This compulsory first year acting module provides an initial training in acting theory, method and practice based on the uniqueness of the individual and the ability to change, adapt, extend, perceive, accept and reject. Students move through self-study to look outside themselves, approaching firstly improvised situations and then scripted text in imaginative and collaborative ways. By the end of the course you will know how to start work on a play and will have begun collaborative text work. You will be able to begin to create a character from a text and to start the process of creating the world of the play.
The first part of this first year acting module provides students with the challenge of researching real life events through a dramatic format and through recreating short scenes. With their Director students may work on a piece of already scripted 'verbatim' theatre or my develop their own piece using materials such as transcripts, newspaper articles, testimonials, interviews which are edited, arranged or re-contextualised to form a dramatic presentation, in which actors take on the characters of the real individual whose words are being used.
In the second part of the module students will work in groups to study scenes from a contemporary play, learning how to divide a scene into units of action, how to discover objectives for a character and use the text to discover information – about the play, its themes and characters. You will workshop scenes in your groups, practising your learning from the early part of the course. By the end of this block of work you will be able to find a character's through line and recreate work achieved during the rehearsal process.
In the second part of the module students will work in groups to study scenes from a contemporary play, learning how to divide a scene into units of action, how to discover objectives for a character and use the text to discover information – about the play, its themes and characters. You will workshop scenes in your groups, practising your learning from the early part of the course. By the end of this block of work you will be able to find a character's through line and recreate work achieved during the rehearsal process.
After the Improvised Living History Project, in this module students now explore recreating these deeply felt experiences and intense relationships within the confines of a script. Modern classics, exploring a depth of human psychology, for example the plays of Tennessee Williams, Arthur Miller, Jean Paul Sartre, Arthur Schnitzler, David Mamet among others, will be the material through which you will consolidate your understanding of another person's existence and how to recreate it convincingly. Scenes are chosen that will test and develop your ability to find the means in your methodology to 'live in the moment' and to react spontaneously within the course of action pre-determined by the author, just as in an improvised piece in which you knew neither the outcome of an action or what reaction would be provoked. Through practice-based learning and research you will develop the courage to take risks in your character creations, and expression of emotional life.
1. Introduction to sustaining connection & relationships in the communication of complex ideas through structured text.
2. Introduction to making use of both director and skills to aid performance.
1. Introduction to sustaining connection & relationships in the communication of complex ideas through structured text.
2. Introduction to making use of both director and skills to aid performance.
This compulsory first year Acting module takes place in Term Three. It provides students with opportunities to play out the life of a character under simulated rather than 'staged' conditions in order to understand more fully the true meaning of the character's experience and emotional depths.
Students will begin to understand the separation of the 'developed' or 'habitual' voice from the 'potential' voice. This leads into work on articulation and an examination of the vocal equipment. Phonetics is introduced in the context of a practical environment alongside Received Pronunciation (RP) as both 'neutral' and character-based accent and as the beginnings of dialect exploration. In the second term students will continue to explore dialects and voices. You will develop articulation alongside phonetics and extend the building blocks of Received Pronunciation, using set phrases and sentences as both mnemonics and assessment tools. In Term Three students will move into conversational Received pronunciation practice with the aim of progressing to within a practical RP comfort zone in preparation for the demands of second year.
This first year module focuses on the investigation and exploration of "the self" to allow access to the body and to achieve progressively a developed physical awareness.
The course content introduces the student to the study and practice of clear guided movement principals. The mutually dependent and reflective relationship between mind, body and space forms the foundation for a process that develops the students' understanding of physical self and of the environment.
The course content introduces the student to the study and practice of clear guided movement principals. The mutually dependent and reflective relationship between mind, body and space forms the foundation for a process that develops the students' understanding of physical self and of the environment.
Students will be introduced to the fundamentals of good voice production and begin to acquire a sense of rhythm and aural awareness. You will be introduced to warm-ups and will develop the technical skills to progress to an increasingly demanding range of repertoire and emotional situations. By the end of the module you will have acquired knowledge of vocal technique and an ability to begin the control of nerves in performance. You will have begun to understand the individual characteristics of your own voice and the appropriate care needed to maintain it. You will also have a basic working knowledge of music theory.
In this compulsory MA/ Postgraduate Diploma Acting class students are required to assess dispassionately and objectively how they appear and what messages their physicality and vocal patterns communicate to audiences. Strategies are then developed with the acquisition of tools for acting technique, to create an open, ready, energised available physicality and voice, free of unhelpful habits. Likewise, students are encouraged to move to a psychological attitude of open readiness to work, liberating their imagination towards artistic creative development whilst developing an understanding of professional discipline.
The work will focus on will developing skills so that the actor can communicate effectively. Students will be required to be vocally adept and appear physically plausible when working. Students will develop powers of observation and analysis and gain the vocabulary and skill to break down a text. Improvisation tools and exercises to encourage spontaneity and creativity will open minds as the technical work opens the body.
At the end of the first term students will engage with professional development practice working with directors, writers or other theatre practitioners on new endeavours in development to gain understanding of professional project development models and processes.
In the second term further in depth scene study - context, idea, character, relationship and improvisation into the scenes are supported by animal study and movement work into performance of scenes from play texts.
Media (Radio & Camera)
Over two terms students will be given the opportunity to:
Experience the pressures of creating roles for radio and TV/film
Work under close to professional pressure in creating a role for the media
Radio
In Radio, students will create a radio drama under conditions similar to those of the industry. You will be expected to show that:
1. You can put into practice the skill introduced earlier
2. You can produce a professional standard of work under time pressure
Acting For Camera
In this unit, students will be introduced to:
1. audition, casting, and interview situations for TV/Film
2. sight reading for audition purposes
3. basic problems of listening and reacting, hitting the mark, eye lines, continuity
4. the different types of "shots" (close-up, long shot, etc, etc)
5. integration of acting skills applied with the confines and disciplines of the medium
6. the pressures and problems of location shooting
7. the pressures of non-linear approach to film acting
8. the perception of the actor's persona on camera
9. the need to apply "units and objectives" to screen acting
During an intensive week of work with outside directors and technicians, students will be expected to:
create and sustain believable characters on screen
work creatively under pressure
adapt their previous experience to the technology surrounding them on location under professional conditions
The work will focus on will developing skills so that the actor can communicate effectively. Students will be required to be vocally adept and appear physically plausible when working. Students will develop powers of observation and analysis and gain the vocabulary and skill to break down a text. Improvisation tools and exercises to encourage spontaneity and creativity will open minds as the technical work opens the body.
At the end of the first term students will engage with professional development practice working with directors, writers or other theatre practitioners on new endeavours in development to gain understanding of professional project development models and processes.
In the second term further in depth scene study - context, idea, character, relationship and improvisation into the scenes are supported by animal study and movement work into performance of scenes from play texts.
Media (Radio & Camera)
Over two terms students will be given the opportunity to:
Experience the pressures of creating roles for radio and TV/film
Work under close to professional pressure in creating a role for the media
Radio
In Radio, students will create a radio drama under conditions similar to those of the industry. You will be expected to show that:
1. You can put into practice the skill introduced earlier
2. You can produce a professional standard of work under time pressure
Acting For Camera
In this unit, students will be introduced to:
1. audition, casting, and interview situations for TV/Film
2. sight reading for audition purposes
3. basic problems of listening and reacting, hitting the mark, eye lines, continuity
4. the different types of "shots" (close-up, long shot, etc, etc)
5. integration of acting skills applied with the confines and disciplines of the medium
6. the pressures and problems of location shooting
7. the pressures of non-linear approach to film acting
8. the perception of the actor's persona on camera
9. the need to apply "units and objectives" to screen acting
During an intensive week of work with outside directors and technicians, students will be expected to:
create and sustain believable characters on screen
work creatively under pressure
adapt their previous experience to the technology surrounding them on location under professional conditions
This is a compulsory Term Two module for the MA/Postgraduate Diploma in Acting. Students undertake intensive in-depth research which may involve both primary and secondary sources. Such research is absorbed at intellectual, psychological, emotional and sensory levels leading to a performance project in which research, technical skills and acting skills are fully integrated and engaged.
The module provides an opportunity for intense research of context towards performance. Practical and theoretical research will be bought to bear to enrich the ensemble performance and the tools learnt in the course so far in all streams of learning (eg movement, voice, contextual studies etc) will integrate into performance.
The Researched Performance Project integrates research and improvisation tools, into performance in a studio or site-specific setting. The project may be a performance of a play text, a devised project based on other fictional texts with a strong historical element, or a devised project based on texts, documentation and research of a given period/place in history.
Parallel technical classes demand a deeper understanding of the subject as well as more effective application in rehearsal and performance process. The focus is on using the tools of research and improvisation to deliver credible, plausible effective performance as an ensemble, which communicates to an audience.
Students contribute to design, stage-management, costume, stage-lighting, sound marketing, press and publicity. This enables them to have a understanding of the production process. Group responsibilities for the set-up and strike of each production, together with clearly defined areas of responsibility in stage-management further enable the students to work as an ensemble. It is the greater force of the ensemble that can increase the sense of ownership and raise performance level. The aim is to give students the opportunity to experience something of this in their own performance projects as well as begin to equip them for the realities of small scale working practice in the industry at present.
The module provides an opportunity for intense research of context towards performance. Practical and theoretical research will be bought to bear to enrich the ensemble performance and the tools learnt in the course so far in all streams of learning (eg movement, voice, contextual studies etc) will integrate into performance.
The Researched Performance Project integrates research and improvisation tools, into performance in a studio or site-specific setting. The project may be a performance of a play text, a devised project based on other fictional texts with a strong historical element, or a devised project based on texts, documentation and research of a given period/place in history.
Parallel technical classes demand a deeper understanding of the subject as well as more effective application in rehearsal and performance process. The focus is on using the tools of research and improvisation to deliver credible, plausible effective performance as an ensemble, which communicates to an audience.
Students contribute to design, stage-management, costume, stage-lighting, sound marketing, press and publicity. This enables them to have a understanding of the production process. Group responsibilities for the set-up and strike of each production, together with clearly defined areas of responsibility in stage-management further enable the students to work as an ensemble. It is the greater force of the ensemble that can increase the sense of ownership and raise performance level. The aim is to give students the opportunity to experience something of this in their own performance projects as well as begin to equip them for the realities of small scale working practice in the industry at present.
The first section of this MA/Postgraduate Diploma in Acting module requires students to address the demands they will meet in the professional theatre and focuses on public performance of full-length plays. Plays are produced that extend performance repertoire and reflect the needs of the individual year. Under the guidance of the year tutor students will be expected to initiate cast warm-up, care of costume, make-up etc. By the completion of the theatre production, students will be expected to have attained a degree of professionalism, which will fully equip them for the highly competitive career of acting.
The requirements of the Studio Theatre Production expose a range of textual and character demands. These full-length productions are designed to extend and consolidate students' strengths as professional actors. Plays are chosen to show students' abilities to best advantage and to give them the opportunity of full-scale ensemble work in public performance. In each of the Professional Productions students are directed as and by professionals rather than tutored.
Integration of Skill and Research
By the end of the module you should be able to determine your own needs and patterns of preparation for performances. Each production demands both study and developed skills. These are enabled and provided according to each student's particular needs, and individually tutored in all areas: Research, Voice, Movement, Music and Singing as well as through a number of specialist classes given in each term. Flexibility to encourage the individual's progress is built into each term to maximise talent in particular areas.
The requirements of the Studio Theatre Production expose a range of textual and character demands. These full-length productions are designed to extend and consolidate students' strengths as professional actors. Plays are chosen to show students' abilities to best advantage and to give them the opportunity of full-scale ensemble work in public performance. In each of the Professional Productions students are directed as and by professionals rather than tutored.
Integration of Skill and Research
By the end of the module you should be able to determine your own needs and patterns of preparation for performances. Each production demands both study and developed skills. These are enabled and provided according to each student's particular needs, and individually tutored in all areas: Research, Voice, Movement, Music and Singing as well as through a number of specialist classes given in each term. Flexibility to encourage the individual's progress is built into each term to maximise talent in particular areas.
This is a compulsory technical skills training module for the MA/Postgraduate Diploma in Acting.
The aims of voice work throughout the year are divided into the following four main areas:
Voices and Choices: This element looks at the nature of accents and dialects with specific work on articulation and an examination and development of the equipment at work. Phonetics are introduced in the context of a practical environment alongside Received Pronunciation as both a "neutral" and character-based accent and as the beginnings of dialect exploration. In term two Received Pronunciation receives greater focus in connection with character and text work. Support is given to dialect work required in the Advanced Research Project.
Physical Voice: Aims to explore the relationship between posture, breath and voice with a practical focus on understanding and releasing the accumulation of habitual tensions in the body, moving into developing spine and rib flexibility and discovery of the physically and emotionally centred impulse for breath and support for sound.
Exploratory Voice: Aims to develop the students' experience of their own voice through exploring the inter-relationship between impulse, voice and emotion beyond the limitations of linguistic expression, and by exploring the resonant potential of the voice and the connections between resonance, emotional expression and vocal characterisation. In term two resonant articulation and resonant placement are key areas of development. Students begin to apply Laban to voice work to further stretch the voice beyond the confines of the habitual, and to explore and develop the musicality of expressive language, through pitch range, resonant balance, pace, volume, rhythm and cadence.
Text Work: Shakespearean speeches and sonnets are studied, exploring the writers' use of expressive language, sounds and rhythms in text and developing the student's ability to connect to that language and make it their own. Practical voice work is applied to these texts, developing the students' ability to express passion through the use of released and energised body and voice. Students explore the connections between breath and thought, rhythm and emotion, word energy and articulation and relate these elements to character. In the second term students continue to explore and develop the energy of the breath, articulation and thoughts, the flexibility of resonance and range, and the sheer intellectual and emotional power of linguistic expression through work on the texts of George Bernard Shaw and Oscar Wilde.
The aims of voice work throughout the year are divided into the following four main areas:
Voices and Choices: This element looks at the nature of accents and dialects with specific work on articulation and an examination and development of the equipment at work. Phonetics are introduced in the context of a practical environment alongside Received Pronunciation as both a "neutral" and character-based accent and as the beginnings of dialect exploration. In term two Received Pronunciation receives greater focus in connection with character and text work. Support is given to dialect work required in the Advanced Research Project.
Physical Voice: Aims to explore the relationship between posture, breath and voice with a practical focus on understanding and releasing the accumulation of habitual tensions in the body, moving into developing spine and rib flexibility and discovery of the physically and emotionally centred impulse for breath and support for sound.
Exploratory Voice: Aims to develop the students' experience of their own voice through exploring the inter-relationship between impulse, voice and emotion beyond the limitations of linguistic expression, and by exploring the resonant potential of the voice and the connections between resonance, emotional expression and vocal characterisation. In term two resonant articulation and resonant placement are key areas of development. Students begin to apply Laban to voice work to further stretch the voice beyond the confines of the habitual, and to explore and develop the musicality of expressive language, through pitch range, resonant balance, pace, volume, rhythm and cadence.
Text Work: Shakespearean speeches and sonnets are studied, exploring the writers' use of expressive language, sounds and rhythms in text and developing the student's ability to connect to that language and make it their own. Practical voice work is applied to these texts, developing the students' ability to express passion through the use of released and energised body and voice. Students explore the connections between breath and thought, rhythm and emotion, word energy and articulation and relate these elements to character. In the second term students continue to explore and develop the energy of the breath, articulation and thoughts, the flexibility of resonance and range, and the sheer intellectual and emotional power of linguistic expression through work on the texts of George Bernard Shaw and Oscar Wilde.
The first term of this compulsory movement module for MA/Postgraduate Diploma in Acting students focuses on the investigation and exploration of the body in space and self as a starting point for characterisation. The term is about opening up physically and emotionally, finding a centred, dynamically aligned and energised body, identifying and inhibiting muscular tensions and poor postural patterns. Various movement theories and techniques are introduced with the aim that the students expand their movement vocabulary in relation to self, then in relation to character.
The second term of the Movement course is about deepening movement vocabulary and potential and expanding individual range of physical choices for characterisation in a variety of theatrical styles. Various techniques are learned including animal study.
By the third term, the Movement course increasingly focuses on the practice of applying the movement techniques learnt in the studio towards performance situations and production challenges. Preparation for the profession and the investigation and exploration of artistic creativity and independence is also encouraged.
Term One
You will understand the structure of a centered, balanced, energised body and be encouraged to create a positive mind/body connection and body confidence. You will learn to identify and develop physical presence of self in the space through a variety of physical warm-ups and explorations. As the term progresses you will develop rhythm, co-ordination, strength, suppleness and a very basic dance/step vocabulary. You will learn to respond honestly to impulses, executing simple, uninhibited physical action and begin to explore thse impulses as a tool for improvisation. You will be introduced to a range of movement techniques and terminology.
Term Two
You will learn how to move economically and expressively with energised, balanced and aligned movement patterns. You will learn to use acquired movement vocabulary (e.g. Laban) to extend the physical and emotional range of the self in improvisation work and performance and to expand movement vocabulary in relation to character choices and discoveries. Animal study will play a key role in character creation techniques this term.
Term Three
In this final term you will learn to select and practise personal warm-up exercises in order to avoid personal injury and to facilitate the fullest use of physical skills in performance. You will acquire the ability to use a dynamically aligned and energised body as a starting point for a character and apply movement characterisation principles to production challenges. In this intensive postgraduate training you will be expected to move rapidly towards taking big physical risks with a bold selection of physical actions as required by the style of theatre performance. By the end of the module you will be able to communicate physically in performance with confidence and assurance. You will have an understanding of your own dominant movement characteristics and those that present problems for the expression of self and problems of proficiency for the stage and you will have developed strategies to address with these shortcomings.
The second term of the Movement course is about deepening movement vocabulary and potential and expanding individual range of physical choices for characterisation in a variety of theatrical styles. Various techniques are learned including animal study.
By the third term, the Movement course increasingly focuses on the practice of applying the movement techniques learnt in the studio towards performance situations and production challenges. Preparation for the profession and the investigation and exploration of artistic creativity and independence is also encouraged.
Term One
You will understand the structure of a centered, balanced, energised body and be encouraged to create a positive mind/body connection and body confidence. You will learn to identify and develop physical presence of self in the space through a variety of physical warm-ups and explorations. As the term progresses you will develop rhythm, co-ordination, strength, suppleness and a very basic dance/step vocabulary. You will learn to respond honestly to impulses, executing simple, uninhibited physical action and begin to explore thse impulses as a tool for improvisation. You will be introduced to a range of movement techniques and terminology.
Term Two
You will learn how to move economically and expressively with energised, balanced and aligned movement patterns. You will learn to use acquired movement vocabulary (e.g. Laban) to extend the physical and emotional range of the self in improvisation work and performance and to expand movement vocabulary in relation to character choices and discoveries. Animal study will play a key role in character creation techniques this term.
Term Three
In this final term you will learn to select and practise personal warm-up exercises in order to avoid personal injury and to facilitate the fullest use of physical skills in performance. You will acquire the ability to use a dynamically aligned and energised body as a starting point for a character and apply movement characterisation principles to production challenges. In this intensive postgraduate training you will be expected to move rapidly towards taking big physical risks with a bold selection of physical actions as required by the style of theatre performance. By the end of the module you will be able to communicate physically in performance with confidence and assurance. You will have an understanding of your own dominant movement characteristics and those that present problems for the expression of self and problems of proficiency for the stage and you will have developed strategies to address with these shortcomings.
This compulsory MA/Postgraduate Diploma in Acting module begins with a brief introduction to various theories of character creation. The focus is on contemporary theatre practice within a historical context. Students will examine a range of theories developed by contemporary theatre practitioners. The work of the module is designed to reinforce the importance of research and to establish effective research techniques appropriate for practice-led actor training at postgraduate level.
Term One
The work of this term establishes and reinforces the importance of research at postgraduate level. You will work on establishing appropriate research techniques involving source and secondary material through a practical exercise inspired by an actual text, and group tutorials every second week. You will use research to examine the history of performance and will be given opportunities to experience reading and critically analysing plays, key theatre texts, and the structure of argument. You will gain an understanding of a range of the theories of key 20th Century practitioners.
Term Two
In the second term Contextual Studies will concentrate on contemporary theatre. You will continue exploring contemporary theatre theories and practices after Stanislavski. You will also be encouraged to reflect on your course experiences and training thus far, and to prepare yourself for the professional and cultural challenges before you in the "real" world. You will be encouraged to read about and to discuss new ideas and will be guided towards discussing and writing about your personal view of the issues and practices you may wish to pursue in your professional career. On a more formal abstract and academic level, you will be guided towards writing effectively and critical analysis of and about your ideas through a process supported by research using books, periodicals, interviews and other relevant source material.
In Week Two of the second term you will submit a 3,000 word essay on a topic set by the tutor that is intended to reflect your understanding of some aspect of the theoretical and practical work explored.
Term Three
All students will present a Personal Development Portfolio to accompany their final performance project (EA403). This is a critical and analytical reflection on the process of research and rehearsal leading to the final performance, supported by relevant background documentation where appropriate.
Term One
The work of this term establishes and reinforces the importance of research at postgraduate level. You will work on establishing appropriate research techniques involving source and secondary material through a practical exercise inspired by an actual text, and group tutorials every second week. You will use research to examine the history of performance and will be given opportunities to experience reading and critically analysing plays, key theatre texts, and the structure of argument. You will gain an understanding of a range of the theories of key 20th Century practitioners.
Term Two
In the second term Contextual Studies will concentrate on contemporary theatre. You will continue exploring contemporary theatre theories and practices after Stanislavski. You will also be encouraged to reflect on your course experiences and training thus far, and to prepare yourself for the professional and cultural challenges before you in the "real" world. You will be encouraged to read about and to discuss new ideas and will be guided towards discussing and writing about your personal view of the issues and practices you may wish to pursue in your professional career. On a more formal abstract and academic level, you will be guided towards writing effectively and critical analysis of and about your ideas through a process supported by research using books, periodicals, interviews and other relevant source material.
In Week Two of the second term you will submit a 3,000 word essay on a topic set by the tutor that is intended to reflect your understanding of some aspect of the theoretical and practical work explored.
Term Three
All students will present a Personal Development Portfolio to accompany their final performance project (EA403). This is a critical and analytical reflection on the process of research and rehearsal leading to the final performance, supported by relevant background documentation where appropriate.
Our MA Acting is accredited by the National Council for Drama Training and should interest you if you wish to become a professional actor. You may already have a degree, or you may have established yourself in other professions and now seek to change towards that of a professional actor. If you are a professional actor and want to understand more about your technique, extend your range and gain academic recognition, then our MA Acting would also help.
We conclude this course with a showcase held in a major West End venue, to which we invite agents, casting directors, film, television and theatre directors and other industry professionals. On graduation, you are qualified as an actor and have an understanding of how to create your own work, including how to form companies and gain funding.