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2011/2 Provisional Module Catalogue - UNDER CONSTRUCTION & SUBJECT TO CHANGE
 Module Code: ACTM001 Module Title: THE ACTOR & THE PROCESS
Module Provider: Guildford School of Acting Short Name: ACTM001
Level: M Module Co-ordinator: FENDER T Ms (GSA)
Number of credits: 30 Number of ECTS credits: 15
 
Module Availability
Autumn and Spring term
Assessment Pattern

Unit(s) of Assessment

Weighting Towards Module Mark( %)

Formative

Acting Methodology: continuous classroom assessment of exercises

 

Acting Studies

 

Acting for Camera

 

Physical Acting

 

Animal Studies

 

Summative

 

Acting Methodology: summative assessment of performed  exercises

Acting Studies

Acting for Camera

Physical Acting

Animal Studies

30%

 

10%

30%

20%

10%

Qualifying Condition(s) 

A weighted aggregate mark of 50% is required to pass the module

 
Module Overview
The Actor and the Process is a core component of the MA Acting, developing advanced, individual, systematic rehearsal practice for theatre and film media.  Students will begin by developing awareness of themselves as an expressive instrument, noting their own physicality and vocal patterns and considering the messages they may give to an audience or to the camera. Initial work based on personal experience and observation will lead to structured work on preparation, action and motivation of character and circumstance.  Students will explore the resonance of particular objects and particular relationships and will devise a number of exercises that will explore truthful, organic, moment-to-moment behaviour in response to a set of given circumstances, in the pursuit of an objective. Screen acting exercises will develop awareness of the demands of different shots, cognitive behaviour patterns for continuity and matching shots, acting that is expressed through physicality and the inner monologue.    Preparatory exercises will encourage emotional and physical availability, responses to objectives and obstacles, the importance of reading and responding to behaviour and the reality of the concentrated thought process.  Developing exercises will investigate improvised scenes, strategies for text, the spatial and emotional dynamism of relationships, the development of character and the specific and differing demands that genre and style make on technique.
Prerequisites/Co-requisites
Students will be expected to attend warm-up sessions and to bring personal objects and effects into the classes. Detailed and extensive preparation will be necessary for devised and text exercises. 
Module Aims

To utilise and develop the individual as a versatile and expressive creative instrument

To advance an experiential and theoretical understanding of preparation, action and objective

To access, utilise and expand emotional and physical capacity and range.

To facilitate the development of a structured and specific rehearsal process adaptable for theatre or film.
Learning Outcomes

The ability to access appropriate emotional and physical energy in preparation for action.

The ability to respond organically and in the moment, truthfully, to external and internal stimuli.

The ability to play an action under the influence of an objective, within a set of imaginary circumstances.

A critical understanding of the construction and integration of plot, motivation and character.

An objective self-awareness of strengths and weaknesses of expression
Module Content

Acting Methodology classes deliver a series of structured psycho-physical exercises exploring preparation, motivation, action, activities and objectives within devised scenarios and text-based work.  Physical acting classes are Lecoq-based and explore neutral mask, character studies and elemental characteristics. Acting Studies and Animal studies explore the actor’s sensory relationship to his environment and resulting use of the body and mind; progressing to the physical process of first inhabiting an animal body and essence and developing into a human character.  Screen performance classes focus on acting for camera, the inner monologue, shots and continuity.

Methods of Teaching/Learning

Group classes and workshops

Individual exercises within group seminars
Selected Texts/Journals

Required Reading

Brook, Peter, The Empty Space (London: Penguin, 1990)

Caldarone, M.and Lloyd-Williams M.  Actions: The Actor’s Thesaurus (London: Nick Hern 2004)

Chekhov, Michael, To the Actor ed. Mel Gordon (London: Harper Collins, 1991)

Donnellan, D. The Actor and the Target (London: Nick Hern, 2005)

Hagen, Ute, with Haskel Frankel, Respect for Acting (London Macmillan, 1973)

Stanislavski, Constantine, An Actor Prepares (London: Methuen, 1980)

Recommended Reading

Adler, S. The Art of Acting (Canada: Applause, 2000)

Boal, A. Games for Actors and Non-Actors (London: Routledge, 1997)

Bogart, A and Landau, T, The Viewpoints Book (London: Nick Hern 2007)

Boleslavsky, R. Acting: The First Six Lessons (New York: Routledge, 2005)

Bruder, Melissa, Lee Michael Cohn et al. A Practical Handbook for the Actor (Vinatage/Random House: 1986)

Delgado, M and Heritage, P, In Contact with the Gods (MUP 1996)

Gillett, J Acting on Impulse (London: Methuen, 2008)

Hagen, Ute, A Challenge for the Actor (Scribner, 1991)

Johnstone, Keith. Impro (Methuen)

Marshall, L and Oida, Y An Actor’s Tricks (London: Methuen 2007)

Meisner, S. Meisner on Acting (Vintage, 1987)

Merlin, B. Beyond Stanislavski (London: Nick Hern, 2001)

Merlin, B. The Complete Stanislavski Toolkit (London: Nick Hern 2006)

Richards, T. At work with Grotowski on Physical Action (London: Routledge, 1995)

Silverberg, L . The Sanford Meisner Approach ((New York: Smith & Kraus, 1994)

Stanislavski, Constantine, Building a Character (London: Methuen, 1979)

Stanislavski, Constantine, Creating a Role  (London: Methuen, 1981)

Suzuki, T. & Rimer, J.T. (ed) The Way of Acting (New York: Theatre Communications, 1986)

Wangh, S. An Acrobat of the Heart: A Physical Approach to Acting inspired by the work of Jerzy Grotowski (New York:Vintage, 2000)

 
Last Updated
September 2010