2nd Year Musical Theatre Module Handouts 2010/11 Acting Module (MUT2001) Acting for the Camera 1 QUESTION
ANSWER
How long is the module?
5 sessions
What will it contain?
Students will study the art of the close-up.
When does it happen?
Block 1 of 2nd Year for A2 & MAA Block 3 of 2nd Year for M2
Who will be teaching it?
Julia Carey or relevant professional
What will I need? What’s expected of me?
Notebook and pencil. Concentration, application and the willingness to embrace new techniques.
How will you be testing that?
Through specific exercises. Formative feedback leading to technical test later in the year.
Is there anything else I should know?
You will be required to watch assigned films and television programs and be prepared to share your notes with the class.
Acting for the Camera 2 QUESTION
ANSWER
How long is the module?
5 weeks. One three hour session per week.
What will it contain?
Students will develop cognitive behaviour patterns and become proficient at matching shots and maintaining physical and emotional continuity.
When does it happen?
Block 2 of 2nd year for A2 & MAA Block 4 of 2nd year for M2
Who will be teaching it?
Julia Carey or relevant professional
What will I need?
All notes from Acting for Camera 1, notebook and pencil.
What’s expected of me?
Professional behaviour at all times. Coming to class fully prepared. Working in different roles in a supportive and collaborative atmosphere.
How will you be testing that?
Process and progress will be monitored throughout. Skills assessed in final scene. A2 & MAA formative feedback leading to technical test later in the year.
Is there anything else I should know?
Continuity is a difficult and demanding element of screen acting technique. Many problems in the edit are caused by continuity mistakes, and it can cost you screen time if you do not develop this skill.
Physical Module (MUT2002) Dance QUESTION
ANSWER
How long is the module?
The module runs through the academic year
What will it contain? When does it happen?
There are classes in Classical Ballet, Jazz, Tap, Partnering, Social Dance and Musical Theatre Styles. Please see time-table for details The aim of the Dance Department is to employ the most professionally experienced and qualified staff available.
Who will be teaching it?
Some of your key teachers will be: Rachael Kerridge, Frank Freeman, Jimmy Johnston, Kahli Hayes and Drew Varley. Many of our tutors are working professionals, this does mean that staffing may change throughout the year. Should this occur, continuity of progression and development is overseen by the Head of Dance: Phyllida Crowley Smith.
Please see your student handbook for your full equipment list. The appropriate dance footwear, dance blacks with no logos. (Dancewear should be close fitting so that posture/placement/line can be seen and therefore corrected) What will I need?
NB: Ladies should not wear layers of clothing for double work. Do not wear jewellery please. Hair should be tied back and off the face. Men you will need a dance support/dance belt.
• • What’s expected of me?
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To build on the previous year of training in developing and maintaining a physical discipline while working in class. To achieve a recognizably intermediate/professional sense of stylistic consistency within several dance forms and consolidate a confident approach to theatrical dance, taking a holistic view of the course overall. To appropriately take personal responsibility for focusing the mind and body with the emphasis on preparing the performer's physique in a way that will make it responsive to instruction. To achieve an Intermediate/professional standard of Musical Theatre Dance.
1)There is a Continual Assessment this accounts for 40% of your marks. 2)There is a Technical Test this accounts for 60% of your marks. There are clear Assessment Criteria for Technical Tests these are
How will you be testing that?
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Technical Test Assessment Criteria 40%Stylistic Consistency and understanding (is the student’s work within the accepted aesthetic of the particular dance form..in ballet for example is the work ‘balletic’) = 10% each Line, Dynamic, ability to link and remember steps, Spatial awareness.
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40%Sustainability (is the student working in a ‘healthy’ way, are they strong, flexible and well centred) 10% each =Posture,Placing, Strength, intelligent use of individual dance facility
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20%Musicality (10% Interpretation, phrasing and ‘musicality’)
There are clear Assessment Criteria for Continual Assessment these are: • Continual Assessment Criteria • 25% Understanding the requirements (Does the student, practice and take corrections, do they understand the conventions,dynamics and lines of this particular dance form/style?
Why have I been put in this group?
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50% Improvement (how much has the student actually improved and in what way?) Are they more flexible, is their posture better? Has musicality improved? Have they achieved stylistic consistency? For example =Posture,Placing, Strength, intelligent use of individual dance facility and musicality
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25% Consistency of approach (Does the student work appropriately, is their attendance regular, are they prepared and is their approach ‘professional’?) Is the student concentrated, does he/she have a ‘good attitude’ and is there evidence that he/she consistently takes responsibility for his/her learning and progress.
Any queries regarding streaming may be answered by the group tutor or may be referred back to the Head of Dance if necessary.
In order to do well and progress you will need to ‘practice’. As much time should be spent alone practising as in the dance class. You will need to develop, concentration levels, personal discipline and work in a healthy and consistent manner. It would be helpful for you to be fully aware of industry standards and requirements the best way to do this is to see professional work. Is there anything else I should know?
In the event of injury, there is physiotherapy support which you must be referred to by PCS, MM . The main student handbook will contain any other information that you need. Please read your student handbook carefully for the GSA regulations and procedures regarding assessment. The marks accrued in the dance classes go towards your summative dance mark for the year, which in part dictates whether or not you proceed to the 3rd year and contributes to your final degree classification. There will still be extra evening classes in ballet, jazz and tap. Please refer to the main notice board for sign-up sheets. You must pass your dance/physical skills module.
Singing & Music Module (MUT2003) QUESTION
ANSWER
How long is the module?
The module will run through all three terms of this academic year
What will it contain?
Singing: • You will have an individual 30 minute singing tutorial weekly. • You will have a small group Repertoire class weekly. Music: • You will have one Group Singing class weekly, as part of Music in Theatre (MiT)
When does it happen?
Singing tutorials take place on Tuesdays. Small Group Repertoire classes take place on Thursdays. Group Singing classes take place on Fridays.
Who will be teaching it?
Singing Tutorials: Kevin Fountain, Lisa Thorner, Steven Luke Walker Group Repertoire Classes: Niall Bailey, James Moriarty, David Randall & other visiting MD’s Group Singing: Niall Bailey
What will I need?
Singing Tutorials & Group Repertoire Classes: • MD, IPOD or other hand-held recording device. • Black A4 Folder containing clear plastic sleeves for sheet music. • Access to ‘The Singer’s Musical Theatre Anthology’, available in 5 volumes in each of the 4 voice categories – Soprano, Mezzo, Tenor, Bass/Baritone (contained in GSA Library; not necessary to purchase).
What’s expected of me?
The Learning Outcomes for this module are as follows: Singing Tutorials: • demonstrate a FULL understanding of the anatomical mechanisms of the singing voice, including breath control, support & resonance • demonstrate an ability to produce supported, even quality across the entire range • produce a healthy sound • produce a sound that is sustainable • demonstrate an understanding and ability to use ALL appropriate voice qualities within different repertoire, including ‘Belt’ • show clear articulation of words and understanding of phrasing • sustain singing technique while integrating acting and dance, in the performance of a scene in which solo and ensemble singing may be required • demonstrate clear understanding of the emotional content of songs through the singing • show versatility in ALL musical styles, from Musical Theatre to Pop/Rock • produce & perform a varied portfolio of styles from the early classics of Musical Theatre to Pop/Rock You will be expected to attend every tutorial in possession of sheet music, to practice regularly as directed by your tutor, and to be memorising at least one song per week. Group Repertoire Classes: • to gain experience in working with professional Musical Directors in a small group situation. • to gain a broad knowledge of Musical Theatre repertoire based on a full progression through the History of Musical Theatre, from the Classics (20’s & 30’s) to the present day. • to be able to recognise the many different styles which exist in Musical Theatre repertoire. • to gain confidence in working on solo repertoire with your peers and to
perform to each other with accompanying interaction from all those within the group. You will be expected to use the constantly updated facilities in the GSA Library to aid your own weekly research of background to songs, composers, character, period and style, and as directed by your repertoire tutor. Group Singing: You will be expected to apply your practical vocal technique gained from your 1-to-1 singing tutorials, as well as your knowledge of the theory of music gained from Rudiments in module 1when singing with others in Group Singing, and to include: • an increased vocal range • a greater awareness and knowledge of styles and repertoire • more confidence in choral singing, including harmony skills How will you be testing that?
Singing Tutorials: At the end of the Autumn, Spring & Summer terms, your Singing Tutor will award you a process assessment mark. This will be based on the following criteria: • Technical Development/Progress • Application & disciplined approach to the work/Preparation • Capacity to research and apply • Development of ability with an increasing sense of style & performance • Attendance & punctuality An average of the 3 termly marks will be your technical singing process assessment mark for the year. A formative test will be conducted during the Spring Term, at which you will be required to present a song of no more than 2 and a half minutes within a small group class to a small panel of assessors. There will be verbal feedback. This will inform you of your own progress in a performance situation as well as serving as preparation for the Summative test assessment during the Summer Term. The mark will be based on the following 3 criteria: • Technical Control • Use of Voice Qualities • Communication & Performance Towards the end of the Summer Term, a summative assessment will be conducted at which you will be required to present 2 songs of no more than 2 minutes each, to a panel of assessors. Song (A) must be pre-1960 or Rodgers & Hammerstein, and demonstrate legit style with lyrical line (no character songs). Song (B) can be any contrasting song to Song (A). The mark will be based on 3 criteria: • Technical Control • Use of Voice Qualities • Communication & Performance Group Repertoire Classes: At the end of the Autumn, Spring & Summer terms, your Repertoire Tutor will award you a process assessment mark. This will be based on the following criteria: • Application & disciplined approach to the work/Preparation • Capacity to research and apply • Development of ability with an increasing sense of style & performance • Contribution to the group as a whole/Interaction • Attendance & punctuality An average of the 3 termly marks will be your Repertoire process assessment mark for the year.
Is there anything else I should know?
The professional world of the performing arts demands huge versatility and adaptability of its performers. Continue to develop good practice habits throughout this year and allow each part of this module to connect with all other parts equally. This module should equip you with the necessary tools in order to perform a song convincingly, safely and with emerging confidence, but in consideration of your professional future, spend time in your own research of a wide spectrum of repertoire, ranging from the classics through to pop/rock.
Voice Module (MUT2004) Poetry of Gerard Manley Hopkins QUESTION
ANSWER
How long is the module?
The module lasts through the first term of the second year (term 4 Autumn term BLOCK 1, 5 WEEKS) each class is 3 hours long
What will it contain?
Regular work on breath and release, the thought especially long thoughts, how the rhythm of language can cause a psychological and emotional shift in ourselves.
When does it happen?
In takes place in term 4 of the second year for 5 weeks only
Who will be teaching it?
TBC
What will I need?
You are required to return to GSA with a poem by Gerard Manley Hopkins ‘off book’. This means you should be able to speak the piece of text showing clear evidence that you have worked on it, without any sense whatsoever that you are struggling to remember it. Read through your poem, much of the language may seem obscure at first. However, you should remember a poem can seem difficult if the reader is blocked by an over academic approach. ‘Meaning’ is not always something that you can write down in objective terms. It is likely that you will return next term not fully able to comprehend you poem. Do not be put off.
What’s expected of me?
The reason for choosing the work of Hopkins is that the material is energetic, muscular, sensual and provides a particularly good vehicle for developing the emotional and imaginative muscles that must compliment the physiological musculature of the voice. Vocal support is not simply bound by anatomy; it is connected to feelings, desire, need and stimulation. It has ‘word juice’. All these qualities are fundamental energies that flow through the actor whilst communicating. This makes the Poetry of Hopkins particularly suitable for actor’s vocal development. Assessment will take place in week 5 of block 4 and will be based on individual vocal development and the ability to connect with the text freely, simply and truthfully, as well as the ability to allow exploration to precipitate change, release and development. You should be able to demonstrate increased awareness of vocal potential working on OVF. Demonstrate increased confident practical ability with fundamental voice and speech techniques and the ability to integrate them truthfully with more demanding emotional, complex and dramatic texts.
How will you be testing that?
Apply vocal skills expressively to speak complex texts responding to the vocal needs at the different performance spaces and possible surrounding noise. Demonstrate practical understanding of the relationship between voice and body, sensory awareness and language. This vocal work will link directly to your Shakespeare work; begin to make the connections early, as you will have voice assessments in your Shakespeare applying all of the above. Once you have found a poem of your choice look at the pictures, the sights, sounds and smells. Speak your poem aloud outside, commune with nature. What does it cost you to say a particular word? How does it make you feel? Start to make connections of self with text.
Is there anything else I should know?
You should purchase a collected works of Hopkins, Penguin publish a good one. Avoid The wreck of the Deutschland, The Woodlark or anything too easy or too short. Be brave and bold in your choice, take the risks we ask of you and you ask of yourself. It is not possible to change and stay the same.
Satirical Prose 18th Century QUESTION
ANSWER
How long is the module?
The module lasts through block 3 of the second year, 4 weeks of class each 3 hours long and individual work with an assessment in week 5
What will it contain?
Classes on prose, the complexity of the language and the length and intricacy of thoughts.
When does it happen?
Block 3 of the second year
Who will be teaching it?
Depending on your groupings either Sarah Stephenson, Luan De Burgh or Chris Palmer
What will I need?
You must return to GSA with a piece of prose learned. Prose being essays, letters, articles, pamphlets, travel writing, scientific papers, diaries (not Samuel Pepy’s ) Do not use poetry or Novels. Be ‘off book’ and ready for precise work at the first text class of the Spring Term. Hand in a photocopy with cuts indicated of the text, at the first class of the Spring term. The best material will be satirical in nature. Notice the complexity of the language and the length and intricacy of thoughts. The piece should be a maximum of 2 minutes in length.
What’s expected of me?
How will you be testing that?
Choose material that challenges your voice, speech and text styles. Take a trip to your local museum or the Victoria and Albert Museum and look at the costumes through the ages. Get an idea of the authors, the period, political, social, economic, architecture, trade, art and fashion. ASSESSMENT will take into account professional conduct and application through the processes of the classes as well as quality of the work at assessment point (week 5) .Students are required to demonstrate their ability to apply effective use of vocal technique consistent with the genre of text and with live performance in a large theatre space. Remember that the voice and text programme is designed to key in with concurrent projects. Work during the term should help to develop the practical skills necessary to successful communication of linguistically complex texts. Choose material that explores wit and wordplay, and has verbal dexterity, the material should also have a strong satirical element. You might find a piece that particularly challenges your areas of weakness. Use you selection of text to sharpen your skills A few authors to consider Joseph Addison (Tatler and Spectator) Edward Gibbon (The decline and fall of the Roman Empire) The following books are available in the GSA library The Faber book of Letters (Edited by Felix Pryor) Further suggestions including a section of authors operating at that time:
Is there anything else I should know?
Alexander Pope Lady Mary Wortley Montagu Samuel Johnson Oliver Goldsmith Richard Savage Thomas Grey Margaret Cavendish Mary Jones
Jonathan Swift Joseph Warton Christopher Smart John Pomfret Thomas Sprat Isaac Watts
Speech and Accent and Advanced Technique QUESTION
ANSWER
How long is the module?
The module lasts through your first and your second year
What will it contain?
You will explore the phonetic, physical and prosodic features of accents other than RP. You will also look at the Jacobean monologue
When does it happen?
It happens in blocks 5 AND 6
Who will be teaching it?
TBA
What will I need?
2 Pieces!! You need to return to GSA with an accent monologue speech learnt this means ‘off book’. The speech should be no longer than two minutes long with a copy of the text with cuts indicated for your tutor, and you will have explored the character in detail. You will have been given this accent or vocal character feature as an area that you need to explore, to challenge you further. You will also need to have learnt a Jacobean monologue which will prepare you for your advanced technical work in the third year. This you will work on with Chris Palmer. Please bring to class bone props, text materials as required, note books.
What’s expected of me?
How will you be testing that?
Energy and commitment to making vocal transformations- not everyone finds every accent easy to access. Persistence is required in understanding and openness to change. To improve listening skills and analytical skills and be able to apply this to accents studied during the year. To apply the knowledge about accents studied into text work and consider how the accent affects rhythm, language, timing, projection, psychology and occupation of different characters. There will be on-going monitoring of progress and coaching within the class. There will be an Assessment in week 5 of term 5 or week 5 of term 6 depending on the group/ show you are in. You will have been allocated an accent which will have been discussed between Chris Palmer and Barbara Ward, and Sarah Stephenson (and has been put on the board) and there are possibly other character traits to work with, so select a piece of text which allows you to demonstrate your accuracy and attention to detail when speaking an accent, and your ability to sustain the accent throughout the piece. Is it suitable for the accent? Does it allow you a sufficient journey and scope for character exploration? Does it meet any of the other requirements of the brief you have been given? The assessment will look at the presentation of both pieces.
Is there anything else I should know?
Ask yourself the question ‘How fully have I been able to transform myself vocally and physically’? Make intelligent choices. Don’t be bound by the obvious, allow yourself the possibility of real change. The Jacobean requires stamina, flexibility, and courage. Make sure the piece is learnt and the play has been read and understood.
Context Module (MUT2005) Music in Theatre QUESTION ANSWER How long is the module?
It runs through your 2nd year and prepares the way for the Personal Assignment/Dissertation Work in the 3rd Year
1) Practical sessions in Dance, Group Singing and ‘integration skills’. These sessions will be run weekly by Phyllida Crowley-Smith (Dance – looking at key choreography and styles), Niall Bailey ( Singing - looking at key composers/styles) with guest sessions aimed at ‘integration skills’ from visiting/faculty professionals on an occasional basis throughout the year. 2) Lecture sessions with Helen Freeman will be aimed at supporting/complimenting the practical work by developing a critical/socio-historical understanding of the Musical Theatre through its developmental stages – from Operetta to Global and Branded Musical. What will it contain?
3) Students will develop the ability to record and present in broadly academic terms this understanding, insight and historical awareness.
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You will be given a number of tasks and course related handouts during the academic year to support your studies and research. There will be sessions on dance forms & vocal styles across the historical spectrum of musical theatre.
Some of the key or ‘watershed’ musicals that will be discussed in the lecture/practical sessions are: Showboat, Oklahoma! West-Side Story, Hair, Jesus Christ Superstar and Cats.
When does it happen?
Who will be teaching it?
What will I need?
Please Check Time – Table for details
Practical Sessions: Niall Bailey and Phyllida Crowley-Smith Lectures: Helen Freeman
Practical Sessions: Niall Bailey, Phyllida Crowley-Smith and guest tutors. Lectures: Helen Freeman and occasional guests 1) Lectures: The willingness to investigate independently, think, question, talk and write about musical theatre.
What’s expected of me?
2) Practical Sessions: To connect the practice and theory in order to become a thinking ‘integrated’ and informed musical theatre artist who is therefore ready for the world of professional work. 3) The ability to contribute productively to a group process of discussion; decisionmaking; preparation and presentation.
How will you be testing that?
1) There will be two written assignments to complete. 2) There will be one Oral/Practical/ Presentation ( you will be assessed on a small group presentation and the material for this come from the practical work)
All assessments will be discussed with you and agreed in advance and will be based on the actual work covered in class or set as a research task.
Is there anything else I should know?
By integrating the academic and practical work the course will engage with an ‘indicative’ academic style and content that is aimed at preparing students for the Personal Assignment/Dissertation in the 3rd year - all the dissertations will require some written work; most students will combine written and practical work for which they will be expected to observe an appropriate academic and BA Hons level of engagement.
Professional Skills Module (AMT 2001) Public Performance QUESTION ANSWER How long is the module?
It lasts through the Summer term but operates within the structure of a conventional rehearsal period. Blocks 5 or 6.
What will it contain?
Your first public production. For the BA Musical Theatre students this will be a musical. The choice of repertoire will be determined by appropriate members of staff. However the kinds of works likely to be chosen are ensemble pieces which share the responsibility for the work amongst the company.
When does it happen?
It happens during a 4 week rehearsal period followed by a one week production period. You will rehearse Tuesdays through to Fridays, in the mornings and afternoons, following conventional rehearsal times.
Who will be teaching it?
Being your first public production you will be working with a director, as opposed to a teacher. This figure may be external or internal, depending on what the needs to the group appear to be.
What will I need?
A copy of the appropriate script or score.
What’s expected of me?
How will you be testing that?
To engage professionally with rehearsals. To put into practice the skills, techniques, that you have been exploring for the previous 5 terms.
Assessment The Director will assess you on your process. There will also be two internal assessors to mark you on your performance. This process is one that will continue into the 3rd Year with the Professional Performances.
Stagecraft QUESTION ANSWER How long is the module?
Whole of Autumn term.
What will it contain?
Stagecraft is a generic term for a class that explores many of the practical and emotional dilemmas an actor might face whilst he/she is working or seeking employment. We aim to explore the possibilities that arise on a regular basis but are very often things that are not usually met during drama school training. It is our hope that by allowing you the opportunity to work through some interesting challenges you will feel empowered when you arrive for work and are expected to rise to all challenges rather than being intimidated by them . Some examples of areas covered in the lesson might include:- eating/ drinking, intimacy with another actor, handling props and furniture, accuracy in the acting
space, using eyelines with mirrors, dressing and undressing etc. Each year the course is adapted to suit the needs and the maturity of the group.
When does it happen?
This course is delivered in the autumn term, once a week during the designated one hour and twenty minute slot.
Who will be teaching it?
Either the senior tutor professional skill, Amanda Fawsett who devised the program or another member of the acting department.
What will I need?
You will be advised in advance of any preparation or equipment needed for lesson.
A greater awareness of the need to take responsibility as an actor and a capability that complements the art form. A clear understanding that the more practically aware an actor is, the more self reliant and responsible, the more employable.
What’s expected of me?
The program will be carefully explained at the beginning of the term. It must be emphasised that student sensitivities will be taken into account when scene choices and projects are selected. It is not a requirement of the course that a student will be asked to participate in any practical activity that they are uncomfortable with. However it is a requirement that the highest levels of maturity and focus are maintained throughout the sessions. Respect for fellow actors is paramount to this course. This class offers the opportunity to take risks and experiment in a constructive environment. To that end, if at any time the tutor considers that a students attitude is detrimental to the harmony of the class, if their attitude is ever less than professional or positive and therefore effecting the progress of other students they will be excluded from the course, which will ultimately affect their mark. Stagecraft carries an ongoing assessment mark that is combined with audition skills later in the term ( separate documentation will accompany that section) Factors considered:• Professionalism Attitude Willingness Determination Tenacity
How will you be testing that?
• Practical skills and accuracy Understanding the connection between the creative and the practical and how both complement each other Personal challenge and self evaluation Constructive observations, when invited, of other peoples work and how it relates to one self Overall contribution to the class dynamic/ Team skills Choice of material ( scene work) Efficiency of bringing relevant props/equipment in to the lesson when required
Professional Conduct Module (AMT 2002) SECOND YEAR ACTING WORKSHOP: 1580 – 1640 (SHAKESPEARE) QUESTION ANSWER How long is the module?
It lasts through Blocks 1 and 2.
What will it contain?
The Workshops are primarily acting based. You will be drawing on the skills you learned during Storytelling, English Naturalism and Ensemble as well as your Basic Acting and other supporting classes from the Foundation Year.
Workshops are concerned with process - not with producing a full show- they should be about finding out what a particular kind of text demands from you as an actor, learning how to find and inhabit this work in the theatrical space - At the same time, you are training to be performers so you need to be able to convey the work to an audience. Workshops are also about the rehearsal process in relation to presenting your work, and introducing you to the responsibilities of the actor to a play, his/her fellow actors and a director.
When does it happen?
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You’ll be working on the text in order to explore and build on the techniques you have already begun to develop. The objective is to work as an ensemble on a significant amount of material from one of Shakespeare’s plays and present it with a coherent narrative to an audience. This means you may present the first half of a play (eg the Sicilia scenes in The Winter’s Tale; or it may mean you work on a cutdown version of an entire play. This means you should not think of the project as a kind of ‘scene study’ but instead immerse yourselves in the act of storytelling.
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In general, the first part of the course will look at exploring the play: its text, world and characters. The second part will feel much more like rehearsals with each of you being cast and needing to take responsibility for your part of the play within the whole.
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You will be cast with careful consideration towards your training and your experiences to date. All casting will be agreed between the project tutor and Pete Harris.
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Your work on character and scene will be assessed for Acting and Voice/Movement/Dance/ applied skills as appropriate. This assessment will take place on Thursday of Week 4 Block 2 for the M2’s, and on Friday of Week 4 Block 2 for the A2’s.
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Your process and progress throughout the workshop will be assessed by your director and a Professional Process mark will be provided at the end of the workshop.
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At the end of term, your company will present a showing to which an audience will be invited. This will be drawn from – and may be identical to – the assessment material.
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The length of the showing and the choice of material will ultimately rest with your tutors. The M2 groups will work towards material lasting 60 – 70minutes; the A2’s will work towards 70 – 80 minutes.
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You will receive verbal feedback after the final assessment from your director. It is vital that you take a pen and paper to this session in order keep a record of what is said. Written feedback from your assessments will follow this process.
The teaching days change throughout the term. Check the timetable for actual times and rooming of your particular class. You have 2 x 3 hour sessions per week in Block 1. In Block 2 the A2’s have 4 x 3 hour sessions per week and the M2’s have 3 x 3 hour sessions per week.
Who will be teaching it?
REX DOYLE will work with the Red Company on The Merchant of Venice. MICHAEL CROMPTON will work with the Blue company on Twelfth Night. TAM WILLIAMS and SIMON WILLIAMS will work with the Green Company on A Midsummer Night’s Dream. VOICE: Sarah Stephenson will work on Merchant; Luan De Burgh will work on Twelfth Night, Chris Palmer will work on Dream.
What will I need?
Your own copy of the Workshop text(s). You have been notified of the particular edition each workshop tutor requires. A copy of the Complete works is not acceptable for rehearsals. You will need • A copy of the play and you should obtain this in advance. Copies of plays are never a waste of money and using library copies means that you are unable to make notes in them and borrowing plays that you are working on does not reflect professional practice or outlook. It is vital that both you and the director have the same edition. If you are unsure which copy to get ask the senior acting tutor or head of curriculum who will advise you. • A copy of a Shakespeare glossary, a First Folio edition of your play and a decent dictionary will all prove useful. • A notebook to record your own ideas, questions, progress, and to reflect on the work you are undertaking with your director this should also act as your journal for your assignment. • A pencil and eraser(this is VITAL – marking up a script in ink means that when things change, and they do, you’re faced with a mess and no more space). • Appropriate rehearsal clothes – basic blacks. As you work through the term, other items might become appropriate, but these are staples.
What’s expected of me?
You should have read the play several times. The usual disciplines: Full attendance, punctuality, commitment and a readiness to learn (these will be included in the Process assessment criteria). To utilise actively the resources, skills and confidence you have acquired during your previous Storytelling work and bring a level of individual commitment and readiness appropriate to the demands of rehearsing a naturalism text. You may be asked by your tutor to repeat processes you have already explored in the Foundation Year. If they do not ask you directly, it is your responsibility to put into practise those processes you know to be useful to your craft. The Learning Outcomes of the module are shown in the module description at the end of this handout. Our intent is to develop your awareness and your ability. Your intent should be steady and clear improvement. I cannot stress enough how important it is for you as actors to prepare yourselves for the project. Remember the work you have done on the character lists, on units and objectives, on actions and beats, on given circumstances, on verse with Sheila Allen, on Sonnets, as well as all your basic acting classes with Julia Carey and Peter Barlow. You should be thinking of the second block in particular as rehearsals as opposed to classes.
How will you be testing that?
Acting, Voice and Movement staff will assess your work in Autumn Week 4. Part of the object of Workshops is to encourage you to apply your learning in Technical Skills to the integrated process of creating situation and character from text to performance. Skills staff will be looking for how well you are achieving the actual and appropriate application of the given skills. Your Workshop Tutor will expect you to observe the professional disciplines of attendance, attention, preparation and the ability to work with others/contribution
to the process, and will assess your achievement in those areas. The showing event at the end of term is not assessed, unless we need to treat it as a resit for anyone who failed the scene work.
Book Musical Workshop QUESTION ANSWER How long is the module?
This workshop will last through the Spring (Block 3 and 4 )of your second year.
What will it contain?
Three, sessions per week with a Director/Choreographer and with support from a Voice/ singing tutor, and an MD who will take you through the Musical Theatre Workshop process. You will be working on: Kismet (Red Company, with Phyllida Crowley-Smith and Chris Dickens) The Pirates of Penzance (Blue Company, with Jimmy Johnston and Niall Bailey) In the second year these specific Musical Theatre workshops are about the rehearsal process in relation to the professional skills, attitude and responsibilities of the musical theatre artist/actor within the context of industry standards, requirements and expectations. You’ll be working on the musical theatre text in order to explore and build on the techniques you have already begun to develop in the foundation year, and in the Shakespeare Workshops. You will receive verbal feedback after the final assessment from your director. It is vital that you take a pen and paper to this session in order keep a record of what is said. Written feedback from your assessments will follow this process.
When does it happen?
In the same slots as with your Shakespeare workshop. Check timetable for details.
Who will be teaching it?
Red Company: Phyllida Crowley-Smith, Chris Dickens and Sarah Stephenson Blue Company: Jimmy Johnston, Niall Bailey and Luan de Burgh
What will I need?
Your own copy of the appropriate Workshop text(s). This can be picked up from the library at the beginning of the project. •
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What’s expected of me?
A notebook to record your own ideas, questions, progress, and to reflect on the work you are undertaking with your director this should also act as your journal for your assignment. A pencil (this is important – marking up a script in ink means that when things change, and they do, you’re faced with a mess, and no more space). PENCIL MARKINGS SHOULD BE LIGHT AS THESE ARE HIRED SCORES. IT IS ALSO YOUR RESPONSIBILITY TO REMOVE ALL MARKINGS AT THE END OF THE PROJECT OTHERWISE YOU MAY FORFEIT YOUR DESPOSIT. Appropriate rehearsal clothes – basic blacks with rehearsal skirts and character shoes for the girls and firm-soled shoes for the boys. As you work through the term, other items might become appropriate, but these are staples.
The usual disciplines: full attendance, punctuality, commitment and a readiness to learn (these will be included in the Process assessment criteria). You should by now be prepared to utilise actively the resources, skills and confidence you have acquired to date.
The Learning Outcomes of the module are shown at the end of the Level 2 Workshop module description at the end of this handout. When reading, bear in mind that the description applies to all second year modules. Our intent is to develop your awareness and your professional abilities and processes; yours should be steady improvement and professionalism.
How will you be testing that?
Part of the object of Workshops is to encourage you to apply your learning in Technical Skills to the integrated process of creating situation and character and making the transition from text to performance. Your Workshop Tutor will expect you to observe the professional disciplines of attendance, attention, preparation, personal development and contribution, and will assess your achievement in those areas. The company event at the end of term is not assessed, unless we need to treat it as a resit for anyone who may have failed or may be failing.
