflection 70



Prescribed playtexts; background studies; field visits, visiting speakers as appropriate.


1. Module Title Acting Research


3. HE Level 4




taught)

Taught

7. Module Tutor Eliot Shrimpton


The module covers study of selected plays representative of major periods of Western

theatre, from Ancient Greek to modern, in their cultural context, through reading

assignments, research and reports, practical exercises, lectures and seminars. Short pieces

of written work include self-reflection and character study.



Place theatre and drama in a broad historical context.

Introduce and encourage exploration of a wide range of dramatic genres.

Develop critical awareness of the challenges and opportunities presented to actors.

Introduce and develop methods of researching background and making a presentation.


Students begin working towards the following outcomes:





A5 Theatrical repertoire in its social and historical background, including both an

overview of Western theatre and in depth knowledge of specific areas


B Values and attitudes








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C Subject Specific/Professional Skills


involved.


D Cognitive and intellectual skills








E Transferable Skills










tasks.

E7 Communicate effectively in writing in English in different contexts, utilising word

processing skills.

11. Module Pattern


Acting Research class Eliot Shrimpton 90

Tutorials 3


within module


Class work 70% 40%

aggregated

Continuous

Acting Research Portfolio 30%


Preparation, private study and research, written assignments 57




Prescribed plays and readings selected from the following:

Title Author Publisher Year

The Oresteia Aeschylus/Ted Hughes Faber and Faber 1999

Everyman and Medieval

Miracle Plays

Ed A C Cawley Everyman J M Dent 1974

onwards

English Moral Interludes Ed Glynne Wickham Everyman J M Dent 1976

Dr Faustus Christopher Marlowe Methuen Drama 2003

Selection of Shakespeare plays in various editions

The Alchemist Ben Jonson Methuen Drama 2004

Restoration & 18th Century

Comedy

Ed Scott McMillen W Norton & Co 1973

onwards

Peer Gynt Henrik Ibsen/Frank

McGuiness

Faber and Faber 1990

Ibsen Plays 1 and Plays 2` Trans Michael Meyer Methuen Drama 1980

Strindberg Plays 1 Trans Michael Meyer Methuen Drama 1976

The Seagull Anton Chekhov Range of translations

Spring Awakening Frank Wedekind/Ted

Hughes

Faber and Faber 1995

Major Barbara Bernard Shaw Penguin Classics 2005

The Playboy of the Western

World

John Millington

Synge

Nick Hern Books 1997

Six Characters in Search of an

Author

Luigi Pirandello/

Stephen Mulrine

Nick Hern Books 2003

Changing Stages: A View of

British Theatre in the 20th

Century

Richard Eyre and

Nicholas Wright

BBC Videos and

Bloomsbury

2000

Selection of 20th and 21st century playtexts


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Year 2

1. Module Title Acting Studies 2


3. HE Level 5




taught)

Taught; projects

7. Module Tutors David Bannerman, Martin Connor, Peter

Cregeen, Jane Morgan, Kenneth Rea


Improvisation work draws on practitioners such as Keith Johnstone, on approaches to

physical and experimental theatre, including circus, developing towards heightened

imagination and individuality. An introduction to Ki awareness is included as an approach

to the playing of tragedy. Acting Technique prepares students for some of the acting

challenges of performing to an audience in a fully-staged production. It includes the

specific requirements of various lit stages, backstage areas and auditoria, such as playing

within a proscenium arch, playing comedy. Radio work includes classes and a radio project,

often including outside locations. In television, students work on a short project using

more demanding material. Students also begin work on preparing for auditions.



Extend craft training in acting techniques, including radio and television, to bring

students towards a professional standard.

Address further fundamental questions of acting and increase actors' range and means of expression, placing Western methodology in the context of global traditions.

Strengthen the connection between voice, movement and acting.

Develop further awareness of individual and group identity and responsibility, and

additionally develop awareness of actor/audience relationship.


Students reinforce their work towards achieving the following outcomes, extending their

range and approaching a professional standard:

A: Knowledge and understand

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