|| DR22620 |
|| STUDIES IN PRACTICAL ACTING: THE ACTOR AND THE TEXT |
|| 2007/2008 |
|| Mrs Joan G Mills |
|| Semester 2 |
|| Mr Richard A D Cheshire, Mrs Joan G Mills |
| Course delivery
|| Practical || 10 x 3 hour weekly practical classes; plus 10 contact hours to be scheduled during Semester 2
|Assessment Type||Assessment Length/Details||Proportion|
|Semester Exam|| Duologue ||30%|
|Semester Exam|| Monologue ||30%|
|Semester Exam|| Directors' Project ||15%|
|Semester Assessment|| Classwork ||25%|
|Supplementary Assessment|| Each supplementary examination and assessment where necessary will need to be arranged and timetabled individually with staff and other students involved. ||100%|
Learning outcomesOn successful completion of this module students should be able to:
- Understand the key principles of a number of acting and rehearsal methodologies, in addition to those applied to psychological realism;
- Employ a range of conceptual and rehearsal procedures and modes of exposition appropriate to the presentation of different theatrical styles and genres;
- Explore and present a text within the time scale whilst paying attention to body and voice integration;
- Demonstrate evidence of vocal capacity and ease which avoids generalisation and emotional overlay;
- Demonstrate their ability to work with others, responding to the given circumstances and demands of the text;
- Make individual and shared artistic choices and decisions which are appropriate to the chosen text;
Students who take this module must have demonstrated aptitude during their study on the prerequisite DR21510 and will normally have achieved at least 55% in the practical assignment for the pre-requisite module.
This module develops students' understanding of the use of voice and movement as modes of theatrical exposition. It also develops and extends the concepts of psychological realism experienced by students on DR21510: The Theory and Practice of Acting 1, by assessing a range of alternative acting and rehearsal methodologies. This module requires students to engage with different theatrical modes and apply key principles of practice to classical and contemporary texts.
This module is taught through a series of weekly three-hour workshops (with Joan Mills) and ten additional hours to be scheduled at the beginning of the semester (with Richard Cheshire). During these sessions, students will be asked to investigate and experiment in a variety of theatrical styles. Students will work on interpreting texts from a range of periods and styles which may include Greek, Elizabethan, Jacobean, Restoration, 19th Century English as well as contemporary texts. During the course of these workshops students will also be introduced to more advanced principles of vocal expression and understanding of the workings of vocal mechanism.
Sessions with Joan Mills will include:
The voice: Safety; Understanding the vocal mechanism; pitch, range, timbre, resonance, volume, expression.
The body: posture, balance, appropriate tension, release, support.
Co-ordination and flexibility.
The connection of breath to emotional impulse and language.
Presence: physical action; image; being; the sub-text; tempo rhythm.
Spontaneity: response, listening, working with others.
Analysing the action, thought-to-thought analysis of the text
Making the text one's own, avoidance of cliche, avoidance of generalisation, being in the moment.
Sessions with Richard Cheshire will include:
Performing Shakespeare, understanding the verse, form, structure, the iambic pentameter, monosyllables,
Marrying the two traditions of Elizabethan and `modern' acting: the work of John Barton, Cicely Berry and Peter Hall;
working on Shakespeare's prose
Working on duologues: unlocking the text, releasing the given circumstances, the actor's future
Sessions on Directed Project:
For part of the assessment, students will work as part of a team interpreting an extract chosen by one of their peers who will act as a director for this piece. The director will be studying DR22910: Principles of Directing Dramatic Texts and will work within the guidance and framework of the assessment piece for this module using these students as actors.
Intensive Examination Period:
The site-specific examinations for this module are held at the University's Conference Centre at Gregynog. Students are expected to pay for the costs of accommodation and food for the four day period. The Department will inform students of these costs at the beginning of the Academic Session.
|| Creative problem solving, outcome recognition, and the identification of the appropriate strategies and procedures and encouraged and assessed throughout the module. |
|| 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. |
|| 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. |
|| Group working is addressed and exercised throughout the module. Practical classes demand the application of skills necessary to conduct successful collaborative activity. |
|| Information handling is not formally assessed, but is encouraged through the conduct of research. |
|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.
** General Text
Barba, Eugenio (most up to date) The Paper Canoe
Barba, Eugenio (1991) The Secret Art of the Performer
Barton, John Playing Shakespeare
Berry, Cicely. (2001.) Text in action /Cicely Berry ; foreword by Adrian Noble.
Boal, Augusto (1992) Games for Actors and Non Actors
Caldarone, Marina (May 2004) Actions:The Actor's Thesaurus
Nick Hern Books, Limited 1854596748TRADEPAPER
Callow, Simon (1991) Acting in Restoration Comedy
Applause Thetre Books
De Mallet, Burgess, Thomas and Skillbeck, Nicholas (2000) The Singing and Acting Handbook
Eddershaw, Margaret (1996) Performing Brecht: 40 Years of British Performances
GELB, MICHAEL . J BODY LEARNING
Hagen, Uta (1991) A Challenge for the Actor
Hall, Peter (2003) Shakespeare's Advice to the Players
Hampton, Marion/ Acker, Barbara (1997) The Vocal Vision
Hodge, Alison (1999) Twentieth Century Actor Training
Huxley, Michael & Witts, Noel (eds) (1996) The Twentieth Century Performance Reader
Linklater, Kristin (1992) Freeing Shakespeare's Voice
Theatre Communications Group
Linklater, Kristin (2006) Freeing the Natural Voice
Nick Hern Books
Merlin, Bella (2007) The Complete Stanislavsky Toolkit
Nick Hern Books
Newell (ed) (2003) Shakespeare for One
Park, Glen (2005) The Art of Changing
Rodenberg, Patsy (1998) The Actor Speaks: The Voice and the Performer
Spolin, Viola Improvisation for the Theatre
Stafford Clark, Max Letters to George
Nick Hern Books
Zarrilli, Phillip (1995) Acting (Re) Considered
This module is at CQFW Level 5