UNIT TITLE Acting Skills 2 Unit Code FACP5001 FACT5001 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version Course(s) to which this unit contributes BA (Hons) Acting & Performance BA (Hons) Acting CONTENT This unit covers: Movement Studies; Applied Voice Skills and Self Tapes and Creative Writing. Developing further the practical approach to acting and performance skills introduced in year 1, you will advance your creative and technical skills and focus on remote as well as live performer/audience relationships. Outline Syllabus: Movement Studies: The work on developing your vocal and physical skills to express intentions will intensify. Movement studies will continue to emphasise the importance of alignment, relaxation and physical choices. A physical and vocal devised piece will develop these skills in more depth and demand a higher level of clarity and energy control. Movement appropriate to each of the other units will be introduced so you are familiar with the demands of working with a movement director. This might be social dances for American Classics, for instance. Vlogs will record your learning journey and be edited together for assessment. Applied Voice Skills and Self tapes: Provides practical experience of recorded voice techniques for voice-over and commercials, animation and computer games using sound booths and recording studios. You will gain practical experience of ‘ADR’ – Additional Dialogue Replacement - as used in post- production sound for film and television, including an introduction to basic foley (live sound effect) techniques. You will have the opportunity to undertake ensemble singing. You will be introduced to self- taping techniques for audition at this stage too. Script Writing: This part of the unit introduces you to a range of creative writing skills and, in particular, the highly visual medium of writing for film and television. You will view and compare the work of some of the industry’s most accomplished contemporary screen writers. You will learn how to present and format a script to industry standards and explore the most effective ways of releasing information and realising your own story in an effective manner. You will undertake a series of wring exercises that culminate in the production of your own one-page story outline and the first six to ten pages of your script for a short film or screen play.
Transcript
UNIT TITLE Acting Skills 2 Unit Code FACP5001 FACT5001 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT This unit covers: Movement Studies; Applied Voice Skills and Self Tapes and Creative Writing. Developing further the practical approach to acting and performance skills introduced in year 1, you will advance your creative and technical skills and focus on remote as well as live performer/audience relationships. Outline Syllabus: Movement Studies: The work on developing your vocal and physical skills to express intentions will intensify. Movement studies will continue to emphasise the importance of alignment, relaxation and physical choices. A physical and vocal devised piece will develop these skills in more depth and demand a higher level of clarity and energy control. Movement appropriate to each of the other units will be introduced so you are familiar with the demands of working with a movement director. This might be social dances for American Classics, for instance. Vlogs will record your learning journey and be edited together for assessment. Applied Voice Skills and Self tapes: Provides practical experience of recorded voice techniques for voice-over and commercials, animation and computer games using sound booths and recording studios. You will gain practical experience of ‘ADR’ – Additional Dialogue Replacement - as used in post-production sound for film and television, including an introduction to basic foley (live sound effect) techniques. You will have the opportunity to undertake ensemble singing. You will be introduced to self-taping techniques for audition at this stage too. Script Writing: This part of the unit introduces you to a range of creative writing skills and, in particular, the highly visual medium of writing for film and television. You will view and compare the work of some of the industry’s most accomplished contemporary screen writers. You will learn how to present and format a script to industry standards and explore the most effective ways of releasing information and realising your own story in an effective manner. You will undertake a series of wring exercises that culminate in the production of your own one-page story outline and the first six to ten pages of your script for a short film or screen play.
AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility, including singing A2 Explore character and narrative development through creative writing A3 Introduce you to voice recording techniques and microphone skills. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Experiment with performance skills and demonstrate skills to an advanced level LO2 Create a script using creative writing skills and techniques LO3 Execute a range of vocal techniques for the microphone confidently INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity1 162 No. of hours of independent activity 238 No. of hours of placement activity 0 This will comprise:
double click in the box to see options. The options equate to the assessment types in table A2
Word Count Approx word count where applicable
1 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Understanding through: Creating original work (both scripted and live)
LO2, LO4
Application of technical and professional skills and working standards: Writing skills for script Vocal skills for the microphone Advanced independent and group working Advanced performance skills
LO2, LO3
READING LISTS2 Essential http://www.bbc.co.uk/writersroom/ Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama. Davis, Rib (2016) Writing Dialogue for Scripts (Writing Handbooks). London: Bloomsbury Academic. Field Syd (2005) Screenplay – The Foundations of Screen Writing – A Step by Step Guide Dell Publishing Company Griffiths, Karol (2017) The Art of Script Editing – A Practical Guide. Kamera Books Harris, Charles (2014) Complete Screenwriting Course: A complete guide to writing, developing and marketing a script for TV or film (Teach Yourself: Writing). London: Teach Yourself. Recommended Baker, Peter (2nd ed) (2010) How to Present for Radio, TV and Business. UK: Presenter Skills UK. Brophy, Chris (2014) You Can Be a Radio and TV Presenter. Morrisville, NC: lulu.com. Burr, John (2016) The Voice Over Actor's Handbook: How to Analyze, Interpret, and Deliver Scripts. Luxembourg: CreateSpace Independent Publishing Platform. Churcher, Gary and Bridge, Paul (2010) The Voiceover Handbook: Practical Advice for Aspiring and Established Voiceover Artists. Plymouth: Voiceovers Ltd Publishing. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Davies, Graham (2010) The Presentation Coach - Bare Knuckle Brilliance For Every Presenter. Mankato, MN: Capstone. Kellian (2017) How to Start a Voiceover Career: (When you have no time or money). Luxembourg: CreateSpace Independent Publishing Platform.
2 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Kemble, Stephen and Hodge, David (2014) The Voiceover Book: Don't Eat Toast. London: Oberon Books. Myers, John (Forward) (2013) Walking On Air: How to be a radio presenter: Volume 1 (Media Success). Luxembourg: CreateSpace Independent Publishing Platform. Orti, Pilar (2017) Hi, I'm Here for a Recording. The ordinary life of a voiceover artist. London: Virtual not Distant. Roers, Natalie (2017) How to Become a Voice Over Artist: Make a Living from Home with Your Voice! Luxembourg: CreateSpace Independent Publishing Platform. Wright, Jean Ann and Lallo, M.J. (2009) Voice-Over for Animation (Morgan Kaufmann Series in Interactive 3d Technology). Waltham, MA: Focal Press. Writing for TV Miller Kam (2016) The Hero Succeeds: The Character-Driven Guide to Writing Your TV Pilot. N/A: High & Low Media Smethurst, William (2016) How To Write For Television 7th Edition: A guide to writing and selling TV and radio scripts. London: Robinson. Wetton, Steve (Author), Lawler, Dr. Graham (Editor) (2010) Writing TV Scripts: Successful Writing in Ten Weeks. Aberystwyth: Aber Publishing. Yorke, John (2014) Into The Woods: How Stories Work and Why We Tell Them. London: Penguin. Technical Tutorials: www.linkedin.com/learning E-Stream
UNIT TITLE Violence and Revenge Unit Code FACP5008 FACT5002 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT Violence and Revenge: In this Unit you will look at the influence of two historical theatrical writers and their relationship to contemporary cinema and performance. Outline Syllabus: You will explore Elizabethian and Jacobean drama and its cinema counterpoint, by using the idea of ‘exploding’ a classic text and interrogating it through resonances in present day culture and drama. For example, by setting the work of Thomas Middleton alongside the work of the American ‘contemporary noir’ directors, you will explore the dramatic use of violence and revenge in Jacobean Drama and contemporary cinema. Through practice in rehearsal you will be given a practical introduction to the work of William Shakespeare and some of his near contemporaries such as Thomas Middleton, John Webster and Christopher Marlowe and through them, Elizabethan and Jacobean Drama. You will work on scenes from Shakespeare/ Middleton in which characters are driven to extremes. Throughout the rehearsal process, you will be helped to understand and use the language, imagery, verse structure and forms of direct address to the audience that characterise drama from this period. Working on this material makes extreme vocal, physical and mental demands on the actor, and will require a step up in your practice. In addition, you will further develop your methods of inquiry (rehearsal and script preparation and dramaturgical skills) and experiment with playing to camera as well as to a live audience in pursuit of ways to help you bring the text to life. AIMS The aims of this unit are to: A1 Explore the use of complex language structures for performance A2 Examine Elizabethan and Jacobean drama and contemporary film in relation to cultural debate
and active citizenship. A3 Enhance understanding of rehearsal etiquette and collaboration LEARNING OUTCOMES On satisfactory completion of the unit you will be able to:
LO1 Demonstrate the ability to deliver classical text in performance with confidence LO2 Analyse the use of the themes of violence and revenge in contemporary cinema and
Elizabethan/ Jacobean theatre LO3 Participate in rehearsals in a professional and collaborative manner INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity3 96 No. of hours of independent activity 104 No. of hours of placement activity 0 This will comprise:
• Lectures • Seminars • Workshops/rehearsals • Guided Independent Study • Tutorials and feed-back sessions
30% Essay Written Assignment 1,500 -2,000 words or equivalent
3 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Table A2 – Categories for Assessment
Assessment Type % of assessment Category
Written exam Written
Set exercise (under exam conditions but not testing practical skills)
Written
Written assignment, including essay 30% Coursework
Report Coursework
Dissertation Coursework
Portfolio Coursework
Project output (other than dissertation) 70% Coursework
Set exercise (not under exam conditions, e.g. critiques)
Coursework
Oral assessment and presentation Practical
Practical skills assessment (including production of an artefact)
Practical
Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data
Assessment Category Total % for Unit Written Coursework 100% Practical
Table A4 – Assessment Criteria
CRITERION There should be at least one criteria against each learning outcome for the unit
MAPS TO LEARNING OUTCOME
Knowledge of: The themes of violence and revenge in Elizabethan and Jacobean theatre and contemporary cinema
LO2
Understanding through: Research into cultural debate and active citizenship
Academic argument and research
LO2 and 3
Application of technical and professional skills through: Performance of classical text Rehearsal and preparation for performance
LO1
READING LISTS4 Essential Block, Giles (2013) Speaking the Speech. London: Nick Hern Books Ford Davies, Oliver (2007) Performing Shakespeare: Preparation, Rehearsal, Performance. London: Nick Hern Books. Hunter, Kelly (2015) Cracking Shakespeare: A Hands-on Guide for Actors and Directors + Video. London: Bloomsbury Methuen Drama Rodenburg, Patsy (2005) Speaking Shakespeare (Performance Books). London: Methuen Drama. Recommended Bate, Jonathan (2012) Shakespeare: Staging the World. London: British Museum Press. Berry, Cicely (2001) Text in Action: A Definitive Guide to Exploring Text in Rehearsal for Actors & Directors. London: Virgin Books. Crowl, Samuel (2014) Screen Adaptations: Shakespeare’s Hamlet. London: Bloomsbury Arden Shakespeare. Houseman, Barbara (2008) Tackling Text (and Subtext): A Step-by-Step Guide for Actors. London: Nick Hern Books. Jackson, Russell (2014) Shakespeare and the English-speaking Cinema (Oxford Shakespeare Topics). Oxford: Oxford University Press. McKenzie, William (2012) Shakespeare and I (Shakespeare Now!). London: Continuum Middleton, Thomas (2012) The Revenger’s Tragedy. Oxford: Oxford University Press. Middleton, Thomas (2009) Women Beware Women, and Other Plays. Oxford: Oxford University Press. Rokison, Abigail (2011) Shakespearean Verse Speaking: Text and Theatre Practice. Cambridge: Cambridge University Press Shakespeare, William (2010) Measure for Measure. London: Palgrave Macmillian. Shakespeare, William (2015) Titus Andronicus. New York: Dover Publications. Shakespeare, William (2008) Twelfth Night. London: Arden Shakespeare. Shakespeare, William (2006) The Taming of the Shrew. London: Penguin Classics.
4 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Taylor, Gary (2013) Thomas Middleton and Early Modern Textual Culture: A Companion to the Collected Works. Oxford: Oxford University Press. White, R.S. (2017) Avant-Garde Hamlet: Text, Stage, Screen. Vancouver, BC: Fairleigh Dickinson University Press. Films: Much Ado About Nothing (2012) Directed by Joss Whedon [DVD] Kaleidoscope Entertainment. The Disappearance of Alice Creed (2010) Directed by J.Blakeson [DVD] Icon Entertainment. Kill Bill: Volume 1 (2003) Directed by Quentin Tarantino [DVD] Buena Vista Home Entertainment. Kill Bill: Volume 2 (2004) Directed by Quentin Tarantino [DVD] Buena Vista Home Entertainment. The Revenger’s Tragedy (2002) Directed by Alex Cox [DVD] Tartan Entertainment. The Tempest (2010) Directed by Julie Taymor [DVD] Walt Disney Studios Home Entertainment. Stage Beauty (2004) Directed by Richard Eyre [DVD] Momentum Pictures. Trainspotting (2009) Directed by Danny Boyle [DVD] 4DVD. Shallow Grave (1995) Directed by Danny Boyle [DVD] 4DVD. Seven Samurai (1954) Directed by Akira Kurosawa [DVD] BFI. Throne of Blood (1957) Directed by Akira Kurosawa [DVD] BFI. The Hidden Fortress (1958) Directed by Akira Kurosawa [DVD] BFI. Yojimbo (1961) Directed by Akira Kurosawa [DVD] BFI. Sanjuro (1962) Directed by Akira Kurosawa [DVD] BFI.
UNIT TITLE Social Realism Unit Code FACP5009 FACT5003 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT This unit, Social Realism, explores the historical development of social realism and its relationship to filmed drama and how as an actor you prepare and work for the screen. You will debate the relationship of Social Realism to politics and how the Social Realist “style” affects your work as an actor on screen. The unit looks at different ways in which practitioners (film-makers, writers, directors) use real-life stories, events and people to make drama. Outline Syllabus The focus will be on ground-breaking work by film directors such as: Andrea Arnold, Clio Barnard, Ken Loach, Pawel Pawlikowski, Abderrahmane Sissako and theatre directors such as: Alecky Blythe, Andrea Dunbar, Moises Kaufman. You will examine recurring themes in Social Realism such as the influence of place (the physical geography and the social structure), the use of non-actors, the presence of children, verbatim (use of recorded voices both in text and performance), the influence of the documentary style. Deepening your understanding of screen acting and revisiting the ideas you engaged with in Stage, Screen Connections in your first year, this unit takes you through a series of practical exercises based on the demands of working for camera. You will investigate: hitting marks, continuity, working with sound, call sheets and on-set protocol. You will be given the opportunity to adapt the methods of performance preparation you have already studied to the demands of the Social Realist style. AIMS The aims of this unit are: A1 Develop rehearsal protocols to a higher level A2 Investigate Social Realism as a genre, its practitioners and their work A3 Develop your skills as a screen actor LEARNING OUTCOMES
On satisfactory completion of the unit you will be able to: LO1 Apply confident rehearsal techniques for screen acting LO2 Research and critically examine the development of Social Realism and its key practitioners LO3 Develop the skills needed for screen acting INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity5 96 No. of hours of independent activity 104 No. of hours of placement activity 0 This will comprise:
• Rehearsals • Lectures • Guided Independent Study • Tutorials • Field trips
double click in the box to see options. The options equate to the assessment types in table A2
Word Count Approx word count where applicable
Written Assignment 40% Essay Written Assignment 2,000- 2,500 words or equivalent
Project Output 60% Filmed dramas
Project Output 15 mins
Table A2 – Categories for Assessment
Assessment Type % of assessment Category
5 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Written exam Written
Set exercise (under exam conditions but not testing practical skills)
Written
Written assignment, including essay 40% Coursework
Report Coursework
Dissertation Coursework
Portfolio Coursework
Project output (other than dissertation) 60% Coursework
Set exercise (not under exam conditions, e.g. critiques)
Coursework
Oral assessment and presentation Practical
Practical skills assessment (including production of an artefact)
Practical
Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data
Assessment Category Total % for Unit Written Coursework 100% Practical
Table A4 – Assessment Criteria
CRITERION There should be at least one criteria against each learning outcome for the unit
MAPS TO LEARNING OUTCOME
Knowledge of: The defining features of Social Realism The key practitioners of Social Realism Appropriate rehearsal and performance techniques for filmed drama
LO1, LO2
Understanding through: Research regarding the links between political/social events and relevant dramas The development of a filmed drama
LO1, LO2
Application of Technical and Professional skills: Use of acting and production skills to produce a filmed drama Appropriate forms for academic writing Appropriate rehearsal techniques and professional etiquette
LO1, LO2, LO3
READING LISTS6
6 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Essential Forrest, David (2013) Social realism : art, nationhood and politics Newcastle upon Tyne, Cambridge Scholars Pub. Hill, John (2011) Ken Loach: The Politics of Film and Television. London: Palgrave Macmillan. Lay, Samantha (2002) British Social Realism: From Documentary to Brit Grit. London: Wallflower Press. Sohn-Rethel, Martin (2015) Real to Reel: A New Approach to Understanding Realism in Film and TV Fiction Leighton Buzzard : Auteur. Recommended Baron, Cynthia and Carnicke, Sharon Marie (2008) Reframing Screen Performance University of Michigan Britten, Bill (2015) From stage to screen : a theatre actor's guide to working on camera London; New York: Bloomsbury Methuen Drama. Dunbar, Andrea (1980) The Arbor. Pluto Press Dunn, Nell (2013) Up the Junction. London: Little Brown Book Group.
Kaufman, Moises (2014) The Laramie Project. London: Bantam Books Lawson, Denis (2014). The Actor and The Camera. London: Nick Hern Books. Lay, Samantha (2002) British Social Realism: From Documentary to Brit Grit. London: Wallflower Press. Lovell, Alan, Krämer, Peter (1999) Screen acting. London ; New York : Routledge Tucker, David (2011) British social realism in the arts since 1940. Basingstoke, Hampshire : Palgrave Macmillan Wojcik, Pamela Robertson (2004) Movie Acting: The Film Reader Routledge Wood, Jason (2015) New British cinema from Submarine to 12 Years a Slave : the resurgence of British film-making. London : Faber & Faber BRITISH FILMS Listen to Britain (1942) Dir Humphrey Jennings. (DVD) London: Film First. O Dreamland (1953) Dir Lindsay Anderson. (DVD) London: BFI The Loneliness of a Long Distance Runner (1962) Dir Tony Richardson. (DVD) London: BFI Up the Junction (1965) Dir Ken Loach. (DVD) London: 2 Entertain Cathy Come Home (1966) Dir Ken Loach. (DVD) London: BFI Kes (1967) Dir Ken Loach. (DVD) London: BFI Abigail’s Party (1977) Dir Mike Leigh. (DVD) London: BBC Worldwide
Scum (1979) Dir Alan Clarke. (DVD) London: Tartan Films My Beautiful Laundrette (1985) Dir Stephen Frears. (DVD) London: Cinema Club Secrets and Lies (1996) Dir Mike Leigh. (DVD) London: Film4 Brassed Off (1996) Dir Mark Herman. (DVD) London: Video Collection International The Full Monty (1997) Dir Peter Cattaneo. (DVD) London: Channel 4 Films Last Resort (2000) Dir Pawel Pawlikowski. (DVD) London: Artificial Eye Bullet Boy (2004) Dir Saul Dibb (DVD) London: 2 Entertain Red Road (2006) Dir Andrea Arnold (DVD) London: Verve Pictures This is England (2007) Dir Shane Meadows (DVD) London: Optimum Home Entertainment Fish Tank (2009) Dir Andrea Arnold (DVD) London: Artificial Eye The Arbor (2010) Dir Clio Barnard (DVD) London: Verve Pictures The Selfish Giant (2013) Dir Clio Barnard (DVD) London: Artificial Eye I, Daniel Blake (2016) Dir Ken Loach (DVD) U.S.A.: 20th Century Fox Home Entertainment INTERNATIONAL FILMS La Haine (1995) Dir Matheiu Kassovitz (DVD) London: Optimum World Cidade De Deus – City of God (2002) Dir Fernando Meirelles (DVD) U.S.A. Buena Vista Home Entertainment. Gomorrah (2008) Dir Matteo Garrone (DVD) London: Optimum Home Entertainment Timbuktu (2014) Dir Abderrahmane Sissako (DVD) London: Artificial Eye Two Days, One Night (2014) Dir Jean-Pierre, Luc Dardennes (DVD) London: Artificial Eye HISTORICAL INFLUENCES The following are examples of Italian Neo-Realism, French New Wave and Czech New Wave, whose revolutionary styles heavily influenced Social Realism. The Bicycle Thieves (1948) Dir Vittorio di Sica (DVD) Shenley UK: Arrow Classics Germany Year Zero (1948) Dir Roberto Rosselini (DVD) London: BFI The 400 Blows – Les Quatres Cent Coups (1959) Dir Francois Truffaut (DVD) London: Cinema Club Breathless – A Bout de Souffle (1960) Dir Jean-Luc Goddard (DVD) London: Optimum Releasing Cleo from 5 to 7 (1962) Dir Agnes Varda (DVD) Paris: Cine-Tamaris The Fireman’s Ball (1967) Dir Milos Forman (DVD) Shenley UK: Arrow Classics Online www.ideastap.com/AleckyBlythe http://www.theguardian.com/film/2013/oct/12/clio-barnard-selfish-giant-interview 12th Oct 2013 (Clio Barnard: ‘Why I’m Drawn to Outsiders)
UNIT TITLE Making a Festival Unit Code FACP5010 FACT5004 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT This unit gives you the opportunity to devise and realise a large-scale group project. The skills of managing and hosting an event are new and the Unit develops the performer/audience relationship explored in the Improvisation Unit as well as employing a range of acting skills for live and recorded work. Making a Festival: This is a group project in which the entire cohort, working under the supervision of experienced practitioners, will instigate, provide content for and manage a two-day Festival on Campus. Some of the content will have been generated for other Units but will be given a new treatment for the festival. The festival could include cross artform performance pieces in which the audience/performer relationship is explored, for example through the combination of site specific, time-based and live and recorded elements. Tasks will include: identifying the focus of the festival; programming performances, screenings and events; identifying and managing venues/stages; ensuring compliance with health and safety regulations; marketing and publicity; and allocating production and administrative roles within the group. The group will also be required to devise, conduct and document an appropriate ‘post-mortem’ assessment of the event. The event should have a bias towards involving an on-line audience and you will use your digital skills to record and broadcast a live event, market your events via alternatives to paper-based material (e.g. on line). AIMS The aims of this unit are to: A1 Examine the roles involved in making a large project A2 Investigate performance in non-theatre-based spaces, including on-line A3 Develop, devise and stage and stream a performance festival
LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Devise a festival event using on-line resources and use a range of performance skills to embody
it LO2 Undertake non-performance roles and host the event LO3 Evaluate the event and your contribution to realising a large-scale project INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity7 60 No. of hours of independent activity 140 No. of hours of placement activity 0 This will comprise:
• Group Project supervision • Guided Study • Independent Group Performance work • Tutorials
double click in the box to see options. The options equate to the assessment types in table A2
Word Count Approx word count
where applicable
Project Output 70% Participation in the festival
Project Output 50-60 minutes
Written Assignment
30% Evaluative Project Report
Written Assignment 1,000-1,500 words
7 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Table A2 – Categories for Assessment
Assessment Type % of assessment Category
Written exam Written
Set exercise (under exam conditions but not testing practical skills)
Written
Written assignment, including essay 30% Coursework
Report Coursework
Dissertation Coursework
Portfolio Coursework
Project output (other than dissertation) 70% Coursework
Set exercise (not under exam conditions, e.g. critiques)
Coursework
Oral assessment and presentation Practical
Practical skills assessment (including production of an artefact)
Practical
Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data
Assessment Category Total % for Unit Written Coursework 100% Practical
Table A4 – Assessment Criteria
CRITERION There should be at least one criteria against each learning outcome for the unit
MAPS TO LEARNING OUTCOME
Knowledge of: Management & organisation of a live event Report writing Audience management and performer/audience relationships
LO2
Understanding through: Reflect on the success of the event Reflect on your contribution to an event
LO3
Application of technical and professional skills: Presentation of a live event Relevant non-performance skills
LO1
READING LISTS8
8 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Essential Reading lists will be determined by your research areas of interest and will be negotiated with your tutors Recommended Technical tutorials: www.linkedin.com/learning E-Stream
UNIT TITLE American Theatre Unit Code FACP5013 FACT5005 Location Farnham Level 5 Duration (number of weeks) 5 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT Using examples of scenes from the plays of American writers, you will explore the underlying themes, subtexts and metaphors that writers employ to create meaning and depth in their work and how as an actor you interpret and translate these intentions into a performance. Outline Syllabus: American Theatre introduces you to English Language Drama from an American perspective. You will investigate the influences of politics and social environment on the work of influential American theatre and film writers who have spoken out in defence of their beliefs. These could include: Arthur Miller, Tennessee Williams, Loraine Hansbury, Clifford Odets, August Wilson, Naomi Wallace, Tony Kushner. You will investigate the influence of contemporary culture on character, working on selected scenes from the plays of one or more American dramatists of the 20th and 21st Century. Your studies will include use of dialect and individual character research, and emphasis will be placed on developing and sustaining a character. AIMS The aims of this unit are: A1 Hone advanced theatre acting skills, character/background research and rehearsal preparation A2 Explore the socio-political background to the chosen texts A3 Examine the underlying themes of dramatic works and their use of subtext and metaphor LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Prepare and perform scenes from American dramatists using a range of acting skills LO2 Investigate & critically examine an aspect of American drama LO3 Understand and articulate literary devices such as metaphor and subtext
INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity9 96 No. of hours of independent activity 104 No. of hours of placement activity 0 This will comprise:
• Rehearsals • Lectures • Guided Independent Study • Tutorials • Field trips
Set exercise (under exam conditions but not testing practical skills)
Written
Written assignment, including essay Coursework
Report Coursework
Dissertation Coursework
Portfolio Coursework
Project output (other than dissertation) 100% Coursework
9 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Set exercise (not under exam conditions, e.g. critiques)
Coursework
Oral assessment and presentation Practical
Practical skills assessment (including production of an artefact)
Practical
Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data
Assessment Category Total % for Unit Written Coursework 100% Practical
Table A4 – Assessment Criteria
CRITERION There should be at least one criteria against each learning outcome for the unit
MAPS TO LEARNING OUTCOME
Knowledge of: Advanced research skills to inform character Historical and political influences in American drama
LO3, LO1, LO2
Understanding through: Research and preparation for performance Interpretation of texts for performance Critical analysis of American playwrights
LO1, LO2, LO3
Application of technical and professional skills: Preparation techniques for performance Advanced acting skills
LO1
READING LISTS10 Essential Bigsby, CWE (2008) Modern American Drama 1945-2000 2ed CUP Saddick, Annette (2007) Contemporary American Drama. Edinburgh University Press. Sanders, Leslie Catherine (1988) The Development of Black Theatre in America: From Shadows to Selves. Louisiana State University Press. Young, Harvey (2013) Theatre and Race Basingstoke Palgrave MacMillan Recommended
10 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Bigsby, Christopher (2009) Arthur Miller, 1915-1962. London: Phoenix. Hansberry, Lorraine (2001) A Raisin in the Sun London: Methuen Modern Plays
Kushner, Tony (2013) Angels in America: a Gay Fantasia on National Themes. (Complete ed). New York: Theatre Communications Group. Miller, Arthur (1976) The Crucible: A Play in Four Acts. London: Penguin Books. Miller, Arthur (2012) Timebends: A life. London: Bloomsbury Paperbacks. Miller, Arthur (2010) A View from the Bridge. London: Methuen Drama. Miller, Arthur (2011) All My Sons. London: Methuen Drama. Odets, Clifford (1993) Waiting for Lefty and Other Plays. New York: Grove Press. Shepard, Sam (1997) Plays Two. London. Faber & Faber. Wallace, Naomi (2002) In the Heart of America, and Other Plays. New York: Theatre Communications Group. Wilder, Thornton (2000) Our Town and Other Plays Penguin Modern Classics
Williams, Tenessee (2008) Camino Real. New York, NY: New Directions. Williams, Tennessee (2011) The Collected Plays of Tennessee Williams. New York: Library of America. Wilson, August (2016) Fences London: Plume
Films On the Waterfront (1954) Directed by Elia Kazan [DVD] Sony Entertainment. Online Wallace, Naomi (2007) Interview of Naomi Wallace with Lyn Gardner – http://www.theguardian.com/culture/2007/feb/06/lyngardner.features11 Technical Tutorials www.linkedin.com/learning E-stream
UNIT TITLE Acting Skills 2: Outgoing Study Abroad Unit Code FACP5012 FACT5007 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT This unit covers: Movement Studies; Applied Voice Skills and Self Tapes and Creative Writing. Developing further the practical approach to acting and performance skills introduced in year 1, you will advance your creative and technical skills and focus on remote as well as live performer/audience relationships. Outline Syllabus: Movement Studies: The work on developing your vocal and physical skills to express intentions will intensify. Movement studies will continue to emphasise the importance of alignment, relaxation and physical choices. A physical and vocal devised piece will develop these skills in more depth and demand a higher level of clarity and energy control. Movement appropriate to each of the other units will be introduced so you are familiar with the demands of working with a movement director. This might be social dances for American Classics, for instance. Vlogs will record your learning journey and be edited together for assessment. Applied Voice Skills and Self tapes: Provides practical experience of recorded voice techniques for voice-over and commercials, animation and computer games using sound booths and recording studios. You will gain practical experience of ‘ADR’ – Additional Dialogue Replacement - as used in post-production sound for film and television, including an introduction to basic foley (live sound effect) techniques. You will have the opportunity to undertake ensemble singing. You will be introduced to self-taping techniques for audition at this stage too. Script Writing: This part of the unit introduces you to a range of creative writing skills and, in particular, the highly visual medium of writing for film and television. You will view and compare the work of some of the industry’s most accomplished contemporary screen writers. You will learn how to present and format a script to industry standards and explore the most effective ways of releasing information and realising your own story in an effective manner. You will undertake a series of wring exercises that culminate in the production of your own one page story outline and the first six to ten pages of your script for a short film or screen play.
AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility, including singing A2 Explore character and narrative development through creative writing A3 Introduce you to voice recording techniques and microphone skills. A4 Hone evaluative skills and develop objectivity LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Experiment with acting and performance skills to devise vocal and physical performance LO2 Create a script using creative writing skills and techniques LO3 Execute a range of vocal techniques for the microphone confidently LO4 Evaluate your own advanced vocal and physical skills INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity11 162 No. of hours of independent activity 238 No. of hours of placement activity 0 This will comprise:
• Workshops • Seminars • Technical workshops
11 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Understanding through: Creating original work (both script and devised piece) Evaluative Vlog
LO2, LO4
Application of technical and professional skills and working standards: Writing skills for script Vocal skills for the microphone Advanced independent and group working
LO2, LO3
READING LISTS12 Essential http://www.bbc.co.uk/writersroom/ Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama. Davis, Rib (2016) Writing Dialogue for Scripts (Writing Handbooks). London: Bloomsbury Academic. Field Syd (2005) Screenplay – The Foundations of Screen Writing – A Step by Step Guide Dell Publishing Company Griffiths, Karol (2017) The Art of Script Editing – A Practical Guide. Kamera Books Harris, Charles (2014) Complete Screenwriting Course: A complete guide to writing, developing and marketing a script for TV or film (Teach Yourself: Writing). London: Teach Yourself. Recommended Baker, Peter (2nd ed) (2010) How to Present for Radio, TV and Business. UK: Presenter Skills UK.
12 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Brophy, Chris (2014) You Can Be a Radio and TV Presenter. Morrisville, NC: lulu.com. Burr, John (2016) The Voice Over Actor's Handbook: How to Analyze, Interpret, and Deliver Scripts. Luxembourg: CreateSpace Independent Publishing Platform. Churcher, Gary and Bridge, Paul (2010) The Voiceover Handbook: Practical Advice for Aspiring and Established Voiceover Artists. Plymouth: Voiceovers Ltd Publishing. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Davies, Graham (2010) The Presentation Coach - Bare Knuckle Brilliance For Every Presenter. Mankato, MN: Capstone. Kellian (2017) How to Start a Voiceover Career: (When you have no time or money). Luxembourg: CreateSpace Independent Publishing Platform. Kemble, Stephen and Hodge, David (2014) The Voiceover Book: Don't Eat Toast. London: Oberon Books. Myers, John (Forward) (2013) Walking On Air: How to be a radio presenter: Volume 1 (Media Success). Luxembourg: CreateSpace Independent Publishing Platform. Orti, Pilar (2017) Hi, I'm Here for a Recording. The ordinary life of a voiceover artist. London: Virtual not Distant. Roers, Natalie (2017) How to Become a Voice Over Artist: Make a Living from Home with Your Voice! Luxembourg: CreateSpace Independent Publishing Platform. Wright, Jean Ann and Lallo, M.J. (2009) Voice-Over for Animation (Morgan Kaufmann Series in Interactive 3d Technology). Waltham, MA: Focal Press. Writing for TV Miller Kam (2016) The Hero Succeeds: The Character-Driven Guide to Writing Your TV Pilot. N/A: High & Low Media Smethurst, William (2016) How To Write For Television 7th Edition: A guide to writing and selling TV and radio scripts. London: Robinson. Wetton, Steve (Author), Lawler, Dr. Graham (Editor) (2010) Writing TV Scripts: Successful Writing in Ten Weeks. Aberystwyth: Aber Publishing. Yorke, John (2014) Into The Woods: How Stories Work and Why We Tell Them. London: Penguin. Technical Tutorials: www.linkedin.com/learning E-Stream
UNIT TITLE Acting Skills 2: Incoming study abroad Unit Code FACP5007 FACT5006 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 20 credits Total Learning Hours for Unit 200 Date of approval of this version
Course(s) to which this unit contributes BA (Hons) Acting & Performance
BA (Hons) Acting CONTENT This unit covers: Movement Studies; Applied Voice Skills and Self Tapes. Developing further the practical approach to acting and performance skills introduced in year 1, you will advance your creative and technical skills and focus on remote as well as live performer/audience relationships. Outline Syllabus: Movement Studies: The work on developing your vocal and physical skills to express intentions will intensify. Movement studies will continue to emphasise the importance of alignment, relaxation and physical choices. A physical and vocal devised piece will develop these skills in more depth and demand a higher level of clarity and energy control. Movement appropriate to each of the other units will be introduced so you are familiar with the demands of working with a movement director. This might be social dances for American Classics, for instance. Vlogs will record your learning journey and be edited together for assessment. Applied Voice Skills and Self tapes: Provides practical experience of recorded voice techniques for voice-over and commercials, animation and computer games using sound booths and recording studios. You will gain practical experience of ‘ADR’ – Additional Dialogue Replacement - as used in post-production sound for film and television, including an introduction to basic foley (live sound effect) techniques. You will have the opportunity to undertake ensemble singing. You will be introduced to self-taping techniques for audition at this stage too. AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility, including singing A2 Introduce you to voice recording techniques and microphone skills. A3 Hone evaluative skills and develop objectivity LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Experiment with acting and performance skills to devise vocal and physical performance
LO2 Execute a range of vocal techniques for the microphone confidently LO3 Evaluate your own advanced vocal and physical skills INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity13 94 No. of hours of independent activity 106 No. of hours of placement activity 0 This will comprise:
Set exercise (under exam conditions but not testing practical skills)
Written
13 This data is required for CMA/published information purposes. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor Guidance Notes in Annex 5 of the QAH
Written assignment, including essay Coursework
Report Coursework
Dissertation Coursework
Portfolio 100 Coursework
Project output (other than dissertation) Coursework
Set exercise (not under exam conditions, e.g. critiques)
Coursework
Oral assessment and presentation Practical
Practical skills assessment (including production of an artefact)
Practical
Set exercise testing practical skills Practical Table A3 – Summary of Table A2 data
Assessment Category Total % for Unit Written Coursework 100% Practical
Table A4 – Assessment Criteria
CRITERION There should be at least one criteria against each learning outcome for the unit
Understanding through: Creating original work (both script and devised piece) Evaluative Vlog
LO2, LO3
Application of technical and professional skills and working standards: Vocal skills for the microphone Advanced independent and group working
LO2
READING LISTS14 Essential Burr, John (2016) The Voice Over Actor's Handbook: How to Analyze, Interpret, and Deliver Scripts. Luxembourg: CreateSpace Independent Publishing Platform. Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama.
14 Reading Lists should be in accordance with the Reading Lists policy as issued by Library & Student Services. This policy also forms part of Annex 5 of the Quality Assurance Handbook.
Churcher, Gary and Bridge, Paul (2010) The Voiceover Handbook: Practical Advice for Aspiring and Established Voiceover Artists. Plymouth: Voiceovers Ltd Publishing. Recommended Baker, Peter (2nd ed) (2010) How to Present for Radio, TV and Business. UK: Presenter Skills UK. Brophy, Chris (2014) You Can Be a Radio and TV Presenter. Morrisville, NC: lulu.com. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Davies, Graham (2010) The Presentation Coach - Bare Knuckle Brilliance For Every Presenter. Mankato, MN: Capstone. Kellian (2017) How to Start a Voiceover Career: (When you have no time or money). Luxembourg: CreateSpace Independent Publishing Platform. Kemble, Stephen and Hodge, David (2014) The Voiceover Book: Don't Eat Toast. London: Oberon Books. Myers, John (Forward) (2013) Walking On Air: How to be a radio presenter: Volume 1 (Media Success). Luxembourg: CreateSpace Independent Publishing Platform. Orti, Pilar (2017) Hi, I'm Here for a Recording. The ordinary life of a voiceover artist. London: Virtual not Distant. Roers, Natalie (2017) How to Become a Voice Over Artist: Make a Living from Home with Your Voice! Luxembourg: CreateSpace Independent Publishing Platform. Wright, Jean Ann and Lallo, M.J. (2009) Voice-Over for Animation (Morgan Kaufmann Series in Interactive 3d Technology). Waltham, MA: Focal Press. Technical Tutorials: www.linkedin.com/learning E-Stream
