UNIT TITLE Acting Skills 2 Unit Code FACP5001 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version July 2015 CONTENT This unit covers: Movement and Voice Studies; Improvisation and Creative Writing; Radio Techniques and Sight Reading. Developing further the practical approach to acting and performance skills introduced in Level Four, you will advance your creative and technical skills and focuses on remote as well as live performer/audience relationships. Outline Syllabus: Movement and Voice Studies: Work on developing the vocal and physical skills to express intentions will intensify. In voice-studies you will be introduced to advanced sight-reading in relation to radio drama and group singing. Movement studies will continue to emphasise the importance of alignment, connectedness and release and in addition, contact improvisation, 20 th Century social dance and stage combat will be introduced. There will be continuing emphasis on the practice of Laban and Alexander Technique. Improvisation and Creative Writing: Introduces improvisation techniques and creative writing skills in offering a variety of approaches to interpreting and creating dramatic material using text and non- text based methods. You will explore character and physicality, and you will be encouraged to create and write your own material using a variety of sources, whether fictional or factual in origin. You will be encouraged to discover your own best methods of script-writing and notation. Microphone Techniques: You will be introduced to the process and practice involved in making radio drama, using your reading and microphone skills in preparing for and recording a radio drama. Using a standard ‘rehearse/record’ pattern, you will develop your ability to sustain a character while working out of story order, and will also be expected to rise to the challenge of playing multiple roles on microphone. AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility A2 Explore character and narrative development through improvisation and creative writing, independently and in groups with consideration for ethical issues A3 Introduce you to the radio studio and microphone skills.
Transcript
UNIT TITLE Acting Skills 2 Unit Code FACP5001 Location Farnham Level 5 Duration (number of weeks) 24 Credit Value 40 Total Learning Hours for Unit 400 Date of approval of this version July 2015
CONTENT This unit covers: Movement and Voice Studies; Improvisation and Creative Writing; Radio Techniques and Sight Reading. Developing further the practical approach to acting and performance skills introduced in Level Four, you will advance your creative and technical skills and focuses on remote as well as live performer/audience relationships. Outline Syllabus: Movement and Voice Studies: Work on developing the vocal and physical skills to express intentions will intensify. In voice-studies you will be introduced to advanced sight-reading in relation to radio drama and group singing. Movement studies will continue to emphasise the importance of alignment, connectedness and release and in addition, contact improvisation, 20th Century social dance and stage combat will be introduced. There will be continuing emphasis on the practice of Laban and Alexander Technique. Improvisation and Creative Writing: Introduces improvisation techniques and creative writing skills in offering a variety of approaches to interpreting and creating dramatic material using text and non-text based methods. You will explore character and physicality, and you will be encouraged to create and write your own material using a variety of sources, whether fictional or factual in origin. You will be encouraged to discover your own best methods of script-writing and notation. Microphone Techniques: You will be introduced to the process and practice involved in making radio drama, using your reading and microphone skills in preparing for and recording a radio drama. Using a standard ‘rehearse/record’ pattern, you will develop your ability to sustain a character while working out of story order, and will also be expected to rise to the challenge of playing multiple roles on microphone. AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility A2 Explore character and narrative development through improvisation and creative writing,
independently and in groups with consideration for ethical issues A3 Introduce you to the radio studio and microphone skills.
LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Reflect on advanced vocal and physical skills, LO2 Undertake character and narrative development through improvisation and creative writing
exercises informed by ethical issues and demonstrating independent and group working skills LO3 Develop ways of using vocal techniques for the microphone 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:
11 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Guidance Notes in Annex 5 of the QAH 2 Manually type the correct selection from the list available on double clicking in the box
writing and/or performance
words/or 10 minutes
Professional Development Plan (2)
PORTFOLIO
Group Movement/Singing Performance
PORTFOLIO 15 minutes
Table A2 – KIS 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 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 KIS 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 physical and vocal methods for performance Improvisation techniques Creative writing for creating original material
LO1, LO2
Understanding through: Performance of microphone techniques Improvisation interpreting character
LO2, LO3
Creating original work Critical reflection Application of technical and professional skills and working standards: Writing skills for creative writing Vocal skills for the microphone Creating improvised Performances Independent and group working Ethical issues
LO2, LO3
REFERENCE MATERIAL3 Essential Baron, Cynthia and Carnicke, Sharon Marie (2008) Reframing Screen Performance University of Michigan Boal, Augusto (2002) Games for Actors and Non-Actors. (2nd ed). London: Routledge. Brook, Peter (2008) The Empty Space. London: Penguin Books. Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Johnstone, Keith (1999) Impro for Storytellers: Theatresports and the Art of Making Things Happen. London: Faber & Faber. Johnstone, Keith (2007) Impro: Improvisation and the Theatre. London: Methuen Drama. Johnston, Chris (2006) The Improvisation Game: Discovering the Secrets of Spontaneous Performance. London: Nick Hern Books. Lawson, Denis (2014). The Actor and The Camera. London: Nick Hern Books. Meisner, Sanford (1987) Sanford Meisner on Acting. New York, NY: Vintage Books. Moseley, Nick (2012) Meisner in Practice: A guide for Actors, Directors and Teachers London: Nick Hern Books. Wojcik, Pamela Robertson (2004) Movie Acting: The Film Reader Routledge Wright, John (2006) Why is that so Funny? A Practical Exploration of Physical Comedy. London: Nick Hern Books. Recommended
3 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
Boal, Augusto (1979) Theatre of the Oppressed. New York, NY: Theatre.
Coveney, Michael (2011) Ken Campbell: The Great Caper. London: Nick Hern Books.
Spolin, Viola (1999) Improvisation for the Theatre. (3rd ed). Evanston: Northwestern University Press.
Technical Tutorials: www.lynda.com
E-Stream
UNIT TITLE Perspective and Practice 2: Social Realism Unit Code FACP5002 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT At level 5, Perspectives and Practice 2 units explore different aspects of social realism in film, theatre and television. Through the units you will investigate different approaches to realism through a series of case studies and performance works for stage or screen. This unit Perspectives and Practice 2: Social Realism explores the historical development of social realism and its relationship to television drama and how as an actor you prepare and work for the small screen. Outline Syllabus Social Realism: Looks at different ways in which real-life stories and people can be used to make or explore drama. The focus will be on ground-breaking films and theatre, such as:
Kes - Writer Barry Hines. Film Director Ken Loach; The Arbor - Director Clio Barnard (which tells the story behind the writing of Andrea Dunbar’s
play of the same name) Clocking Off (tv mini series) - Writer Paul Abbott Boys from the Blackstuff (tv mini series) – writer Alan Bleasdale Come out Eli - a verbatim theatre piece by Alecky Blythe.
You will examine the influence of place (geographical and social background) the use of non-actors working alongside professional actors, archival material and lip-synching of recorded voices in telling stories for the screen and stage
TV Drama: Introducing you to acting for television, this unit takes you through a series of practical exercises and scenes from television drama scripts which are based on social issues. You will be given the opportunity to apply the acting and technical skills you have learnt, and adapt the systems of preparation you have learnt previously to the specific demands of acting for television. You will be introduced to methods of applying your spatial awareness skills (hitting marks, continuity etc) and employing your vocal skills (understanding perspective and level) to recorded tv drama. You will also look at ways of adapting rehearsal methods, script reading, line learning and character research to your preparation work and learn to read and understand a standard daily TV drama schedule. AIMS The aims of this unit are: A1 Explore the use of political and current events as contemporary drama A2 Investigate how social realism informs drama and the dramatic form A3 Develop methods of preparation for performing in television drama
LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Articulate the issues involved in creating drama from contemporary events LO2 Discuss the influence of social realism on television drama LO3 Demonstrate preparation techniques to sustain a character and story line for television.
INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity4 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
44 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Where the component comprises more than one assessment task
Assessment Type For each component
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
Portfolio 100 Essay PORTFOLIO5
2,500 words or equivalent
Filmed drama PORTFOLIO
15 – 20 mins
Critical Reflection PORTFOLIO
750 words or equivalent
Table A2 – KIS 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 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 KIS data
Assessment Category Total % for Unit Written Coursework 100% Practical
5 Manually type the correct selection from the list available on double clicking in the box
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: How factual events can translate into dramatic forms Appropriate rehearsal techniques for filmed drama
LO1, LO3
Understanding through: Critically reflect on ‘social realism’ and the issues that it raises Development of a filmed drama
LO2, LO3
Application of Technical and Professional skills: Use of acting and production skills to produce a filmed drama Appropriate forms for academic writing
LO2, LO3
REFERENCE MATERIAL6 Essential Burke, Gregory (2010) Black Watch. (Rev ed). London: Faber & Faber. Dunbar, Andrea (2004) Rita, Sue and Bob Too: A State of Affair. London: Routledge. Dunn, Nell (2013) Poor Cow. London: Little, Brown Book Group. Hill, John (2011) Ken Loach: The Politics of Film and Television. London: Palgrave Macmillan. Fuller, Graham (1998) Loach on Loach. London: Faber & Faber. Lay, Samantha (2002) British Social Realism: From Documentary to Brit Grit. London: Wallflower Press. Sandford, Jeremy (1988) Cathy Come Home. London: Marion Boyars. Film Kes (1969) Directed by Ken Loach [DVD] MGM Home Entertainment. Poor Cow ((1967) Directed by Ken Loach [DVD] London: Momentum Pictures. Up the Junction (1968) Directed by Peter Collinson in ‘Loach at the BBC’ [DVD] 2entertain. 6 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
The Arbor (2011) Directed by Clio Barnard [DVD] Verve Pictures. The Selfish Giant (2014) Directed by Clio Barnard [DVD] Artificial Eye. Television Drama Inside No.9: Series 1 (2014) Directed by David Kerr [DVD] 2entertain.
League of Gentlemen – The Complete Collection (2002) Directed by Steve Bendelack [DVD] BBC Worldwide. Cathy Come Home (1966) Directed by Ken Loach [DVD] London: BFI. Clocking Off: The Complete First Series (2000) Created by Paul Abbott [DVD] inD DVD LTD. Boys from the Blackstuff: The Complete Series (1982) Directed by Phillip Saville [DVD] BBC Worldwide. 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) Recommended Corrie, Rachel (2005) My Name is Rachel Corrie: Taken from the Writings of Rachel Corrie. (Rev ed). London: Nick Hern Books. Churchill, Caryl (1990) Plays: Two. London: Bloomsbury Methuen Drama.
Dunbar, Andrea (1980) The Arbor. Pluto Press
Dunn, Nell (2013) Up the Junction. London: Little, Brown Book Group.
Durgnat, Raymond (2011) A Mirror For England: British Movies from Austerity to Affluence. (2nd ed). London: Palgrave Macmillan.
Geraghty, Christine (2000) British Cinema in the Fifties; Gender, Genre and the ‘New Look’. London: Routledge.
Hill, John (1986) Sex, Class and Realism: British Cinema 1956 – 1963). London: BFI Publishing.
Leigh, Jacob (2002) The Cinema of Ken Loach: Art in the Service of the People. London: Wallflower.
Films
Saturday Night and Sunday Morning (1961) Directed by Karel Reisz [DVD] London: BFI.
Fish Tank (2009) Directed by Andrea Arnold [DVD] Artificial Eye.
UNIT TITLE Perspectives and Practice 2: American Classics
Unit Code FACP5003 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT Perspectives and Practice 2: American Classics expands on the work that you have undertaken in Perspectives and Practice 2: Social Realism. 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 Classics: 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.(eg Arthur Miller, Clifford Odets, August Wilson, Tony Kushner) Through practice 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 over an extended story arc. AIMS The aims of this unit are: A1 Examine the underlying themes of dramatic works A2 Develop advanced research skills to inform character and action development A3 Engage with a range of texts and their translation into performances LEARNING OUTCOMES
On satisfactory completion of the unit you will be able to: LO1 Critically reflect on the use of subtext and metaphor to create meaning in drama LO2 Reflect on the processes involved in realising a performance LO3 Prepare and perform scenes from American dramatists INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity7 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
Where the component comprises more than one assessment task
Assessment Type For each component
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
Portfolio 100 Essay PORTFOLIO
2,500 words or equivalent
Performance PORTFOLIO
30 mins
Critical Reflection PORTFOLIO
750 words or equivalent
Table A2 – KIS Categories for Assessment
77 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Guidance Notes in Annex 5 of the QAH
Assessment Type % of assessment Category
Written exam Written
Set exercise (under exam conditions but not testing practical skills)
Written
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 KIS 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: Subtexts and contexts in drama Advanced research skills to inform character and story development Historical and political influences in American drama
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 Academic writing and referencing
LO1, LO2, LO3
REFERENCE MATERIAL8 Essential 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. 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. Wallace, Naomi (2002) In the Heart of America, and Other Plays. New York: Theatre Communications Group. Williams, Tennessee (2011) The Collected Plays of Tennessee Williams. New York: Library of America. Recommended Bigsby, Christopher (2009) Arthur Miller, 1915-1962. London: Phoenix. 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. Sanders, Leslie Catherine (1989) The Development of Black Theatre in America: From Shadows to Selves, Louisiana State University Press Shepard, Sam (1997) Plays Two. London. Faber & Faber. Williams, Tenessee (2008) Camino Real. New York, NY: New Directions.
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.lynda.com
8 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
E-stream
UNIT TITLE Perspectives and Practice 2: Improvisation
Unit Code FACP5004 Location Farnham Level 5 Duration (number of weeks) 8 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT Building on the work that you have undertaken in the two previous Perspectives and Practice 2 units, in Perspectives and Practice 2: Improvisation you look at the uses of improvisation in both theatre and film and explore techniques, as an actor for developing improvised performances. Outline syllabus Uses of Improvisation: Investigates the use of improvisation from the point of view of the actor. Examples of this might include:
Mike Leigh (director of film and theatre), exploring the improvisation techniques he uses with actors to build character and the narrative for his films.
Jake Doremus’ films Improbable Theatre, the relationship of the performer to the audience. This company’s work
is highly diverse in nature and scale, has a clear through-line of improvisational practice, with shows seen as live events encouraging conversation between performers.
‘Structured reality’ - the combined contribution of actors, researchers, directors and editors that goes into the making of Suspects (Channel 5), a weekly TV police drama in which the dialogue is completely improvised
Devised performance: You will work as an ensemble with a tutor to devise a cross form performance piece in which the audience/performer relationship is explored, for example through the combination of site specific, time-based and live elements. The project will involve the application of improvisation and creative writing will techniques as well as artistic and technical skills, and you will be expected to take responsibility for contributing to all these elements in the execution and presentation of the collaboration. AIMS The aims of this unit are:
A1 Introduce contemporary improvisation practices and their applications A2 Explore a range of improvisation techniques for film, theatre and television drama A3 Research and devise an improvisation based on factual events LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Reflect on improvisation practices and their bearing on relationships between performer,
director and audience. LO2 Discuss methods of improvisation and their effectiveness LO3 Summarise your contribution to an improvised performance 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
Where the component comprises more than one assessment task
Assessment Type For each
component 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
99 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Guidance Notes in Annex 5 of the QAH
Portfolio 100 Presentation PORTFOLIO10
10 minutes
Devised performance PORTFOLIO
15 – 20 minutes
Critical Reflection PORTFOLIO
750 words or equivalent
Table A2 – KIS 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 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 KIS 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: Appropriate methods for improvisation Research skills for improvisation performance Developing an academic presentation
LO1, LO2
Understanding through: Critical evaluation of improvisation methods Development and realisation of an improvised
LO2, LO3
10 Manually type the correct selection from the list available on double clicking in the box
performance Application of technical and professional skills: Preparation for an improvised performance Academic conventions for presentation of an academic argument
LO2, LO3
REFERENCE MATERIAL11 Essential Book, Stephen (2002) Book on Acting: Improvisation Technique for the Professional Actor in Film, Theater, and Television. Beverley Hills, CA: Silman-James Press.
Frost, Anthony and Yarrow, Ralph (2007) Improvisation in Drama. (2nd ed). Basingstoke: Palgrave Macmillan.
Leigh, Mike (1983) Abigail’s Party & Goose-Pimple. London: Penguin. Leigh, Mike (1995) Naked and Other Screenplays. London: Faber & Faber. Raphael, Amy (2008) Mike Leigh on Mike Leigh. London: Faber & Faber. Film/DVD Suspects: Series 1 & 2 (2014) Executive Producer Paul Marquess [DVD] Freemantle Media International. Like Crazy (2012) Directed by Jake Doremus [DVD] Paramount Home Entertainment. Breathe In (2013) Directed by Jake Doremus [DVD] Curzon Film World. Naked (2008) Directed by Mike Leigh [DVD] Spirit Entertainment Ltd. Abigail’s Party (1977) Directed by Mike Leigh [DVD] BBC Worldwide Ltd. Career Girls (1997) Directed by Mike Leigh [DVD] Cinema Club. Online www.improbable.co.uk http://www.theguardian.com/tv-and-radio/2014/aug/18/why-suspects-will-revolutionise-crime-drama http://www.theguardian.com/film/2011/aug/28/ken-loach-class-riots-interview 11 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
https://www.youtube.com/watch?v=wmYwdk5YdPU Interview with Jon Saunders
Recommended Cardinale- Powell, Bryan & DiPaolo, Marc (2013) Devised and Directed by Mike Leigh Bloomsbury Academic Watson, Garry (2004) The Cinema of Mike Leigh: A Sense of the Real. Columbia University Press
Technical Tutorials – www.lynda.com
E-Stream
UNIT TITLE Self-Generated Performance Unit Code FACP5005 Location Farnham Level 5 Duration (number of weeks) 5 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT This unit gives you the opportunity to devise and realise both an individual project and a group project. Broadcasting Your Ideas: Working in a small group, you will develop an idea that you wish to share at the point of delivery with an on-line audience, you will use your digital skills to record and broadcast a live event. Personal Investigations: This is an individual research project, in which you will identify a living person group of people whose story you would like to tell. Using appropriate methods of research and documentation, you will present your findings in the form of a ‘treatment’ for theatre, film, internet or radio production. Making a Festival: This is a group project in which the entire cohort, working under the supervision of practitioners based at The Farnham Maltings, will instigate, provide content for and manage a two-day Festival on Campus. 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. AIMS The aims of this unit are: A1 Employ live broadcasting methods and techniques A2 Research, document and present a personal research project A3 Develop, devise and stage a performance festival LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Critique the experience of performing for and producing a live-broadcast event. LO2 Undertake a personal research project. LO3 Reflect on the experience of working collectively to realise a large-scale project. INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity12 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
1212 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Guidance Notes in Annex 5 of the QAH
List all separate components
(%) Where the component
comprises more than one
assessment task
double click in the box to see options. The options equate to the assessment types in table A2
count where applicable
Portfolio 100 Self assessment 10%
Project Report PORTFOLIO
750 words
Participation in a performance festival
PORTFOLIO
20 – 30 minutes
Live broadcast performance
PORTFOLIO 10 minutes
Individual research project
PORTFOLIO 2,500 words or Presentation
Table A2 – KIS 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 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 KIS 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: Performing for an on-line audience Management & organisation of a live event Advance research skills
LO1, LO2, LO3
Understanding through: Reflect on performing for live and broadcast events Development of an individual research project
LO1, LO2, LO3
Application of technical and professional skills: Presentation of a live event Use of research skills to develop personal ideas Devise and live broadcast a performance event
LO1, LO2, LO3
REFERENCE MATERIAL13 Essential Reading lists will be determined by your research areas of interest and will be negotiated with your tutors Recommended
Technical tutorials: www.lynda.com
E-Stream
UNIT TITLE Acting Skills 2: Study Abroad (Outgoing)
Unit Code FACP5006 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT
13 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
This unit covers: Movement and Voice Studies; Radio techniques and Sight Reading. Developing further the practical approach to acting and performance skills introduced in Level Four, you will advance your creative and technical skills and focuses on remote as well as live performer/audience relationships. Outline Syllabus: Movement and Voice Studies: Work on developing the vocal and physical skills to express intentions will intensify. In voice-studies you will be introduced to advanced sight-reading in relation to radio drama and group singing. Movement studies will continue to emphasise the importance of alignment, connectedness and release and in addition, contact improvisation, 20th Century social dance and stage combat will be introduced. There will be continuing emphasis on the practice of Laban and Alexander Technique. Microphone Techniques: You will be introduced to the process and practice involved in making radio drama, using your reading and microphone skills in preparing for and recording a radio drama. Using a standard ‘rehearse/record’ pattern, you will develop your ability to sustain a character while working out of story order, and will also be expected to rise to the challenge of playing multiple roles on microphone. AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility A2 Introduce you to recording studio and microphone skills. LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Reflect on advanced vocal and physical skills, LO2 Develop ways of using vocal techniques for the microphone INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity14 80 No. of hours of independent activity
120
No. of hours of placement activity This will comprise:
1414 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Set exercise (under exam conditions but not testing practical skills)
Written
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
15 Manually type the correct selection from the list available on double clicking in the box
Table A3 – Summary KIS 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 physical and vocal methods for performance
LO1, LO2
Understanding through: Performance of microphone techniques Improvisation interpreting character Critical reflection
LO1, LO2
Application of technical and professional skills: Vocal skills for the microphone Writing skills for creative writing
LO1, LO2
REFERENCE MATERIAL16 Essential Boal, Augusto (2002) Games for Actors and Non-Actors. (2nd ed). London: Routledge. Brook, Peter (2008) The Empty Space. London: Penguin Books. Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Johnstone, Keith (1999) Impro for Storytellers: Theatresports and the Art of Making Things Happen. London: Faber & Faber. Lawson, Denis (2014). The Actor and The Camera. London: Nick Hern Books. Meisner, Sanford (1987) Sanford Meisner on Acting. New York, NY: Vintage Books.
16 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
Recommended Boal, Augusto (1979) Theatre of the Oppressed. New York, NY: Theatre.
Coveney, Michael (2011) Ken Campbell: The Great Caper. London: Nick Hern Books.
Johnstone, Keith (2007) Impro: Improvisation and the Theatre. London: Methuen Drama. Johnston, Chris (2006) The Improvisation Game: Discovering the Secrets of Spontaneous Performance. London: Nick Hern Books.
Spolin, Viola (1999) Improvisation for the Theatre. (3rd ed). Evanston: Northwestern University Press.
Moseley, Nick (2012) Meisner in Practice: A guide for Actors, Directors and Teachers London: Nick Hern Books.
Wright, John (2006) Why is that so Funny? A Practical Exploration of Physical Comedy. London: Nick Hern Books.
Technical Tutorials: www.lynda.com
E-Stream
UNIT TITLE Acting Skills 2: Study Abroad (Incoming) Unit Code FACP5007 Location Farnham Level 5 Duration (number of weeks) 12 Credit Value 20 Total Learning Hours for Unit 200 Date of approval of this version July 2015
CONTENT This unit covers: Movement and Voice Studies; Improvisation and Creative Writing. Developing further the practical approach to acting and performance skills introduced in Level Four, you will advance your creative and technical skills and focuses on remote as well as live performer/audience relationships.
Outline Syllabus: Movement and Voice Studies: Work on developing the vocal and physical skills to express intentions will intensify. In voice-studies you will be introduced to advanced sight-reading in relation to radio drama and group singing. Movement studies will continue to emphasise the importance of alignment, connectedness and release and in addition, contact improvisation, 20th Century social dance and stage combat will be introduced. There will be continuing emphasis on the practice of Laban and Alexander Technique. Improvisation and Creative Writing: Introduces improvisation techniques and brings together Creative Writing students in offering a variety of approaches to interpreting and creating dramatic material using text and non-text based methods. Using improvisation you will explore character and physicality, and you will be encouraged to create and write your own material using a variety of sources, whether fictional or factual in origin. You will be encouraged to discover your own best methods of script-writing and notation. AIMS The aims of this unit are: A1 Further develop your physical skills and vocal agility A2 Explore character and narrative development through improvisation and creative writing LEARNING OUTCOMES On satisfactory completion of the unit you will be able to: LO1 Reflect on advanced vocal and physical skills, LO2 Undertake character and narrative development through improvisation and creative writing
exercises. INDICATIVE TEACHING & LEARNING METHODS
No. of hours of scheduled activity17 80 No. of hours of independent activity
120
No. of hours of placement activity This will comprise: • Workshops • Seminars • Technical workshops
1717 This data is required for KIS. Further guidance about classification of ‘scheduled’ activity can be found in the Unit Descriptor
Where the component comprises more than one assessment task
Assessment Type For each component
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
Portfolio 100 Folio of creative writing and/or performance
PORTFOLIO18
Blog PORTFOLIO At least one entry a week
Critical reflection PORTFOLIO
750 words or equivalent
Table A2 – KIS 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 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 KIS data
Assessment Category Total % for Unit Written Coursework 100% Practical
18 Manually type the correct selection from the list available on double clicking in the box
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 physical and vocal methods for performance Improvisation techniques Creative writing for creating original material
LO1, LO2
Understanding through: Improvisation through interpreting character Creating original work Critical reflection
LO1, LO2
Application of Technical and Professional skills Writing skills for creative writing Creating improvised performances
LO1, LO2
REFERENCE MATERIAL19 Essential Boal, Augusto (2002) Games for Actors and Non-Actors. (2nd ed). London: Routledge. Brook, Peter (2008) The Empty Space. London: Penguin Books. Carey, David and Carey, Rebecca (2008). The Vocal Arts Workbook and DVD. London: Methuen Drama. Crook, Tim (1999) Radio Drama: Theory and Practice. London: Routledge. Johnstone, Keith (1999) Impro for Storytellers: Theatresports and the Art of Making Things Happen. London: Faber & Faber. Lawson, Denis (2014). The Actor and The Camera. London: Nick Hern Books. Meisner, Sanford (1987) Sanford Meisner on Acting. New York, NY: Vintage Books. Recommended Boal, Augusto (1979) Theatre of the Oppressed. New York, NY: Theatre.
Coveney, Michael (2011) Ken Campbell: The Great Caper. London: Nick Hern Books. 19 Reference material should be in accordance with the Library & Learning Services guidance. Links are also provided in the Unit
Descriptor Guidance Notes which form part of Annex 5 of the Quality Assurance Handbook.
Johnstone, Keith (2007) Impro: Improvisation and the Theatre. London: Methuen Drama. Johnston, Chris (2006) The Improvisation Game: Discovering the Secrets of Spontaneous Performance. London: Nick Hern Books.
Spolin, Viola (1999) Improvisation for the Theatre. (3rd ed). Evanston: Northwestern University Press.
Moseley, Nick (2012) Meisner in Practice: A guide for Actors, Directors and Teachers London: Nick Hern Books. Wright, John (2006) Why is that so Funny? A Practical Exploration of Physical Comedy. London: Nick Hern Books.
