Module Identifier DR23610  
Module Title THE THEORY AND PRACTICE OF ACTING 3  
Academic Year 2006/2007  
Co-ordinator Mrs Joan G Mills  
Semester Semester 2  
Other staff Mr David J Blumfield  
Course delivery Practical   10 x 2 hour Practical sessions and 1 x 30 minute feedback session per group  
Assessment
Assessment TypeAssessment Length/DetailsProportion
Semester Assessment Application and development of techniques during classwork10%
Semester Assessment Group Examination (20 minutes)50%
Semester Assessment Group Oral Examination (20 minutes)40%
Supplementary Assessment Application and development of techniques during classwork10%
Supplementary Assessment Group Examination (20 minutes)50%
Supplementary Assessment Group Oral Examination (20 minutes) 

Learning outcomes

On completion of this module, students should be able to.
1. Understand the key principles of a number of acting and rehearsal methodologies which are distinct to those applied to psychological realism;
2. Employ a range of conceptual and rehearsal procedures and modes of exposition appropriate to the presentation of different theatrical styles and genres;
3. Apply the techniques and rehearsals methodologies encountered to an approved extract of theatre text;
4. Work conscientiously and responsibly with a partner on the approved extract within the timescale and guidelines for the project;
5. Reflect upon and discuss the theatrical procedures of training and rehearsal, encountered in the module.

1. Understand the key principles of a number of acting and rehearsal methodologies which are distinct to those applied to psychological realism;
2. Employ a range of conceptual and rehearsal procedures and modes of exposition appropriate to the presentation of different theatrical styles and genres;
3. Apply the techniques and rehearsals methodologies encountered to an approved extract of theatre text;
4. Work conscientiously and responsibly with a partner on the approved extract within the timescale and guidelines for the project;
5. Reflect upon and discuss the theatrical procedures of training and rehearsal, encountered in the module.

Brief description

NB: Students taking this module must normally have attained 55% in the pre-requisite module DR21510 Introduction to the Theory and Practice of Acting 1.

In the weekly workshops for this module, students will be introduced to alternative acting exercises, which are commonly used in the creation of characters from the creation of classical texts from plays written before 1850. They will examine the approaches of Max Stafford Clark, Deborah Warner, Peter Hall to classical texts and experience exercises and rehearsal techniques advocated by key 20th Century practitioners including Grotowski, Artaud, Brecht and Barba. Students will be allocated to small groups to work independently on extracts from approved plays in which they will apply the principles and methodologies experienced to their own rehearsal work. They will then present their extracts under examination conditions to three Departmental examiners and reflect upon and analyse their experiences in an oral examination.

Aims

This module is specifically designed for Joint Honours students and will provide an opportunity for them to further their experience of the theory and practice of acting during the second semester of their second year. The module intends to develop and extend the work of DR21510 in which students are required to understand and experience the key principles involved in creating a stage character within the broad conventions of psychological realism. In the proposed module, students will be introduced to a range of alternative acting and rehearsal methodologies which are distinct to those applied to psychological realism. They will be required to demonstrate a conceptual and practical understanding of the potential challenges of working in different theatrical styles in particular working on the development of characters from Shakespearean dramas. During the final workshops for the module, students will then appraise and assess the efficacy and usefulness of the various approaches experienced in both modules when creating a stage character from a classical text.

Content

Students will work with an experienced practitioner in a series of practical workshops designed to investigate and experiment with a variety of theatrical styles and experience a variety of approaches and techniques leading to the creation of characters in the rehearsal environment advocated by key 20th century practitioners and established contemporary theatre directors. Students will be allocated to small groups to apply these principles outside of the workshops and will be expected to plan and organise their own rehearsals for their practical examinations. The workshops will focus on the following:
Sessions 1 and 2: Performing in verse: the structure and rhythms of the language; understanding Shakespeare's iambic pentameter and the hidden clues in the text for the performer. The influence of Peter Hall on contemporary productions of Shakespeare.
Sessions 3 and 4: `Actioning the text': working on seventeenth century Restoration theatre play texts; archetypes and stereotypes; etiquette and manners. The conventions of performing in 17th century English playhouses. The influence of Max Stafford Clark on contemporary productions of restoration comedy.

Sessions 5, 6 and 7: Working somatically - the text is not the starting point! The influence of 20th century practitioners on character creation. Grotowski, Barba and Artaud.
Session 8: Analysing the text through improvisation and rehearsal techniques advocated by Deborah Warner, Katie Mitchell and Peter Brooke.
Session 9: How might a contemporary actor approach Brecht?
Session 10: Marrying the two traditions of contemporary and classical acting.

Module Skills

Problem_solving Creative problem solving, outcome recognition, and the identification of the appropriate strategies and procedures and encouraged and assessed throughout the module.  
Research skills A wide range of research skills are necessary e.g. researching writers' background, examining the style and context of the play, comparing rehearsal methodology. Whilst these skills directly inform the work of the students, they are not directly assessed as part of this module.  
Communication The individual student's ability to articulate and communicate their ideas and opinions is developed throughout the module. This area of development is encouraged and assessed within all aspects of the processes and presentations involved.  
Improving own Learning and Performance Self assessment and appraisal are intrinsic to the practical and theoretical study of the craft of study. This module places emphasis on students' progression, development and achievement and students are given continuous feedback during classwork and opportunities to reflect on their progress.  
Team work Group working is addressed and exercised throughout the module. Practical classes demand the application of skills necessary to conduct successful collaborative activity.  
Information Technology Information handling is not formally assessed, but is encouraged through the conduct of research.  
Application of Number Neither developed nor assessed.  
Personal Development and Career planning The module encourages the initial development of skills directly applicable to careers within the theatre/performance industries. A large number of students elect to further their acting training at postgraduate level.  
Subject Specific Skills A theoretical and practical understanding of the craft of acting is at the core of the Department's Drama provision.  

Reading Lists

Books
** General Text
Artaud, Antonin (1970.) The theatre and its double : essays /by Antonin Artaud ; translated by Victor Corti. Calder 0714542342PBK
Barba, Eugenio (1995 (various p) The Paper canoe :a guide to theatre anthropology /Eugenio Barba ; translated by Richard Fowler. Routledge 0415100836
** Essential Reading
Calderone, M/ Lloyd-Williams, M (2004) Actions: The Actor's Thesuarus Nick Hern Books
Linklater, Kristin Freeing Shakespeare's Voice
Merlin, Bella (2007) The Complete Stanislavsky Toolkit Nick Hern Books
** Recommended Text
Barton, J (1984) Playing Shakespeare Methuen, London 0413547906
Berry, C (2002) Text in Action Virgin
Berry, C The Actor and the Text
Brook, P (1968) The Empty Space Pelican 0684829576
Giannachi, G and Luckhurst, M (1999) On Directing Faber and Faber 0571191495
Grotowski, J (1975) Towards a Poor Theatre Methuen 0416146406
Hall, P (1975) Shakespeare's Advice to the Players Oberon Books
Hodge, A (20000) Twentieth Century Actor Training Routledge 0415194520
Linklater, Kristin (2006) Freeing the Natural Voice: revised and expanded Nick Hern books
Mamet, D (1997) True and False: Heresy and Common Sense for the Actor Faber and Faber 0679442499
Manfull, H (1999) Taking Stage: Women Directors on Directing Methuen
Shomit, M (1992) Systems of Rehearsal Routledge
Stafford Clark, M (1989) Letters to George Nick Hern
Wertenbaker, Timberlake Our Country's Good
Willett, J (1964) Brecht on Theatre Methuen
** Supplementary Text
Park, Glen (2005) The Art of Changing Ashgrove
** Recommended Background
Brook, Peter (1993) There Are No Secrets Methuen

Notes

This module is at CQFW Level 5