Assessment Pattern

This module introduces selected techniques, competencies and approaches to theatre acting, for example, Stanislavski, Uta Hagen, LeCoq and Brecht. These may include or draw on physical preparation, awareness of body, awareness of voice and speech, inner life and characterisation.  The module establishes the importance of informed self-awareness, focus and inner attitude in the work of the actor.

On completion of this module students should be able to

        1. Demonstrate attention to selected techniques of acting character in a
performance (A2, C1).

        2. Present a character that reflects creative and imaginative engagement in technique and, to some extent, reveals both coherence and complexity of characterization (C1,C2, C3, D4).

        3. Clearly communicate information, attitudes and ideas of a character in a specific performance (D2).

·        The Acting Character module provides an introduction to a range of techniques, competencies and approaches to acting.  It will focus on the importance of informed self-awareness focus and inner attitude.

·        The modules will address such areas as:

o       research and textual analysis,

o       identifying ‘units of action’

o       finding a ‘through line’.

o       rehearsal processes

o       physical preparation/awareness of body

o       awareness of voice and speech

o       characterisation and inner life

o       the actor’s role in performance processes

·        The module will encourage students to reflect on the significance of specific acting strategies and to creatively and imaginatively inform, develop and then articulate their knowledge and understanding of the field.

·        The module will involve students working with existing texts to focus their enquiry, with the awareness that techniques can be applied in a range of very different and often unfamiliar scenarios.

Workshops/performances.

Compulsory

Elsam, P., 2006: Acting characters: 20 simple steps from rehearsal to performance ( London : A. & C. Black).

Recommended (Bogart, 2007) (Boleslavsky, 2003) (Stanislavski, 1998; Stanislavsky and Hapgood, 1967, 1968; Zarrilli, 2002)

kuhns, roach,  (Roach, 1993) (Kuhns, 1997) (Bruno, 2002; Graham and Hoggett, 2009; Heddon and Milling, 2006; Hill and Paris, 2001; Kaye, 2000; Kelleher and Ridout, 2006)

Bogart, A, And then, you act : making art in an unpredictable world. Abingdon, [England] ; New York: Routledge, 2007.

Boleslavsky, R, Acting: The first six lessons. New York: Routledge, 2003.

Bruno, G, Atlas of emotion : journeys in art, architecture, and film. New York: Verso, 2002.

Graham, S and Hoggett, S, The Frantic Assembly Book of Devising Theatre. Abingdon: Routledge, 2009.

Heddon, D and Milling, J, Devising Performance. Basingstoke: Palgrave Macmillan, 2006.

Hill, L and Paris, H, Guerilla Performance and Multimedia. Poole: Continuum, 2001.

Kaye, N, Site-Specific  Art: Performance, Place and Documentation. London: Routledge, 2000.

Kelleher, J and Ridout, N, eds. 2006. Contemporary Theatres in Europe. Abingdon: Routledge.

Kuhns, D F, German expressionist theatre : the actor and the stage. Cambridge ; New York: Cambridge University Press, 1997.

Roach, J R, The player's passion : studies in the science of acting. Ann Arbor: University of Michigan Press, 1993.

Stanislavski, C, Building a Character. London: Methuen Drama, 1998.

Stanislavsky, K S and Hapgood, E R, An Actor prepares ... Translated by Elizabeth Reynolds Hapgood. pp. 284. Penguin Books: Harmondsworth, 1967.

Stanislavsky, K S and Hapgood, E R, Creating a role. Translated by Elizabeth Reynolds Hapgood. pp. 220. New English Library: London, 1968.

Zarrilli, P, ed. 2002. Acting Reconsidered: Theories and Practices London: Routledge.