Studying at York
Acting - TFT00013C
- Department: Theatre, Film, Television and Interactive Media
- Credit value: 20 credits
- Credit level: C
- Academic year of delivery: 2022-23
Module summary
This module builds on the training work begun in the first term Introduction to Performance module, and both extends the ambition of that performance training and also starts to explore the challenges of characterisation in a sampling of plays from different periods, as well as the demands of ensemble work. It will aim to equip you with preparatory techniques, which will allow you to use rehearsal time to best advantage. It will also develop further the explorations, in Term 1’s Introduction to Performance, of various schools of acting theory, practice, and training, into more detailed theatre history case-studies of particular instances of the application of specific methodologies to performance. Simultaneously, it will train you in writing analytical accounts reflecting on your own rehearsal processes.
*Students will lose 3 marks per workshop, seminar or practical session missed for this module.
Module will run
| Occurrence | Teaching period |
|---|---|
| A | Spring Term 2022-23 to Summer Term 2022-23 |
Module aims
To develop students' performance skills, their abilities in characterisation, and their responsiveness to ensemble demands
To enhance their possession of the collaborative, mutually supportive, pro-active, qualities indispensable to all successful theatrical practice
To investigate case-studies of the practical application of the theories and rehearsal techniques of some of the most influential figures in actor training
To develop further a mutually sustaining dialogue between the study of the history of training and rehearsal practices and the students own workshop experience and progress
To develop students' ability to notate on paper their observation of actors in performance
Module learning outcomes
An enhancement of students' existing performance skills, with a particular emphasis on the challenge of creating/representing characters on stage and on the requirements and disciplines of ensemble in performance
A more advanced experience of the collaborative and pro-active skills indispensable to productive workshop and rehearsal exploration
An investigation of case-studies of leading acting trainers/practitioners applying their distinctive principles and techniques to significant plays (Jacques Copeau, for instance, reinventing the performance of French classical comedy in his 1920s/1930s Moli ¨re stagings)
An experience of writing analytically about acting theory, and relating that to specific issues encountered in the workshops
Academic and graduate skills
ability to work collaboratively, in a generous, inventive, and pro-active manner, against firm deadlines
ability to communicate practically, precisely and vividly, via the vocal and physical skills the module teaches, ideas and perceptions about how a text might be interpreted and performed
ability to absorb, and put successfully into practice, unfamiliar and challenging approaches
ability to produce logical and well-structured arguments supported by relevant evidence
ability to communicate complex ideas effectively and to a high standard in writing, orally and through IT
ability to manage time effectively and meet deadlines in appropriate fashion
Indicative assessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 75 |
| Practical | 25 |
Special assessment rules
None
Indicative reassessment
| Task | % of module mark |
|---|---|
| Essay/coursework | 100 |
Module feedback
Written feedback, plus oral feedback where requested or deemed necessary. Students are also given a procedural essay task, mid-term, so that the tutor may comment on the standard of written work, citation, argument and structure, in order to inform the writing of the summative essay. Our aim with formatives is to return feedback within two weeks of submission, while, with summative essays, we aim to provide feedback well within the 20 working day return period specified by the university.
Indicative reading
Jean Benedetti, The Art of the Actor (2005)
Konstantin Stanislavski, An Actor's Work: A Student s Diary (2008)
Alison Hodge (ed.), Actor Training (2010)
Anne Bogart and Tina Landau, The Viewpoints Book (2005)
David Krasner (ed.), Method Acting Reconsidered (2000)
Rudolf von Laban, The Mastery of Movement (1971)
Robert Cohen, Acting One (2002)
Phillip B. Zarrilli, Acting (re)considered: Theories and Practices (1995)