BA Acting Handbook - 2021-2022 by ArtsEdLondon

BA (Hons)

Acting 3 Year Acting Course TCL Level 6 Diploma

Student Handbook 2021–2022

THE STUDENT HANDBOOK

September 2021

Welcome to ArtsEd and the most challenging, exciting and creative three years of your life. We will work with you on developing inclusive, detailed contemporary, actor training for Stage, Film, Television and Radio. Preparing you to become world-leading artists, theatre-makers and performers in all genres, by focusing on the ever-evolving developments in the creative industries. At ArtsEd we are a thriving creative community that is passionately dedicated to investing in the individual. Our tutors are inspiring, passionate industry professionals who are committed to work with you to craft the core skills you will need as an actor. In order to get the very most out of the training we expect you to be the same. This Handbook has been designed to help you understand, and get the most out of, the BA (Hons) Acting programme. Please do read it. So often students have queries and concerns that are dealt with within these pages. The handbook will inform you on: • the degree structure • the breakdown of the three years and how the classes develop • the specific content and requirements of each module • assessment requirements and regulations as well as other advice on being a student at ArtsEd. If you have any questions or concerns regarding the handbook please refer them to your Head of Year. Please note that the information contained in this handbook is correct at the time of going to press in July 2021. The School reserves the right to make amendments in response to obligations or legislation beyond its control. The timetable may, on occasion, be affected by national holidays or extra-curricular enrichment activities. You will, of course, be informed of any changes. In response to the Covid-19 pandemic, we have been able to deliver our courses through a blended learning approach, combining face to face and online teaching. In 2021-22 we hope to deliver all teaching on site, but if further lockdowns are imposed we may need to transition to remote learning. Julie Spencer Director of the School of Acting

Term Dates 2021-22 Autumn Term Tuesday 14th September to Friday 10th December 2021 Half term (Reading week) – w/c Monday 25th October 2020 Spring Term Monday 10th January – Thursday 31st March 2022 Half term (Reading week) – w/c Monday 14th February 2022 Summer Term Monday 25th April – Friday 8th July 2022 Half term (Reading week) – w/c Monday 30th May 2022 BANK HOLIDAY – SCHOOL CLOSED: Monday 2nd May

WELCOME TO ARTSED Who are all these people and what do they do? What are the rules? Student Charter Student Code of Conduct Staff Code of Conduct Student regulations Lateness/Absence regulations Academic Warnings Fitness to Study Professional Discipline Casting Policy Stage and Screen Code of Conduct Drugs and Alcohol Security Digital media Computer regulations How does the school work on a day-to-day basis? Absences Accidents Accommodation Appointments Bikes Box Office Buddy Scheme Cars Catering Changing rooms Common Area Complaints Computers Contact Details Counselling Council Tax Dentist Doctor Drinks Emails Equal Opportunities Fees Fire Drill First Aid Front of House Gym Hardship Fund Health and Safety Injury Lanyards Learning Support Library Lockdown Drill Lockers

1 1 3 3 4 6 6 8 9 10 10 11 11 13 14 14 14 15 15 15 15 15 15 15 16 16 16 16 16 16 17 17 17 17 17 17 17 18 18 18 18 18 18 18 19 19 19 19 19 19 19 19

Lost Property Pastoral Care Photocopying Physio Post Pupils Recycling Smoking Swipe cards Theft Tutor group Visitors Wardrobe What if you have a problem? What if the Students, as a group, have a problem? Student Representatives Company Meetings Board of Studies Meetings Student Complaints What is the course for? How will I get feedback on my work? Library and other resources THE COURSE Programme Specification Outline What will I be expected to achieve? How will I learn? Learning hours How will I be assessed? What do I have to do to pass? Grade descriptors What degree can I get? Participation grades Programme content Careers Accreditation and Professional Recognition Level 6 Diploma in Professional Acting Module Specifications Year One Module 1 – Projects 1 Module 2 – Acting 1 Module 3 – Voice 1 Module 4 – Movement 1 Module 5 - Contextual Studies Year Two Module 6 – Projects 2 Module 7 – Acting 2 Module 8 – Voice 2 Module 9 – Movement 2 Module 10 – Professional Practice Year Three Module 11 - Public Productions and Films Module 12 - Professional Employment Skills POLICIES

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19 20 20 20 20 20 20 20 20 20 20 21 21 21 24 25 25 25 25 25 26 26 28 28 28 29 29 31 34 35 35 39 39 41 48 49 49 52 52 60 81 92 100 105 116 128 139 145 151 167 171

ASSESSMENT REGULATIONS General Principles Principles of the Assessment Framework Progression and Award Academic Standards, Marking and Feedback Assessment Boards

172 172 172 173 189 195

Being a student at ArtsEd

Welcome to ArtsEd! Hopefully you are excited about starting at drama school. You are probably a bit nervous as well. Some of you will be away from home for the first time; some of you will be entirely unused to living in London and most of you won’t know anyone at all (except your buddy.) Don’t worry. Everyone else starting the course will be feeling the same way.

Who are all these people and what do they do? When you start at a new school, college, university or job, it can take time getting to know who everyone is. We have an open door policy so never feel you can’t talk to anyone. Here is a list of some of the people who you may come in to contact with: School of Acting Executive: Julie Spencer

Director of the School of Acting

Justin Pierre

Head of Acting

Kim Vithana

Head of Film, TV & Radio - Joint Head of Year 3

Mike Hayden

Head of Voice – Joint Head of Year 3

Gabrielle Nimo

Head of Movement – Head of Year 1

Marcus Ellard

Senior Tutor in Acting – Head of Year 2

Simone Coxall & Richard Neale Joint Course Leaders - MA Acting Steven Kavuma

Course Leader – Foundation/Cert.HE in Acting

Erica Jeffrey

Equality, Diversity & Inclusivity Coordinator (EDI)

David Bumpstead

Registrar

Laurie McQuire

Senior HE Administrator

Simon Robinson

HE Administrator

School of Acting tutors: Grace Andrews

Acting Approaches/Contextual Studies

Nick Barber

Radio

Charlotte Brimble

Screen Acting

Rupal Chandi

British Sign Language

Yarit Dor

Intimacy Training/Stage & Screen Combat

Marcus Ellard

Text Analysis

Aundrea Fudge

Global Voice

Caitriona Giles

Movement/Dance

Mike Hayden

Voice 1

Being a student at ArtsEd

Barbara Houseman

Voice

Hamza Jeetooa

Screen Acting

Kate Maravan

Acting Approaches

Gabrielle Nimo

Movement/Dance

Aled Pedrick

Singing

Justin Pierre

Acting Approaches/World Classics

Emilia Robinson

Movement/Dance

Iskandar Sharazuddin

Improvisation

Natalie Smikle

Yoga

Julie Spencer

Shakespeare

Mark Street

Screen Acting

Ingrid Uhlén

Accents

Kim Vithana

Screen Acting

Film and Television Department: Kerryn Arcari

Producer, 3rd Year films

Robert Gravenor

Senior Film Editor and Technician

Alessio Festuccia

Sound Technician

And listed below are the people who work for the whole of ArtsEd. These people can be contacted in their various departments. To find out where they are and how to contact them, ask the School Administrator in the HE Admin office. Julie Spencer

Acting Principal

Yewande Akindele

Deputy Principal

Nichola Milner

PA to the Principal

Mike Stewart

Finance Director

John Antrobus

Head of Learning Resources & Librarian

Jules Cannon

Reception

Marisa Newton

Reception

Di Stedman

Head of Production

Alex James

Stage Manager

Philip Bell

Chief Technician

Sean Flynn

Construction Manager

Âse Amy Djärf

Costume Supervisor 2

Being a student at ArtsEd

Caroline Morley

Box Office Manager

Sue Sandle

Director of Development

Frank Daniel

Head of Facilities

helpdesk@artsed.co.uk

IT Support

WE HAVE AN OPEN DOOR POLICY SO NEVER FEEL YOU CAN’T TALK TO ANYONE

What are the rules? Any institution needs to have rules so it can run smoothly and so everyone understands what they are supposed to do (or not do.) The rules are designed to be helpful; to give you an indication of how professionals work and to make sure that the training is fair for everyone. In addition to the student regulations, ArtsEd has a Student Charter, Student Codes of Conduct and a Staff Code of Conduct, which outline the responsibilities of the students, the institution, the students’ union and the Staff.

ArtsEd Student Charter ArtsEd undertakes to: • Ensure that its employees treat students and colleagues equitably, professionally and respectfully. ArtsEd undertakes to provide: • A safe, supportive and inclusive environment in which to study. • High standards of teaching, support, advice and guidance. • Access to activities that will enhance employability and personal development. • Regular continuing professional development for its staff. • Support for student participation in academic development and course management, including elections of representatives. • Access to a range of pastoral support services. • Clearly defined access to library, IT, and other facilities. ArtsEd undertakes to provide students with the following information: • Timetables, including changes, cancelled classes, re-scheduling of content • Clear deadlines and timeframes – detailed in Course documentation – for feedback on submitted work. • Student and Course information detailing: assessment criteria, contact hours, mode of delivery of course, assessment arrangements and regulations, academic guidance and support, appeals and complaints procedures and professional requirements (where appropriate). • Course costs and tuition fees, payment options and deadlines, and an estimate of necessary additional costs. 3

Being a student at ArtsEd

Students undertake to: • Treat staff, visitors and their fellow students equitably, professionally and respectfully. • Respect the academic judgement of the institution. • Attend induction, participate in timetabled classes, rehearsals and performances, and attend meetings with tutors. • Obtain agreement from the School, in advance, for any essential absences. • Take responsibility for managing their own learning: actively engaging in their course; ensuring they spend sufficient regular time in private study, and participating fully in group learning and assessment activities. • Submit assessed work by stated deadlines and actively participate in feedback. • Make prompt payment of charges made by the institution. • Return promptly and in good condition any equipment loaned by the institution. • Support Course Representatives and participate in systems which will lead to improvements in the quality of learning and teaching as detailed in the Student Handbook. • Respect the physical environment of the institution and behave respectfully towards all members of the ArtsEd community and its neighbours as set out in the Student Codes of Conduct. • Abide by all of the School’s Health and Safety policy and all other codes and policies. The Students’ Union undertakes to: • Support all students to ensure they receive equal treatment and are aware of their responsibilities and rights. • Support student participation in quality enhancement activities. • Provide students with advice on welfare problems. • Represent the interests of students at local and national level. • Support active student/community engagement, especially as regards combating antisocial behaviour.

Student Code of Conduct a. Face masks must be worn in all communal areas within ArtsEd (until further notice). b. No admission into sessions for late students. c. All students to wear black attire only (blacks) within sessions. d. Please ensure the use of black head coverings (e.g. headscarves, durags, bandanas etc.) e. No jewellery (except for ear studs) to be worn during sessions. f. Minimal application of make-up. g. Hair must be tied back from the face during sessions. h. No additional breaks outside of the students scheduled timetabled breaks. i. Students are not to leave class unless it is to seek first aid or an additional emergency.

Being a student at ArtsEd

j. No use of mobile phones within sessions. All phones are to be put away unless a student is waiting for an urgent call – of which they would state at the beginning of the session. k. No inappropriate or offensive language to be use within sessions – towards peers or staff. l. No rudeness or obnoxious behaviour towards peers or staff. m. Minimise all talking – unless it is content-specific conversation(s) n. No student is to dictate to any member of staff, their preference of working partner(s). Students will work with their assigned partner(s) or group – unless stated otherwise by their tutor, course leader, visiting lecturer, director or head of year. o. When working, if you have an idea that may cause someone to feel uncomfortable or you want to explore physical contact or action – talk to them about it beforehand, in order to seek permission and consent. p. When working, as well as beyond the working space(s) do not engage in any sudden verbal or physical action towards others, that may cause alarm and distress. q. Application of work and stamina – all students must ensure full engagement and participation within all sessions. r. All students must demonstrate consistency of professional behaviour, participation and engagement, within all sessions s. All students must fully engage in the witnessing of work of others, by means of full engagement, focus and attention. t. No food or drink (except water) are to be consumed within rehearsal or performance spaces. u. We all have a duty to take active steps to avoid or disengage from student gossip or negativity, that has a direct impact on the learning process and environment. As this can often cause contention and resentment and becomes a barrier to effective learning, communication, collaboration and creativity. v. Deadline expectations – all set work must be handed in on the agreed deadline unless specifically stated otherwise by the tutor. w. Self-awareness, professional etiquette, and behaviour (inside & outside working spaces) – monitor noise levels and be aware; though your class may have finished, other classes are still going on. x. Audio Recordings can only be taken with the consent of those present. If those present consent to the audio taking place, the student cannot share any part of the audio with any third party without explicit consent of all parties. If there is an independent member of staff taking minutes (within a meeting) that is sufficient, as the student is able to have a copy and raise any concerns, should there be any. y. Ownership of learning – you must be motivated, engaged and positively selfdirect in your learning, with the guidance, direction and support of tutors and all staff members. Disciplinary procedures are as stated in the student handbook; this includes, but is not limited to, verbal warnings, written warnings and barrings.

Being a student at ArtsEd

Staff Code of Conduct The purpose of this Code of Conduct is designed to give clear guidance on the standards of behaviour all ArtsEd staff are expected to observe. At ArtsEd staff are expected to: • Demonstrate consistently high standards of professional conduct in order for students to do the same. • Maintain high standards of ethics and behaviour both in and outside ArtsEd • Create an inclusive, welcoming and safe learning environment. • Maintain appropriate boundaries between professional and personal life. • Treat students, colleagues and visitors equitably, professionally and respectfully. • Place the needs and safety of the student at the centre of any decision they make. • Be aware of how behaviour may be perceived: intention is not the same as impact. • Avoid any professional or personal behaviour which could risk damaging ArtsEd’s reputation within the industry or the local community. STUDENT REGULATIONS 1. Students must sign in by the stated time each day. Penalties for lateness or absence are set out in the Lateness/Absence Regulations below which also form part of these regulations. Students may be required occasionally to work in the evening or at the weekend. Students must bear this in mind if considering taking paid work during the term. 2. Student performance is monitored constantly. Academic Warnings are given to students for unsatisfactory progress or if attendance is poor. If progress and attendance continues to be unsatisfactory, the Director of the School of Acting will ask the student to withdraw from the course. See Academic Warnings below. 3. Assessment. Any student whose performance at the assessments and whose overall progress through the year is unsatisfactory will be asked to discontinue the course. More detail about assessments can be found in the module specifications section of the student handbook. 4. Students are required, from time to time, to act as stewards on final year productions. This will involve evening work. 5. Students have no right to any part in any particular performance or project, and must agree to play “as cast”. 6. Students may not audition or arrange to meet agents/casting directors without prior agreement with the Director of the School. Only 3rd Year Students are allowed to attend auditions after the Showcase, and this must be cleared by the Head of Year. 6

Being a student at ArtsEd

7. Students may not accept any professional or amateur engagements during the course, (even during the holidays) without prior approval of the Director of the School. 8. If a student is deemed incapable of work because of the effect of drink or drugs he/she will be suspended immediately pending an inquiry (see Misconduct and Drugs and Alcohol below). 9. ArtsEd disclaim responsibility for loss, accident or damage of any kind that may occur to the property of students, wherever it occurs - private arrangements are advised, if insurance is desired. 10. Misconduct. Misconduct will lead to disciplinary action, which could result in the dismissal of a student from ArtsEd. Examples of misconduct are provided below, although the list is not exhaustive. ArtsEd may choose to investigate and take action on misconduct offences whether they take place on ArtsEd premises or elsewhere, including online and in social media. a. Disrupting any ArtsEd activities; b. Violent, indecent, disorderly, threatening or offensive behaviour or language (whether expressed orally, in writing or electronically) including harassment; c. Conduct which unjustifiably infringes freedom of thought or expression whilst on ArtsEd premises or engaged in ArtsEd activity; d. Possession or use of illegal drugs or weapons on the premises; e. Fraud, deceit, falsification of documents, deception or dishonesty; f. Behaving in a way likely to cause injury to any Person or to impair safety; g. Harassing, victimising or discriminating against any Person on grounds of age, disability, race, ethnic or national origin, religion or beliefs, sex, sexual orientation, gender reassignment, pregnancy, maternity, marriage or civil partnership, colour or socio-economic background; h. Failing to comply with any ArtsEd rule, regulation or policy; i. Damaging, defacing, stealing or misappropriating ArtsEd property or the property of any student, member of staff or visitor to ArtsEd; j. Misusing or making unauthorised use of ArtsEd premises or items of property, including IT facilities or safety equipment; k. Deliberately doing, or failing to do, anything which thereby causes ArtsEd to be in breach of a statutory obligation; l. Behaving in a way which brings ArtsEd into disrepute; m. Making false, frivolous, malicious or vexatious complaints; n. Any misconduct prior to a student’s enrolment at ArtsEd, which was not previously known, which raises questions about the fitness of the student to remain a member of the ArtsEd community. 11.

Misconduct and the Law a. ArtsEd may report to the police any allegation that a criminal offence has been committed.

Being a student at ArtsEd

b. ArtsEd encourages any student who has been the victim of an alleged criminal offence to report this to the police. 12. Students must be correctly attired in the communal areas of the building 13. Students are not permitted to park their cars on the facilities at any time. Any student found using the car park will be barred for the day. 14. The building, including its outside spaces, is non-smoking. Students are not permitted to smoke by the front door of the school. 15. All students and staff are issued with an ArtsEd lanyard and security (swipe) card which must be worn in all public areas of the building. See Security below. 16. Failure to submit written work to the set deadlines will result in penalties for late submission. 17. Students must not post course-work or performances on Facebook, YouTube or any other social-networking sites. 18. Fees may be paid in full in September or in three termly instalments. All fees must be paid on or before the date set for financial registration each term. 19. In the event of a student being dismissed from the course, no further fees will be payable by the student (as long as all fees until the point of dismissal have been paid in full) and the student will not be entitled to claim the return of any fees or any part thereof already paid, including the deposit. 20. In the event of a student withdrawing from the course, a term’s notice is required or fees for the term following the student’s withdrawal will be payable and the student will lose their deposit. 21. Students who have any outstanding fees owing to the ArtsEd at the end of the course will not receive their degrees until all fees have been paid in full. One of the most important things to say about the course is that strong self-discipline is crucial. It doesn’t matter how good you are at acting, if you are late or lazy or difficult to work with, no one will want to work with you. So read the following carefully. It’s how we operate! Lateness/Absence Regulations 1. Students must sign by the stated time each day (usually 15 minutes before your first class). Any student who is late or who fails to sign in will result in the student being barred for the rest of the day. 2. If there are genuine extenuating circumstances (which can be evidenced in writing) for the lateness or failure to sign in, the barring will be lifted. 3. Sometimes students are on time for their first class of the day but forget to sign in, perhaps because they have come in early to rehearse. The first time this happens no caution will be issued and the barring will be lifted. We call 8

Being a student at ArtsEd

this a ‘lifeline’. The second or subsequent time this happens; the barring will be enforced. 4. Each day a list of those barred for the day will be emailed to staff and students for reference, and details will be noted in the students’ files. 5. Second and subsequent barrings for lateness, absence or failure to sign in will be considered to be a breach of the Rules and Regulations and will result as follows: a. Second barring: formal verbal warning b. Third barring: first formal written warning c. Fourth barring: final formal written warning d. Fifth barring: immediate dismissal from the course. 6. Appointments with banks, doctors, dentists etc. should be arranged, if possible, outside timetabled class time so that classes/rehearsals are not missed. Preferably such appointments should be made for weekends or holidays. 24 hours notice must given for doctors, dentists and any other necessary appointments. All such appointments must be signed off by the student’s Head of Year or the Director of the School. 7. Notification of illness must be reported to the office at least 15 minutes before the stated sign in time on the day in question by leaving a message on 020 8987 6663. Any notification after this time will be marked as absence without reason, and this will be noted as a barring. 8. Where a student has been absent due to illness for more than five consecutive days, a medical certificate must be provided. 9. All classes on the timetable are compulsory. A member of staff will refuse admission to a class if a student arrives late or is not correctly attired. 10. The Director of the School may exclude a student from the production or project concerned (and re-cast it accordingly) if a student has been late or absent on three occasions on which he/she was called. 11. If a student is to be unavoidably absent from any single class or rehearsal, she/he must inform the departmental office by telephone 020 8987 6663 by 8.00am on the day concerned, stating the reason. If such absence continues for more than one day, such information must be provided by 8.00am on each succeeding day. 12. It is each student’s responsibility to catch up on all work missed due to absence. 13. If a student misses 10% or more of their coursework, for illness, injury or any other reason, the student will be called to a meeting with the Director of the School of Acting. The student may be given the opportunity to defer, they may be counseled to withdraw from the course, or in the case of final year students, they may be permitted to continue, on limited casting. Academic Warnings If a concern is raised about your progress in any area of the course, either the Head of Year or the Director of the School will collate progress reports from all your tutors. 9

Being a student at ArtsEd

Based on this evidence, you may be issued with a verbal academic warning. Continued lack of progress will result in a written academic warning, and a review date will be set, usually at the half term or end of term. Academic warnings are carried forward into subsequent academic years until lifted. If insufficient progress has been made by the review date, the academic warning may continue, and a new review date may be set, or you may be issued with a final written academic warning, and a final review date set. If insufficient progress has been made by that date, you will be dismissed from the course. Fitness to Study Fitness to study refers to a student’s ability to fully and positively engage with their training and to fulfil the expectations of the course without negative impact on other students or staff. The training at ArtsEd prepares students for the professional theatre, film and television industry, and in order to succeed a student must be able to meet industry standards of punctuality, commitment, engagement and preparation. If concern is raised over a student’s fitness to study, there is a formal procedure to follow. A Wellbeing Action Plan will be put in place, and a review date agreed. If by that date, depending on the reason for implementing the Fitness to Study procedure, for example the problem is not resolved, the student’s health has not improved or the behaviour remains unchanged (as appropriate) the student may be counselled to defer or withdraw from the course. Full details can be found in the Fitness to Study Policy. Professional Discipline The nature of the course with its focus on both individual and group development is such that it requires high levels of commitment from each student. Cause for concern forms may be issued for any of the following reasons:

• • • • •

Persistent lateness Disruption to the work of the group by way of conduct and/or attitude Lack of evident commitment to the work Repeated failure to complete homework or learn lines In addition, violent or other unacceptable behaviour (as outlined in the Misconduct section of the student regulations above) can result in immediate dismissal from the course.

Once a cause for concern form has been issued, the student will be required to attend a meeting with the Director of the School of Acting. If the student’s professional discipline does not improve, the following actions can be taken: 1. The student may be given the opportunity to defer and repeat the year. 2. The student may be counselled to withdraw from the course. 3. The student may be permitted to continue with limited casting for their final year.

Being a student at ArtsEd

Casting Policy ArtsEd endorses the goals of diversity, inclusion, and the principles of equal opportunities for all students and we choose material that is representative of the student’s potential. Material for acting projects, classwork, and showings in year one and two will often be chosen to challenge you and extend your range, and therefore will not be limited to traditional casting stereotypes. In year three, casting decisions for the public productions and films are made as a result of auditions and readings, this encourages students to play to their strengths and gives you the experience and understanding of professional process, and of the kind of roles you may be likely to be considered for when auditioning for professional work. All students must play as cast in public performances and ArtsEd does not guarantee major protagonist casting to any student. Your work ethic as a training professional must always be implemented to the highest degree – irrespective of the role you have been cast. A student may be given ‘limited casting’ due to a lack of progress or in response to disciplinary action. For clarity, (a perceived smaller role) does not mean ‘limited casting’. If you are placed on ‘limited casting’ in Year 3, this will be explicitly communicated to you by your course leader, the head of acting or the director of school of acting and will be considered during the audition/casting process. Please be advised that limited casting can affect you in the following ways: • It can have a direct impact on the size of the roles you are cast throughout your third year. • You may not be considered for additional performance opportunities (for example, BBC Radio Carleton Hobbs, Spotlight Prize, Sam Wanamaker at the Globe, mock audition with head of RSC casting Hannah Miller). • In the most extreme disciplinary situations, you will receive an alternative assessment, as a replacement to participating in performance modules. Year 3 Stage and Screen Student Code of Conduct Working as part of a team, contributing as well as learning from others is an essential part of personal and professional growth and goal attainment. In addition to your student code of conduct – please be aware of the following codes of conduct for stage & screen. STAGE a. Do not arrive late to any rehearsal, technical rehearsal, or performance - turn up on time and follow both (production & ArtsEd’s protocols) if you are likely to be late or are unwell. b. Follow health and safety guidelines. Theatre spaces and workshops are full of equipment which can be dangerous. Any choreographed scenes for example (stage combat) can go awry, if proper guidance is not being followed. 11

Being a student at ArtsEd

c. Be respectful of ArtsEd’s property and the property of all staff members and students. d. Ensure commitment to taking ownership of your learning and development and always uphold professional standards of practice. e. Always maintain respect for all production staff & crew – listen to notes, and should you want to discuss any notes further, please take the appropriate time and opportunity to discuss the note with the note giver. f. Observe any rules and or notes as posted on the call board or Yr.3 company board. g. Sticking to strict lines of communication, between students, production staff & crew is essential. To liaise and communicate with Laurie-Ann McQuire and teaching staff during the production process, is required and encouraged. However, during the production process, you must also adhere to the essential lines of communication between, the director, stage manager and deputy stage manager. h. It is your responsibility to be equipped with the necessary stationary equipment and your script for all rehearsals. You must not expect your director, stage manager, deputy stage manager – or any other production member to provide you with stationary equipment, or additional scripts. i. Maintain professional focus and concentration during rehearsals and technical rehearsals, to ensure the process is efficient and runs smoothly. j. Do not suggest blocking or give character notes to other actors – it is not your place to do so. In addition, do not suggest blocking ideas to the director, unless specifically asked to do so. k. Adhere to all timing expectations (call times etc.) for the efficiency and flow of the production. l. Maintain performance as directed or choreographed – unless explicitly stated otherwise. m. Make no unauthorised changes in costume, make-up, or hair – unless explicitly stated otherwise. n. Only eat drink or smoke in the designated areas. You will be working with fragile costume props and equipment, which could be ruined if care is not taken. o. Be professional in your work at ArtsEd, as your professional practice is part of how you are assessed in your work. Please be mindful, as any aspect of unprofessionalism affects your creative experiences and ultimately your own reputation. The production is a collective effort by all artists and production 12

Being a student at ArtsEd

crew – therefore your sole creativity and focus is to collectively adhere to the demands of the play. SCREEN a. When attending rehearsals and filming, you must be punctual and prepared. b. Schedules provided before filming are SUBJECT TO CHANGE. This means that you are on call throughout the entirety of the shooting period and the film department is priority. c. All sickness must be reported to the Line Producer: Kerryn Arcari immediately, as this will impact filming schedules adversely. d. All accidents / damage to locations or vehicles must be reported to the Line Producer immediately. This must not be brought to our attention by property owners or Frank. e. Safety On-Set – Please follow all safety protocols on-set to safeguard you, others, and equipment. You will be taken through all safety measures in tech lessons. f. Scripts with physical contact beyond regular interaction i.e. fight sequences, intimacy, must be rehearsed with Combat Instructor / Intimacy Coordinator present when choreographing. Under NO CIRCUMSTANCE must a physical rehearsal take place without consent from all actors and the relevant instructors present. g. All industry professionals and location owners must be respected. If any issues arise, please raise your concerns with The Line Producer or Assistant Production Manager (TBA). h. Please refrain from giving character notes or blocking to other actors – This is not professional standard. In addition, do not suggest blocking ideas to the director, unless specifically asked to do so. It is essential that you declare any medical conditions that have a direct impact on your learning and learning environment. Disciplinary procedures - as stated in the student handbook; this includes, but is not limited to, verbal warnings, written warnings, barrings and limited casting. Drugs & Alcohol This is important. The course is very intense and you need to be able to concentrate properly and to always be physically and mentally alert. Even at 8.30 in the morning!! We realise that students may use alcohol socially but you must not use alcohol during school time. You must never be under the influence of alcohol or drugs (illegal substances) during school time and you must make sure that any indulgence the night before does not affect your work the next day. It’s your responsibility to ensure that you are fit to work. 13

Being a student at ArtsEd

You are reminded that using, possessing or dealing in drugs and other banned substances on school premises will lead to immediate dismissal from the course and will be placed in the hands of the police. Any student who is considered to be unfit for work due to the effect of alcohol or drugs (illegal substances) will be told to leave the School premises immediately and will be required to attend a meeting with the Director of the School, normally within three working days. Evidence of drug and/or alcohol abuse in the School can result in Immediate Dismissal Help is available if you have a problem. Security All students and staff are issued with an ArtsEd lanyard and security (swipe) card. The swipe card is needed to enter and leave the building. Lanyards, with swipe cards showing, must be worn in all public areas of the building. If you lose your lanyard or your card, you must pay for a replacement. Replacement cards cost £5 and lanyards £2. Swipe card replacements must be ordered via https://artsed.co.uk/artsed-replacement-id-card by 5pm on the second day without a card. On the third day without a card you will be reported to the Administrator and the Director of the School and may be barred. If your card has been stolen, you must provide a crime reference number to avoid the replacement charge. Your card will be de-activated at the end of the course. Digital media Unless given express permission by the tutor or director, mobile phones, tablets, laptops or other digital media is not permitted within the classroom or rehearsal room. Out of courtesy to fellow actors and directors/teachers students are requested to keep their phones switched off at all times. Permission may be given to take notes on tablets, phones or laptops, but not for other use. • Action taken if regulations are breached: Any student found using digital media during class/rehearsal will be dismissed from the class. Computer regulations The school computers must only be used for activities related to the course. You are not allowed to use the equipment to view obscene, hateful or offensive material. The full IT regulations can be found in the policies section of the website along with the other policies referred to therein. A form will be given to each student, which they must sign before starting the Course, signifying that he/she has read, understood, and accepted all of the above rules.

Being a student at ArtsEd

How does the school work on a day-to-day basis? Absences

Every student has to 'sign in' fifteen minutes before your first class every day (see Lateness/Absence Regulations). If you are ill, you must ring in on 020 8987 6663 and speak to Laurie or leave a message on the answer phone. Do not leave messages on the main switchboard. If you are ill or if you miss the 'signing in' time you are excluded for the day. Calls to explain the delay are not acceptable. Being 'ill' in the morning and ‘OK’ in the afternoon is not acceptable. If you are ill you must ring in each day. If you are absent for five days or more, you must get a doctor's note. If you need to take time off college for any other reason you must discuss it with your Head of Year first. Use your free time during the week including your lunch breaks to sort out any personal matters.

Accidents

Accident or injury must be reported immediately to the office, and Laurie or Simon will contact one of the School’s appointed First Aiders. First Aiders include: Julie Spencer, Laurie McQuire, Simon Robinson, Nichola Milner (PA to the Principal), Jules Cannon (Reception), Frank Daniel (Facilities Manager) and Luis Rodriguez (Maintenance). There are First Aid boxes in the Admin office, reception, the staff room, and the Production office.

Accommodation If you need to change your accommodation, or have a problem with where you are staying, talk to Laurie or Simon. You must let the office know your up-to-date phone number and address. Appointments

Making an appointment to speak to the Director of the School, the Principal or any other tutor should be done by approaching the person directly or the Principal’s PA.

Assessment

See the module specifications for detail.

Bikes

Bikes can be parked at the front of the building, or there are bike rails the other side of the railway bridge near the tube station. NEVER LEAVE YOUR BIKE UNLOCKED. You are advised to invest in a strong D-lock. Students are not permitted to lift bikes over the barriers.

Box Office

Students are offered free standby seats for 3rd year public productions, subject to availability. Alternatively, students may be permitted to watch open dress rehearsals. All other tickets must be paid for. Box office opening hours are 10am-12pm and 1-5pm Monday to Friday. Payment can be made by cash or card (cheques will not be accepted). There is a 50p charge for each ticket when paying by card. Full list of terms and conditions of sale are on the ArtsEd website. Please note – tickets cannot be refunded or exchanged. 15

Being a student at ArtsEd

Buddy Scheme Each First Year student is allocated a Second Year student to be their buddy. Your buddy should have made contact with you over the summer to provide useful information and to answer any questions regarding accommodation, equipment, reading material etc. During the first year you will have your buddy on hand should you experience any problems you would rather discuss with a fellow student. Cars

There are no parking facilities on site. The area around the College is a Controlled Parking Zone; if you park your car in any of the surrounding streets you will have to purchase a ticket.

Catering

The canteen serves subsidised hot meals at lunchtime and breakfast from 8-11am. Please observe the canteen code of conduct: Clear the table after you have finished and return your tray to the stands provided. Respect others who are eating and keep the noise to an acceptable level. Also in the canteen there is a café which is open during term time from 8am to 4.45pm, serving hot and cold drinks, snacks and sandwiches. On show nights, and for special student events, the bar serves wine, beer and soft drinks for the use of all students over the age of 18. It is also open to members of the public coming to see productions. It is very important that you behave responsibly in the bar. As well as the general public, you could be sharing the space with agents and casting directors and it is important we maintain the school’s good reputation, both with the local community and with the industry.

Changing Room The changing rooms can be very congested so please be tidy and use your lockers at all times. Do not leave your possessions lying about the floor or the changing rooms will not be cleaned. There are spot checks from time to time and anything left lying around will be disposed of. Common Area

There is a student common area on the 2nd floor. This space is shared with students from both schools. Although this is a meeting place for students, it is also designated as a quiet study area, so you must respect others’ need to concentrate. If you need somewhere to rehearse, ask the Admin Office if there are rooms available. If you see others rehearsing, feel free to ask them to do the same!

Complaints

At ArtsEd we pride ourselves on our openness and approachability. You are encouraged to raise issues as soon as possible with your 16

Being a student at ArtsEd

Head of Year or any member of staff, and informal resolution is encouraged. If the issue is not resolved, the Complaints Policy is explained in the Policies section of the website. Computers

The computers and printers in the common area are available all day for student use. In order to use the school computers you must have a Network Account. Your account will be set up during the first week of term and you will be issued with your own user-name and password. Printer and photocopier credit can be purchased from a machine on the second floor near the common room, or from the librarian. The Network account will provide you with access to all of our software packages, including the ArtsEd Intranet. ArtsEd will not be held responsible for any loss of data. You should save all your work onto USB memory sticks or external hard drives.

Contact details

THE OFFICE MUST HAVE YOUR TERM TIME ADDRESS AND PHONE NUMBER – YOU MUST REMEMBER TO TELL THEM IF YOU MOVE OR CHANGE MOBILE NUMBER OR EMAIL. Office phone 020 8987 6663.

Counselling

If you are struggling and need emotional support, the ArtsEd counselling service is here to help. The school has partnered with Togetherall to provide an online digital mental health service which offers 24/7 support with trained clinicians, as well as a range of helpful tools and resources. A number of staff are also trained mental health first aiders. Please speak with your Head of Year or a member of the Admin staff if you feel that you need help.

Council Tax

If you are over 18 you must complete a form to send to your local council to confirm that you are a full time student and therefore not liable for Council Tax. When you get a Council Tax Bill ask Simon in the Office to provide you with a letter confirming your status as a student.

Dentist

It is very important that you register with a Dentist. To find your nearest NHS dentist search www.nhs.uk/service-search/Dentists

Doctor

You must register with a local Doctor (see ‘Healthcare’ for more information). For emergency appointments, there is a walk in clinic at Charing Cross Hospital, 10 minutes’ walk from Hammersmith tube station.

Drinks

Only water in reusable plastic bottles is allowed in the studios and classrooms. Drinks in cans and glass bottles are not permitted. There are water fountains in the canteen, in the foyer and on the second and third floors.

Being a student at ArtsEd

Emails

You will be given an ArtsEd email address. Messages and timetable changes will be sent to you so please check your email regularly.

Equal Opportunities The School does not discriminate on the grounds of race, colour, ethnic or national origins, marital status, sex, sexual orientation, disability, religious beliefs or age. The full Equal Opportunities Policy is available on the website. The School aims to: • foster the sense of the intrinsic worth of each individual • encourage in each student the sense of her/his unique individuality • make the commitment to the performing arts the sole measure of value. The School will not tolerate unfair discrimination against any student by any other student or member of staff. Any student who feels they have been treated unfairly within the scope of this policy should raise the matter with the Director of the School. Fees

Fees must be paid before the start of term. You will not be admitted to college, or be allowed to continue with your training, until your fees are paid. This rule applies equally to those DaDA holders who pay a student contribution to fees. If you are asked to leave the course no further fees will be payable as long as all fees until the point of dismissal have been paid in full. However, you will not be entitled to claim the return of any fees (including your deposit), in whole or in part, which have already been paid. In the 3rd year, you will not be allowed to graduate until all fees are paid in full. If you are having financial difficulties, speak to your Head of Year (see ‘Hardship Fund’ below).

Fire Drill

If the fire bell rings go out of the building immediately by the nearest available door. There are several clearly marked FIRE EXIT. There will be Fire Marshalls on hand to show you where to go. Please leave in a calm, ordered and disciplined way. Fire marshals will show you where to wait until it is safe to return to the building. DO NOT STOP TO COLLECT YOUR BELONGINGS.

First Aid

See ‘Accidents’ above.

Front of House

You will be required to usher for one or more performances of each of the final year public productions.

Gym

There is a gym which is open on week days in term time, unless a timetabled class is taking place. A gym instructor is on hand to teach you safe use of all the equipment, and to help you prepare a suitable fitness programme. You cannot use the fitness room until you have completed an induction.

Being a student at ArtsEd

Hardship Fund

ArtsEd has a small amount of hardship money available each year. Normally final year students have priority access to this money. However, any student with serious financial difficulties should ensure that they speak to their Head of Year as soon as their financial difficulties become apparent. Each request for financial assistance will be considered on its own merits.

Health and Safety Actor training is physically taxing. The School aims to help you understand how to acquire and maintain good levels of fitness, and to be aware of your own and others’ health and safety. Injury

If vocal or physical injury is preventing you from participating fully in any classes your Head of Year will give you a form, to let your tutors know that you cannot take part in those classes.

Lanyards

You will be issued with a lanyard in which to display your swipe card. You must wear your lanyard in all public areas of the building during the working day. Replacement lanyards cost £2.

Learning Support

If you are experiencing difficulties in any area of the curriculum, you may be referred for Learning Support, arranged by David Bumpstead, the HE Registrar and Disability Co-ordinator. If you think you may need additional support, or you already have a diagnosis of dyslexia and wish to find out if you are eligible for Disabled Students Allowance, please see David. (See ‘Dyslexia Policy’ on the website.)

Library

You will be given a library induction during your first week of term. The Library is open at the following times: Monday to Thursday 7.45am – 7pm Friday 7.45am – 3pm

Lock Down Drill The lockdown alarm will ring for 3 minutes. Remain in your classroom or go immediately to the nearest occupied classroom or office. Turn off any music, draw the curtains or blinds and sit quietly on the floor away from the door until you are told by a member of staff that the danger has passed. The all-clear alarm will sound again for 20 seconds. Lockers

You will be allocated a locker. It is your responsibility to provide a suitable padlock; coded ones are useful, as they do not require a key. USE YOUR LOCKER AT ALL TIMES. Lockers must be emptied of all possessions at the end of each academic year.

Lost Property

Anything found should be bought to the Office. If you have lost property, check there first. At the end of each half term anything unclaimed will be thrown away or sent to charity.

Being a student at ArtsEd

Pastoral Care

Heads of Year are your Personal Tutors. They should be your first port of call if you have any kind of problem. You can also contact the Director of the School of Acting.

Photocopying

There are photocopiers in the student common area and on the 2nd floor outside room 204. Photocopier credit can be purchased either from the librarian or from the machine on the 2nd floor corridor outside room 214. FOR REASONS OF COPYRIGHT STUDENTS ARE EXPRESSLY FORBIDDEN TO PHOTOCOPY MUSIC.

Physio

We offer physio and massage treatments at heavily subsidised student rates. Appointments are made via Reception. Treatments include Sports Physio and Sports Massage.

Post

You will be informed if any post arrives for you. You may only have parcels delivered which are relevant to the course. Any items which must be signed for, such as laptops, phones, passports etc will only be accepted if agreed in advance by reception. Signed-for items will be held in reception for you to collect. You must collect them on the day of delivery. The school will not be held responsible for items left unclaimed.

Pupils

We share the building with the ArtsEd Independent Day School and 6th form. It is very important that you do not put yourself at risk by making any kind of contact with the pupils. In particular, you must not use the changing rooms or toilets dedicated to the pupils' use.

Recycling

Recycling bins are available throughout the building.

Smoking

Smoking is forbidden on all ArtsEd premises. Students are not permitted to smoke within sight of the main building in Bath Road.

Swipe cards

All students and staff are issued with a Security (swipe) Card which must be used to enter and leave the building. If you lose your card you must pay for a replacement. Replacement cards cost £5. Swipe card replacements must be ordered via https://artsed.co.uk/artsed-replacement-id-card by 5pm on the second day without a card. On the third day without a card, you will be reported to your Head of Year and may be barred. If your card has been stolen, you must provide a crime reference number to avoid the replacement charge. Your swipe card will be deactivated at the end of the course.

Theft

Unfortunately, as in any public building, your belongings may be at risk if you do not use sensible security precautions. Use your lockers. Do not bring in any more cash then you need for the day or wear expensive clothes and jewellery. ArtsEd is not responsible for theft or loss.

Being a student at ArtsEd

Tutor Group

Your group meets with your Head of Year once a week to share information, discuss problems and monitor wellbeing, injury and attendance. This is a good time to arrange a private chat with your Tutor.

Visitors

Students are not allowed to bring visitors into the college, apart from as guests to public productions.

Wardrobe

Costumes are not provided for projects – please note you may not borrow costumes from the wardrobe department.

What if you’ve got a problem? To start with you could talk to the other new people, or the people you share a house with, but as the course moves on it may be better to talk about things with the various staff members who are practiced in dealing with them. Administrative Staff The administrative staff are here to help you with practical problems. Ask Laurie or Simon who it would be best to talk to about your practical problems. The HE Admin Office is usually open from 8am to 5pm, Monday to Friday. Tutors As you progress through the course you may have problems coping with the work for some reason or other. Although you will have regular tutorials, the tutors of individual modules or projects will be ready to talk to you at a mutually convenient time. They are not trained counsellors, but they will always do their best to help, giving you time, support and guidance on a whole range of matters. Just ask. Heads of Year Each week you and your year group will have a Company Meeting with your Head of Year, to talk about problems that may be shared by everyone in the year group. Student Reps You will elect two students to represent you as a year group, and it will be their job to make sure any issues you raise are heard by staff (see more about Student Reps in the section below). Equality, Diversity and Inclusivity (EDI) We are committed to creating a culture of equity at ArtsEd, which provides a truly inclusive learning environment. Our ethos is to consistently promote diversity of all kinds across the school, in both students and staff. If you experience any form of discrimination, we encourage you to report it. We have several different ways you can do this: • We have an Open Door Policy, which means you can talk to any trusted member of staff • You can send a confidential email to report@artsed.co.uk • Our Equality, Diversity and Inclusivity Co-ordinators (contact details below) are there to guide you through our reporting procedures and to support you 21

Being a student at ArtsEd

•

Each year group will elect Equality, Diversity and Inclusivity reps – you can talk to them, and they can raise your concerns at meetings with the EDI coordinators and senior staff The Student Union has EDI reps and they will introduce themselves to you during induction week

Equality, Diversity and Inclusivity (EDI) Co-ordinators Erica Jeffrey, School of Acting: ejeffrey@artsed.co.uk Nadine Higgin, School of Musical Theatre: nhiggin@artsed.co.uk We are dedicated to addressing all forms of discriminatory behaviour, so that we can create a healthy and productive environment in which we can all thrive and do our best work. Wellbeing Officer The Wellbeing Officer is Health and Fitness Co-ordinator Benjamin Ensall. Ben is available to offer advice and provide support on a range of issues including mental and sexual health and wellbeing as well as fitness, diet and nutrition. We have an open door policy, so never feel you can’t talk to anyone Healthcare You are advised to register with a doctor as soon as possible. The NHS website has detailed advice on how to choose a GP on http://www.nhs.uk/choiceintheNHS/Yourchoices/GPchoice/Pages/ChoosingaGP.aspx.

To find a local GP surgery, type in the postcode of your term time address on this website http://www.nhs.uk/Service-Search/GP/LocationSearch/4. Sexual Health The nearest NHS sexual health clinic is just opposite Hammersmith tube station at 10 Hammersmith Broadway, London W6 7AL. For an appointment call 020 3315 1010. For confidential sexual health advice you can speak to a sexual health adviser on 020 3315 9779. Finance There are a very limited number of bursaries available for students in their second or third year who are struggling financially. Students may be able to submit applications for these after discussion with the Director of the School. We also have a Hardship fund to help students who are experiencing short term difficulties. Accommodation ArtsEd does not provide on-site accommodation for its students. Most students find accommodation in shared student flats in the local area. The Registrar sends out the contact details of reputable local estate agents. Support for new students in finding accommodation is also provided by their buddies and through the ArtsEd Fresher’s page. Careers Support

Being a student at ArtsEd

Students are given continual guidance throughout the course on how to behave in a professional manner and promote themselves to the industry. In Years Two and Three students will gain experience of how to market themselves and promote their careers through extensive audition practice and careers workshops. During Year Three students are introduced to professional agents, directors and casting directors and are given one-to-one tutorial advice on agent representation and employment opportunities. Professional directors and casting directors often contact the School of Acting for casting recommendations or to arrange auditions and until students have signed professionally we operate as an agency promoting the students and finding them work. This service continues after the students have completed the course. Dyslexia and Disability Support ArtsEd is committed to supporting any student with disabilities who have contact with the school, whether it be at auditions, workshops, Summer schools or participating in any of the programmes that are on offer. Applicants are encouraged to disclose any learning disabilities, mental health issues or physical impairments at the earliest opportunity so that appropriate support can be arranged. Dyslexic students will be referred to the Registrar who is also the disability coordinator. Texts can be printed either in a larger format or on a different coloured paper, as appropriate; and students can be referred for additional learning support. The School will do its best to support any students who has already been diagnosed as being on the dyslexic spectrum or has a disability of some sort that needs accommodating. The sooner a student’s needs are properly assessed, the more we can help. The largest single disability group at drama school tends to be people with dyslexia or dyspraxia. This can mean people find things such as sight-reading, memorising lines, picking up multiple instructions in a class and time management extremely difficult. Dyslexia is not a sign of lower intelligence, but it can be distressing and demoralising, as it can interfere with studies. Sometimes, people slip through the net and are not diagnosed prior to coming to ArtsEd. We can arrange for dyslexia/dyspraxia and related SpLD assessments. If agreed, costs for all such assessments are paid for by the school. If the student is eligible, a Needs Assessment is carried out and Disabled Students Allowance (DSA) may be made available for specialist equipment, assistive software, and other costs. Additionally, regular 1-2-1 Study Skills Support can be accessed for students with dyslexia, dyspraxia, ADHD and/or processing issues. If you think you may need support, make an appointment to see David Bumpstead, the Registrar. The earlier you come forward the better, as it might be something you want to talk about later in your training. Useful Helplines Most of these are Freephone numbers which means you can call at no cost from any UK landline, payphone or mobile. Most of these agencies also offer help online. Anxiety UK

08444 775 774 23

Being a student at ArtsEd

Mind The Mix – support for under 25s Samaritans CALM 10 Hammersmith Grove NHS sexual health advice LGBTQ Switchboard Rape Crisis Beat eating disorders Cruse-Bereavement Care Talk to Frank – confidential drugs advice

0300 123 3393 0808 808 4994 116 123 0800 58 58 58 020 3315 9779 01273 234009 0808 802 9999 0808 801 0811 0808 801 1677 0300 123 6600

ArtsEd policies supporting student welfare ArtsEd operates the following policies and procedures: 1. Equal Opportunities 2. Dignity & Respect 3. Safeguarding 4. Fitness to Study 5. Dyslexia 6. Complaints 7. Academic Misconduct 8. Student Charter 9. Code of Conduct 10. Access Control all of the above policies are available to students either on the website www.artsed.co.uk or above in this handbook.

What if the Students, as a group, have a problem? When everyone is working so hard on a course like this, it is very important that you have the opportunity to talk regularly about how things are going. The whole group needs to be able to get together to talk on a regular basis and then they need to be able to communicate their thoughts with the staff. In order to allow that to happen, we have set up the following: Induction You are given a thorough induction into school regulations and systems at the beginning of your course. You are given this Student Handbook and the Student Regulations (a copy of which you are required to sign and will be kept on file). Tutors will provide induction seminars in a range of teaching, learning and assessment techniques as well as the Health and Safety systems in operation in the school. You are given a tour of the building and the school facilities and are introduced to the student union, the staff group and your peers. You are given an induction to the library, gym and IT facilities, and given an ArtsEd email address and log in code to the school’s server. Each tutor will brief you on the content of their module or module component in their first timetabled class.

Being a student at ArtsEd

Incoming students are assigned a “Buddy” from amongst the 2 nd year students who you can contact during the summer prior to the new term and acts as the point of contact for you in the first weeks of term. Student Representatives Each year group selects two representatives at the beginning of each academic year. These student reps will organise meetings of the year group so students can talk about problems etc. without members of the staff being present. The student reps will then be able to tell the staff how the year group, or individuals within it, feel about things. No names need to be mentioned. The student reps either speak directly to the Director of the School of Acting or they speak at Board of Studies meetings (see below). Company Meetings Company meetings are held once a week for each year group. A member of staff (the Head of Year) will be at these meetings to give students information and to listen to what they have to say. The Head of Year will then feed back the details of these meetings to the School of Acting Executive. If there is anything you want to say about the course, this is a good time to do it. Board of Studies Meetings The Board of Studies is made up of the Student Reps from each year, the School of Acting Executive team and senior members of staff. The Board meets once a term in order to monitor the student experience, assess teaching standards and to clarify learning outcomes. Student complaints You are encouraged to raise issues as soon as possible with the Director of the School or any member of staff, and informal resolution is encouraged. If the issue is not resolved, the procedure for submitting a formal complaint is set out in the Complaints policy on the website.

What is the course for? The course is designed to give you all the skills required to be a professional actor. • It gives you training in how to make the best use of your voice and your body as tools for transformation and communication. • It gives you a comprehensive process for exploring a text, researching a part and becoming a character. • It introduces you to the different styles of acting required for different styles of theatre, television and film. • It introduces you to different working methods of different practitioners. • It teaches you the discipline required to be a professional actor. • It gives you experience of performing for audiences in the School’s own theatres and on a West End stage. • It gives you knowledge and experience of working on both sides of the camera and of being involved in several short films. 25

Being a student at ArtsEd

• It gives you a working knowledge of how to market yourself in the professional world. That’s the basic outline. The full course structure and module specifications are set out further on in this handbook.

How will I get feedback on my work from the tutors? Module Feedback For the performance projects in year one and year two, and the public performances in year three, students work as a company. They go through the process of rehearsal and presentation together, followed by written and/or verbal feedback sessions from their director. Project Feedback At the end of each performance project you will receive a feedback form. Comments have a wide remit, including your personal development and ability to function in the group. You will be given a copy of the form and a copy will be kept on file. You will also receive individual verbal feedback from a member of the team after each project. Individual Feedback Twice a year you will be given verbal feedback from the tutors of all core skills classes. You will also receive written feedback at the end of the year. In year 1 at the end of the year you will have a one-to-one session with the Director of the School of Acting to discuss your overall progression. Students may request an individual meeting at any time with any member of staff to discuss their progress. These meetings will be arranged to take place at the earliest mutually convenient time. Regular Staff Meetings at which student work and progress is discussed may give rise to further individual feedback sessions either for a cause of concern or for the need of encouragement.

Library and other Resources ArtsEd Library ArtsEd facilities are specialist and limited. Students are encouraged to use them in conjunction with the more general London public libraries and specialist local libraries such as the Goethe Institute. The library Collection is one small specialist part of a much larger research resource that consists of specialist and general public and private libraries all over London. Students are also expected to build their own specialist library as part of their professional development. The mission of the library is to provide the very best possible library service to the entire community of library users at ArtsEd.

Being a student at ArtsEd

The library houses a substantial collection of musicals and music on CD, and a very comprehensive collection of musical scores and librettos. Personal CD Players with earphones are available for listening to CDs. The library collection consists of specialist books on Acting, Musical Theatre, Film, Movement and Dance, Voice, Stagecraft, Media plus a substantial collection of Plays, and a collection of over 8,000 DVDs for use as research. These include Play and Musical performances and ‘genre’ films as well as new release purchases. There is unique collection of magazines including an archive collection of Plays and Players dating from the 1960s. A collection of Dancing Times from the 1940s is also in the archive. Back editions of contemporary magazines such as Total Theatre and Theatre Research International are included. Students should ask for the magazine catalogue to find out what this archive offers. Contemporary magazines often yield the latest research and magazine archives can give a very personal eyewitness account of twentieth century theatre, not available in books. A daily quality newspaper is available and the weekly theatre paper, The Stage. Other magazines and periodicals are also available. Library Hours Monday to Thursday Friday

7.45am – 7pm 7.45am – 3pm

Access to City, University of London Library All students will be issued with a City, University of London library card which gives them access to the university’s extensive collection of research material. Specialist Libraries Students can join the lending library at the Barbican Centre EC2. This has a Video Library containing classic performances from the world of Film, Theatre, TV, Opera and Ballet. It has an Arts Library with a wide choice of books on painting, sculpture, theatre, cinema and ballet whilst the Music Library provides books, scores, cassettes and compact discs. The Music Performance Research Society’s pioneering collection of live performances is to be found here. Membership of Encyclopedia Britannica and online library databases such as questia.com are strongly recommended.

BA (Hons) Acting

Programme Specification

Programme Specification KEY FACTS Programme

BA (Hons) Acting

Awarding Institution

City University London

Teaching Institution

The Arts Educational Schools

Type of study

Full time

UK Credits

360

ECTS

180 OUTLINE

Summary description The BA (Hons) Acting offers inclusive, detailed contemporary, actor training for Stage, Film, Television and Radio. Preparing you to become world-leading artists, theatremakers and performers in all genres, by focusing on the ever-evolving developments in the creative industries. Dynamic, diverse and rigorous, this vocational three-year BA (Hons) Acting course will develop technical skills through practical classes, workshops and performances, motivating and challenging each student to become an inventive and imaginative actor. By exploring imagination, improvisation, storytelling, play, text analysis, character realisation, vocal technique and movement skills students will discover how to develop a truthful, responsive and resilient individual acting process. Throughout the programme and module specifications below the students are addressed directly as ‘you’. Programme aims • to give you a thorough knowledge and understanding of film, television and theatre acting • to provide you with a comprehensive work process in the creation of character and the exploration of a text • to give you the confidence to work in a broad range of acting styles • to give you practical working experience in a range of live and recorded performance contexts • to develop an analytical and critical awareness of your own creativity • to cultivate a collaborative attitude to the creative process Pre-requisite modules, co-requisite modules and upgrades All modules on the programme are compulsory. There are no co-requisite or prerequisite modules. Some modules include units which are assessed pass/fail and do 28

BA (Hons) Acting

Programme Specification

not contribute to the overall grade for the year. Upgrades from one programme to another are not available. What will I be expected to achieve? On successful completion of this programme, a student will be expected to be able to: Knowledge and understanding • articulate understanding of the historic and social context of the profession as well as the value and process of research. • demonstrate clear understanding of your strengths and shortcomings and have confidence in your commercial potential • demonstrate thorough practical understanding of the entertainment industry Skills • create a professional workbook from any given script, defining acting tasks by analysing and annotating the text. • create a range of fully realized characters through physical transformation. • maintain your vocal and physical ‘instrument’ through regular practice and how to avoid poor or dangerous use. • present a practical working application of a range of live and recorded performance contexts. • present a practical working application of a number of classical and modern texts and of a range of performance styles. • demonstrate the ability to work effectively alone. • respond creatively to a director’s instructions. • perform with assurance and confidence in front of a camera in a variety locations and circumstances • perform with assurance and confidence as an actor through a year of public performances. Values and Attitudes • make artistic choices which are both bold and specific. • maintain, as a matter of habit, professional standards of punctuality, reliability and courtesy. How will I learn? The section that follows describes the different types of formal learning situation you may experience during your programme of study. Workshops Workshops are a powerful way for students to express their own ideas, skills and creativity within a group of their peers. The tutor will have an area of work they wish to explore and they will usually start the session with games and/or exercises that will prepare the group to focus on that particular area of work. Different tutors will have different methods, of course, but usually you will be asked to work in smallish groups to explore and create as a group and there will be guidance from the tutor only when it is necessary. 29

BA (Hons) Acting

Programme Specification

Towards the end of the session each group will usually be asked to show the results of their work. It is important to note that the exploration of ideas and skills is the prime objective of workshops. They are designed to help you grow as creative performers and to understand that both success and failure are part of the creative process. The tutor will be looking for good group skills; imaginative and explorative input; risk taking; energy and commitment. Acting Classes Acting itself cannot be taught. Every student at the school has displayed an instinct for acting at their auditions otherwise they would not have been offered a place on the course. However there are various techniques for studying the text, building a character and shaping a scene that will help you become inventive and creative actors. At ArtsEd we don’t teach a “method” of acting. We present you with a variety of techniques and processes that will give you a framework for discovering your own way of doing things. The tutor will be looking for openness to each of these techniques and processes; positive exploration of them; hard work; enthusiasm; commitment and generosity of spirit towards the other students. Technique Classes Technique Classes are designed to develop your practical skills as an actor. They teach you how to use your voice and your body to express your imaginative creativity completely and without hindrance. The actor’s voice and body are the tools of their trade and you need to understand how these tools work and what they are capable of doing to serve the creative artist in you. These classes will require a certain amount of repetition as you practice control and gain an understanding of the instrument that is you yourself. You will often work as individuals within a group of individuals all performing the same task. Although the tutor will give you personal attention at times, it is your own commitment to the exercises that will pay the biggest dividends. You will be required to concentrate on your own work and progress. The tutor will be looking for concentrated effort; commitment to the work; growth in your understanding of the techniques and the development of control and use of your voice and body. Project Rehearsals Project rehearsals are a vital part of any actor training and they are designed to expand your knowledge of performance styles and rehearsal methods. Different periods of history and different cultures have produced a variety of forms of theatre and together with the requirements of film and TV you will need to understand the different styles of acting that will be needed to be a complete performer. 30

BA (Hons) Acting

Programme Specification

Project rehearsals will involve research into the period or culture; study of the text; creation of character and exploration of style. There are many different approaches to the rehearsal period and each project director will have their own way of doing things. You should remain open and positive to the particular methods of the individual director. The tutor/director will be looking for commitment; hard work; evidence of private study; a positive attitude and the development of your acting skills. Lectures Lectures are used when there is a lot of information to be communicated to a lot of people. Actors need to have a broad knowledge of the world in order to have a wide understanding of human behaviour. You will be required to concentrate during a lecture and it is advisable to take notes. While the lecturer is speaking it is considered disrespectful, confusing and unconstructive to interrupt him/her. There will usually be a question and answer session towards the end of the lecture and that is the time for the student to speak. If you don’t understand part of the lecture or need a point to be expanded, make a note of it and bring it up during the question and answer session. Since a lecture is designed to expand your knowledge, all that is required of you at the time is to listen, take notes and ask constructive questions. Seminars Seminars are designed to be inter-active and will often be delivered in a circle of chairs so that people can see each other. The tutor may give a short presentation and then introduce a topic or a number of topics. You will then be asked to discuss these topics in small groups and will eventually be asked to share a summary of their discussion with the rest of the groups towards the end of the session. LEARNING HOURS The programme is delivered over three years. Each year comprises 33 teaching weeks, divided into three terms. Contact hours are very high: a minimum of 35 hours per week, in a timetable which can start as early as 8.15 and finish at 6pm. BA (Hons) Acting - Learning hours and credits YEAR 1 Module/ component

Self directed Study

Contact hours

Timetable

Total learning hours

Credits

Y1 Projects World Stories Contemporary Physical Theatre Chekhov

2 x 3.5 hr sessions p/w plus 10 hrs in showings week (Autumn) 2 x 1.5 hr sessions p/w 1st half 4 x 1.5 hr sessions p/w 2nd half plus 5 hrs in showings week (Spring) 4 x 1.5 hr sessions p/w plus 10 hrs in showings week (Summer) 31

110

BA (Hons) Acting

Programme Specification Projects - total

200

100

300

Y1 Acting Acting Approaches

Autumn: 3 x 1.5 hr classes p/w Spring & Summer: 1x 1.5 hr class p/w

100

Screen Acting

2 x 1.5 hr classes p/w x 3 terms

Stagecraft

100

7.5

12.5

Spring 1 half: 1 x 1.5hr classes p/w

Verbatim Theatre

Spring 1 half: 2 x 1.5hr classes p/w

Text Analysis

Spring 1st half: 1 x 1.5hr class p/w Spring 2nd half 2 x 1.5 hr classes p/w

22.5

27.5

Shakespeare

Summer: 1 x 1.5hr classes p/w

16.5

26.5

Devising for camera

Summer: 2 x 1.5hr classes p/w

Impro: intro

Autumn: 1 x 1.5hr classes p/w

Impro: viewpoints

Spring 1st half: 1 x 1.5hr classes p/w

7.5

10.5

Impro: active analysis

Spring 2nd half: 1 x 1.5 hr classes p/w

7.5

12.5

7.5

12.5

312

400

1 x 1.5 hr class p/w x 3 terms 1 x 1.5 hr class p/w in the Autumn and Spring terms

1 x 1.5 hr class p/w x 3 terms

1 x 1 hr class x 2 terms 1 x 1 hr class x 1 term 1 x 1hr class p/w for 3 terms

20 10 30 180

2 3 20

22 10 33 200

105

1 x 1.5hr class p/w for 1 term (Autumn)

1 x 1.5 hr class p/w for 2 term

165

200

Contextual studies - total

100

TOTALS:

904

296

1200

120

Impro: Clowning Recorded Voice

Summer 1st half: 1 x 1.5 hr classes p/w 1 x 1.5 hr class p/w in the Summer term Acting - total

Y1 Voice Voice and Breath Sound Recognition Voice and Language Vocal Anatomy Sight Reading Singing

Voice - total Y1 Movement Pure and Applied Movement Rhythm: Dance for Actors BSL Intimacy and Stage Combat

2 x 1.5 hr classes p/w for 3 terms 1 x 1hr class p/w for 3 terms

Movement - total Contextual Studies Contextual 1 x 1.5hr class p/w for 3 terms studies Project Journal 1 2hrs tutorial time

BA (Hons) Acting

Programme Specification

YEAR 2 Module/ Component Y2 Projects Screen 1 – location filming Contemporary Theatre Iconic American Plays Comedy of Manners

5 x 3.5 hr sessions term (Autumn) 5 x 3.5 hr sessions term (Autumn) 5 x 3.5 hr sessions term (Spring) 5 x 3.5 hr sessions (Summer) 5 x 3.5 hr sessions (Summer)

Self directed Study

Contact hours

Timetable

p/w for half a

Total learning hours

Credits

87.5

92.5

87.5

97.5

87.5

97.5

52.5

57.5

140

155

455

500

2 x 1.5hr classes p/w Autumn 1 x 1.5 hr class p/w Spring 2nd half 1 x 1.5 hr classes p/w Autumn and Spring 1 x 1.5 hr class p/w Spring 1st half

30 7.5

43.5

7.5

3.5

Acting Choices Heightened Stakes

1 x 1.5 hr class p/w Summer

Self-taping

1 x 1.5 hr class p/w 1st half Summer

28.5

127.5

22.5

150

1 x 1.5 hr classes p/w for 3 terms

1 x 1.5 hr class p/w x Summer

2 x 1.5 hr class p/w Autumn, Spring

1 x 1.5 hr class p/w Autumn term 1 x 1.5 hr class p/w for 3 terms

15 45

3 1

18 46

180

200

1 x 1.5 hr class p/w for 3 terms

Shakespeare

p/w for half a p/w for half a p/w for 3 weeks p/w for 8 weeks

Y2 Acting Text Analysis 2 Acting Approaches 2 World Classics

Recorded Voice

Y2 Voice Voice Voice and Language Global Voice Sight reading Singing Y2 Movement Pure and Applied Movement Stage Combat for Performance Dance for Actors

2 x 1.5 hr classes p/w Summer 2 half 1 x 1.5 hr class p/w in the Summer term

1 x 1.5hr class p/w for 3 terms

Professional Practice Professional 5 x 3.5 hr sessions p/w for half Practice Spring term 1 x 1.5 hrs p/w Spring term 33

7.5

135

200

87.5

107.5

42.5

BA (Hons) Acting Audition/interview technique

Programme Specification 1 x 1.5 hrs p/w 1st half Summer term TOTALS:

7.5 110

150

1016.5

183.5

1200

120

YEAR 3 Module/ Component

Timetable Full time = av. 35 hours per week

Tutor led hours (total)

Self directed Study

Total learning hours

Credits

Public Productions and Films Film Production 1

Full time, five weeks in the Autumn term

175

195

Theatre Production 1

Full time, five weeks in the Autumn term

175

195

Recorded Voice: voice reels

Part time, during rehearsal period for Theatre Production 1

Showcase

Part time (in rep with filming) for 3 weeks, full time for 2 weeks Spring term

130

195

Film Production 2

Part time (in rep with showcase) for 4 weeks, full time for 4 weeks

175

195

Theatre Production 2

Full time, five weeks in the Summer term

175

195

845

155

1000

Professional Employment Skills Seminars and mock auditions Production Journal

90 2

10 68

100 70

Professional Practice Portfolio

106

200

939

261

1,200

TOTALS:

PLEASE NOTE THAT THE ABOVE MAY CHANGE DUE TO COVID-19 PANDEMIC RESTRICTIONS

How will I be assessed? Training for a vocational course in acting or indeed, any performance medium, is experiential and you will often be assessed on your practical work. There are four types of assessment on the BA (Hons) Acting programme. Performance You will be required to create characters and present them to camera or to a live audience, and the tutors will assess you on your vocal, physical, presentational and performance skills. Rehearsal Process Your director will assess your process during the rehearsal and preparation period for performances. Classwork 34

100

BA (Hons) Acting

Programme Specification

You will be assessed on the work you put into preparation for the classes in each module, and on the attitude, behaviour, skills and creativity you demonstrate during these classes. This grade incorporates effort and attendance as well as the level of attainment reached. Written Assignments You will undertake independent research, write working journals and collect information for professional practice portfolios. Written assignments are assessed as pass/fail – you are required to pass them but no marks are awarded and the written work carries no weighting in your final degree mark. What do I have to do to pass? The minimum pass mark for each component or module of the course is 40%. Assessment criteria for each element of the programme are set out in the module specifications. Grade descriptors for classwork, rehearsal and performance, and for written assignments, are as follows:

Grade Descriptors for Performance Work is assessed on the evidence of the extent to which you have met the learning outcomes. The criteria for individual assessments are set out in detail in the module specifications. The language of these grade descriptors will be used by staff in feedback to make clear the level you have reached. 85-100% A mark in this range is indicative of outstanding and exceptional performance in all respects. The performance is effortlessly spontaneous, natural and fluent, demonstrating extraordinary commitment and connection to the style of the project or production. Character and text work are outstanding, imaginative and detailed, choices are bold and surprising, and the application of technical skills is outstanding. Ensemble skills are highly developed, and the student works generously with other actors to keep the performance fresh, alive and truthful. The student demonstrates outstanding charisma, and fully engages the audience’s attention throughout the performance. 70%-84% Marks awarded in this band will reflect an excellent standard of performance for the current level of the degree programme. The performance is excellent and charismatic, demonstrating strong connection to the material and to the style of the project, production or film. Character and text work are highly refined, demonstrating imagination and detail, choices are interesting and engaging. Technical skills are highly developed and consistently applied. The student responds creatively to the other actors and to the audience. 60% - 69% Marks awarded in this band will reflect a very high standard of performance for the current level of the degree programme, which may be excellent in some areas, but without the all-round consistency of the bands above. The performance demonstrates confidence, imagination and spontaneity with a clear connection to the material. Character and text work are very good, and some interesting choices are made. Application of technical skills is very good. Ensemble skills are well developed, and the student’s work with other actors is creative and imaginative. The performance demonstrates flair and is engaging to watch.

BA (Hons) Acting

Programme Specification

50% - 59% Marks awarded in this band will reflect a good standard of performance for the current level of the degree programme, with no outstanding and few very good features. The performance is diligent and is in keeping with the style of the project or production but shows only a small degree of definition or flair. Character and text work are good, although there is little evidence of risk taking in performance and choices are safe. Application of technical skills is good, although may be stronger in some elements than in others. The student works well with other actors and their contribution to the overall performance is good. 40% - 49% Marks awarded in this band will reflect a satisfactory standard of performance for the current level of the degree programme. The performance fulfils the basic requirements of the production but is characterised by generality and competence rather than by originality, commitment or creativity. Character and text work are satisfactory. Any risks taken are likely to be unsuccessful. Technical work is adequate and may be inconsistently applied. There is some evidence of commitment to the process and responsiveness to other actors is satisfactory. FAIL 30 – 39% Students may fail to meet the performance standard required for a number of reasons, the most common of which are likely to be: Performance is superficial and lacking in focus and imagination. There is hardly any evidence of connection to the material and no creative daring, and the performance demonstrates little sense of character or the style of the project or production. Application of technical skills is limited and inconsistent. The student does not appear to engage with other actors and shows little interest in supporting other members of the group or contributing to the performance overall. FAIL under 30% Marks awarded in this band will reflect an unacceptable standard of performance. Performance is very poor, wooden, bland and unfocused. There is no evidence of connection to the material, and there is little or no understanding of character or the style of the project or production. Application of technical skills is well below the standard required. The student is unresponsive to other actors and shows no interest in supporting other members of the group or contributing to the performance overall.

Grade Descriptors for Rehearsal Process and Classwork Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following grading criteria, based on the requirements of professional industry practice: 85-100% A mark in this range is indicative of outstanding and exceptional work in all respects. Marks in this band will reflect an exceptional standard of work in rehearsal and class. The student displays an outstanding degree of professional behaviour and their commitment to research and preparation is faultless. The student responds quickly and with creativity and imagination to notes from the director, or tutor’s corrections and feedback, and the ability to accept constructive criticism is outstanding. The student demonstrates an exceptional application of creativity, imagination and technical skills, and their contribution to the group process is unfailingly generous, open and sensitive.

BA (Hons) Acting

Programme Specification

70%-84% Marks awarded in this band will reflect an excellent standard of work for the current level of the degree programme. Marks in this band will reflect an excellent standard of work in rehearsal and class. The student behaves with professionalism and courtesy, and demonstrates very strong commitment to research and preparation. The student responds creatively to the director’s notes or tutor’s feedback and is always open to receiving constructive criticism. The student demonstrates excellent creativity and imagination and their attainment and application of technical skills I excellent. Contribution to the group process is generous, open and sensitive. 60% - 69% Marks awarded in this band will reflect a very high standard of work for the current level of the degree programme, which may be excellent in some areas, but without the all-round consistency of the bands above. Marks in this band will reflect a very good standard of work in rehearsal and class. The student displays a high degree of professional behaviour which may be exceptional in some areas. Research and preparation are very good but may not be consistent. The student responds well to the director’s notes or tutor’s feedback, and the ability to accept constructive criticism is very good. Creativity and imagination are very good and the student contributes very well to the group process. The student demonstrates very good and some excellent technical skills but without an all-round consistency. 50% - 59% Marks awarded in this band will reflect a good standard of work for the current level of the degree programme, with no outstanding and few very good features. Marks in this band will reflect a good standard of work in rehearsal and class. Professional behaviour is good in most areas. The student’s commitment to research and preparation is good but without the required thoroughness or consistency. The student can occasionally block or argue with constructive criticism and is inconsistent in their taking on of director’s notes or tutor’s feedback. The student’s application of technical skills, creativity and imagination is diligent but shows only a small degree of definition or flair. The student’s contribution to the group process is generally good but can sometimes be unsupportive and inconsistent. 40% - 49% Marks awarded in this band will reflect a satisfactory standard of work for the current level of the degree programme. Marks in this band will reflect a satisfactory standard of work in rehearsal and class. Professional behaviour is adequate but inconsistent and unpredictable. Research and preparation are acceptable, but the work is neither thorough nor consistent. The director or tutor often has to repeat the same notes or feedback, and the student is defensive when receiving constructive criticism. Application of technical skills, creativity and imagination is basic, characterized by generality and a lack of imagination. The contribution to the group process is at best basic, and the student can demonstrate a lack of sensitivity in their work with others. FAIL 30-39% Students may fail to meet the standard required for a number of reasons, the most common of which are likely to be: The student does not appear to understand the need for a professional attitude. Evidence suggests that the work lacks planning and research. The student does not implement director’s notes or tutor’s feedback and tends to block or argue with constructive criticism. The student fails to display a basic application of technical skills, creativity or imagination and is unfocussed in their work. The student shows no interest in working with or supporting other members of the group. 37

BA (Hons) Acting

Programme Specification

FAIL under 30% Marks awarded in this band will reflect an unacceptable standard of work. The student fails to display a proper understanding of the need for research, and preparation is consistently poor. The student ignores director’s notes or tutor’s feedback and reacts badly to constructive criticism. The student fails to display a basic application of technical skills, creativity or imagination and has no flair, focus or expressiveness in their work. The student is insensitive to the needs of other members of the group, and their attitude and behaviour is well below the expected standard.

Grade Descriptors for Written Work Assessment of written work is pass/fail. Indicative grades are awarded with reference to the component-specific learning outcomes described in the relevant module, the following general criteria, and the more detailed criteria set out below: • • •

the student’s ability for independent research, analysis and reflection, allied to a professional ability to apply good judgement, creativity and autonomy to their own preparation and performance process the student’s ability to receive constructive criticism and to apply it to their own creative preparation and performance the student’s ability to express and structure ideas and information with clarity and maturity

A The work is thoughtful and fascinating to read, with a clear, articulate writing style. Clear links are made between the rehearsal process and other aspects of the training, and reflection on creatives’ and fellow students’ work is generous and insightful. Challenges faced in rehearsal or performance are analysed positively, and solutions identified for improvements in the future. Research is relevant and interesting, drawn from a variety of sources, such as audio, visual and books as well as the internet. The work is beautifully presented. Reading and resources are referenced correctly throughout. As well as the required appendices, any additional material is relevant and detailed. B The work contains some interesting insights. Some links are made between discoveries made in rehearsal and other aspects of the training, and the work reflects a good understanding of the contribution of the creatives and fellow students. Challenges are clearly identified and attempts are made to find positive solutions. The writing may be uneven, with some good sections and flashes of insight and others in need of further editing or clarification. There is evidence of research but this may either be fairly generalised or focused in only one area. Work is simply presented. The majority reading and resources are referenced correctly. Additional material mainly consists of pages copied from the internet. C The work meets the minimum requirements but is fairly basic in its execution. Few if any links are found between work covered in the project or production and other aspects of the training. There is acknowledgement of the input of creatives and fellow students but there may be a tendency to blame others for difficulties, and few solutions are put forward for improvements in the future. The writing may be naïve and muddled in places, or just a bit dull. Research is adequate but sketchy, drawn mainly or even entirely from the internet. Presentation is basic. Attempts have been made to reference reading and resources correctly. Appendices meet the minimum requirements, with no additional material. 38

BA (Hons) Acting

Programme Specification

D – Fail The work appears to have been created with little effort, in a rush and does not engage the reader. There is little reflection or analysis, and what there is may be negative, for example blaming others for difficulties in rehearsal or performance. Little or no attempt is made to link the work with other aspects of the training. There is little evidence of research. Presentation is scrappy. Little or no attempt has been made to reference reading and resources. Appendices appear to have been created at the last minute.

What degree can I get? In order to qualify for the award of BA (Hons) Acting, you must satisfy the pass requirements for all modules within the programme and achieve 360 credits overall. The overall aggregate degree marks for the Honours degree will be calculated as follows: Average of the percentage marks achieved for productions and films in the Year 3 Performance module: Final mark for Year 2:

80% 20%

The class of the award of an Honours degree shall normally be: BA (Hons) Acting Class I Class II upper division Class II lower division Class III

Minimum Overall Aggregate Mark 70% 60% 50% 40%

An award of Ordinary Degree is not available for this programme. Participation Grades The participation grades are an assessment of work ethic, engagement and effort. They are indicative, i.e. they are not part of the degree marking system. • Participation grades are given twice a year, in February and June, alongside the marking scheme • They only apply to 1st and 2nd year classwork (not projects) • Grades will be given from A (outstanding) to E (unsatisfactory) What are we looking at? Engagement Effort Attendance and punctuality Preparation Homework Contribution PARTICIPATION GRADE DESCRIPTORS Note: any grade awarded below a C will lead to a meeting with your Head of Year and may trigger a warning 39

BA (Hons) Acting

Programme Specification

A - Outstanding Participation in this band shows excellent engagement with all aspects of the work. Whatever their baseline attainment level, the student makes outstanding efforts to overcome challenges and further their skills. Attendance and punctuality are faultless, and the student is always thoroughly prepared for each class. If there has been absence due to illness, the student has worked hard and succeeded in catching up on all aspects of the work missed. Homework assignments are always completed on time, with excellent attention to detail. Contribution to discussions and peer work (if applicable) is insightful, supportive and creative and often provides other students with a new perspective. B – Very good The student’s engagement with all aspects of the work is very good. Whatever their baseline attainment level, the student makes a very good effort to overcome challenges and further their skills. Attendance and punctuality are very good, and the student prepares very well for each class. If there has been absence due to illness, the student has made sustained efforts to catch up on the work missed. Homework assignments are normally completed on time and with some attention to detail. The student contributes to class discussions and collaborative work at a high level. C – Good Participation in this band shows good engagement with most aspects of the work, although it may not demonstrate the consistency of approach of the higher participation bands. The student makes some effort to overcome challenges and further their skills, although there is room for improvement. Attendance and punctuality are fairly good, and the student is usually well prepared for each class. Homework assignments are usually completed on time but may lack a thoroughness of approach. Contribution to class discussion and collaborative work is fair. D – Satisfactory Participation in this band shows satisfactory engagement with most if not all aspects of the work. The student tends to coast rather than make great effort to overcome challenges and further their skills. Attendance is satisfactory, but often only just makes it to the start of the class on time, and preparation for class is at a basic level. If there has been absence due to illness, the student makes only perfunctory effort to catch up on the work missed. It is difficult to find evidence that the student is engaging with the work outside of class. The student either makes few contributions to class discussions and collaborative work or talks too much, making it difficult for other quieter voices to be heard. E - Unsatisfactory The student does not engage with the work in any meaningful way, they skate through class and make little or no effort to push themselves or further their skills. Attendance is patchy and the student may often be late, and it is clear the student is unprepared for class. Due to illness or injury the student has missed too many classes to be able to progress to the next level of training. It is clear that the student does no homework or any practice outside class. The student blocks the work and tries to impose their ideas on others in collaborative work and discussions.

BA (Hons) Acting

Programme Specification

Programme Content PART ONE – HE LEVEL 4 How do I pass Year 1? To pass Year 1 and progress to Year 2, a student must have acquired 120 credits and passed each module in accordance with the requirements for the module as set out in the Module Specifications and summarised below. Module 1: Credit value: Core units

Projects 1 30 World Stories Contemporary Physical Theatre Chekhov

How do I pass Year 1 Projects? Projects in Year 1 are assessed 100% on rehearsal process. You are required to achieve a grade of 40% or above for your rehearsal process in each project. The overall mark for the module will be calculated as an average of all three project marks. Module 2: Credit value: Core units

Pass/fail units

Acting 1 40 Acting Approaches Improvisation Text Analysis Verbatim Theatre Shakespeare Devising for Camera Screen Acting Stagecraft Recorded Voice: Radio

How do I pass Acting 1? You must achieve a grade of 40% or above for your classwork in all core units, and a pass in Stagecraft and Recorded Voice. The overall mark for the module is calculated according to the following weightings: Acting Approaches 1 Improvisation Screen Acting Text Analysis 1 Verbatim Theatre Shakespeare Devising for Camera Module 3: Credit value: Core units

10% 20% 20% 20% 10% 10% 10% Voice 1 20 Voice and Breath 41

BA (Hons) Acting

Programme Specification

Sound Recognition Voice and Language Vocal Anatomy Sight-Reading Singing

Pass/fail units

How do I pass Year 1 Voice? You must achieve a grade of 40% or above in your classwork for Voice and Breath, Voice and Language, and Sound Recognition, and to pass Vocal Anatomy and Sight Reading. The weighting for Voice 1 is as follows: Voice and Breath: Sound recognition: Voice and Language: Module 4: Credit value: Core units Pass/fail units

60% 30% 10%

Movement 1 20 Pure and Applied Movement Rhythm: Dance for Actors BSL, Intimacy and Stage Combat

How do I pass Year 1 Movement? change You must achieve a grade of 40% or above in your classwork for two core units, and pass BSL and Intimacy/Stage Combat. The weighting for Year 1 Movement is as follows: Pure and Applied Movement: Rhythm: Dance for Actors: Module 5: Credit value: Pass/fail units

70% 30%

Contextual Studies 10 Contextual Studies Project 1 Journal

How do I pass Contextual Studies? You must pass classwork in Contextual Studies and the Project Journal. Contextual studies is assessed pass/fail and does not carry any weighting in the Year 1 overall mark, but you are required to pass the module in order to progress to Year 2. Structure of Year 1 – Level 4 Term 1: Autumn Weeks 1 Module 1 to

Module 2

5 Module 3

Year 1 Acting Projects 1. World Stories Year 1 Acting Acting Approaches, Screen Acting, Introduction to Improvisation Voice 1

7 42

BA (Hons) Acting

Programme Specification

Voice and Breath, Voice and Language, Sound Recognition, Vocal Anatomy, Singing Movement 1 Movement, Rhythm: Dance for Actors, British Sign Language Level 1 (BSL) Contextual Studies Study Skills, Research Presentation, Film screenings, Specialisation classes

to Module 4 11 Module 5 6 12

Half term – reading week Class showings, progression assessment and feedback CHRISTMAS VACATION

Term Two: Spring Weeks 1 Module 1 to

Projects 1 2. Contemporary Physical Theatre Acting 1 Acting Approaches, Text Analysis, Verbatim Theatre, Stagecraft, Screen Acting, Improvisation: Viewpoints Voice 1 Voice and Breath, Voice and Language, Sound Recognition, Vocal Anatomy, Singing Movement 1 Movement, Rhythm: Dance for Actors Intimacy and Stage Combat Contextual Studies Study Skills, Research Presentation, Film screenings, Specialisation classes, Project Journal (Contemporary Physical Theatre)

Module 2

5 7

Module 3

to Module 4 11 Module 5

Half term – reading week

Class showings, progression assessment and feedback EASTER VACATION

Term Three: Summer Weeks 1 Module 1 to

Module 2

5 7 Module 3 to 10

Module 4

Projects 1 3. Chekhov Acting 1 Acting Approaches, Screen Acting, Devising for Camera, Improvisation: Active Analysis and Clowning, Shakespeare, Recorded Voice: Radio Voice 1 Voice and Breath, Voice and Language, Sight Reading, Singing Movement 1 Movement, Rhythm: Dance for Actors 43

BA (Hons) Acting

Programme Specification

Intimacy and Stage Combat Contextual Studies Study Skills, Research Presentation, Film screenings, Specialisation classes

Module 5

Half term – reading week

Class showings, progression assessment and feedback SUMMER VACATION

How do I pass Year 2? To pass Year 2 and progress to Year 3, a student must have acquired 120 credits and passed each module in accordance with the requirements for the module as set out in the Module Specifications and summarised below: Module 6: Credit value: Core units

Projects 2 50 Location filming Contemporary Physical Theatre Iconic American Plays Comedy of Manners Shakespeare

How do I pass Year 2 Projects? Projects in Year 2 are assessed 50% on rehearsal process and 50% on performance. You are required to achieve an overall grade of 40% or above for each project. The overall mark for the module is calculated according to the following weightings: Location Filming Contemporary Theatre Iconic American Plays Comedy of Manners Shakespeare Module 7: Credit value: Core units

Pass/fail units

20% 20% 20% 10% 30% Acting 2 15 Text Analysis Acting Approaches World Classics Acting Choices – Heightened Stakes Self-taping Recorded Voice

How do I pass Acting 2? You must achieve a grade of 40% or above for your classwork in all Units, and to pass the module co-requisites. The overall mark for the module is calculated according to the following weightings: Text Analysis 2: 25% Acting Approaches 2: 10% World Classics: 25% Acting Choices: 20% 44

BA (Hons) Acting

Self-taping: Module 8: Credit value: Core units Pass/fail units

Programme Specification

20% Voice 2 20 Voice Voice and Language Global Voice Sight Reading Singing

How do I pass Year 2 Voice? You must achieve a grade of 40% or above in your classwork for Voice and Voice and Language, and to pass Global Voice, Sight reading and Singing. The overall mark for the module is calculated according to the following weightings: Voice: 70% Voice and Language: 30% Module 9: Credit value: Core units Pass/fail units

Movement 2 20 Pure and Applied Movement Dance for Actors Stage Combat for Performance

How do I pass Year 2 Movement? You must achieve a grade of 40% or above in your classwork for Pure and Applied Movement and Dance, and to pass Stage Combat for Performance. The overall mark for the module is calculated according to the following weightings: Pure and Applied Movement: Dance: Module 10: Credit value: Pass/fail units

70% 30%

Professional Practice 15 Professional Practice Seminars and Workshops Interview Technique/role play Project Journal

How do I pass Professional Practice? The Professional Practice module is marked pass/fail. You must pass your classwork in the Professional Practice Seminars and workshops and the interview technique/role play classes, and you must pass your Project Journal. Structure of Year 2 – Level 5 Part 2 – Year 2 Term 1: Autumn Weeks Module 6 1

Projects 2 1. Location Filming 2. Contemporary Theatre 45

BA (Hons) Acting

Module 7

Module 8

Module 9

Programme Specification

Acting 2 Text Analysis, Acting Approaches: Meisner, Voice 2 Voice, Global Voice, Sight Reading, Singing Movement 2 Pure and Applied Movement, Dance, Stage Combat for Performance Year 2 Project Journal

to Module 10 11 6

Half term – reading week

Class showings, progression assessment and feedback CHRISTMAS VACATION

Term 2: Spring Weeks Module 6 1 Module 7 to 5

Module 8

Module 9

Projects 2 1. Iconic American Acting 2 Text Analysis, Acting Approaches: Meisner, World Classics Voice 2 Voice, Global Voice, Singing Movement 2 Pure and Applied Movement, Dance, Stage Combat for Performance Professional Practice Seminars and Audition/Interview technique Year 2 Project Journal

to Module 10 11 6 12

Half Term – reading week Class showings, progression assessment and feedback EASTER VACATION

Term 3: Summer Weeks 1 Module 6

Project 2 1. Shakespeare 2. Comedy of Manners Acting 2 Acting Choices: Heightened Stakes, SelfTaping, Recorded Voice Voice 2 Voice, Voice and Language, Singing

to Module 7 5 7

Module 8

to Module 9

Movement 2 Pure and Applied Movement, Dance, Stage Combat for Performance Professional Practice Seminars, workshops and mock auditions

11 Module 10 6

Half term – reading week

Class showings, progression assessment and feedback SUMMER VACATION 46

BA (Hons) Acting

Programme Specification

How do I pass Year 3? To pass Year 3 and qualify for the award of BA (Hons) Acting, a student must have acquired 120 credits and passed each module in accordance with the requirements for the module as set out in the Module Specification and summarised below: Module 11: Credit value: Core units

Pass/fail units

Public Productions and Films 100 Film Production 1 - Showreels Theatre Production 1 Showcase Film Production 2 – Original Screenplays Theatre Production 2 Recorded voice – voice reels

How do I pass Public Productions and Films? You are required to achieve a grade of 40% or above in each core component, and to pass the Recorded Voice. The theatre productions are assessed 100% on performance. Showcase is assessed 20% on rehearsal process and 80% on performance, and film productions 50% on process and 50% on performance. The Recorded Voice component is marked pass/fail. The overall mark for the module is calculated according to the following weighting: Film Production 1 – Showreels Theatre Production 1 Showcase Film Production 2 – Original Screenplays Theatre Production 2

20% 20% 20% 20% 20%

All Performances in the Public Productions and Films are marked by a panel of at least three and more usually four internal assessors, which may include the Course Director, the Head of Acting, the Head of Voice, the Head of Movement and/or another senior member of the faculty. When our own internal examiners themselves direct Third Year Productions another internal examiner will take their place on the marking panel. Process is marked by internal assessors. The Process mark in Showcase will be awarded by the director, and will reflect the contribution each student makes to the success of the Showcase as a whole and not just their own performance, including research of potential scenes and generosity towards others in the selection and sharing of material, as well as commitment to the rehearsal process. The Process mark in Films will be awarded by a member of the faculty (usually the Producer) who has been involved throughout the preparation and filming period of each project, and will reflect the contribution each student makes to the films outside their own performance, including responsibilities for crewing, setting up and clearing on location, carrying and maintaining equipment and supporting each other’s performance work.

BA (Hons) Acting

Programme Specification

Module 12: Credit value: Pass/fail units

Professional Employment Skills 20 Seminars and mock auditions Production Journal Professional Practice Portfolio

How do I pass Professional Employment Skills? All components of Professional Employment Skills are marked pass/fail. You must pass all three components. You will be assessed on your classwork by the coordinator of the Seminars and mock auditions, and your written work will be double marked. Structure of Year 3 – Level 6 Part 3 – Year 3 Term 1: Autumn Module 11 Module 12

Public Productions and Films Theatre Production 1 Film Production 1 – Showreels Professional Employment Skills Professional Practice Lectures and Workshops, Interview and Audition Technique, Professional Practice Lectures, Recorded Voice, Sight Reading, Screen Tests CHRISTMAS VACATION

Term Two: Spring Module 11

Public Productions and Films Film Two – Original Screenplays Showcase EASTER VACATION

Term Three: Summer Module 11 Module 12

Public Productions and Films Theatre Production Two Professional Employment Skills Production Journal Professional Practice Portfolio

Compensation between Modules There is no provision for compensation within or between modules on the BA (Hons) Acting. Re-sit Provision If you fail a module, you may be offered the opportunity to re-sit those elements which you did not pass. Re-sits are not normally offered if a student fails more than one module, or more than one component within a module. Where re-sits are available, resit provision is subject to the conditions set out in the Assessment Regulations. CAREERS The aim of the BA (Hons) Acting programme is to prepare you for a career as a professional actor. We have an enviable record of success in achieving that aim, 48

BA (Hons) Acting

Programme Specification

evidenced by our graduate destinations. Official data collected by the Higher Education Statistics Agency and published on the Discover Uni website demonstrates that the average income of our students, six months after graduation, is £34,000, as compared to an average of £20,000 for all performing arts courses. Recent highlights have been a Bafta Cymru best actress win for 2018 graduate Gabrielle Creevy for In My Skin, Lashana Lynch (2010) staring in Captain Marvel and James Bond No Time to Die, Thaddea Graham (2018) in Netflix series Irregulars & Us, Sarah Seggari (2017) staring in Emilia and Leo Woodall (2019) in Nomad. From our 2020 graduates several students secured work which has subsequently been cancelled or postponed due to the Coronavirus pandemic. Sam Creasey was due to start rehearsals for the lead role in The Book of Dust directed by Nick Hytner at the Bridge Theatre. STUDY ABROAD / WORK PLACEMENTS Study Abroad or Placement options are not available for the BA (Hons) Acting programme. ACCREDITATION AND PROFESSIONAL RECOGNITION All ArtsEd degree courses are validated by City, University of London, a leading international University and the only university in London to be both committed to academic excellence and focused on business and the professions. ArtsEd’s validation relationship with City began in 2001, with the validation of the BA (Hons) Acting programme. ArtsEd’s provision is accredited by the Council for Dance, Drama and Musical Theatre (CDMT). ArtsEd is a member of the Federation of Drama Schools. Equity, the actors’ union, has joined with Spotlight to create a new "universal standard" in order to remove uncertainty for students and establish an up-to-date list of accredited drama schools. ArtsEd’s provision is compliant with the published standards. Level 6 Diploma in Professional Acting Students in receipt of a Dance and Drama Award take the Trinity College London Level 6 Diploma in Professional Acting, which is recognised by the Qualifications and Curriculum Authority (QCA). It is placed at level six on the National Qualifications Framework. The word ‘professional’ is key in the naming of this qualification as it was developed specifically to recognise the high level of skill and talent that emerges from some of the most prestigious of England’s professional performing arts training institutions. The uniqueness of the qualification stems from the way it was developed: following advice from members of the theatrical professions and the participating professional training schools. ArtsEd is one of only five drama schools validated to offer the Diploma. The Diploma is a qualification which is attained at the end of a three year vocational training. Training providers are validated to provide the qualification and assessment is undertaken by the provider and Trinity College London. The emphasis of the Diploma is on the artistic, creative, technical and professional skills that a performing artist needs in order to fully prepare themselves for a varied and high level performing career 49

BA (Hons) Acting

Programme Specification

in acting. Course work includes performance in live and recorded media, physical and vocal skills and supporting studies. Each validated course has its own unique identity and will provide the Diploma within its own curriculum. See below for the outline structure of the Diploma, and the pages that follow for the full course details. Structure of the TCL Level 6 Diploma The Diploma is a 7 unit qualification in which candidates are required to pass all units. Units 1 through 5 comprise the core techniques and performance skills needed to become a professional actor. Units 6 and 7 contain the professional supporting studies which underpin the other units. These develop the skills to enable candidates to become informed practitioners who are well prepared to secure and maintain employment. The Diploma in Professional Acting provides the successful candidate with 380 credits at level 6 and 40 credits at level 5. Unit 1 – Technical Skills in Professional Acting – Live Theatre Delivered through: o Acting Approaches o Text Analysis o Acting Choices o Improvisation o World Stories o Chekhov o Contemporary Physical Theatre o Contemporary Theatre o Iconic American Plays o Shakespeare and World Classics Unit 2 – Technical Skills in Professional Acting – Recorded Media Delivered through: o Screen Acting o Location Filming o Acting Choices o Self-taping o Recorded Voice Unit 3 – Technical Skills in Professional Acting – Vocal Skills Delivered through: o Voice o Singing o Organic Voice and Sound Recognition Unit 4 – Technical Skills in Professional Acting – Physical Skills Delivered through: 50

BA (Hons) Acting

Programme Specification

o Movement o Intimacy/Stage Combat o Rhythm & Dance Unit 5 – Performance in Professional Acting Delivered through: o Public Productions o Films o Showcase Unit 6 – Additional Professional Skills and Practice in Professional Acting • Component 1 Transferable Skills Delivered through: o Professional Employment Skills o Project and Production Journals o Contextual Studies o Self-assessment o Disciplinary policy, including Lateness and Absence Policies • Component 2 – Employment Delivered through: o Professional Employment Skills o Professional Development Plan o Professional Employment Preparation o Professional Practice Portfolio •

Component 3 – Safe Practice Delivered through: o Integrated studies including Movement, Voice, Intimacy/Stage Combat, Dance, Professional Employment Preparation, Professional Employment Skills, Acting Projects, Public Productions and Films

Unit 7 – Integrated Professional Studies in Professional Acting The integration of all units is an essential concept of this qualification and is central to the successful delivery of the Diploma. Assessment of this Unit is through the Actor’s Journal and Professional Practice Portfolio in Year 3. BA (Hons) Acting Module Specifications On the pages that follow you will find the Module Specifications, setting out in detail the aims of each module, how you will learn, what you will be expected to achieve, and how you will be assessed.

Module Specifications

MODULE SPECIFICATIONS

Year One Projects 1 30 15 4

Module 1: UK Credits: ECTS: Level:

Outline You will apply the skills and techniques developed in other elements of the course to three different performance projects. What will I be expected to achieve? On successful completion of this module, a student will be expected to be able to: Skills • produce a basic level of competence in all the techniques taught. Knowledge and understanding • recognise the necessity to work as an individual within the context of the group and be able to put this into practice • demonstrate an ability to plan and structure your own independent study, in preparation for rehearsals. Values and Attitudes • evidence a good level of professional discipline Assessment Overview For your 1st year projects you are required to achieve a pass mark of 40% or above for your classwork and rehearsal process in each project.

PROJECTS 1 – UNITS:

World Stories Tutors: Contact hours: Timetable:

Gabrielle Nimo & Justin Pierre 80 2 x 3.5hr sessions p/w + additional hours in showings week, Autumn term

Aims

Module Specifications

• •

to create and present a devised performance based on fables, myths and fairy tales chosen from your own and others’ cultural references and heritage to develop your capacity for self-expression through exploration of storytelling

What will I be expected to achieve? On successful completion of this module, a student will be expected to be able to: Knowledge and understanding • demonstrate spontaneity in the creative process • discover the fables, myths and fairy tales from cultures and heritages different from your own • develop a shared understanding of the nuances and meanings of vocabulary Skills • participate in a creative collaboration • apply newly acquired acting, vocal, physical and improvisational skills Values and Attitudes • value the inclusive structure needed to build an authentic ensemble • participate in a cultural exchange of diverse influences and references • recognise the necessity and put into practice the discipline required in the rehearsal room How will I learn? You will explore fables, myths and fairy tales chosen from your own and others’ cultural references or heritage. Working in small groups, you will create a cross cultural 50-minute creative piece of modern world storytelling to be shown in a classroom setting to fellow students and members of the staff. How will I be assessed? The World Stories is an introductory project to telling stories though ensemble devising. By working in this way, you will develop a common ensemble, rehearsal and/or performance vocabulary. The notion of performance is investigated at a basic level, including ideas about space, actor-audience relationship, proxemics, communication skills through the use of body and voice. You will be expected to explore the skills learning in your acting approaches, improvisation, voice, singing and movement classes in order to begin the process of exercising your imagination in workshop rehearsals through to performance. You are assessed by your directors throughout the process which will culminate in a mini project production of between 50 mins – 1hr in length. The assessment You will explore fables, myths and fairy tales chosen from your own and others’ cultural references or heritage. Working in small groups, you will be guided by your director to create a cross cultural 50-minute creative piece of modern world storytelling to be shown in a classroom setting to fellow students and members of the staff. The process over 10 weeks will be a collaborative, cultural exchange of 53

Module Specifications

imagination. You will receive continuous feedback by director(s) to support your learning and development. Emphasises for this project is on the process and the student actor as the essential tool, rather than the production. Therefore, it is expected no technical assistance be used. Only basic costume and minimal props. What are the assessors looking for? • Demonstrate the ability to create a theatre piece with an ensemble • Illustrate the ability to listen and work collaboratively with the ensemble • Show devising skills gained as a theatre-maker • Integrate skills learnt in the further curriculum in the devising process • Support members of the ensemble in the development of the piece • Show evidence of research used for storytelling purpose • Be able to practice the use of appropriate storytelling techniques – e.g use of voice, facial expressions, gestures, eye contact, pace, use of staging and characterisation. • Communicate a story showing focus, consistency and engagement throughout. Reading List Title Culture is the Body

Author Suzuki, Tadashi

Year 2015

Booker, Christopher

Publisher Theatre Communication s Grp Bloomsbury

The Seven Basic Plots: Why we Tell Stories Impro for Storytellers Theatre Games

Johnstone, Keith Barker, Clive

Faber Performance

1998 2010

2015

Contemporary Physical Theatre Tutors: Contact hours: Timetable:

Gabrielle Nimo & Justin Pierre 50 1 x 3hr session per week in the first half of the Spring term, followed by 2 x 3 hr sessions per week in the second half of term, plus additional hours in showings week

Aims • To facilitate the exploration and practice of acting, voice and movement skills developed in term 1 • To practice an embodied physical theatre approach to a contemporary play • To respond to the themes and motifs of the chosen narrative What will I be expected to achieve? On successful completion of the module you will be expected to be able to:

Module Specifications

Skills • work with a director on extracts of a play or plays to produce a theatre piece inspired by the work of leading contemporary theatre companies • engage in the creative process and contribute to character choices in collaboration with the director • understand the basic principles of working creatively with a director • identify and apply the techniques you are developing in skills classes. • begin to explore the requirements of an industry-standard rehearsal process. Knowledge and understanding • explore and understand the basic requirements of the actor’s contribution to the structure and text of a contemporary theatre piece • research the work of leading British contemporary theatre companies and be able to present and apply some of this process to rehearsals • demonstrate an understanding of what it is to perform in the required style of the play • recognise how to use the voice and body effectively in a theatre performance Values and Attitudes • develop and demonstrate an open mind to the working methods of different contemporary theatre companies, directors and writers. How will I learn? A practical examination of the work of a modern playwright, play or theatre company which may be influenced by the work of: The Royal Court/Young Vic/Bush Theatre/National Theatre/SOHO Theatre etc Kneehigh Theatre Company Talawa Theatre Co Frantic Assembly Told By An Idiot Sound and Fury Theatre de Complicite Punchdrunk Verbatim Theatre You will take part in a sequence of workshops, seminars and rehearsals culminating in a classroom showing of the work to fellow students and staff. Assessment Rationale This module is to facilitate the exploration and practice of acting, voice and movement skills developed in term 1. It will enable you to practice an embodied physical theatre approach to a contemporary play and to respond to the themes and motifs of the chosen narrative. How will I be assessed? Over 10 weeks you will be working in a rehearsal setting taking part in a sequence of workshops, seminars which will culminate in a classroom showing of the work to 55

Module Specifications

fellow students and staff. You will be guided by the director to explore a physical response to a chosen published text. You will be expected to explore and apply techniques learnt across the curriculum; alongside the work you will be doing in rehearsals drawn from the companies listed above. You may be working in smaller groups initially, which will feed into the overall group performance. Feedback will be given continually throughout the process. Your final assessment piece will take place in week 11 and verbal feedback will be given in week 12. What are the assessors looking for? • Engagement in the creative process and contribute to character choices in collaboration with the director • Working creatively with a director • Starting to apply the techniques you are developing in skills classes • Starting to understand and explore the requirements of an industry-standard rehearsal process. • Exploration of the actor’s contribution to the structure and text of a contemporary theatre piece • Research the work of leading British contemporary theatre companies and be able to apply some of these processes in rehearsals • Recognise an understanding of what it is to perform in the required style of the play • Begin to understand how to use the voice and body effectively in a theatre performance • Demonstrate an open mind to the working methods of different contemporary theatre companies, directors and writers. Reading List Title Rewriting the Nation: British Theatre Today (Plays and Playwrights) by (25 Jan 2011) Beyond Stanislavski

Author Aleks Sierz

Publisher Methuen

Year 2011

Merlin, Bella

2013

Different Every Night

Mike Alfreds

Then What Happens? Storytelling and Adapting for the Theatre Contemporary British Drama

Mike Alfreds

Nick Hern Books Nick Hern Books Nick Hern Books

2010

The Cambridge Introduction to Modern British Theatre (Cambridge Introductions to Literature) The Physical Actor: Contact Improvisation from Studio to Stage

Simon Shepherd

Edinburgh Critical Guides to Literature Cambridge University Press Routledge

2018

David Lane

Annie Loui

2014 2015

2009

Module Specifications

The Frantic Assembly Book of Devising Theatre

Scott Graham, Stephen Hoggett

Routledge

2014

Chekhov Tutors: Contact hours: Timetable:

Marcus Ellard & Justin Pierre 70 4 x 1.5 hr sessions per week in the Summer term, plus additional hours in showings week

Aims • to use techniques based in Stanislavski methodology to create a truthful, wellrounded characterisation. • to rehearse and present a piece of text-based theatre What will I be expected to achieve? On successful completion of this module, a student will be expected to be able to: Skills • analyse and annotate a text • create a detailed character using the “given” information • apply skills learned in classes to a rehearsal process Knowledge and understanding • generate a working script by dividing a scene into units and create an emotional journey for a character • demonstrate an understanding of the creation of character using the teachings of Stanislavski • understand the concept of sub-text • identify the “inner truth” of a character Values and Attitudes • reflect on the value of systematic rehearsal techniques How will I learn? You will take part in a sequence of practical classes and seminars to guide you through a series of techniques in the exploration of the text. You will rehearse selected scenes with your director and with your group and will show your work to staff and fellow students in a classroom presentation. Assessment Rationale You will be motivated and guided through a detailed rehearsal process to use the techniques of Stanislavski to create a truthful, well-rounded characterisation. Throughout the rehearsal you will be reminded of the skills you have been developing in skills your skills classes and will be encouraged to explore them during rehearsals to collaborate in presenting a piece of text-based theatre.

Module Specifications

How will I be assessed? In week 11 of the Summer term you will show your work to staff in a 1hr and 10mins edited production of a chosen Chekhov play. This performance will be viewed by staff and fellow students in a classroom presentation. What are the assessors looking for? During rehearsals: • Annotation of a scene by utilising units • A practical understanding of creating an emotional journey for a character • Demonstration of the creation of character using the teachings of Stanislavski • The concept of sub-text • An ability to identify the “inner truth” of a character • Creatively reflect on the value of systematic rehearsal techniques During Performance • Application of vocal, movement and acting skills in performance • Appropriate choices played based on detailed text analysis • Commitment to choices made • Sustaining the objectives of a character • Varied and imaginative playing of objectives • Response and adjustment in the moment. Reading List Title Acting on Impulse The Complete Stanislavsky Toolkit Different Every Night Building a Character Stanislavski and the Actor Stanislavski, an Introduction Chekhov’s Plays Why Acting Matters

Author Gillet, J Merlin, Bella

Publisher Methuen Nick Hern

Year 2007 2007

Alfreds M Stanislavski, C Benedetti, Jean Benedetti, Jean Gilman, R Thomson, David

Methuen Methuen Methuen Methuen Yale Yale

1980 1980 1998 2000 1995 2015

MODULE TEACHING PATTERN Contact Hours

Teaching Unit

Type

World Stories

Workshop classes, rehearsals Workshop classes, rehearsals Workshop classes, rehearsals Totals

Contemporary Physical Theatre Chekhov

Self-Directed Study Hours

Total Student Learning Hours

110

200

100

300

Module Specifications

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

World Stories

Classwork, rehearsal process Classwork, rehearsal process Classwork, rehearsal process

Contemporary Physical Theatre Chekhov

Weighting

Pass Mark

Pass/ Fail

33%

40%

33%

40%

34%

40%

What do I have to do to pass? You are required to achieve a pass mark of 40% or above in each project. How and when will I get feedback on my assessments? You will receive written feedback from your director and verbal viva feedback from the Senior Acting Tutor following all showings. If the project has been directed by the Senior Acting Tutor, verbal feedback will be given by another member of the core teaching staff.

Module Specifications

Module 2: UK Credits: ECTS: Level:

Acting 1 40 20 4

Outline Acting 1 is designed to meet the progressive needs of each group of students and the individuals within it. You will begin to develop an individual creative approach to acting through exploration of your imagination, utilising a variety of skills and techniques. Acting 1 is comprised of eight elements which facilitates an introduction to rigorous, creative, playful and inclusive contemporary actor training. Participation in all eight elements will inform your training throughout the 3 years and provide a lifelong foundation for a career in the acting profession. It will enable you to systemise verbally, physically and through reflective practice your own individual approach to acting. You will also gain a clear artistic and technical understanding of acting for all genres. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to: Knowledge and understanding: • demonstrate a basic level of competence in all the techniques taught • start to develop and understand your own individual acting processes. • evidence a good level of professional discipline • understand the importance and responsibility of undertaking independent learning • explore a range of acting techniques for rehearsal. Skills: • plan and structure your own independent study, in preparation for practical taught classes. • understand a range of resources and methodologies for research, appropriate to the field. • gain an appreciation of a variety of texts • participate creatively and imaginatively with a range of given circumstances • demonstrate playfulness and expressivity in your acting Values and Attitudes: • recognise the value of working openly and supportively as an individual within the context of the group • acquire an enhanced awareness of acting theories and an ability to incorporate them within an individual acting process. • learn to apply the knowledge and understanding studied to small scale explorative project performances. • develop awareness of your strengths and weaknesses, allowing yourself to explore further by receiving constructive criticism • sustain artistically curiosity 60

Module Specifications

• •

accept failure as part of the actor training process exercise generosity of spirit, trust and respect.

Overview of assessment in Acting 1: Formative assessments for each unit of Acting 1 are set out in the module specification below. The final summative assessment for the Acting 1 module will take place in Week 11 of the Summer Term, at the end of the Shakespeare unit. A schedule setting out the time of your individual assessment will be provided to you in week 9. You will receive extensive feedback alongside a one to one feedback session with the Director of the School of Acting.

ACTING 1 UNITS:

Acting Approaches Tutors: Contact hours: Timetable:

Justin Pierre, Grace Andrews, Marcus Ellard 75 3x 1.5hr classes p/w Autumn term 1x 1.5hr classes p/w Spring term 1x 1.5hr classes p/w Summer term

Aims To explore a range of acting approaches and methodologies, the focus in these classes will be on Michael Chekhov, Stanislavski, Uta Hagen, Suzuki alongside Eugene Barba, Grotowski and some African and Asian actor training techniques. Michael Chekhov’s psychophysical training through body and breath will focus on opening up the actor’s most important tool, the imagination. It will begin the foundation of an individual acting process and set up the repetitive workout needed to craft the skills and techniques that are essential for the performer. You will be introduced to the training methods devised by Konstantin Stanislavski and Uta Hagen. The exercises we explore together will ask you to use your own observations, instincts, sense of truth and understanding of human realities in order to eventually create truthful characters that react to a set of given circumstances. Additionally, introduction to the acting methodologies of Suzuki which trains actors to work from their core and builds discipline, strength, and focus. The rigorous practice draws on martial arts influences and those of Japanese Noh, Kabuki, and the ancient Greek chorus to enable actor’s exploration of finding a connected centre from which to exercise their imagination. In your first year of Acting Approaches classes, you will be motivated to question and respond to some of the fundamental issues around contemporary and inclusive actor training and how these issues have the potential to inform some of the different means of actors’ expression. Working alongside the World Stories project, your acting classes will enable you to develop your sense of self within the context of exploring your individual creativity. 61

Module Specifications

What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and understanding • gain a solid understanding of acting processes through active participation that will lay a comprehensive foundation for further development. • articulate an understanding of acting approaches and methodologies such as Michael Chekhov, Uta Hagen, Suzuki, Lecoq, Barba, Grotowski • understand the need to create a culture of trust to enable you to work freely and creatively Skills • develop the artistic skills to explore creative individuality through the imagination • practically demonstrate a readiness to play from a sense of ease • explore creating individual and ensemble etudes • show the connection between acting, movement and voice • cultivate an awareness of the importance of individual culture and background as the springboard to developing a robust acting process. Values and attitudes • value the significance of collaboration in the classroom • appreciation of the uncertainty of knowledge. How will I learn? You will take part in a sequence of workshop classes focusing on: • exploring the imagination through structured play • taking the first steps towards practical research and exploration when studying the craft of acting. • utilising psychophysical training to exercise the imagination • devising/Improvisation techniques How will I be assessed? Formative assessment Formative assessment in acting approaches is a useful practice of what you are exploring in creating the foundation to a rigorous acting process. It’s rather like a very early dress rehearsal and you are not formally marked. At the end of the Autumn term you will undergo a formative assessment in either week 8, 9 10 or 11 – You will be made aware in week 7 which week your assessment is and given feedback in week 12 which will support your learning and development. You will not be marked. We will be looking for an exploration of some or a combination of the following things. Please remember you are at beginning of this process so we will not be looking for everything listed to be incorporated in your process.

Module Specifications

• • • • • • • • • • • • • • • • •

Imagination Specificity Sensitivity Connection Sense of Play Improvisation Observation Spatial awareness Spontaneity Openness Responsiveness Readiness Physical expressivity (breath & movement) Physical Impulse Movement & flow Flexibility Rhythm

Additionally, we will be encouraging you to working with Feeling of Ease, Feeling of Form Feeling of Beauty Feeling of Whole To consider: Creativity Active exploration Curiosity Commitment Reading List Title Stanislavski & the Actor An Actor’s Work An Actor’s Tricks Michael Chekhov’s Acting Technique On the Technique of Acting Acting on Impulse Acting: The Basics Respect for Acting Essential Acting

Author Jean Benedetti K. Stanislavski and Richard Eyre Yoshi Oida Sinead Rushe

Publisher Methuen Routledge Classics

Year 2008 2016

Methuen Methuen Drama

2007 2016

Michael Chekhov

Martino Fine Books

2014

John Gillet Bella Merlin Uta Hagen Brigid Panet

Methuen Routledge Baker & Taylor Routledge

2007 2010 2008 2009

Module Specifications

Approaches to Actor Training: International Perspectives The Outstanding Actor Seven Keys to Success. Culture Is the Body: The Theatre Writings of Tadashi Suzuki

John Freeman

Red Globe Press

2019

Ken Rea

Bloomsbury

2015

Tadashi Suzuki

Theatre 2015 Communications Group

Body Voice Imagination

David Zinder

Routledge

2013

The Golden Rules of Acting

Nyman, Andy

Nick Hern Books

2012

Improvisation Tutor: Contact hours: Timetable:

Iskandar Sharazuddin 37.5 1x 1.5hr classes p/w Autumn term 1x 1.5hr classes p/w Spring term 1 x 1.5hr classes p/w Summer term (first half)

Aims To identify and apply the key principles of improvisation and explore their application for the actor within the rehearsal and performance of text as well as the devising process. The use of improvisation will also be explored within a range of actor training methodologies including Viewpoints, Active Analysis and clowning. The work will encourage a playful approach to the creative process and encourage the use of imaginative play that can be directly applied to project work throughout the year. The work will also encourage the freedom, openness and confidence required to leave room for spontaneity and presence in performing a range of acting styles. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding: • show an understanding of how improvised and spontaneous play can be used to foster trust and openness as an actor within an ensemble • demonstrate a practical awareness of how spontaneous play can free the actor by developing trust in their own intuition and impulsive response. • develop a comprehensive awareness of how the principles of improvisation lead to Storytelling i.e. creating circumstances, events and structure in the moment • utilise viewpoints training and utilise improvisation in developing ensemble skills, rehearsal approaches and creative skills • explore applicable knowledge of Maria Knebel's concept of active analysis as influenced by Stanislavski's later work.

Module Specifications

•

recognise the importance of the use of improvisation in clowning through the practice of developing your clown

Skills: • develop spontaneity, imagination, listening and responsiveness in improvisation • apply improvisation techniques to develop dynamic scenes spontaneously • employ the principles of improvisation to create circumstances, events and structure in the moment • use fundamental improvisation skills to explore a play text through active analysis • practice the principles of improvisation to create truthful action on stage • discover improvisation techniques to a range of clowning styles • explore improvisation and clowning skills to develop your own clown Values and Attitudes: • respond attentively to other actors in a performance situation • work as part of a group without inhibition • develop generosity as an actor • contribute to facilitating a trusting and safe environment to maximise the impact of training How will I learn? You will take part in a sequence of workshop classes focusing on: • A series of exercises exploring the imagination through structured play • The development of trust and openness to achieve spontaneity in improvisation • Devising/Improvisation techniques • The use of improvisation to carry out active analysis of a text • Clowning skills How will I be assessed? You will undergo continual feedback on your work during classes throughout the year which will culminate in your final summative assessment in Summer Term when you will receive extensive feedback alongside a final one to one feedback session. Your summative assessment will be a formal assessment which summarises your work across the module. Formative assessment dates and Assessment Rationale: Autumn term: In week 10 you will take part in a Viewpoints workshop in which you will apply the principles of improvisation within the structure of viewpoints training. You will then be placed in groups to create an original composition using Viewpoints as a starting point. Spring term: In week 10 you will take part in an active analysis of scenes from a play in which you use improvisation to explore given circumstances, objectives, action and counter action. This will be a tutor led exercise carried out in

Module Specifications

Your summative assessment will take place in your Summer term: In week 10 you will develop a solo clown performance and share this in a class showing to your peers. You will utilise your improvisational skills in the development of your piece and will aim to allow for spontaneity within the performance of the piece. What is the assessor looking for? • Imagination • Specificity • Sensitivity • Sense of Play • Improvisation • Observation • Spontaneity • Openness • Responsiveness • Readiness • Rhythm Reading List Title

Author

Publisher

Year

Games for Actors and Non-Actors

Augusto Boal

Routledge

1992

Impro

Keith Johnston

Bloomsbury

2018

The Viewpoints Book

Anne Bogart and Tina Landau

Nick Hern Books

2014

A Director's Guide to Stanislavsky's Active Analysis

James Thomas

Bloomsbury

2016

On the Technique of Acting

Michael Chekhov

Martino Fine Acting

2014

Why is That so Funny

John Wright

Nick Hern Books

2006

The Moving Body

Jacques Lecoq

Methuen Drama

2009

The Improvisation Game

Chris Johnston

Nick Hern

2006

Improvisation for the Theatre

Viola Spolin

Northwestern University 2017 Press

Screen Acting Tutor: Contact hours: Timetable:

Kim Vithana, Mark Street, Charlotte Brimble, Hamza Jeetooa 90 2 x 1.5hr classes per week for 3 terms 66

Module Specifications

Aims To break down on-screen performance to definitive areas in order for the student to understand all the components that are needed to create a convincing and truthful on-screen performance for Film and TV. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding • identify key elements of a truthful performance and how this translates on screen when viewing playback • explore your relationship with the camera and how to use the camera to enhance your screen performance, including eye lines and working within frame sizes • understand stakes within a scene and how to use your imagination to raise the stakes • distinguish between the various genres of Film and TV and how to prepare accordingly • identify pace and internal energy when approaching a screen performance • learn about the equipment and how to use it in order to crew • recognise the practicalities and discipline of a professional film/television set and studio Skills • perform confidently in front of the camera • develop the focus, discipline and preparation necessary for working on screen • understand, through repetition, the technical demands of an onscreen performance: • differentiate between shot sizes e.g. 2 shot, CU etc. • practically work within the edge of frame • acquire hands-on experience in the key jobs on a camera crew Values and Attitudes • embrace the responsibility you have, to prepare for a role when there is limited/no rehearsal time • understand and value the rules and etiquette which govern the filming process, from rehearsal to the set • Utilise camera and play-back equipment to view your work objectively and to enable you to take ownership of your performance How will I learn? Screen acting is non-linear, demanding enormous preparation and huge concentration. Each unit of the course includes a combination of the strand’s performance skills and technical knowledge. These two strands are be divided between Monday and Friday throughout the year. Strand 1: Will be focused on ‘Performance Skills’, which will explore • being truthful in an on-screen performance 67

Module Specifications

• • • • • • • • • • •

being conscious of physicality – habits and mannerisms understanding the need for different shot sizes and multiple takes emotionally connecting with the continuity of action maintaining energy levels and pace listening and reacting Vocal awareness and how to use your voice subtext – the inner life of a character, conscious and subconscious improvising around given circumstances playing with acting choices/objectives on-screen exploring eye-lines within the frame forensically dissecting performance on playback

Strand 2: Will be focused on the repeated practice of ‘Technical Skills’, which will explore • observing continuity of action in conjunction with the script • gestures/body positioning and continuity • physical action and the script: sitting, standing, eating • working in the frame – edge of frame, over shoulder, head positioning • hitting marks using a gaffer mark or sausage • spatial awareness and hitting marks – peripheral vision • walking and talking with the camera • group set pieces and your continuity • understanding basic camera operation • technical instruction for crewing to include: Camera and boom operation Autumn Term Analysing and understanding various genres and how to approach a script with truth and imagination. Understanding yourself on screen and getting used to performance analysis on playback. Getting to grips with the technical ‘basics’ of screen acting and equipment operation. A formative assessment will be undertaken in week 10 and feedback will be given in week 11 to support your learning and progression. The formative assessment will encourage you to look at: • creating a truthful depiction of a character on screen • controlling my habits and mannerisms • using my imagination when approaching a character • self-reflection on playback • vocal and physical expression • openness to direction • how I practice and develop onscreen technical skills Spring Term Building character using imagination, stakes and subtext. How to ‘connect’ continuity to performance skills. Improvising around given circumstances. Connecting a sequence of actions with the text / script.

Module Specifications

A formative assessment will be undertaken in week 10 and feedback will be given in week 11 to support your learning and progression. The formative assessment will encourage you to look at: • inventiveness with choices and the stakes • understanding and investing in given circumstances • consistency with continuity of action • using the camera to my advantage to tell my character’s story. • mastering physical action with continuity in the script Summer Term Consolidating both aspects of ‘Performance Skills’ and ‘Technical Skills’ using camera craft and script to create an on-screen character. A final summative assessment will be undertaken in week 10. You will be given a scene to rehearse from week 6 and given continuous feedback to encourage you to consider the following aspects of screen performance: • truthful and imaginative character • proficiency with continuity • how effectively you receive and act on direction • how performance and technical skills are used to create a truthful and varied performance Playback and feedback of your work will begiven in week 11 to support your learning. What is the assessor looking for? • Bringing the character to life, being truthful and imaginative • Ability to alter your performance in response to notes from a director • Basic understanding of the need for different shot sizes • Continuity of thought and action to the script • Maintaining internal energy levels and pace • Listening and reacting • Vocal awareness • Physical expression and control • Hitting marks where necessary • Effective eye-lines Reading List Title Screen Acting Workshop (with DVD) Different Every Night The Actor and the Camera The Language of the Lens

Author Mel Churcher

Publisher Virgin

Year 2011

Mike Alfreds Denis Lawson Gustavo Mercado

Nick Hern Nick Hern Taylor & Francis

2013 2014 2019

Module Specifications

Stagecraft Tutor: Contact hours: Timetable:

Nick Barber 7.5 1 x 1.5hr classes p/w Spring term (first half)

Aims To gain a strong and confident understanding of the presence of the actor on stage. The notion of stagecraft is investigated at a basic level, as part of the actor’s toolkit of performance skills you will explore ideas about space, actor-audience relationship, proxemics, communication skills through the use of the body, imagination and voice. You will also develop a shared stagecraft and performance vocabulary. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding • recognise the technical language used for staging • define the dynamics of the different Theatre spaces • Identify the dynamics of the stage in relation to the audience, actors, set and props Skills • work confidently to score or block a scene • show distinct awareness of and improvement in their physical sensitivity and physical articulation, focus, observation and spatial awareness • justify intelligently their own artistic choices and be able to critique their choices Values and Attitudes • application of this knowledge and understanding to performance • effective collaboration with the group • receive feedback in an informed and practically orientated manner How will I learn? You will take part in a sequence of workshop classes focusing on: • The technical language of stage direction in theatre • Rehearsal techniques • Performance skills through practical exercises, improvisation and devising • Working in small groups to collaborate on short non-verbal etudes How will I be assessed: The class will be split into small groups and given a short script with multiple characters. You will be expected to present a simply staged version of the scene applying techniques that you have learned in stage craft classes, integrating where applicable what you have learned in acting approaches classes. A schedule setting out the time of your individual assessment will be provided to you in week 9. Stagecraft is marked pass/fail. What is the assessor looking for? 70

Module Specifications

• • • • • • • • • • • • •

Spatial awareness Sense of place / location Sensitivity Vocal awareness Use of impulse Defined relationships Intimacy Movement Openness Adaptability Spontaneity Ensemble work Respect

Reading List Title Stage Acting Techniques Body, Space, Image - Notes Towards Improvisation and Performance The Frantic Assembly Book of Devising Theatre The Viewpoints Book: A Practical Guide to Viewpoints and Composition The Empty Space

Author Publisher Hester, John Crowood Press Tuffnell, Martin and C Dance Books Crickmay

Year 2004 2001

S Graham & S Hoggett, Anne Bogart & Tina Landau

Routledge

2009

Nick Hern Books

2014

Peter Brook

Penguin

2008

Verbatim Theatre Tutor: Contact hours: Timetable:

Marcus Ellard, Grace Andrews & Visiting tutor 15 2 x 1.5hr classes p/w 1st half Spring term

Aims The aim is to introduce you to different styles of theatre work to further your creative and critical capacity. It will facilitate development of a response to the broadening of the theatrical collection and differing directorial approaches. You will have the opportunity to elaborate on and experiment with the boundaries of theatre utilising real life text. Additionally, the work undertaken in this module will contribute to layering the creative foundation for future chorus work and the demands of large group work on stage. The work undertaken in this module will enhance and support the additionally text-based skills classes taken in Spring term. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding 71

Module Specifications

• • • •

understand the dynamics of group theatre making and ensemble performance skills. stimulate and develop your individual creativity, expressivity and artistic style enhancement of your concepts of complicity, listening and ensemble. interpret the key educational and acting theories alongside the practical techniques underpinning Verbatim Theatre practice.

Skills • apply skills and techniques explored in classes • explore the practical journey of the transitional process from text to rehearsal to performance process. • Show distinct awareness of and improvement in: 1. Expressivity and creative articulation 2. Focus 3. Spontaneity 4. Listening 5. physical sensitivity 6. Stamina 7. Flexibility Values and Attitudes • demonstrate effective understanding of teamwork and ensemble playing • practically apply group work skills such as negotiation, collective decision making, problem solving to create work • develop methods of researching the general history of Verbatim Theatre including recent developments and practice How will I learn? You will take part in a sequence of workshop and rehearsal classes Formative assessment rationale The Verbatim short acting project is a pass/fail unit. It is aimed to support you to practically apply the acting, vocal and movement skills classes undertaken in your first and second terms of training. How will I be assessed: You will work with scenes from a published verbatim text utilising verbatim theatre technique from theatre practitioners such as Alecky Blythe, Robin Soans, Clean Break etc to bring the words to life. The progression of your work will be shown in a classroom setting in week 5. Verbal feedback will be given to support your ongoing training. What is the assessor looking for? Throughout the process, the assessor will be looking for: • understanding of the technical language of theatre direction • exploration of verbatim rehearsal techniques • engagement with self-reflection • responsibility in preparing and rehearsing a role 72

Module Specifications

Reading List Title Verbatim: Contemporary Documentary Theatre: Techniques in Contemporary Documentary Theatre

Author Will Hammond Dan Steward

Publisher Oberon Books

Year 2012

Telling the Truth: How to Make Verbatim Theatre (Making Theatre) Moment Work: Tectonic Theater Project's Method of Creating Drama The Laramie Project

Robin Belfield

Nick Hern Books

2018

Moises Kauffman

Vintage Books

2018

https://www.youtube. com/watch?v=u1qiT mF0p4A https://www.youtube. com/watch?v=ZsHw KPE0mjU John Martin

HBO Films

2012

Stephen Lawrence: Time for Justice The Intercultural Performance Handbook

2012 Routledge

2003

Text Analysis Tutor: Contact hours: Timetable:

Marcus Ellard 22.5 1 x 1.5hr classes p/w 1st half Spring term 2 x 1.5 hr classes p/w 2nd half Spring term

Aims Following on from the work of the two interconnected strands Acting Approaches and Text Analysis, you will work to draw these two components together outside of a rehearsal process. This will intensify the focus on working towards interrogating some of the challenging techniques of acting with heightened stakes. Additionally, this component will address the balance of individual truth to notions of dramatic and aesthetic authenticity. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and understanding • Identify and utilise the dynamics of relationships and status affect choices Skills

Module Specifications

• • •

practise intensive skills and techniques which encourage you to release and respond to the demands of the text respond and be open to take the work from page to up on its feet with confidence and clarity actively practise taking creative risks

Values and attitudes • show sensitivity to peers and a mature approach to the work How will I learn? You will take part in a sequence of practical workshop classes focusing on that will explore body, breath and imagination. You will create improvisational scenarios that will allow you to apply the techniques to practice playing heightened stakes. You will also use text from chosen scenes which will encourage you to make bold creative choices. How will I be assessed? The class will be split into pairs or small groups. Each group will be asked to take a scene from an existing play, given to them by the tutor OR create a structured improvisation on a set of imagined given circumstances. The students will be expected to use and implement the skills that they have learned about High Stakes throughout the term ready for presentation for assessment in week 9 or 10. What is the assessor looking for? • Emotional commitment • Imaginative commitment • Connectedness • Availability • Specificity of thought • Impulse and action • Variation of action • Commitment • Truth within the given circumstances • Sensitivity & openness to scene partner/s

Reading List Title True or False Stanislavski and the Actor Different Every Night Respect for Acting The Need for Words

Author David Mamet Jean Benedetti Alfreds, Mike Uta Hagen Patsy Rodenburg

Publisher Faber Methuen Nick Hern Books Baker & Taylor Methuen

Stanislavski In Practice

Nick O’Brien

Routledge

Year 1997 2008 2013 2008 2nd ed. 2018 2011

Module Specifications

Tackling Text How to Read a Play

Barbara Houseman R Hayman

Nick Hern Books Oberon

2013 1999

Shakespeare Tutors: Contact hours: Timetable:

Julie Spencer 16.5 1 x 1.5hr classes p/w Summer term

Outline You will gain a working knowledge of how to engage and approach heightened language, rhetoric and verse structure in Shakespeare’s plays. Various theories and methodologies such as Stanislavski, M. Chekhov, Lecoq are explored in relation to exploring potential acting approaches. You will be encouraged to find and utilise a culturally embodied organic vocal and physical delivery in your exploration of bringing Shakespeare’s language to life. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • engage with your own cultural references to explore Shakespeare’s language • demonstrate a practical understanding of the rhythms of blank verse • understand a Shakespeare monologue and know how to use the language to realise a truthful performance of a heightened character • apply a knowledge of rhetoric to a Shakespeare text • recognise the particular demands that classical texts make upon the actor and to develop abilities to respond to differing theatrical conventions Skills • interpret and analyse a text that uses heightened language • identify Shakespeare’s instructions to the actor hidden within the rhythms of the text • use improvisation to explore a monologue and perform it directly to an audience • deliver a fully realised Shakespeare character with a strong interpretation utilising your own heritage or cultural voice Values and Attitudes • approach a complex text with curiosity and a sense of ease • find individual cultural ownership of Shakespearian text How will I learn? You will take part in a sequence of practical classes, workshops, tutorials and class showings, which will further develop the techniques explored in Voice text classes: building up a flexible yet consistent process of approaching and rehearsing Shakespeare’s heightened language.

Module Specifications

How will I be assessed? In week 3 you will choose one of Shakespeare’s monologues or soliloquys. Workshop and rehearsal classes will be held throughout the term where you will work in group forum to annotate, rehearse and explore bringing your speech to life. Your work will culminate in sharing to your peers and staff members in Week 10. Feedback will be given in week 11. What is the assessor looking for? • Spontaneity • Imagination • Presence • Creative risks • Vocal awareness Cultural ownership through: • Commitment • Use of Language • Connection to the text – embodiment of the language • Clarity • Openness • Physical expressivity Reading List Title Playing Shakespeare Shakespeare’s Advice to the Players A Shakespeare Glossary

Author John Barton Peter Hall

Publisher Methuen Oberon

Year 1984 2014

C.T. Onions

Oxford University Press Methuen Penguin Icon Books Harper Books

1986

Oberon Books

2015

Speaking Shakespeare Patsy Rodenburg Shakespeare Language Frank Kermode Shakespeare on Toast Ben Crystal Shakespeare – The World as a Bill Bryson Stage Acting Shakespeare’s Andy Hinds Language Exposed by the Mask Peter Brook Shakespeare’s Words Online First Folio: http://internetshakespeare.uvic.ca/Foyer/plays

Devising for Camera Tutor: Contact hours: Timetable:

Kim Vithana 33 2 x 1.5hr classes p/w Summer term

Aim

2002 2000 2009 2016

Oberon Books 2000 David & Ben Crystal

Module Specifications

This module will continue your actor training development drawing the Acting strand and on-screen strand together.

What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and Understanding: • understand creative analysis of human behaviour through observation, imagination and improvisational skills to realise character fully • observe nuances of behavior, mannerism and habit • apply the conventions of how to technically perform effectively on camera Skills • utilise the acting skills learnt throughout the year to explore and apply them within the context of devising • learn to observe how improvisation can provide emotional insight to the character • refine your approach to on-screen acting Values & Attitudes • effectively collaborate with students to work professionally • demonstrate empathy and understanding to the nature of the work How will I learn? You will take part in a sequence of practical classes focusing on the following: • improvising character development through given stimuli • developing and creating short scenarios derived from Given Circumstances which will be filmed on camera • forensic analysis of performance in playback • technical instruction in undertaking basic camera and boom operation How will I be assessed? Drawing together the work undertaken in acting and on-screen classes. You will be guided to explore ways in which the technical demands of screen acting can accommodate acting techniques and improvisation to draw out character nuance and the inner life of the character. Practically exploring the devising techniques, you have already studied to create a story and realise character on screen. In Summer term - weeks 9/10/11 you will have the opportunity to apply the work in small groups, filming a scene you have developed together. What is the assessor looking for? • Has the student utilised acting improvisation skills to realise an onscreen character? • Can the student translate that to understand and control the physical limitation that is required for on-screen acting? • Does the student demonstrate spatial awareness within the camera frame? • Does the student demonstrate clear listening skills on-screen? 77

Module Specifications

• • • • • •

Is the student using their voice and body to good effect? Is there internal and vocal energy in the performance? Are there appropriate thoughts and emotions being communicated? Is the student fully involved/concentrated in the performance? Is there physical as well as vocal characterisation? Does the student understand the basic language of filming?

READING AND RESOURCES DVD The Mike Leigh Film Collection A Screen Acting Workshop The Actor and the Camera Acting in Film Radioactive Duologues for Radio, Stage & Screen Which Side are You On? Ken Loach and His Films Improvisation in Drama, Theatre & Performance Screen Acting

Distributor Spirit Entertainment Ltd Mel Churcher - Nick Hern Books Denis Lawson - Nick Hern Books Michael Caine - Applause M Caldarone & M Le Conte Methuen Anthony Hayward

Year 2008 2014 2014 1997 2006

A Yarrow & R Frost

2015

P Kramer & A Lovell - Routledge

1999

2004

Recorded Voice: Radio Tutor: Contact hours: Timetable:

Nick Barber 15 1 x 1.5 hr class p/w in the Summer term

Aims • •

to give you an awareness of the requirements of broadcast voice to introduce you to the broad range of out-of-vision acting – drama, voice-over, adverts, station announcements, live sports events etc

What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • use the appropriate voice for a particular task • communicate character, action and atmosphere through the voice • maintain vocal energy whilst working in the studio Skills • demonstrate good microphone technique • practice good studio etiquette • use the natural voice fluently and effectively while reading from a text/script Value & Attitudes 78

Module Specifications

•

show sensitivity to peers and a mature approach to the work

How will I learn? A sequence of practical classes focusing on the following: The technique of microphone work and studio etiquette Recording and playback for personal and peer assessment Exploration of styles Specialised teaching from guest practitioners Reading List Title Radio Acting The Art of Voice Acting Voice Overs

Author Beck, Alan Alburger Shaw, B.G.

Publisher A&C Black Focal A&C Black

Year 1997 2002 2000

MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Acting Approaches Improvisation Screen Acting Stagecraft Verbatim Theatre Text Analysis Shakespeare Devising for Camera Recorded Voice: Radio

Workshop classes Workshop classes Workshop classes Workshop classes Workshop classes Workshop classes Workshop classes Workshop classes Workshop classes Totals

75 37.5 90 7.5 15 22.5 16.5 33 15 312

25 13 10 5 5 5 10 10 5 88

100 50.5 100 12.5 20 27.5 26.5 43 20 400

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Acting Approaches Improvisation Screen Acting Text Analysis Verbatim Theatre Shakespeare Devising for Camera Stagecraft Recorded Voice: Radio

Classwork Classwork Classwork Classwork Classwork Classwork Classwork Classwork Classwork

20% 20% 20% 10% 10% 10% 10% n/a n/a

40% 40% 40% 40% 40% 40% 40% n/a n/a

No No No No No No No Yes Yes

What do I have to do to pass? You are required to pass Stagecraft and Recorded Voice and achieve a pass mark of 40% or above in all other units of the module. How and when will I get feedback on my assessments?

Module Specifications

You will be given continuous verbal feedback in all units throughout the year. In addition, time will be set aside for summative feedback twice a year, usually in February and July. You will be given written feedback by the tutors of each unit at the end of the Summer Term.

Module Specifications

Module 3: UK Credits: ECTS: Level:

Voice 1 20 10 4

Outline You will begin to build a strong foundation in vocal technique, both speech and singing. Aim To offer you a context for the discovery and development of vocal skills and techniques required to underpin the later work of the course. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to: Knowledge and understanding • demonstrate a basic level of competence in all the techniques taught Skills • plan and structure your own independent study, in preparation for practical taught classes. Values and Attitudes • demonstrate a good level of ability to work as an individual within the context of the group • evidence a good level of professional discipline How will I be assessed? You will be assessed on your classwork in each component throughout the year.

VOICE 1 – UNITS Voice and Breath Tutor: Contact hours: Timetable: individual tutorials

Aundrea Fudge 45 1 x 1.5hr class p/w week Autumn, Spring, Summer terms plus

Aims You will explore the potential of your individual voice and develop your ability to use your voice to reflect thoughts and emotions safely. You will explore a range of approaches and methodologies for developing your voice, with a focus on Fitzmaurice Voicework®, Knight-Thompson Speechwork®, and the work of Barbara Houseman and Patsy Rodenburg. These methodologies will encourage you to

Module Specifications

develop curiosity around the relationship between your body, breath and voice and your sense of awareness and control over your body, breath and voice.

What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • Understand the connection between body, breath & voice • Articulate a knowledge of the anatomy of the vocal system • Develop understanding and use of pitch, range and resonance Skills • Take responsibility for your own vocal health • Develop awareness, muscularity and flexibility of the articulators Values and Attitudes • practice at a focussed level to undertake work as an individual within the context of the group • implement a good level of work ethic How will I learn? You will take part in a series of practical workshops and tutorials. Term 1 You will be introduced to the anatomy of the voice and its relationship to the body and breath. You’ll become familiar with your own physical and vocal communication habits. You’ll explore techniques for grounding yourself and how to release extraneous tensions in the body that are preventing you from breathing easily. You’ll learn how to support the voice efficiently using the breath. Term 2 You’ll continue developing your ability to release body and breath. You’ll learn how to apply your breath support work to fill the space in an efficient, healthy and connected way in different spatial relationships from both your fellow actors and your audience, to support your work in Stagecraft. Term 3 First Half You’ll explore expressing yourself clearly through building the flexibility and muscularity of your articulators. Second Half You’ll explore creating a process for yourself that allows you to apply your voice skills in the more pressurized situations of being watched (rehearsals/performance). How will I be assessed? In addition to ongoing individual feedback throughout the year in tutorials, you will undergo a formative assessment in week 6 of the Summer term, which will support your learning and development. You will not be marked. Your summative assessment will occur as part of your Voice & Language unit in the Summer term. 82

Module Specifications

Reading List Title Voice and the Actor Finding Your Voice Freeing the Natural Voice Clear Speech The Rattlebag Breathing is Meaning

Author Berry, Cicely Houseman, Barbara Linklater, Kristin Morrison, M Heaney, Seamus Fitzmaurice, Catherine

Structured Breathing

Fitzmaurice, Catherine

Interview with Catherine Fitzmaurice

Kotzubei, Saul

Vocal Arts Workbook

David Carey & Rebecca Clarke Carey

Publisher Jossey Bass Nick Hern Nick Hern A&C Black Faber & Faber www.fitzmauricei nstitute.org/writin gs www.fitzmauricei nstitute.org/writin gs www.fitzmauricei nstitute.org/writin gs Bloomsbury

Year 1991 2002 2006 2001 2005 1996 2003 2005 2008

Sound Recognition and Vocal Dynamics Tutor: Contact hours: Timetable:

Michael Hayden 30 1 x 1.5hr class p/w Autumn & Spring terms

Aims To introduce you to an awareness of the structure of language and how consonant and vowel sounds are made in your organic voice in order to give you choice and ownership, in terms of how you wish to express yourself vocally. You will be guided by the tutor to examine and ultimately discover practical ways of identifying and notating sounds in your organic voice; explore physical description for consonants (voice, manner, place) and vowel charts, explore the vocal dynamics of expression, initial stress or weak vowels and connected speech. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • Identify the possibilities of communication that consonants and vowel sounds made in your organic voice and in General British English can offer technically, and in terms of emotional and intellectual expression. • explore and recognise your own way of notating sounds in your organic voice and General British English and how to classify the character of consonants. • develop and grow vocabulary usage. Skills 83

Module Specifications

•

Explore, understand and practice clear effective speech using your organic voice as a basis.

Values and attitudes • Have pride in your own voice and speech usage and ownership of the language you use. How will I learn? You will take part in a sequence of practical classes focusing on the following: Term One • The Voice as an instrument. • Articulation warm up • Introduction of bone prop • Sounds not spelling! Creative exploration of word structure and how the imagination opens up the dynamic, emotionally and intellectually expressive speech. • Exploring the anatomy of speech. • Consonant classification and creative notation. • Exploring detailed production of consonants including /s/ /d/ /t/ /r/, dark and light /l/ f and v substitution. Tongue twisters. • Exploration of clarity in consonant use. • Exploring connected speech. • Exploring rhetorical use of consonants. • Application to poetic text. Term Two • Sound recognition. • Exploration of vowel formation through lip and tongue positions in your organic voice. • Resonant placement. Tongue and lip positions. • Introduction to the Lexical Groups; The Kit List. • Creation and use of Accent Practice Sentences. • Exploration and application of the vocal dynamics: pitch, pace, volume, and rhythm. • Application of the terms work to text. • Introduction of Routes into Accents How will I be assessed? During the Autumn term you will choose a piece of text to work on; using the understanding gained and the tools/techniques explored, you will present the text to the class on the Tuesday of Week 11. This formative assessment gives you the opportunity to put into practice and lay the foundations for clarity of speech in your own voice. It is all about discovery! You will not be marked on this work but will be given feedback to support your learning and progression. Assessment Rationale: At the end of the Autumn term in week 11, you will share a piece of text with the group: using the understanding gained; the tools/techniques explored, you will 84

Module Specifications

present the piece of text to the class. This formative assessment gives you the opportunity to put into practice and lay the foundations for clarity of speech in your own voice. At the end of the spring term in week 11 you will have a summative assessment. You will be given a piece of text to read which will give students the opportunity to explore the work done so far. Once again it is all about discovery! You will be given feedback to support your learning and progression. Your work in this module will discussed with you other voice tutors so that as a department your learning can be fully supported as you progress through the school. Reading List Title The Right to Speak Speaking with Skill How to do Standard English Accents Gold from the Stone English Phonetics and Phonology

Author Rodenburg, Patsy Knight, Dudley Sharpe, Edda and Hayden Rowles, J Sissay, Lemn Roach, Peter

Publisher Methuen Methuen Oberon

Year 2015 2012 2012

Cannongate Cambridge

2016 2005

Voice and Language Tutor: Contact hours: Timetable:

Aundrea Fudge 45 1 x 1.5hr class a week

Aims Through different methodologies of approaching text, with a focus on the work of Barbara Houseman, Cicely Berry and Catherine Fitzmaurice, you will develop vocal technique and skills to lift text off the page in a way that is vocally connected and empowered. You will learn the importance of the language in strengthening pitch, tone, dynamisms and energy and in building rapport with an audience. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and Understanding • explore and express the language through creative, flexible and muscular articulation and diction • discover how to connect and communicate thought through application of vocal technique • understand how to apply the fundamental importance of breath in relation to the actor’s process make it your own Skills • recognise how to apply your skills learned in voice classes to different stylistic requirements. 85

Module Specifications

•

utilise rhetorical strategies to connect to language and build rapport with an audience

Values & Attitudes • demonstrate an effective standard of work ethic How will I learn? You will take part in a series of practical workshops.

Term 1 You will look at rhythm and structure of language and thoughts in contemporary storytelling monologues. You’ll explore punctuation, sounds within words and imagery. Term 2 You’ll apply what you’ve learned in Term 1 to a contemporary monologue of your choice. You’ll explore combining your practical skills learned in Voice with your text skills. Term 3 You’ll do an in-depth study of rhetorical structures with a rhetorical speech of your choice. You’ll explore the pace, pitch and power of language and how it can be used to influence and persuade an audience. How will I be assessed? At the end of the Spring term, you will undergo a formative assessment, which will take place from weeks 7-11, where you will have ten minutes to workshop a contemporary monologue and receive feedback, which will support your learning and development. This assessment will not be formally marked but will go towards your participation grade. Your Voice and Language final summative assessment will take place in Summer Term.

Assessment Rationale: As a formative assessment to support your learning. In week 9, you will perform a rhetorical speech of your choosing that you will have been working on in Voice & Language and Voice & Breath class for the Summer term. This assessment is the opportunity to demonstrate that you can incorporate the rhetorical strategies and language skills you have been exploring all year with the body, breath and voice techniques you have been learning all year. It will serve as a check-in with where you are in your skill set before you progress to year 2 and will have a bearing on your final process mark. Your summative assessment will look at how you have applied the Knowledge and Understanding as well as Skills sections outlined in the Voice and Breath and Voice & Language sections of this document.

Module Specifications

Reading List Title Tackling Text (and subtext)

Author Houseman, Barbara

The Actor & the Text Need for Words Verbal Arts Workbook 2010

Berry, Cicely Rodenburg, Patsy Carey, David & Clarke Carey, Rebecca

Publisher Nick Hern Books Virgin Books Bloomsbury Bloomsbury

Year 2008 2000 2018 2010

Vocal Anatomy Tutor: Contact hours: Timetable:

Aundrea Fudge 20 1 x 1 hr class p/w Autumn & Spring terms

Aims You will develop an understanding of the anatomical theory underpinning the experiential anatomical work in voice and breath, voice and text classes. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • articulate a basic understanding of the basic skeletal anatomy and why it’s relevant for the voicing process • recognise a basic understanding of the breathing musculature and its role in the production of sound Skills • • • •

apply practical understanding of vocal qualities related to vocal onset. demonstrate understanding of how consonants are formed. be aware of how vowels are formed. give examples of practical understanding and application of dynamic diction based on clarity of articulation. Specifically drawing on the technical aspects of articulator isolation: jaw; lip; cheeks; tongue in order to discover a greater variety of possible sounds.

Values & Attitudes • demonstrate an effective standard of work ethic • develop a mature and support approach to class work How will I learn? You will take part in a series of lectures and workshops. Term 1

Module Specifications

Anatomy lessons will follow the progression occurring in Voice and Breath and Voice & Text and will cover the skeletal anatomy, the anatomy of the breathing musculature and the vocal apparatus. Term 2 Anatomy lessons will move ahead of the progression occurring in Voice and Breath and Voice & Text and will cover the anatomy of the vocal tract and an in-depth exploration of how the vocal tract produces sound.

Assessment You will have a formative assessment in the form of a quiz in week 10 of the Autumn term. This assessment is not included in the calculation of your mark for Voice & Text classes. Reading List Title Speaking with Skill

Author Knight, Dudley

Anatomy of Breathing

Calais-Germain

Publisher Bloomsbury Publishing Editions DesIris

Year 2012 2006

Sight-Reading Tutor: Contact hours: Timetable:

Aundrea Fudge 10 1 x 1 hr class p/w Summer term

Aims You will develop skills to lift text off the page when you are not familiar with it in a way that is vocally connected and empowered. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • explore how to analyse thought rhythms and structures in a short period of time • identify how to build a relationship with an audience while you’ve got a script in hand Skills • demonstrate how to use rhythm, pace and connection with an audience to talk to, rather than read at Values & Attitudes • develop a mature and support approach to class work How will I learn? You will take part in a series of practical workshops. 88

Module Specifications

How will I be assessed? You will undergo several formative assessments in the form of sight-reading different genres of text for individual feedback in front of the group. These formative assessments are to support your learning and development and will inform your participation grade but will not be formally marked. Reading list Reading material and resources will be suggested to support the development of each individual student.

Singing Tutor: Contact hours: Timetable:

Aled Pedrick 30 1 x 1hr class p/w for 3 terms

Outline In the first term, we will focus on singing as part of ensemble, using rounds, folk songs from around the world, and repertoire from diverse genres including (but not restricted to) musical theatre, pop and gospel. Giving the students a basic grounding in singing technique, harmony, and acting through song. We will then move on to simple solo work. Students will be encouraged to bring in nursery rhymes, family songs, songs in their native language, folk songs and standards of their choice to build up a level of confidence in singing performance before the second year. Aims • To learn how to sing as part of an ensemble. The collective approach to music making. • To introduce the student to the fundamental principles of vocal production. • To explore the basics of collaborative storytelling through song. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and understanding • demonstrate understanding of how to apply the fundamental principles of vocal /breath production to ensemble singing • practice holding pitch, staying in time and tonally and dynamically blending with others on a vocal part and in the whole ensemble. Skills • • • •

perform ensemble songs with a basic level of vocal technique sustain a truthful and believable characterisation whilst singing apply effective use of speech quality within a song. explore acting techniques taught in any class at ArtsEd to ensemble, duet and solo singing

Module Specifications

Values & Attitudes • develop a mature and supportive approach to class work • present a respectful and non-judgemental attitude to work How will I learn? You will take part in a sequence of practical classes focusing on the joy of ensemble singing and the cultural fascination of storytelling through song. Technical development of the singing voice will be explored mainly in singing warm-ups. How will I be assessed? At the end of autumn and spring terms there will be a formative assessment where you will be given opportunity to demonstrate your learning and understanding of the concepts worked and discussed from the terms, through the delivery of a song or songs. Verbal feedback will be given in order to facilitate learning development. In week 10 of the summer term there will be a final formative assessment which will not be marked but will be pass or fail. This will be an opportunity to apply the processes explored and learned through the year, to the delivery of a song of your own choice. Verbal feedback will be given in week 11. You will also receive written feedback. What is the assessor looking for? • Musicality • Embodied Expressivity • Breath and vocal technique • Acting technique applied to acting through song • Understanding the basic principles of music theory when learning a song with sheet music Reading List Title Singing and the Actor Acting Through Song Actions, the Actor’s Thesaurus The Actor and the Target

Author Kayes, G. Harvard, Paul Caldarone M. and Lloyd-Williams M. Donnellen, Declan

Publisher Routledge Nick Hern Nick Hern Books Nick Hern Books

Year 2002 2013 2004 2005

MODULE TEACHING PATTERN Contact Hours

Teaching Unit

Type

Voice and Breath Sound Recognition Voice and Language Vocal Anatomy Sight Reading Singing

Technique classes Technique classes Technique classes Technique classes Technique classes Technique classes Totals

MODULE ASSESSMENT PATTERN

45 30 45 20 10 30 180

Self Directed Study Hours

5 5 5 2 3 20

Total Student Learning Hours

50 35 50 22 10 33 200

Module Specifications

Assessment Unit

Assessment Type

Voice and Breath Sound Recognition Voice and Language Vocal Anatomy Sight Reading Singing

Classwork Classwork Classwork Written assignment Classwork Classwork

Weighting

60% 30% 10% n/a n/a n/a

Pass Mark

40% 40% 40% n/a n/a n/a

Pass/ Fail

No No No Yes Yes Yes

What do I have to do to pass? Your classwork throughout the year will be assessed by the tutor of each unit. You will be given a Voice Place Manner assessment and anatomy test which you must pass but the test does not carry any weighting in the calculation of your overall mark for the module. You are required to achieve a pass mark of 40% or above in Voice and Breath, Sound Recognition and Voice and Language, and to pass Singing. The overall mark for the module is calculated according to the following weightings: Voice and Breath Sound Recognition Voice and Language

60% 30% 10%

How will I receive feedback on my assessments? You will be given continuous verbal feedback by the tutors of each component throughout the year. In addition, time will be set aside for summative feedback twice a year, usually in February and July. Summative feedback for subjects which run over one or two terms will be given at least once a year. You will be given written feedback by the tutors of voice and singing at the end of the summer term.

Module Specifications

Module 4: UK Credits: ECTS: Level:

Movement 1 20 10 4

Outline You will develop an understanding of your own and others’ physical habits and will develop stamina, flexibility and imaginative physical expression. Health and safety is a feature of all the disciplines within the movement module, and you will learn how to avoid injury, develop fitness and become aware how to maintain your own and others’ health and safety. Aim To offer you a context for the discovery and development of movement skills and techniques required to underpin the work you will undertake in your training on the programme. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to: Knowledge and understanding • demonstrate a basic level of competence in all the techniques taught • evidence a good level of professional discipline • understand your physical limitations and how to work around them • develop your own individual physical warm up routine Skills • plan and structure your own independent study, in preparation for practical taught classes • be aware of a healthy and safe practice in movement work Values and Attitudes • present the ability to work as an individual within the context of the group How will I be assessed? You will be assessed on your classwork in each unit, details of which are provided below. MOVEMENT 1 – UNITS:

Pure and Applied Movement Tutor: Contact hours: Timetable:

Gabrielle Nimo, Caitriona Giles 90 2 x 1.5hr classes p/w for 3 terms

Module Specifications

Aims To explore how the actor can physically articulate and interpret through the body and breath. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • demonstrate specificity in terms of geography in the exercises - body’s relationship to space • develop attention to timing/rhythm • explore quality of action - so it’s not just the physical text, but the ‘how’ it is carried out. In other words, the ‘quality of movement’. • work with the appropriate breath on the ‘gravity swings’ - (out breath in driving the action and in breath in suspension.) Skills • identify and utilise physical specificity of action • apply kinaesthetic receptivity - when you are working in pairs, how well you are listening and responding to each other. • integrate presence and interest and integrity in each moment. Values and Attitudes • present the ability to work as an individual within the context of the group • be aware of a healthy and safe practice in movement work How will I learn? You will take part in a series of weekly practical workshops, focusing 50% on Pure Movement and 50% on Applied Movement in each class throughout the term including the assessment. How will I be assessed? Formative assessment will be given in small group tasks in Autumn and Spring term, these will not be formally marked but you will be given feedback to support your learning and progression. Your summative assessment will take place in week 10 of the Summer term. You will be instructed to undertake an impromptu improvisation where you will be expected to apply what you have learned in Applied Movement, keeping focused and supporting each other’s work for a full 45 minutes. Pure Movement will be assessed in week 10 or week 11 by recapping on all the exercises worked on during the term. Feedback will be given in week 11 or week 12. What is the assessor looking for? • Physically playful approach, • Taking risks, • Taking the space, • Working with sensitivity • Working with cultivated listening, • Demonstrating a dynamic range and expressive palette, • Demonstrating care and quality of touch in contact work 93

Module Specifications

You will receive verbal feedback and written feedback Reading List Title The Invisible Actor The Articulate Body People Watching The Expression of Emotions in Man and in Animals How You Stand, How You Move, How You Live

Author Oida, Y & Marshall, L Dennis, A Morris, Desmond Darwin, Charles

Publisher Methuen Nick Hern Vintage Fontana

Year

Vineyard, Missey

Nation

2007

2002

1995 2002 1999

Rhythm: Dance for Actors Tutor: Contact hours: Timetable:

Gabrielle Nimo, Emilia Robinson 30 1 x 1hr class p/w Autumn, Spring, Summer terms

Aims The dance classes are workshops aimed for the training of actors. Classes will be developed to accommodate for all levels of ability. Music and step sequences will be culturally inclusive and diverse. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • develop a sense of muscular awareness and control • differentiate the separate parts of the body and clarify the relationship between them • demonstrate an open and expressive body • practice an awareness of loosening and strengthen the body by releasing excess tension Skills • • • •

demonstrate full body coordination identify and correct unwanted physical habits apply breath whilst moving perform freeing the breath and co-ordinate the breath with movement

Values and Attitudes • present the ability to work as an individual within the context of the group How will I learn? You will take part in a series of practical workshops. 94

Module Specifications

Assessment You will be observed whilst performing a movement sequence taught for the purposes of the assessment. You will be asked to perform the sequence once as taught and then twice more to demonstrate incorporating 1. a quick and sharp quality 2. a slow and sustained quality What is the assessor looking for? • Clarity • Openness • Fluidity in the body • The use of breath whilst moving • The use of weight • The use of flow • The use of speed • Direction in the movement sequence • A sense of intention in each movement (particularly in slow and sustained)

British Sign Language (BSL) Tutor: Contact hours: Timetable:

Rupal Chandi 15 1 x 1.5hr class p/w for 1 term (Autumn)

Aims The aim of the course will be to introduce you to the culture of Deaf people and to their language – British Sign Language (BSL). Working with a qualified BSL tutor you will work towards gaining the skills to complete BSL up to the standard of level 1. Through using the whole body in this 3D form of physical communication (sight, facial and body movement) you will be encourage to engage with non-verbal interaction as a form of expressivity. You will understand and use basic language in everyday situations and be able to sign on topics such as:

• • • •

Meet and greet Fingerspelling (the manual alphabet) for names of people and places Basic conversation and numbers Give and follow simple directions and information

You will be expected to work in small groups as well as undertake independent study to practice and hone your skills. In the Spring term you will use the BSL you have learnt withing your Verbatim Theatre project. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • Comprehend a foundational range of simple words and sentences in BSL

Module Specifications

•

• •

Confidently find individual expression and creativity by understanding and using BSL within your training and everyday tasks. Demonstrate a basic understanding of the culture of Deaf people. Exploration of personal journey in discovering the basic language skills to communicate simple conversations with Deaf people.

Skills • •

• • • •

Equip students with the skills to understand and use a limited range of simple words and sentences in BSL. Participate in simple, everyday conversations and to give & follow simple directions or instructions in BSL. Practice simple conversations in BSL, leading to short scene work in 1st year Spring projects. Explore and perform short scene work in BSL. Demonstrate sufficient sight, manual dexterity, facial and body movement using BSL. Show an understanding of special awareness through BSL.

Values and Attitudes • Respect for the Deaf community and their culture and gain a deeper understanding of how to talk to Deaf people. • Communicate with greater inclusivity within everyday lives and the professional industry. • Work sensitively and professionally to explore the practical development of BSL. How will I learn? You will take part in a series of workshops which follow the official requirements required by Signature British Sign Language up to Level 1. There will also be google classroom to access work for independent study. Summative Assessment There is no formal assessment for this module, however you will follow the unit specifications for Level 1 Award as outlined in Signature BSL which will include: • • •

Introduction to BSL Conversational BSL Communicate in BSL about Everyday Life

Reading List You will be issued with a series of bespoke theatre handouts developed by your tutor. Title Author Publisher Year st For Dummies; 1 British Sign Language for City Lit 2008 edition Dummies

Module Specifications

For Dummies; 1st edition

Smith C

BSL QUESTION SIGNS: British Smith C Sign Language (LET’S SIGN BSL)

Co-Sign Communications Co-Sign Communications

2018 2017

Intimacy and Stage Combat Tutor: Contact hours: Timetable:

Yarit Dor 30 1 x 1.5hr class p/w Spring and Summer terms

Aims Intimacy Training: The aim of the course will be to explore the skills and language to approach intimacy choreography in order to discuss with appropriate language and etiquette with the focus on performing a short scene or sequences which involves intimacy staging. Stage Combat: You will gain a foundational understanding of stage and screen combat. The techniques learned in workshop sessions will allowthe student to develop an ability to take control of, and make, exciting physical choices. Contemporary combat is centered around three things: (1) making it safe, (2) making sure it is something you can do repeatedly and consistently and (3) making the fight choreography look credible whilst committing to the truth of the scene. You will develop a paired and/or small group sequence using some of these principles of combat and stage fighting.

What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • Articulate foundational comprehension of consent, permission and boundaries in relation to intimate scenes • Demonstrate an understanding of appropriate contemporary intimacy vocabulary & tools • Understand the safety practices required to safely perform moments of staged violence. Skills • Engage in exercises that support closure & de-rolling to aid actor wellbeing when staging intimacy. • Stage an intimacy scene or sequence with a partner. • Execute confidently armed and unarmed fight choreography. • Perform with effective competence a choreographed fight, using armed and unarmed combat techniques, within the context of a dramatic scene. • Understand the safety practices required to safely perform moments of staged violence. Values and attitudes 97

Module Specifications

• • •

Work sensitively and professionally to explore the practical development of performing an intimate scene. Present the ability to work as an individual within the context of the group. Recognise the emotional and physical commitment required to convincingly perform moments of staged violence.

How will I learn? These workshops follow the official requirements required by the British Academy of Stage and Screen Combat (BASSC) and Intimacy Directors & Coordinators (IDC). Formative Assessment You will have opportunities in class to demonstrate and play with choreography for Intimacy training and Stage Combat. Summative Assessment There is no formal examination however you will work up to the Standard Level of Stage and Screen Combat for performance under the BASSC. You will be marked pass/fail on your classwork throughout the year by your tutor. Reading List You will also be issued with a series of handouts researched and developed by your tutor. Title Staging Sex: Best Practices, Tools and Techniques for Theatrical Intimacy The Martial Arts of Renaissance Europe By the Sword History and Art of Personal Combat

Author Pace, C

Publisher Routledge; 1st edition

Year 2020

Anglo, S

Yale

2000

Cohen, R Wise, A

Pan Evelyn

2003 1971

MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Pure and Applied Movement Rhythm: Dance for Actors BSL Intimacy and Stage Combat

Workshop classes

105

Technique classes

Technique classes Technique classes

15 30

5 5

20 35

Totals

165

200

How will I be assessed? You will be assessed on your classwork in each unit throughout the year. 98

Module Specifications

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Pure and Applied Movement Dance for Actors BSL Intimacy and Stage Combat

Classwork Classwork Classwork Classwork

70% 30% n/a n/a

40% 40% n/a n/a

No No Yes Yes

What do I have to do to pass? You are required to achieve a pass mark of 40% or above for Pure and Applied Movement and Dance for Actors. BSL and Intimacy and Stage Combat are pass/fail. How and when will I get feedback on my assessments? You will be given continuous verbal feedback by the tutors of each unit throughout the year. In addition, time will be set aside for summative feedback twice a year, usually in February and July. You will receive written feedback from your tutors in the core subjects at the end of the Summer term.

Module Specifications

Module 5: UK Credits: ECTS: Level: Tutors: Contact hours: Timetable:

Contextual Studies 10 5 4 Justin Pierre, Grace Andrews, Marcus Ellard & Visiting Tutors 45 1 x 1.5hr class p/w for 3 terms

Aims To introduce you to the concept of academic research through exploration of your individual creativity and unlocking your cultural imagination. In doing so you will broaden your knowledge of the social and political culture in the context of your practical performance work. Each term you will be motivated to extend your knowledge of the work and theories of various theatre and film practitioners. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and understanding • demonstrate a good understanding of your research material • articulate a developing knowledge of social and political culture • communicate a developing knowledge of a variety of theatre and film practitioners Skills • execute a plan developed thorough research methodology • formulate your own opinions on the creative possibilities of stage and screen performance Values and Attitudes • demonstrate the ability to work as an individual within the context of the group • develop a mature and supportive approach to class work • present a respectful and non-judgemental attitude to work How will I learn? You will take part in a sequence of workshop classes. You are required to keep a personal rehearsal diary about your Contemporary Physical Theatre project. This should include • a record of your research* • a record of what you did at each rehearsal, (plus additional independent work), • reflections on these rehearsals and • reflections on the performance.

100

Module Specifications

Term One: Actor Training in Context: In this block you will study practitioners, techniques and principles of actor training. You will attend practical in which you will experiment with actor training theories, carry out research and prepare a peer led practical session on the principles and practices of a key 20th/21st century acting practitioner. Term Two: Contemporary Physical Theatre in Context/Project Journal 1: In this block you will carry out targeted research to support your contemporary physical theatre project. As well as carrying out key actor research to support your rehearsal process, you will carry out research into the history, principles and practices of various strands of contemporary physical theatre. You will look at key practitioners of the field. You will also attend classes to prepare for your project journal assessment. Term Three: Finding your voice in Theatre by creating a Theatre Company: In this block you will explore where your creative voice sits within the industry, culminating in learning how to develop and build a company within the performing arts industry. Examining current companies as case studies, you will consider all aspects of forming and developing a theatre company. How will I be assessed? 1. You will be observed by your tutor on your classwork throughout the year. 2. In term 2 you will write project journal summarising your experience of the Contemporary project, demonstrating an ability to analyse your learning. Your project journal will give you the opportunity for reflection on, and analysis of, your practical work as an actor in training. During the rehearsal process of the Contemporary project you will undertake appropriate research. Identify professional working practices. Express your impressions of the play and the rehearsal process. Finally, reflect on and analyse your own working practice. An appendix must be included which gives evidence of the above. Your project journal must fulfil the following requirements: Reflective Journal: WORD COUNT: 1,000 WORDS (plus or minus 10%) What is the assessor looking for? Research*: • Research into a contemporary play and the historical context in which the play was written and set • Research into the context and themes of the play (not a synopsis) • Research into your own character and objectives • Research into contemporary physical theatre practitioners including the following: their style, techniques, influences and theatrical intentions *please note that you need to complete your own research, even if not set any by your director. Rehearsal Process: • How you coped with the technical, emotional and physical demands of the piece and the process in conjunction with the creative’/s’ concept and methods • Personal challenges you faced or breakthroughs you made in rehearsal • How you implemented specific notes given during rehearsals 101

Module Specifications

Performance: • How well did you apply learnt technical skills to the performance? • How well did you meet the demands of the piece? • How did the presence of an audience affect the piece as a whole and your performance within it? Evaluation: What did you learn about yourself as a performer from this project? • Summarise what you learnt from the process including research, rehearsal, performance and feedback • Summarise learning targets for future work • How will you achieve these learning targets in the future? The project journal must also contain the following (these are not included in the word count):

Bibliography: This should be laid out as advised by the Arts Ed style guide**. It should include all reading and resources you engaged with for the project, not just those mentioned in the reflective essay, such as: • Books • Journal & Newspapers • Internet Resources • CDs • DVDs • Live Performances • Pictures Within each section they should be in alphabetical order and presented in the following way: • For Books: Author, title, (place of printing: publisher, publication date) e.g. Loui, Annie. The Physical Actor: Contact Improvisation From Studio to Stage, (London: Routledge, 2019) • For Films: Title, Director(s), Star(s), Studio, original release date e.g. Vanya on 42nd Street, Dir. Louis Malle, Julianne Moore, (Fred Berner Films,1994) [on DVD]

• For Live Performances Title, Author, Theatre, Director, Actors, date attended e.g. A Little Space, Gecko Co-Production with Mind The Gap, Home Manchester, Amit Lahav, Lucia Chocarro, Chris Evans, Madeleine Fairminer, Anna Finkel 12 February 2020 What you must include in the APPENDIX: Below you will find a list of what should be included in the appendix. You must include all those on the ‘required’ list. The ‘supplementary’ list suggests ideas of other items

102

Module Specifications

you may wish to include. Further support is available on Drop Box or from your module tutor.

Required: • Character questions/mining of the text e.g. facts and questions and what you say about yourself, what others say about you etc. • Daily notes made during the rehearsal period including your reflections/response • Sample of photocopied pages of annotated script Supplementary: • Research notes and the connections you made between these and the text • Additional research materials: notes/pictures/photographs (annotated with your responses/connections made with your role) • Bullet point notes given during rehearsal (annotated with your reflections/responses) PRESENTATION • Double space each line so that tutors can make comments under each line if necessary • Use Size 12 Font • Use a margin of at least 2.5cm all around • Number your pages • Word count 1,500 plus or minus 10% (not including references, appendices, reading or resources) • Put your Name, Group, Title of Project and word count (see above) on the Cover Page • Staple or bind all the pages together (including the cover page and your appendices) before handing them in to Nicki on the first day of term. • Use your checklist to ensure the journal meets the minimum requirements. • Make sure that you get a receipt for the work handed in. Additional information: Contextual studies does not carry any weighting in the Year 1 overall mark, but you are required to pass your Year 1 Project Journal in order to progress to Year 2. MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Contextual studies

Lectures, seminars, screenings, workshop classes, tutorials Totals:

Self Directed Study Hours

Total Student Learning Hours

100

How will I be assessed? You will be assessed by your tutor on your classwork throughout the year. You will submit a written Journal, which will be assessed against the criteria for written assignments. MODULE ASSESSMENT PATTERN 103

Module Specifications

Weighting

Assessment Unit

Assessment Type

Contextual studies Year 1 Project Journal

Classwork Written assignment

n/a n/a

Pass Mark

n/a n/a

Pass/ Fail

Yes Yes

What do I have to do to pass? Contextual studies does not carry any weighting in the Year 1 overall mark but you are required to pass both your classwork and your Year 1 Project Journal in order to progress to Year 2. How and when will I get feedback on my assessments? You will be given ongoing verbal feedback on your classwork throughout the year, and written feedback together with an indicative grade on your project journal. Reading List Title How to Read a Play Year of the King The Good Study Guide Ways of Seeing Successful Presentation Skills Analysing Performance Evolving Stages Performance in the Twenty-first Century: Theatres of Engagement Social and Political Theatre in 21st-Century Britain Acting for Film: Truth 24 Times a Second

Author Hayman, R Sher, Anthony Northedge, A Berger, J Bradbury, A.J. Campbell, P Cottrell, T Lavender, A

Publisher Oberon Methuen OUP Penguin Kogan Page Manchester Uni Bristol Press Routledge

Year 1999 2004 1990 2008 2010 1996 1991 2016

Angelaki, V

Methuen

2017

Churcher, Mel

Virgin

2003

104

Module Specifications

Year Two Module 6: UK Credits: ECTS: Level:

Projects 2 50 25 5

Outline You will rehearse and perform five acting projects, giving you the opportunity for a practical application of the skills and techniques acquired in Year 1 and Year 2, and preparing you for the rehearsal and performance requirements of the 3rd Year. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • effectively recognise the necessity to work as an individual within the context of the group and be able to put this into practice • apply an excellent ability to plan and structure your own independent study, in preparation for rehearsals. • understand an evolving insight into the work of writers and directors. • demonstrate an evolving appreciation of Historical perspectives in the world of performance. • identify the difference and relevance of complex material. Skills • demonstrate a good level of competence in all the techniques taught. • perform in a variety of styles. Values and Attitudes • implement a high level of professional discipline • evidence development of your personal performance presence. How will I be assessed? You are assessed 50% on process and 50% on performance in Year Two projects. The Director provides the mark for the process and the Performance is marked by a panel of at least three internal markers.

PROJECTS 2 – UNITS: Location Filming Tutor: Contact hours: Timetable:

Mark Street 87.5 5 x 3.5hr sessions per week for 5 weeks 105

Module Specifications

Aims Developing your craft using all aspects of performance and technical skills learned in the first year you will be motivated and challenged to apply on-screen acting techniques to one of the following British TV formats: continuing drama / episodic drama – drama series / serial / minis-series scripts. These scripts are not to contain iconic performances and should not have been mainstream/popular in the last two years. Nor should these include soap operas. The aim being to explore a methodology when approaching a storyline and character to prepare fully for filming. Learn how to film out of sequence. Learn the demands this makes on the actor. Then prepare for location filming as an actor and crew, member in order to understand the pressure of acting on a film set. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • understand the demands of researching a regular role in these types of shows • develop a process and methodology in order to prepare for filming your role • identify the demands of playing a recurring character in a shooting schedule out of sequence and learn how to prepare accordingly. • prepare physically and mentally as an actor for location filming • operate the crew positions you will need to undertake Skills • • • • • • • • •

create a truthful character in the clear given circumstances demonstrate clear choices in the script with stakes embody internal energy and pace be aware and implement subtext to the script in performance perform in a scene giving a detailed and imaginative characterization understand how to work with props show a clear knowledge of continuity demonstrate a clear understanding of how to work with the camera in particular shot sizes apply practical understanding of the basic operation of equipment on set

Values and attitudes • work effectively and supportively as part of a team • have discipline when approaching the filming • present concentrated focus on set when filming the scene How will I learn? • four duologues from particular British television programs are allocated to the students (doubling up scenes). • research the show and prepare accordingly • the genres, duologues and overall episode stories are explored and discussed • improvisation is used to explore given circumstances

106

Module Specifications

• • • • •

throughout the rehearsal period ‘scene partners’ swap. This will give a sense of having to adapt and be flexible when engaging with different actors and having to make different choices as on-set film on-camera rehearsals with various partners in practical sessions to keep the performance flexible. Record and review aspects of performance learn basic equipment operation in order to crew on set. These scenes will then be filmed on location, increasing the need for focus, self-discipline and organisation. Instruction on crewing: to operate the camera, boom, set lights etc.

How will I be assessed? At the end of weeks 4 or 8 you will undertake basic location filming of a scene. On process/methodology, you will rehearse to create an efficient and effective approach which will enable you to work with confidence on set and deliver an imaginative performance. You will be given continue feedback on the development of your performance and expected to take direction. The scenes will be directed, and shot in a loose close-up, with a minimum of two takes. The best ‘take’ will be assessed. What is the assessor looking for? • A truthful performance • A clear emotional life of the character • Understanding of stakes and subtext in the text • Committing to making clear choices in characterisations • Demonstrating a clear understanding of how to work with the camera in simple coverage • How you have responded to direction • Showing active listening • Display of internal energy and specific pace in performance • Demonstration of effective technical skills whilst crewing Reading List Title

Author

Publisher

Year

Screen Acting Workshop (with DVD)

Mel Churcher

Virgin

2011

Different Every Night

Mike Alfreds

Nick Hern

The Actor and the Camera

Denis Lawson

The Language of the Lens

Gustavo Mercado

Nick Hern Taylor & Francis

2013 2014

Contemporary Theatre Tutor: Contact hours: Timetable:

External professional directors 87.5 5 x 3.5hr sessions per week for 5 weeks, Autumn term 107

2019

Module Specifications

Aim To work as an ensemble to rehearse and perform a contemporary piece of theatre. This project is the start of working in a professional rehearsal setting, Therefore, you will be expected to draw on all the skills and techniques learned in our first year of training to fully explore your emerging acting process within an intensive rehearsal period. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • demonstrate creative competence of the actor’s contribution to the structure and text of a contemporary theatre play • research the work of a leading British contemporary play and be able to present and apply some of this process to rehearsals • exemplify how to use the voice and body effectively in a stage performance Skills • • • •

work creatively with an external director perform in a role chosen by the director with confidence and technical expertise apply skills developed in skills classes to a rehearsal process and performance engage in the creative process and contribute to character choices in collaboration with the director

Values and Attitudes • demonstrate an open mind to the working methods of a professional director • show a high level of professionalism and work ethic in the rehearsal process How I will I learn? You will work with an external director who will facilitate you exploring your acting process through a detailed and robust rehearsal process. Assessment You will perform in scenes from a contemporary play chosen and cast by the director. Following a four-week rehearsal period, the performance will take place in a studio setting without major lights or set. Only essential costume will be worn to enhance your work e.g. hat, high heels and minimal props. The production will be no longer than 1hr 20mins. Verbal feedback will be given by panel including the Director, Director of the School of Acting, a voice tutor and/or a movement and an acting tutor. What are the assessors looking for? • Imagination and creativity • Observation • Impulse • Spontaneity • Listening and receiving 108

Module Specifications

• • • • • • • • •

Creative adjustment Clear objectives Variety in playing objectives Risk taking Bold choices Physical expressivity Vocal and physical connection to the text Professionalism throughout the rehearsal process Exploration of cultural reference and imagination

Your external director will also assess your work during rehearsals and how effectively you used factual and imaginative research to develop and explore your character. Reading List Research titles for will be suggested by the director once a play has been chosen. You are encouraged to read plays by other contemporary authors, for example: Jez Butterworth, D.C. Moore, Roy Williams, April De Angelis, Debbie Tucker Green, Arinze Kene, Ella Hickson, Sabrina Mahfouz, Abi Morgan, Joe Penhall, Anya Reiss, Tanya Ronder, Mike Bartlett, Jasmine Lee Jones, Denis Kelly

Iconic American Tutor: Contact hours: Timetable:

External professional directors 87.5 5 x 3.5hr sessions per week for 5 weeks, Spring term

Aim To provide you with the opportunity to explore and develop the distinct qualities of an iconic American dramatic text. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Skills • • • •

work creatively with an external director perform in a role chosen by the director with confidence and technical expertise apply skills developed in skills classes to a rehearsal process and performance effectively realise the rhythm and dynamics of an American accent appropriate to the setting of the play and your casting

Knowledge and understanding • demonstrate creative competence of the actor’s contribution to the structure and text of an American play 109

Module Specifications

• •

research the play and playwright, and allow your work to inform your rehearsal process exemplify how to use the voice and body effectively in a stage performance

Values and Attitudes • demonstrate an open mind to the working methods of a professional director • show a high level of professionalism and work ethic in the rehearsal process

How I will I learn? You will work with an external director who will facilitate you exploring your acting process through a detailed and robust rehearsal process. Assessment You will perform in an Iconic American play chosen and cast by the director. The performance will take place in a studio setting without major lights or set. Only essential costume will be worn to enhance your work e.g. hat, high heels and minimal props. The production will be no longer than 1hr 20mins. Verbal feedback will be given by panel including the Director, Director of the School of Acting, a voice tutor and/or a movement and an acting tutor. What are the assessors looking for? • Imagination and creativity • Observation • Impulse • Spontaneity • Listening and receiving • Creative adjustment • Clear objectives • Variety in playing objectives • Risk taking • Bold choices • Physical expressivity • Vocal and physical connection to the text • The use of an appropriate American accent • Professionalism throughout the rehearsal process • Exploration of cultural reference and imagination Your external director will also assess your work during rehearsals and how effectively you used factual and imaginative research to develop and explore your character. Assessors: External Director, Director of the School of Acting, Head of Voice, Head of Movement, Acting tutor

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Module Specifications

Reading List Play scripts and research material appropriate to the chosen text, plus: Title Author To the Actor: On the Technique Chekhov, Michael of Acting

Publisher Year Martino Fine 2014 Books

Respect for Acting On Acting The Stanislavski Complete Toolkit Tackling Text [and subtext]: A step-by-step guide for actors

Hagen, Uta Meisner, Sanford Merlin, Bella

Jossy Bass 2008 Vintage 1987 Nick Hern Books 2014

Barbara Houseman

Nick Hern Books 2008

Comedy of Manners Tutors: Contact hours: Timetable:

Kim Vithana and Mike Hayden 52.5 5 x 3.5hr sessions per week for 3 weeks, Summer term

Aim An intensive rehearsal project that will give you the opportunity to explore heightened comedy to be performed on stage and screen. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • recognise the creative competence of the actor’s contribution to the structure of heightened comedic text. • research the play and playwright, and allow your work to inform your rehearsal process • exemplify how to use the voice and body effectively in a stage performance Skills • • •

demonstrate an effective understanding of performance for both stage and screen using the set conventions of Comedy of Manners. commit fully to bold acting choices take imaginative creative risks

Values and Attitudes • show an open mind to the working methods of a professional director • practice a high level of professionalism and work ethic in the rehearsal process How I will I learn? 111

Module Specifications

You will be taken through a series of workshops and classes working with acting tutors for both stage and screen.

Assessment A summative assessment will take place in week 3. You will rehearse edited scenes of a chosen text in a studio setting. You will be motivated and guided to consider the scene for performance on both stage and screen. Throughout the process you will be encouraged to view your work and critically reflect on the adapting approaches and techniques you utilised to undertake the work. Feedback will be ongoing as part of the rehearsal process; verbal and written process feedback will be given at the end of the project. Performance feedback will be given as part of your verbal panel feedback after the Shakespeare project assessment. What are the assessors looking for? • Commitment to choices • Rhythm • Timing • Use of complex heightened language • Breaking the fourth wall • Bold authentic characterisation • Emotional connection • Physical expressivity • Stage craft • Making bold acting choices on screen • Demonstrate knowledge of the technical requirements of filming • Effective and collaborative rehearsal process • The ability to implement directors’ notes Assessors: Director of the School of Acting, Head of TV/Film, Head of Voice Reading List Title Acting in High Comedy Acting in High Comedy

Author Maria Aitken Maria Aitken

The Moving Body

Jaques Lecoq

Publisher DVD BBC Applause Theatre Book Publishers Methuen Books

To the Actor on Acting Technique Why is That so Funny

Michael Chekhov

Baker & Taylor

John Wright

Acting in Restoration Comedy

Simon Callow

Nick Hern Books Applause

112

Year 2009 2000 2017 POD Ed 2014 2006 1996

Module Specifications

Social Mode of Restoration Kathleen M Lynch Comedy Intercultural Performance John Martin Handbook The Closet of Sir Kenelm Digby Kenelm Digby Knight Opened

Routledge Routledge

1967/ 2019 2003

Gutenberg Project https://www.gutenb erg.org/ebooks/164 41

Shakespeare (Tragedies or Histories) Tutors: Contact hours: Timetable:

Visiting directors 140 5 x 3.5hr sessions per week for 8 weeks, Summer term

Aim To provide you with the opportunity to explore and further advance your work in 1 st year Shakespeare and World Classics in developing the performance skills required to bring to life one of Shakespeare’s Tragedies or Historical plays. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • demonstrate creative competence of the actor’s contribution to the structure and text of an American play • research the play and playwright, and allow your work to inform your rehearsal process • exemplify how to use the voice and body effectively in a stage performance Skills • • • •

create a believable heightened character perform with a thorough understanding of the complexities of Shakespeare verse and prose commit to the use of Elizabethan text with confidence and skill embody the text with vocal and physical expressivity

Values and Attitudes • show an open mind to the working methods of a professional director • present a high level of professionalism and work ethic in the rehearsal room and through the rehearsal process

How I will I learn? You will work with an external director who will facilitate you exploring your acting process through a detailed and robust rehearsal process. 113

Module Specifications

Assessment Feedback will be given continuous throughout the rehearsal process. In week 8 you will undertake a summative assessment. You will perform in one of Shakespeare’s Tragedies or Historical plays chosen and cast by the director. The performance will take place in a studio setting without major lights or set. Only essential costume will be worn to enhance your work i.e. hat, high heels and minimal props. The production will be no longer than 1hr 20 mins. Verbal feedback will be given by panel including the Director, Director of the School of Acting, a voice tutor and/or a movement and an acting tutor. What are assessors looking for? • Imagination and creativity • Observation • Impulse • Spontaneity • Listening and receiving • Creative adjustment • Clear objectives • Variety in playing objectives • Risk taking • Bold choices • Physical expressivity • Vocal and physical connection to the text • Rhythm • Use of complex heightened language • Breaking the fourth wall where necessary • Bold authentic characterisation • Emotional connection • Courage and commitment to making bold acting choices Reading List Play scripts and research material appropriate to the chosen text, plus:

Title 1599: A Year in the Life of William Shakespeare Reading Shakespeare’s Dramatic Language Playing Shakespeare Oxford Illustrated Shakespeare Dictionary The Shorter Oxford Dictionary The Actor and his Text Richard II in New York Shakespeare’s Advice to the Players

Author Shapiro, J

Publisher Faber & Faber

Year 2006

Adamson, S (Ed)

Arden

2001

Barton, John Crystal, B & D

Methuen OUP Oxford

1984 2015

Berry, Cicely Berkoff, Steven Hall, Peter

OUP Virgin Oberon Oberon

2000 1999 2014

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Module Specifications

MODULE TEACHING PATTERN Contact Hours

Teaching Unit

Type

Location Filming

Workshop classes, rehearsals, performance Workshop classes, rehearsals, performance Workshop classes, rehearsals, performance Workshop classes, rehearsals, performance Workshop classes, rehearsals, performance Totals

Contemporary Theatre Iconic American Comedy of Manners Shakespeare

Self Directed Study Hours

Total Student Learning Hours

87.5

92.5

87.5

97.5

87.5

97.5

52.5

57.5

140

155

455

500

How will I be assessed? You are assessed 50% on process and 50% on performance in Year Two projects. The Director provides the mark for the process and the Performance is marked by a panel of at least three internal markers. MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Location Filming

Process 50% Performance 50% Process 50% Performance 50% Process 50% Performance 50% Process 50% Performance 50% Process 50% Performance 50%

Contemporary Theatre Iconic American Comedy of Manners Shakespeare

Weighting

Pass Mark

Pass/ Fail

20%

40%

20%

40%

20%

40%

10%

40%

30%

40%

What do I have to do to pass? You are required to achieve a pass mark of 40% or above for both rehearsal process and performance in each project. How and when will I get feedback on my assessments? You will receive written feedback from your director. Verbal feedback will be given by panel including the Director, Director of the School of Acting, a voice tutor and/or a movement and an acting tutor.

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Module Specifications

Module 7: UK Credits: ECTS: Level:

Acting 2 15 7.5 5

Outline Building on the skills and techniques acquired in Year 1, you will further develop your individual creative approach to Acting. Year 2 is about mastering your craft in preparation for full productions in your 3rd year. Therefore, the Acting 2 modules will be structured to focus on deepening your skills by participating with a direct, dynamic awareness in a variety of rehearsal settings. These processes will ultimately support you to freely engage with the flow and endless recurrence of stage behaviour. Through continued developmental engagement with each module and performance project, you will be guided to demonstrate ownership of the processes that stimulate your creativity. Text Analysis 2 and Acting Approaches 2 will afford opportunities to advance your intensive actor training, where it will be expected that your exploration stretches you out of your comfort zone to increase your range and means of expression. Collaborations and key questions around where you situate yourself within the profession inspires a deep-seated connection to the work and encourages the continual nurturing of your emergent individual acting process. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to: Knowledge and understanding • produce a high level of competence in all the techniques taught • evidence a high level of professional discipline • have awareness of individual and group identity and responsibility • develop an understanding of the actor/audience relationship. Skills • apply creative risks and display a high level of play • strengthen the creative and technical connectedness of Acting, Movement and Voice • articulate progressive self-reflection on your acting process • analyse and deliver well-realised, detailed and believable characterisations appropriate to the demands of the text Values and Attitudes • demonstrate a comprehensive understanding of the value of working as an individual within the context of the group • plan and structure your own independent study with clarity and rigour, in preparation for practical taught classes • take responsibility for the work you need to do to prepare and rehearse a role How will I be assessed? 116

Module Specifications

You will be assessed on your classwork in each component. ACTING 2 UNITS:

Text Analysis Tutors: Contact hours: Timetable:

Justin Pierre, Marcus Ellard 37.5 2 x 1.5hr classes p/w in the Autumn term and 1 x 1.5hr class p/w in the Spring term

Aims To interrogate and explore all aspects of a play text including but not limited to the historical, social and political context alongside a methodological acting approach to creating a character. We will be taking inspiration from practitioners such as Stanislavski, Uta Hagen, Suzuki, Joan Littlewood & Mike Alfreds. This approach will allow you to gain a fuller understanding not only of the text and subtext of a play but also a fuller comprehension of the world of the play and how it informs the character’s objectives, relationships and characteristics. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding • successfully identify the themes of a play • identify characters’ problems and obstacles. • be aware of how the play’s context will inform the rehearsal process and the final performance Skills • utilise clues in the text to gain a clear understanding of what motivates the characters • clearly recognise subtext and the effect it has on the play • successfully extrapolate characters’ characteristics from what is written in the text • demonstrate the ability to create a three dimensional and believable character from what you have uncovered in the play • underline a confident and independent approach when creating a character and preparing a scene for rehearsal Values and Attitudes • demonstrate a comprehensive understanding of the value of working as an individual within the context of the group • plan and structure your own independent study with clarity and rigour, in preparation for practical taught classes • take responsibility for the work you need to do to prepare and rehearse a role How will I learn?

117

Module Specifications

In the Autumn term you will learn as a company preparing for a play focusing on specific scenes. You will take on the tasks and research required as individual actors preparing for your roles through: • A series of research projects that will be performed in a creative manner. • A detailed read through, discussion and analysis of the text. • Independent character analysis. • Rehearsing and performing a scene from the play. How will I be assessed? At the end of the Autumn term you will undergo a formative assessment in either week 8, 9, 10 or 11 – You will be made aware in week 5 which week your assessment is and given feedback in week 12 which will support your learning and development. This will not be marked. In week 5 you are given a partner to work with on the preparation and rehearsal of a scene from the play. You will work intensively on the scenes in class in your own time. Between the weeks of 7 and 11 you will share and work on your scene in front of the rest of the group in an open rehearsal. What is the assessor looking for? • Detailed and clear annotation of a script • Inquisitiveness / Questioning • Imagination • Creative research skills • Listening and observation skills • Vocal and movement expressivity • Commitment to bold choices • Effective acting techniques Reading List Title Then What Happens? Storytelling and Adapting for the Theatre Different Every Night Love All the People (Letter, Lyrics and Routines) Presence The Actor and the Target An Actor Prepares

Author Mike Alfreds

Publisher Nick Hern Books

Year 2013

Mike Alfreds Hicks, B.

Nick Hern Books Constable

2007 2004

Patsy Rodenburg Declan Donnelan K Stanislavski

Penguin Books Nick Hern Books Bloomsbury

2009 2005 2013

The Complete Stanislavski Toolkit To the Actor on Acting Technique Respect for Acting

Bella Merlin

Nick Hern Books

2014

M Chekhov

Martino Fine 2014 Books Jossey Bass 2nd 2008 Ed

Uta Hagen

118

Module Specifications

Essential acting In Depth Acting

Brigid Panet Dee Cannon

Routledge Oberon Books

2015 2012

Acting Approaches: Meisner Tutor: Contact hours: Timetable:

Kate Maravan 30 1 x 1.5hr class p/w in the Autumn and Spring terms

Aims To introduce further acting approaches predominantly through the work of Sanford Meisner. The Meisner will facilitate you to put your acting/daily habits aside. To explore how to challenge your habitual ways of seeing and responding in order to discover what lies behind your armour and open up all that is available to you. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and Understanding • gain an effective appreciation of Meisner introduction exercises. • research and explore selected texts through the techniques of Meisner Skills • apply an ability to explore taking the attention off yourselves • identify a moment to moment capacity to listen/observe and respond • sustain thoughts and actions, remaining firmly rooted in the present during a scene • allow what is happening in a scene to affect you in order to authentically inspire spontaneity and responsivity. Values and attitudes • demonstrate a comprehensive understanding of the value of working as an individual within the context of the group How will I learn? A series of weekly Meisner workshops in Autumn and Spring terms. The sessions explore and apply Meisner approaches practically and physically. The more embodied the actor, the easier it is to be present. Being embodied through movement enables you to listen fully to yourselves and the other and to enter a state of flow in which spontaneous impulse and responsivity in the moment are unencumbered. How will I be assessed? Each student will work with one or two partners on one or two scenes throughout the second half of the Spring term. The scenes will be allocated in week 6 and we will explore and develop the work through a series of stages and exercises and perform them in class in week 11. 119

Module Specifications

What is the assessor looking for? An embodied application of key Meisner exercises, for example, Repetition, Authentic expression of text, Aliveness to each given moment, Sustained presence whilst working with scripts. Spontaneous impulse Open responsivity Reading List Title Actors Art and Craft – William Esper Teaches Meisner The Actors Guide to creating a Character – Meisner Technique Meisner on Acting

Author William Esper

Publisher Anchor Books

Year 2008

William Esper

Anchor Books

2014

Sanford Meisner

Vintage Books

1987

World Classics – Beyond the Canon Tutor: Contact hours: Timetable:

Justin Pierre 7.5 1 x 1.5hr class per week in the 1st half of the Spring term

Aims Following on from the Shakespeare unit in Year 1, World Classics is a project open to exploring a range of plays, poems or additional performance literature that falls beyond commonly performed material known as Beyond the Canon. The module focuses on increasing the visibility and accessibility of ground-breaking yet lesserknown classics and masterpieces by European and international or culturally diverse playwrights. You will encounter a wide range of texts, which you will navigate, in order to further challenge and enhance your use of physicality, voice and character development. There will also be emphasises on the importance of researching the world of the play, both academically and imaginatively to support you to practically realise physical, vocal and emotional expressivity and authentic characterisation through informed creative decisions. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and Understanding • comprehend and critically analyse a text that uses heightened language • understand a classical text and know how to use it to create a truthful embodied performance. • apply a knowledge of rhetoric to a piece of classical text

120

Module Specifications

•

contribute to the discussion and practical exploration of world classes and how it might inform the work of the actor today.

Skills • demonstrate a deepened practical understanding of the rhythms of blank verse • identify the literary devices within the text to support exploration of the rhythms of the text • practically realise a piece of classic text through rigorous application of acting, movement and vocal skills. • pinpoint a moment to moment capacity to listen/observe and respond Values and attitudes • plan and structure your own independent study with clarity and rigour, in preparation for practical taught classes • take responsibility for the work you need to do to prepare and rehearse a role • collaborate effectively to promote a safe and trusting environment How will I learn? You will take part in a sequence of intensive practical classes, workshops, tutorials and class showings, which will further develop the techniques explored in Voice text and Historical Dance in Movement classes. This approach will continue to build a flexible yet robust and consistent framework of approaching and rehearsing heightened language through a variety of Classical Text. How will I be assessed? Assessment will take place in week 11 and feedback will be given in week 12. Working in small groups, you will be guided by your director to create and develop scenes from your selected, Beyond the Canon source material. In your groups, you will research, share, identify and justify why you think your selected play falls Beyond the Canon. Having selected your performance material, all group members are expected to contribute to a group discussion/presentation. The aim of the discussion/presentation is to share your findings with the wider ensemble and provide justification of your choice of material. All group members are expected to contribute/present equally to the overall delivery of information, which will be no longer than 10 minutes in duration. Following on from your discussions or presentations, you will begin to explore the creative process of rehearsals, drawing on and implementing the transferable skills you are taught throughout the wider curriculum. Within the safety of the creative space and the integrity of the acting ensemble, you must aim to promote a safe and trusting environment, which enables an open exchange of thoughts and ideas, which ultimately works towards a greater sharing of creative inspiration and interpretation of text. Throughout the rehearsal process you will work independently as a small ensemble, in addition you will receive intermittent instruction, guidance and feedback from your Director. Emphasis for this project is on the creative process and the student actor 121

Module Specifications

as the essential tool, rather than the production. Therefore, it is expected that minimal technical assistance be used, along with only basic costume and minimal props. What is the assessor looking for? • Demonstration of Professionalism • Demonstrate the ability to create a theatre piece with an ensemble • Use of imagination, sense of play and responsiveness • Exemplify spontaneity throughout the creative process • Establish the ability to listen and work collaboratively with the ensemble • Show intuitive and analytical skills gained as a theatre-maker • Incorporate skills learnt in the wider curriculum in the development process • Support members of the ensemble in the development of the scene • Show evidence of research used for scene development • Application of script analysis techniques e.g. uniting, clear use of intentions, objectives and actions. • Be able to demonstrate the use of appropriate and effective performance techniques – e.g. use of voice, facial expressions, gestures, eye contact, pace, stillness, use of staging and characterisation. • Communicate a scene showing focus, consistency and engagement throughout. Reading List Title http://www.beyondthecanon.co m/about-us.html

Author Hodge-Dallaway, Simeilia

Publisher Online resource

Year

Intercultural Acting and Performer Training

Zarilli, P

Routledge

2019

Other play texts will be sourced by the tutor and students.

Acting Choices - Heightened Stakes Tutor: Contact hours: Timetable:

Justin Pierre 15 1 x 1.5hr classes p/w Summer term

Module Specifications

On successful completion of this unit, you will be expected to be able to: Knowledge and understanding • understand how the dynamics of relationships and status affect choices Skills • practise intensive skills and techniques which encourage you to release and respond to the demands of the text • be aware and available and responsive to take the work from page to up on its feet with confidence and clarity • take creative risks Values and attitudes • demonstrate sensitivity to peers and a mature approach to the work How will I learn? You will take part in a sequence of practical workshop classes focusing on that will explore body, breath and imagination. You will create improvisational scenarios that will allow you to apply the techniques to practice playing heightened stakes. You will also use text from chosen scenes which will encourage you to make bold creative choices. How will I be assessed? The class will be split into pairs or small groups. Each group will be asked to take a scene from an existing play, given to them by the tutor OR create a structured improvisation on a set of imagined given circumstances. The students will be expected to use and implement the skills that they have learned about High Stakes throughout the term ready for presentation for assessment in week 9 or 10. What is the assessor looking for? • Emotional commitment • Imaginative commitment • Connectedness • Availability • Specificity of thought • Impulse and action • Variation of action • Commitment • Truth within the given circumstances • Sensitivity & openness to scene partner/s Reading List Title An Actor Prepares

Author K Stanislavski

Publisher Bloomsbury

The Complete Stanislavski Toolkit

Bella Merlin

Nick Hern Books 2014

123

Year 2013

Module Specifications

To the Actor on Acting Technique

M Chekhov

Martino Fine Books

2014

Respect for Acting

Uta Hagen

Jossey Bass 2nd 2008 Ed

Self-Taping Tutor: Contact hours: Timetable:

Kim Vithana & Visiting Professionals 22.5 1 x 1.5 hr class p/w 1st half Summer term 2 x 1.5 hr classes p/w 2nd half Summer term

Aim To support professional practice by introducing the techniques required for selftaping. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • demonstrate an effective understanding of what is expected of actor in the self-taping process • discover the ability to produce self-tapes with a high level of production standards Skills • •

perform well under pressure with the challenges of learning sides quickly and filming to tight deadlines take responsibility for independent learning and preparation of different chosen material

Values and attitudes • demonstrate sensitivity to peers and a mature approach to the work • operate thoughtfulness to the creative tasks of self-taping • apply a positive and professional attitude

How I will I learn? You will participate in a sequence of practical classes working primarily individually, and in pairs. How will I be assessed? From week 4 onwards you will be given a wide range of scripts from a variety of onscreen genres - from to soap operas to film scripts which you will be expected to learn and self-tape. These will be reviewed in playback to explore how they can be improved. In week 10 you will be sent different types of scripts (sides) to self-tape as

124

Module Specifications

if you were actually auditioning for the part. These will be submitted to the Head of TV & Film by week 11. What is the assessor looking for? • A high-level comprehension of the emotional life of the character • Taking creative risks with the text • Demonstrating an understanding of the subtext. • Application of commitment to the screen acting choices made. • Show the importance the camera plays in Screen Acting. • Exploring, listening, energy and silence as crucial elements to the foundation of competent screen acting. Reading List Title Radioactive Duologues for Radio, Stage & Screen A Screen Acting Workshop The Energetic Performer: An Integrated Approach to Acting for Stage and Screen The Actor and the Camera The Complete Stanislavsky Toolkit Secrets of Screen Acting

Author Caldarone, M. & Le Conte, M Mel Churcher Amanda Brennan

Publisher Methuen

Year 2006

Nick Hern Singing Dragon

2014 2016

Denis Lawson Bella Merlin

Nick Hern Nick Hern Books Routledge

2014 2014

Patrick Tucker

2003

Recorded Voice Tutor: Contact hours: Timetable:

Nick Barber 15 1 x 1.5hr class per week in the Summer term

Aims You will explore a broad range of employment opportunities for you to use your voice in an out of vision context (i.e. commercials, novel reading, screen voice-overs and narration). You will be guided to acquire a professional technique for radio drama. Alongside developing a thorough knowledge of the broad range of out-of-vision acting – drama, voice-over, adverts, station announcements, and live sports events. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • recognise a range of vocal qualities within your own accent • communicate character, action and atmosphere through the voice • identify the market for your particular vocal qualities

125

Module Specifications

Skills • • • •

practice a creative microphone technique display professional voice-over, novel reading and narration techniques capture the imagination of the listener demonstrate an appreciation of healthy vocal use.

Values and attitudes • demonstrate sensitivity to peers and a mature approach to the work • apply a positive and professional attitude How will I learn? You will participate in a sequence of practical classes. There will be an opportunity to work towards compiling material for a voice demo to be made in Year 3. Additionally, to prepare for the annual BBC Radio Drama competition (the Carleton Hobbs Award). Teams are chosen by audition in the Autumn term of 3 rd year and selected students receive additional rehearsal in preparation for the competition in the Spring term of the 3rd year. How will I be assessed? The recorded voice unit is marked pass/fail and is not included in the calculation of the mark for the module. Reading List Title The Voice Over Book: Don’t Eat Toast Cartoon Voices

Author Hodge, D/Kemble, S

Publisher Oberon

Year 2014

Clarke-Hill, Tom

www.clarkehill.com/shop

2017

MODULE TEACHING PATTERN Self Directed Study Hours

Total Student Learning Hours

Teaching Unit

Type

Contact Hours

Text Analysis 2

Classwork

37.5

43.5

Acting Approaches 2 World Classics Acting Choices Heightened Stakes Self-Taping Recorded Voice

Classwork Classwork Classwork

30 7.5 15

3 3.5 3

33 11 18

Classwork Classwork Totals

22.5 15 127.5

6 1 22.5

28.5 16 150

126

Module Specifications

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Text Analysis 2 Acting Approaches 2 World Classics Acting Choices - Heightened Stakes Self-Taping Recorded Voice

Classwork Classwork Classwork Classwork Classwork Classwork

25% 10% 25% 20% 20% n/a

40% 40% 40% 40% 40% n/a

No No No No No Yes

What do I have to do to pass? You are required to pass Recorded Voice and achieve a pass mark of 40% or above in all the other units. The overall mark for the module is calculated according to the weightings provided in the table above. How and when will I get feedback on my assessments? You will be given continuous verbal feedback by the tutors of each unit throughout the year. In addition, time will be set aside for summative feedback in Acting twice a year, usually in February and either May or July, depending on the film schedule. You will receive written feedback on your work in Acting at the end of the Summer term.

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Module Specifications

Module 8: UK Credits: ECTS: Level:

Voice 2 20 10 5

Overview You will build and consolidate on the broad base of vocal skills and techniques acquired in your first year of training. There will be the expectation that you will begin to develop: • a clear, rigorous, planned and structured approach to your own independent practice and study, in preparation for practical taught classes • a high level of competence in all the techniques taught • a high level of professional discipline • a comprehensive understanding of the value of working as an individual within the context of the group How will I be assessed? You will be assessed on your classwork in each unit, as detailed below.

VOICE 2 UNITS: Voice Tutor: Contact hours: Timetable:

Mike Hayden 45 1 x 1.5hr classes per week for 3 terms plus individual tutorials

Aims • To reinforce and further develop first year work in the areas of body and breath, support, middle note, range, resonance and articulation. • To link with and support the objectives of second year acting classes and projects. What will I be expected to achieve? On successful completion of the voice unit you will be expected to be able to: Knowledge and understanding • be physically grounded, working from and with a fully released expressive, centred breath • explore with a free, released, open vocal channel and so using organically produced full balanced resonance to fully open up and freely release pitch and range. • practice working with vocal stamina • work habitually from an area of vocal strength, ease and release; optimal pitch.

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Module Specifications

Skills • demonstrate precise, flexible, muscular, dynamic articulation diction, used imaginatively and creatively to suit the style and demands of varying genre of texts. • employ vocal extremes in a safe and healthy manner • use the voice safely and effectively in different acoustic environments • integrate vocal work with text work in the style required by the project • fully appreciate the theory and practice of healthy vocal use, and the possibilities for individual repertoire • take responsibility for your own vocal usage and vocal health • develop a portfolio of personal warm up routines Values and attitudes • demonstrate sensitivity to peers and a mature approach to the work • recognise the importance of vocal health • present an attitude of non-judgement to yourself and fellow students How will I learn? You will take part in a sequence of practical classes, workshops and tutorials. Vocal progression continues and the work builds on the training from Year 1. While still working with body, breath, resonance, pitch, range and articulation, the focus is on everything working instinctively as a whole. In all three terms you will continue to learn how to apply healthy vocal usage in all your studies, and will further develop a range of warm up techniques, enabling you to develop a tailored, individual voice warm up suited to your own vocal requirements, and the requirements of the text. Term 1 • Open up the full body breath. • Develop a deeper relationship and understanding of the psychophysical breath, through the exploration of and use of the ‘sigh’, which is an emotionally connected breath release. • Explore and release the vocal channel • Develop the power and subtlety of the voice. • Opening up clear forward placement of the voice. Term 2 • resonance and resonant pitch in detail. • Opening up and imbedding a fully resonant voice. • Opening up pitch use. • Vocal progression continues, exploring the middle of the voice. • Understand and meet the challenges of working in different acoustic environments. • Explore and apply the vocal dynamics of pitch, pace, volume, duration, rhythm to support acting demands. • Develop agility and muscularity of articulation and use of diction. Term 3 129

Module Specifications

• • • • •

Further development of resonant range, pitch and articulation. Exploring character voice and vocal dynamics Understanding and meeting the challenges of working outdoors and differing acoustics. Working with high intensity vocal extremes safely. Building personal warm up routines.

How will I be assessed? During the Autumn and spring terms there will be continual assessment on your vocal development progression in voice classes, where you will receive individual attention, while working within the group. Your progression will also be aided and monitored through individual voice tutorials which will run alongside acting projects. Your voice work will be marked through your termly acting projects. In the Spring and summer terms along with tutorials running in line with projects you will also receive timetabled voice tutorials. Assessment Rationale: At the end of the summer term. As part of your summative assessment you will record yourself describing a 30-minute personal warm up. You will be expected to give a clear delivery describing the why’s and wherefores of each exercise that you are doing. You will then be observed performing the warm-up in class and have chance to feedback in class on how it went. What is the assessor looking for? In the warm-up you will be expected to include a combination of all elements you have been taught in voice. You will not be limited to the vocal exercises learnt during your training at ArtsEd; any appropriate exercise will be considered valid. Elements to be covered: • Body/grounding/release and alignment. • Breath/centring/release/capacity • vocal support • Vocal placement • Vocal resonance • Vocal pitch • Vocal range, • Articulation, • Diction. Additionally, ownership and purposefulness of the exercises as well execution of the exercises will be considered when marking. Reading List Title Freeing the Natural Voice Care of the Professional Voice Vocal Arts Workbook Verbal Arts Workbook

Author Linklater, Kristin Garfield Davies, D Carey, David Carey, David 130

Publisher Nick Hern Methuen Methuen Methuen

Year 2006 2004 2008 2010

Module Specifications

Finding Your Voice

Houseman, Barbara

Nick Hern

2002

Voice and Language Tutor: Contact hours: Timetable:

Aundrea Fudge 15 1 x 1.5 hr class a week, summer term

Aims Leading on from the work you have undertaken in the first year, you will continue to develop your vocal technique. Using different methodologies of approaching language, with a focus on the work of Barbara Houseman, Cicely Berry and Catherine Fitzmaurice, you will dig deeper into the vocal skills required to lift text off the page in a way that is vocally connected and empowered. You will learn the importance of the language in both building a character and in building rapport with an audience. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding: • apply vocal skills work to the exploration of language • commit to and use language • recognise the importance of breath, pitch, pace, pause, range, resonance, articulation, rate of delivery Skills: • • • •

show dynamic expressive use of body, demonstrate understanding of language through the use of punctuation, produce ownership of the whole space, in a safe and healthy manner, integrate vocal skills and techniques to support the style and genre of the piece.

Value & attitudes: • recognise the importance of vocal health • present an attitude of non-judgement to yourself and fellow students How will I learn? You will take part in a sequence of practical classes, workshops and tutorials Term 1 In support of the contemporary project you will look at rhythm and structure of language in contemporary storytelling monologues. You’ll explore punctuation, sounds within words and imagery and will be encouraged to link voice work particularly articulation/diction, from the class to rehearsals undertaken with the external director. Term 2

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Module Specifications

In support of the Restoration project you will explore 17 th century plays. Voice work will focus on agility of articulation/diction, pitch, pause and pace and how they are used as a foundation in maintaining long complicated thought and the delivery of wit through direct address. Term 3 In support of the summer term projects the focus of this term’s work will be to open up and explore the opportunities and challenges that language offers to the creative vocal technician. You will be tasked to apply and draw on the vocal knowledge you have developed throughout the entirety of the course so far. How will I be assessed? Autumn Term You will undergo a formative assessment in either week 8, 9 or 10 – before the half term break you will be told which week your assessment will take place. You will have ten minutes to workshop a contemporary, argument-driven monologue and receive feedback, which will support your learning and development. This assessment will not be formally marked but will inform your participation grade. You will be assessed on your use of body, breath, support, range, resonance, pitch, articulation, diction, use of language, pause, phrasing, punctuation, listening and responding skills, physical embodiment of the text and ownership of the space, and appropriate use of vocal style and delivery. Spring term 1n week 10 you will deliver an extract from a restoration prologue. This will be a formative assessment; you will receive feedback in Week 11, to aid and develop your learning. You will not be marked. You will be assessed on your use of body, breath, support, range, resonance, pitch, articulation, diction, use of language, pause, phrasing, punctuation, listening and responding skills, physical embodiment of the text and ownership of the space. Appropriate use of vocal style and delivery. Summer Term Your final and summative assessment will take place in the Summer Term. In week 10 you will have a final summative assessment in which you will be asked to deliver the text you have been working on in class. What is the assessor looking for? You will be marked on your use of • breath, • support, • range, • resonance, • pitch, • articulation, • diction, • use of language, • pause, • phrasing, 132

Module Specifications

• • • • •

punctuation, listening and responding skills, physical embodiment of the text, ownership of the space, overall delivery embodied delivery

Reading List Title The Need for Words The Actor Speaks Care of the Professional Voice Freeing Shakespeare’s Voice Verbal Arts Workbook Classical Voice Book

Author Rodenberg, Patsy Rodenberg, Patsy Garfield Davies, D Linklater, Kristin Carey, David Weate, Catherine

Publisher Bloomsbury Methuen Methuen Nick Hern Methuen Oberon

Year 2018 1998 2004 2010 2010 2009

Sight Reading Tutor: Contact hours: Timetable:

Mike Hayden 15 1 x 1.5 hr class, autumn term

Aims You will continue to develop sight reading techniques to skillfully lift text off the page when you are not familiar with it. You will cultivate an approach that is vocally connected and empowered. What will I be expected to achieve? On successful completion of this unit, you will be expected to be able to: Knowledge and understanding: • sight read with confidence, connection and ownership of text. • sight read while taking direction. Skills: • apply techniques acting and voice techniques to sight reading. • effectively connect to the audience while you have a script in your hand

Value & attitudes: • present an attitude of non-judgement to yourself and fellow students • work with professionalism How will I learn? In the Autumn term you will take part in a series of vocal technique and skills workshops. How will I be assessed?

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Module Specifications

During class time in week 10 of the Autumn term, there will be a formative assessment to support your learning and development. You will be given a short piece of prose to sight read. This is not marked; however, you will receive verbal feedback on the day. What is the assessor looking for? You will be assessed based on technical work done so far: Observing punctuation, phrasing Commitment and connection to text Use of tone Rate of speech Pause Speech clarity Mental energy new thought/new energy Eyes off the page/reading ahead Key word usage Breath use Ownership of the space Use of pitch/vocal expression.

Singing Tutor: Contact hours: Timetable:

Aled Pedrick 45 1 x 1.5hr class per week for 3 terms

Aims Following on from the work undertaken in first year, these classes will facilitate the application of further principles of vocal production to the student’s individual portfolio alongside • Continuing the technical development of the actor student as a singing storyteller. • Facilitating the application of further principles of vocal production to the student’s knowledge base and future portfolio. • Ensuring the student has at least one song that they can perform to a high standard in a professional audition situation. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and Understanding • understand how to adapt acting choices when performing a song in an audition context. • demonstrate understanding of the different techniques involved when approaching songs, from the use of speech, to speech quality, then to singing • develop one or two songs that are appropriate for the individual student Skills • Apply further principles of vocal production to a variety of songs. • Present songs in a manner appropriate for the individual student 134

Module Specifications

• •

Understand how to adapt acting choices when performing a song Demonstrate understanding of the different techniques involved when approaching songs, from the use of speech, to speech quality, then to singing

Value & attitudes: • Approach the work with a professional attitude How will I learn? You will take part in a sequence of practical classes to help you find material to which you connect with as n actor. You will work on 1-2 songs that you can learn to a high standard for audition purposes. There will be informal classroom showings of work learned up to that point of the curriculum at the end of each term. You will be expected to further develop and embody the following skills building on the foundational rom the first year: • posture and alignment • breath support, • larynx, tongue and jaw position, • articulation, dynamics • intonation and interpretation • characterisation and storytelling. • the use of appropriate physicality and gesture Assessment You will not be formally assessed or marked on your work. However, you will receive continual feedback and your progression monitored throughout the year. At the end of the Summer term you will be encouraged to be able to sing at least one audition song that demonstrates your ability to act through song. Reading List Title Acting Through Song Successful Singing Auditions Audition! Audition! Audition! (DVD)

Author Harvard, Paul Kayes, G. Rutherford, N.

Publisher Nick Hern A and C Black Think of Everything

Year 2013 2002 2010

Global Voice – Systems of sound. Tutor: Contact hours: Timetable:

Aundrea Fudge, Ingrid Gray 60 2 x 1.5hr class per week in the Autumn and Spring terms.

Aims • To enable you to study, acquire ownership and autonomy of the ability to replicate systems of vocal delivery, other than your own, to develop your technical skills and to serve your professional castability.

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•

To use this technical skill to support character and text work in second and third year projects and into the profession.

What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • and appreciation of the organic growth and spread of the sounds of the human voice, from a global perspective. • of the identity, character, codes and systems of sounds held within the voice. • Of an awareness of how social/political and geographical context informs and shape the development of our vocal sounds and how this links us to character. • of how the acquisition of voice codes, gives the actor increased options for creative vocal expression of language through text. Skills

• •

to study and acquire a range of vocal systems of sound, that carry the vocal expression from the desired geographic region, or socio-political perspective being explored. to identify and develop various Global Voices which will enhance your casting options professionally.

Values and attitude • to work independently and with tutor guidance in classwork and rehearsal application. • To understand the usefulness of notation of voice and speech sounds to achieve consistency in reproducing vocal systems of sound. How will I learn? You will take part in a sequence of practical classes focusing on the following: Term One • Reiteration of ‘Routes into Global Voices’ (Films, recordings, notation, lexical groups, practice sentences) • You will explore amongst others: The General American Voice; New York Voice, Southern American Voice, Urban American voice – related to your rehearsal project. • MLE Voice. the South American voice, the Caribbean and African Voice • heritage voices • The Scottish voice, the Irish voice, the Welsh voice, the Yorkshire or Lancashire voice. Term Two The continued exploration of Global Voices • Three chosen voices based around casting – researched-resourced – and broken down into their particular systems of sound. How will I be assessed? 136

Module Specifications

You will choose 3 accents of your casting/choice. You will deliver three short speeches using the voices you have chosen to work on. The Accents unit is marked pass/fail and is not included in the calculation of the mark for the module. What is the assessor looking for? - accuracy of your reproduction of the studied voice. - connection you bring to your delivery of the speeches Reading List Title English Accents and Dialects (5th Edition) How to Do Accents (Revised 2nd edition) How to do Standard English Accents

Author Hughes, Trudgill, Watt Sharpe & Rowles

Publisher Routledge

Year 2013

Oberon

2009

Sharpe & Rowles

London Oberon

2014

MODULE TEACHING PATTERN Contact Hours

Teaching Unit

Type

Voice

Technique and workshop classes Technique and workshop classes Technique and workshop classes Workshop classes Technique and workshop classes Totals

Voice and Language Global Voice Sight Reading Singing

Self Directed Study Hours

Total Student Learning Hours

15 45

3 1

18 46

180

200

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Voice Voice and Language Global Voice

Classwork Classwork Classwork Written and verbal test Classwork Classwork

Sight Reading Singing

Weighting

Pass Mark

Pass/ Fail

70 30 n/a n/a

40% 40% n/a n/a

No No Yes Yes

n/a n/a

Yes Yes

What do I have to do to pass? You are required to achieve a pass mark of 40% or above in Voice, and in Voice and Language, and to pass Global Voice, Sight Reading and Singing. You will be tested on your ability to identify the generic components that make up any accent in a written and verbal test to be taken towards the end of the Spring term. You must 137

Module Specifications

pass this test but no marks will be awarded. You will be marked on your classwork throughout the year by the tutors of each unit. How and when will I get feedback on my assessments? You will be given continuous verbal feedback from your tutors in each unit throughout the year. In addition, time will be set aside for summative feedback in core subjects at least twice a year, usually in February and July. You will receive written feedback from the tutors of Voice at the end of the Summer term.

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Module Specifications

Module 9: UK Credits: ECTS: Level:

Movement 2 20 10 5

Outline You will build on the broad base of physical skills and techniques acquired in Year One. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • demonstrate a high level of competence in all the techniques taught • evidence a high level of professional discipline Skills • plan and structure your own independent study with clarity and rigour, in preparation for practical taught classes. Values and Attitudes • highlight a comprehensive understanding of the value of working as an individual within the context of the group How will I be assessed? You will be assessed on your classwork in each unit throughout the year, as detailed below.

MOVEMENT 2 - UNITS:

Pure and Applied Movement Tutors: Contact hours: Timetable:

Gabrielle Nimo 45 1 x 1.5hr class per week for 3 terms

Aims: Pure movement is used to bring awareness to the body and the breath, by practicing key exercises to promote ease, economy and flow in action. The idea is to work with effort but with the absence of tension, and to bring awareness to all parts of the body. Opening up the body to the space around it and fully awakening it to its kinaesthetic potential both in doing and receiving. Applied movement using the methodology of M. Chekhov to develop a creative dialogue between the body, voice and imagination and as such apply to character and scene study etc. Laban 8 efforts/working actions. Viewpoints broadening your

139

Module Specifications

dynamic and expressive palette as well as being a compositional tool for devising theatre. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and Understanding • demonstrate how physically articulate you are: joints/back. • work with the breath in the correct way on the ‘gravity swings’ - (out breath in driving the action and in breath in suspension. • define specificity in terms of geography in the exercises - body’s relationship to space • operate attention to timing/rhythm Skills • apply physical specificity of action • recognise quality of action - so it’s not just the physical text, but ‘how’ it is carried out. The ‘quality of movement’ • build up kinaesthetic receptivity • demonstrate effective coordination Values and Attitudes • presence and interest and integrity in each moment. How will I learn? You will participate in a sequences of workshops classes that will be split 30% Pure Movement and 70% Applied Movement in each class throughout the term including the assessment. You will be taken through a series of practical exercises to encourage you to work in an efficient manner with the body and breath, improve postural elements, articulate the joints, stretch the muscles, tone, strengthen, open and awaken the body, improve coordination. How will I be assessed? Your summative assessment will take place in week 10 of the Summer term Pure Movement You will be asked guided to practically demonstrate all of the exercises that you have worked on for the term in the Pure Movement segment of the class. Applied Movement An impromptu improvisation where you will be required to apply what you have learned in movement classes, keeping focused and supporting each other’s work for a full 45 minutes non-stop. What is the assessor looking for? Pure Movement Is there a harmony between body, voice and psychology? Are those centres in authentic dialogue? Are you in command of faculties in the work? Is your body open, available, free, permeable, pliable to command? If we are working outside-in, is the psyche affected by the physical gesture? 140

Module Specifications

If we are working inside-out, can the body adapt and be influenced by the changing psychological circumstance? Applied Movement Play Taking risks Taking the space Working with sensitivity Cultivated listening Dynamic range and expressive palette Demonstrate the care and quality of touch in contact work Reading List Title The Art of Stillness The Viewpoints Book Style for Actors The Empty Space The Lucid Body The Moving Body

Author Alain, Paul Bogart, Anne Barton, Robert Brook, Peter Simpson, Fay Lecoq, Jean

Publisher St Martins Griffin Nick Hern Routledge Penguin Classics Allworth Press Methuen

Year 2003 2014 2009 2008 2008 2009

Dance for Actors Tutor: Contact hours: Timetable:

Gabrielle Nimo 45 1 x 1.5hr class per week for 3 terms

Aims Building on the work undertaken in your first year, these classes will facilitate you to further explore the rhythmic expressivity of movement through dance. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and Understanding • an awareness of safe practice to avoid injury in the rehearsal space. • identify the main musical and dance characteristics of various dance forms Western Historical, African Dance and Contemporary. • understand dances in their Cultural, Social and Historical context. • explore the ability to pick up routines/sequences and choreography. Skills • • • •

develop strength, stamina and flexibility. explore changing rhythms through movement. demonstrate an improved sense of coordination in the body. undertake intensive work with an open and expressive body.

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Module Specifications

Values and Attitudes • execute excellent health & safety practice • implement a professional approach to work How I will I learn? You will participate in practical classes working individually, in pairs and in groups How will I be assessed? You will be observed whilst performing a movement sequence taught for the purposes of the assessment. What is the assessor looking for? • Clarity in movement quality • Openness and fluidity in the body. • Flexibility with the ability to adapt to changing rhythms. • Application of the use of weight, flow, speed and direction in the movement sequence. • Defined sense of intention in each movement.

Stage Combat for Performance Tutor: Contact hours: Timetable:

Yarit Dor 45 1 x 1.5hr class per week for 3 terms

Aim The second-year aim of stage combat for performance is to reinforce and build upon the basic principles of stage combat safety, technique and performance that have been learned during the first year of training. Introducing students to a broader range of performance styles and techniques you will develop a more rounded, experienced and adaptable technique as fight performers capable of performing with flair and fitness required of a theatrical or screen fight. This will also include working towards a group fight. What will I be expected to achieve? On successful completion of this unit, you will be expected to: Knowledge and understanding • Demonstrate an effective understanding of a variety of weaponry such as knife and quarterstaff/sword and shield. • Understand the safety practices required to safely perform moments of violence across a range of fighting systems, with a definite emphasis on the storytelling and dramatic elements, supported by an embedded technical foundation. Skills • Confidently execute complex fight choreography with a variety of weapon systems.

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Module Specifications

• • •

Apply authentic emotional and physical commitment required to convincingly perform moments of staged violence. Confidently perform a choreographed fight, within the context of a dramatic scene. Demonstrate effective practical technique for fighting for screen.

Values and Attitudes • Execute excellent health and safety practices. • Practice a professional and colligate approach to work. How will I learn? You will take part in a series of practical weekly workshop classes. How will I be assessed? There is no formal assessment for this module. As in the first year, the process of informal assessment is ongoing throughout the year and the safety and control measures of each technique are constantly being checked by the tutor and notes and advice are readily given. During the second year of fight training students are expected to build upon a strong level of technical attainment, that allows them to demonstrate a supported and finessed command of character, mood and dramatic intention within a fight scene for both stage and screen. Students are also expected to be able to differentiate between different martial styles to reflect the weapon systems we are working with, with an understanding of their place and relevance within social history. You will continue to work under the BASSC guidelines and will be marked pass/fail on your classwork throughout the year by your tutor. Reading List Title The Martial Arts of Renaissance Europe By the Sword History and Art of Personal Combat

Author Anglo, S

Publisher Yale

Year 2000

Cohen, R Wise, A

Pan Evelyn

2003 1971

MODULE TEACHING PATTERN Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Teaching Unit

Type

Pure and Applied Movement Dance for Actors Stage Combat for Performance

Workshop classes

Technique classes Workshop classes

45 45

5 5

50 50

Totals

135

150

MODULE ASSESSMENT PATTERN

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Module Specifications

Assessment Unit

Assessment Type

Pure and Applied Movement Dance for Actors Stage Combat for Performance

Classwork Classwork Classwork

Weighting

70% 30% N/A

Pass Mark

40% 40% N/A

Pass/ Fail

No No Yes

What do I have to do to pass? You are required to achieve a pass mark of 40% or above in Pure and Applied Movement and Dance for Actors. The overall mark for the module is calculated according to the weightings provided in the table above. Stage Combat is pass/fail. How and when will I get feedback on my assessments? You will be given continuous verbal feedback by the tutors of each unit. In addition, time will be set aside for summative verbal feedback at least once a year, usually in February. You will be given written feedback from your tutors at the end of the year.

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Module Specifications

Module 10: UK Credits: ECTS: Level: Co-ordinator: Contact hours: Timetable:

Professional Practice 15 7.5 4 Marcus Ellard/Kim Vithana 110 5 x 3hr sessions per week x 5 weeks, Spring term 1 x 1.5hr class per week, Spring term 1 x 1.5 hr class p/w first half Summer term

Professional practice unit Outline You will develop a working knowledge and understanding of the business aspects of the profession that you have chosen to enter, and to further develop your reflective skills. Aims • to ensure that you are prepared for the full range of castings and interviews that you will face in the course of your career • to develop your personal management skills and professional discipline What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • identify the areas of work you wish to pursue • demonstrate a good understanding of the industry you are about to enter • possess a clear understanding of your own casting potential • comprehend the psychology of interview technique • understand the differing audition/interview requirements of professional employers Skills • produce an up-to-date professional CV • create an action plan for the year which follows your graduation from the course • prepare a vivid and truthful characterisation at first readings • demonstrate a working knowledge of professional interview technique • select suitable audition material • perform with professionalism in an audition or interview situation • present yourself in a professional manner in auditions, castings and interviews Values and Attitudes • show generosity towards fellow actors How will I learn? 145

Module Specifications

You will take part in role play interviews, screen tests, sight readings and recorded voice classes, and in professional practice seminars with a range of industry speakers. Many of the seminars will be delivered in the Summer Term of Year 2, but seminars, mock auditions and interviews will continue into Year 3. Professional Practice seminars could include: • A union representative • A representative from The Spotlight (the Casting Directory) • An accountant • Agents • Casting directors • Theatre, television and/or film directors • Professional actors • Photographers • Specialist workshops, e.g. green screen, self-taping. Interview and Audition Technique You will take part in role play interviews, preparing you for the range of casting and interview situations you will face in the industry, including commercials, theatre, television, film and general meetings with agents, producers or other industry professionals. • Lectures on the psychology of interview technique • Lectures on personal presentation at an interview • Practical experience in mock interviews • A seminar on the selection of Audition Speeches • A seminar on the presentation of Audition Speeches • Student led work on the selection and preparation of suitable audition material Iconic American written reflection Aim You will work with a professional external director on a chosen American play. You will be given research tasks to complete and guided through a rehearsal to critically reflect on your emerging acting process. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • demonstrate an ability to write a reflective analysis of what you are learning • identify a high level of professional working practices Skills • analyse and evaluate appropriate research on the given play Values and Attitudes • express your impressions of the play and the rehearsal process with clarity and intelligence • reflect on and analyse, your own working practice in a professional manner 146

Module Specifications

How will I learn? You will undertake independent research, reflection and writing, supported by a tutor-led seminar on journal writing. How will I be assessed? 1. You will present yourself at mock interviews and castings, which will be assessed against the following criteria: • • •

effective presentation of oneself in a professional situation appropriate professional discipline evidence of a lively, pertinent and informed interest in the world of professional work.

Classwork in this component is assessed pass/fail. 2. You are required to submit a journal reflecting on your Year 2 Iconic American project, which will be assessed against the criteria for written assignments published at the end of this handbook. The primary purpose of the journal is to help you learn and develop, but in order to pass you must make sure you fulfil the following minimum requirements: WORD COUNT:

2,000 WORDS (plus or minus 10%)

CONTENT Research: • Your initial reaction to the material • Research into the context and themes of the piece (not a synopsis) • Research into your own character and objectives Rehearsal Process: • How you coped with the technical, emotional and physical demands of the piece and the process as led by the director • Personal challenges you faced or breakthroughs you made in rehearsal • How you implemented specific notes given during rehearsals Performance: • How well did you apply learnt technical skills to the performance? • How well did you meet the demands of the piece? • How did the presence of an audience affect the piece as a whole and your performance within it? Evaluation: What did you learn about yourself as a performer from this project? • • •

Summarise what you learnt from the process including research, rehearsal, performance and feedback (please use the creatives’ professional names) Summarise your thoughts and feelings about the project How can you apply all of these learning points in the future? 147

Module Specifications

The journal must also contain the following (these are not included in the word count): Reading & Resources: These should be separated into the following subheadings • Books • Journal & Newspapers • Internet Resources • CDs • DVDs • Live Performances Within each section they should be in alphabetical order and presented in the following way: • • •

For Books: Author, title, publisher, publication date For Films: Title, Director(s), Star(s), Studio, original release date For Live Performances Title, Author, Theatre, Director, Actors, date attended

What to Include in the APPENDIX Below you will find a list of what should be included in the appendix. You must include all those on the ‘required’ list. The ‘supplementary’ list suggests ideas of other items you may wish to include. Required: • Character questions • Daily notes made during the rehearsal period • Sample of photocopied pages of annotated text • Creatives’ CVs Supplementary: • Research notes • Notes on other relevant work by author/theatre company • Additional research materials: notes/pictures/photographs • Bullet point notes given during rehearsal PRESENTATION • • • • • •

Your notes must be typewritten on A4 paper so they can be kept in your PPP for future reference. Double space each line so that tutors can make comments under each line if necessary Use Size 12 Font Use a margin of at least 2.5cm all around Number your pages Word count 2,000 plus or minus 10% (not including references, appendices, reading or resources)

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• • •

Put your Name, Group, Title of Project and word count (see above) on the Cover Page Use the checklist on page 4 to ensure the journal meets the minimum requirements. Staple or bind all the pages together (including the cover page and your appendices) before handing them in to Nicki on the first day of term.

REFERENCING Any mention of a play, book, film, CD etc must be referenced in a footnote, and the title should be formatted in italics. So: After reading Punk Rock1 I realised I needed to know more about… To find out about other Frantic Assembly shows I looked on their website2 Footnotes Look at the bottom of this page for how to set out your footnotes. When referring to the same item in a later footnote, use a shortened but easily identifiable form. (See footnote 3 below3) The second or subsequent time you mention any of the above, you must set out the title of the book/musical/cd in italics, but names need no special formatting. So: • After reading Punk Rock I realised I needed to know more about… Reading List You will be encouraged to read a broad selection of classical and contemporary plays from which to select appropriate audition material. Title The Actor’s Handbook Contacts The Spotlight Acting Professionally

Author Fenner, Jill

Publisher Bloomsbury Spotlight Spotlight

Year 1998 2016 2018

Cohen, R

Red Globe Press; 8th Revised Ed

2017

A&C Black

2012

An Actor’s Guide to Getting Dunmore, S Work

Simon Stephens, Punk Rock, Methuen Drama, 2009 http://www.franticassembly.co.uk/productions 3 Punk Rock 2

149

Module Specifications

MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Professional Practice Audition/interview technique

Classwork Classwork

87.5 22.5

20 20

125 52.5

Totals 110

150

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Professional Practice Year 2 Project Journal

Classwork Written assignment

n/a n/a

Yes Yes

150

Module Specifications

Year Three Module 11: UK Credits: ECTS: Level:

Public Productions and Films 100 50 6

Outline You will apply the skills and techniques acquired during the programme to the rehearsal and performance of a variety of stage and screen productions. Contact hours for the module are based on an average 35 hours per week. Aims To replicate as accurately as possible the production environment of the industry which the student has chosen to enter. • to fully prepare you for the professional world • to present you to the professional world What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • present a collaborative outlook within a creative ensemble allied to an awareness of your own creative individuality • work effectively and professionally with a range of directors, remaining open to differing working methods, styles and schedules • understand how to work professionally and creatively in a variety of media contexts • demonstrate an ability to fulfil the physical and vocal requirements of a role • apply previous learning to the requirements of the rehearsal • apply previous learning to the requirements of a variety of film locations and environments • know how to work successfully with technical teams Skills • sustain a role through the performance of a complete play or film • work effectively as a professional actor utilising, to a high level, the skills learned and developed earlier in the Course • engage confidently with an audience Values and Attitudes • demonstrate an excellent level of professional discipline • value and accept constructive criticism

151

Module Specifications

MODULE UNITS: Film Production One – Showreels Tutor: Contact hours: Timetable:

Kim Vithana 175 You will be on call five days a week for an average of six weeks during the Autumn term of Year 3

Aims To give you practical experience of the disciplined working environment and practices of a professional film or television production. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • identify a solid process when approaching the text • understand and apply detailed personal preparation and self-discipline when approaching the work • explore every aspect of the given circumstances of the character • identify a methodology for sustaining concentration amidst the distractions of a location experience • understand the stamina and commitment required of an actor during demanding and long filming days Skills • apply your screen performance training to a selection of scenes from existing scripts • create an individual interpretation of an existing character and sustain the performance throughout the filming process • respond professionally and creatively to direction • work productively with the crew • work productively with support tutors (e.g. voice, combat) Values and Attitudes • demonstrate a positive attitude to the complex demands of film making • react sensitively to the creative problems of technical departments • work effectively and supportively in a team • be open and generous when working with your scene partner How will I learn? You will be cast in a scene from an existing film or television script. You will rehearse and record these scenes on location, working with a Director and a Director of Photography. When you are not an actor on-set you will be required to take on the duties in a particular role of the film crew to support fellow student Showreels. Consequently, having a full understanding of how film units run and work as a whole.

152

Module Specifications

The filmed material will, then be edited into a Showreel for distribution to agents, casting directors and other useful industry contacts. Reading List Research material appropriate to the selected film/tv scripts.

Theatre Production One Tutor: Contact hours: Timetable:

Visiting directors 175 You will be on call five days a week for an average of five weeks during the Autumn term of Year 3

Aim To give the student practical experience of the standards and practices of a professional theatre production. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • demonstrate the ability to sustain a role throughout a whole play • identify a methodology for repeating a performance on several successive nights • modify a performance in response to the audience reaction Skills • apply your theatre training to a full-scale theatre production • work productively with the technical and design staff • work productively with support tutors (e.g. voice, combat, singing, etc) Values and Attitudes • deal with all aspects of preparation with a sensitivity to the creative problems of technical departments • display a professional attitude at all times How will I learn? In the Autumn term we will present a season of four short plays, two per production period. You will be cast in one of the four plays. At the end of the Summer term of Year 2 you will audition for the directors, and as a result of your auditions you will be cast in one of the plays. Over the Summer break you will undertake appropriate research and preparation for rehearsal. In the Autumn term you will rehearse the play with a director and the other members of the cast and will perform it on a number of successive evenings (usually five). Reading List Research material appropriate to the selected plays.

153

Module Specifications

Recorded Voice – Voice Reels Tutors: Contact hours: Timetable:

Nick Barber 15 3 hours per week during the rehearsal period of the Autumn season of short plays

Aim To provide you with the skills and material to create an individual, casting-specific professional voice reel to promote your recorded voice work to the Industry. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • fully understand the differing vocal requirements needed for different radio styles, such as commercials, voice overs or drama • reveal a thorough understanding of differing texts Skills • demonstrate application of skills to judge mic proximity • display excellent creative exploration of delivery style • utilise vocal and acting techniques to deliver pacing, emphasis, inflection and pauses Values and Attitudes • take responsibility for preparing and rehearsing a role • deal with all aspects of preparation with a sensitivity to the creative problems of technical departments • present a professional focused attitude at all times How will I learn? In term 1 you will work with a tutor to choose appropriate material for a showreel to showcase your recorded voice skills. You will work with your tutor and peers to rehearse practising with range of short pieces. Short pieces chosen in collaboration with your tutor will be recorded in term 3 and made available to you as a voice reel. Reading List Research material appropriate to the selected scripts.

154

Module Specifications

Film Production Two – Original Screenplays Tutors: Contact hours: Timetable:

Visiting directors 175 You be on call (in rep with Showcase rehearsals) for 4 weeks and full time for an average of three weeks during the Spring term of Year 3

Aim To give you practical experience of the disciplined working environment and practices of a professional Original Short Film production. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding: • create a clear, truthful and credible character • identify a methodology for sustaining concentration amidst the distractions of a location experience • take direction and act effectively on it • apply detailed personal preparation processes and self-discipline • understand the stamina required of an actor during demanding and long filming days Skills: • • • • • •

further develop your screen performance skills in a full-scale short film demonstrate the ability to create characters from original screenplays respond professionally and creatively to direction sustain a role throughout the filming process with confidence and creativity work productively and knowledgably with the technical staff and crew work productively and knowledgably with support tutors (e.g. voice, combat, etc)

Values and Attitudes: • establish a positive and professional attitude to the complex demands of film making • demonstrate sensitivity to the creative tasks of technical departments • show stamina and commitment required of an actor during demanding and long filming days How will I learn? Six short screenplays are selected from submissions. Initially you will be part of a casting process and ultimately cast in one or more of these short films. You will also assume crewing responsibilities for the other films, on location. You will work with the Head of Film and Television to interpret the scripts, develop characters and undertake practical prep re: props and costume for the films. Following this, you will have a read-through with the external Director of your film, followed by a rehearsal. The films will be shot on location, with the Director and a Director of Photography. The films will then be edited and completed for a screening to an invited audience. 155

Module Specifications

Reading List Research material appropriate to the selected scripts.

Showcase Tutor: Contact hours: Timetable:

In house staff & Visiting directors 130 You will work in rep with Film 2 preparation for 3 weeks and full time for two weeks during the Spring term of Year 3

Aims • to give you the experience of performing in a West End venue • to provide you with the opportunity to market your talents What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Knowledge and understanding • demonstrate a clear understanding of your value in the marketplace • produce well-rounded, expressive performances • demonstrate a responsibility to the group, both in rehearsal and performance Skills • perform confidently and creatively in front of potential employers • use your voice effectively in a large-scale theatre Values and Attitudes • reproduce a responsible attitude to timekeeping • treat the venue and the resident staff with respect How will I learn? Together with the tutor and your fellow students, you will work together to find suitable showcase scenes for each other. You will then rehearse the scenes with a director and perform them in a West End Theatre for an invited audience of agents, casting directors and other industry professionals. Reading List The appropriate play scripts and research material.

Theatre Production Two – New Writing Tutor: Contact hours: Timetable:

Visiting directors 175 You will be on call full time for an average of five weeks during the Summer term of Year 3

156

Module Specifications

Outline This production sees the culmination of the New Writing project begun in Year 2, completing a year-long research and development process with professional playwrights, taking the work into full production. Aims To give you a greater understanding of the writer’s process, and a practical experience of the work an actor needs to do when taking a new play from research and development workshops into production. What will I be expected to achieve? On successful completion of the unit you will be expected to be able to: Knowledge and understanding • be keenly aware of the research and development work an actor needs to do when working on new writing • display a thorough knowledge of professional practice Skills • exhibit the attitudes, behaviour, skills and creativity of a professional actor • demonstrate confidence in a professional rehearsal room environment • contribute to the creation of a new piece of theatre • prepare and perform one or more characters with a high level of competence Values and Attitudes • work sympathetically and creatively with others • present a responsible attitude to a director’s time scheduling How will I learn? In the Summer term the school will mount productions of the two specially commissioned plays which have been written following your involvement in research and development workshops in Year 2. At the end of the Spring term you will audition for the directors of both productions, and as a result of your auditions you will be cast in one of the plays. Over the Easter break you will undertake appropriate research and preparation for rehearsal. In the Summer term you will rehearse the play with a director and the other members of the cast, and will perform it on a number of successive evenings in one of the School’s theatre, to a public audience. Reading List Research material appropriate to the selected plays.

157

Module Specifications

MODULE TEACHING PATTERN Teaching Unit

Contact Hours

Type

Film Production 1

Rehearsals and performance Theatre Production Rehearsals and 1 performance Recorded Voice: Rehearsals and voice reels performance Film Production 2 Rehearsals and performance Showcase Rehearsals and performance Theatre Production Rehearsals and 2 performance Totals

Self Directed Study Hours

Total Student Learning Hours

175

195

175

195

175

195

130

195

175

195

845

155

1000

How will I be assessed? Your performance in each of the productions will be marked by a panel of tutors. Productions provide an important focus for assessment and give subject tutors the opportunity to assess the progress of your ability, in your final year of the programme, along with giving you a professionally structured opportunity to apply technique in performance. Marking of public productions and showcase All staff assigned a marking task on a production will write feedback for each student in accordance with the descriptors below and module outcomes as set out above. The director of the play will contribute to the grading process and provide written feedback for each student. Director’s feedback should consider during rehearsals/technical rehearsals and dress rehearsals did the student demonstrate: • Preparedness for the rehearsal. • Competently research the style, period and location of the production Research the play and/or stimuli, including work on style and subject matter • Professionalism during rehearsal. • Demonstrate a level of professional engagement with the process during rehearsals and meetings associated to the rehearsals • Punctuality during rehearsal. • An ability to evaluate and act on director’s notes. • An ability to use rehearsal time effectively. • An ability to use acting methodologies in the rehearsal process. • An ability to work collaboratively. • An ability to use given resources, including self. • An ability to contribute creative ideas. • Did the student understand the overall performance style required by the director?

158

Module Specifications

• •

Did the student demonstrate an appreciation of the ‘world’ being created with a solid/confident/advanced or professional understanding of the importance and relevance of background, context, form, structure? Was it evident the student was actively working outside of the rehearsal room to apply the notes given by the director (this perhaps could be evidenced in following rehearsals or was the actor given the same note several times)?

Ensemble Skills • Does the student demonstrate an ability to work as part of an ensemble? • Does the student demonstrate an appropriate use of space when working in the ensemble? • Is the student’s involvement in the ensemble a positive contribution to the overall performance? • Does the student demonstrate an appropriate use of ensemble techniques? During performances all students involved in a 3rd year Production will be assessed in the following areas: Basic Performance Skills: • Has the student learnt the script properly? • Does the student understand every word they are saying? • Can the student be heard? Is the text articulated clearly? • Is the student using their voice and body to good effect? • Does the action suit the word, the word the action? • Is there physical and vocal energy in the performance? • Are appropriate thoughts and emotions being communicated? • Is the student fully involved/concentrated in the performance? Are there moments of absence on stage? • Does the student demonstrate an ability to commit to their character on-stage? • Does the student commit fully to the choices they have made? Acting: • Is there a robust professional application of an acting process which demonstrates creative and imaginative development of characterisation? Or is the student ‘playing themselves’? Was it embodied and informed by the text? Is it consistent and sustained? • Is it based on detailed observation? • Does it articulate with the costume? Is the costume worn in character? Does it articulate with the use of props and objects? • Is there physical as well as vocal characterisation? • Are the stakes high enough? • Is it original or clichéd? Is it truthful or phoney? • Has the student thought about vocal patterning, physical and vocal rhythms and habits and mannerisms? Are they using techniques such as Movement techniques: states of tension or Laban effort actions? Vocal dexterity and articulation. Can they disguise the techniques within a fully engaged and embodied performance? • Is the performance lived or demonstrated?

159

Module Specifications

• • • • • • • • •

Do we believe this person? Are the choices made consistent and coherent? And delivered with an ease and truthfulness Is the character objectives/wants/goals played? Do we see the actor actively working to try to solve the character’s problem? Is there clarity in the performance? Does the style the actor chose fit into the world of the play? Is there a spontaneity and playfulness in performance? Is the student demonstrating openness on stage? Is the student available to the impulses given by other players? by the audience? by improvisations in the moment of play? Ability to understand and anticipate what is unpredictable in play Does the student respond quickly, physically and intellectually, to the action on stage? Does the student demonstrate an appropriate connection with the audience? Improvisation, interaction etc.

Voice: • Are voice and movement embodied? i.e. engaged and speaking from a supported position? • Is there good articulation, clarity of diction? • Does the student demonstrate vocal relaxation (i.e. focussed breath with open channels)? • Does the student demonstrate appropriate breath control? Is there good projection and energy in the voice? • Is the voice expressive? Has thought been given to pitch, tone and expression? Is there emotional engagement with the text? • Is there appropriate vocal delivery? Is it rushed, are there appropriate use of pauses, is it appropriate to character? • Has thought been given to appropriate rhythms and word stress? Have informed choices been made in relation to phrasing? Movement: • Does the student have a commanding presence on stage? • Is there an appropriate alignment of the head, chest, hips, feet? • Is there connection to the floor and to the height of the room? • Does the student demonstrate spatial awareness? • Is the student physically blocked or unblocked? • Does the student demonstrate appropriate gaze/ visual awareness? • Does the student demonstrate softness or hardness of the body appropriate to the character? • Is there an awareness/heightened sense of others? • Does the student demonstrate an understanding of rhythm of the play, of self, of others? • Is the student’s movement connected to their breathing? • Is the student centred? • Does the student control their energy and effort? Is it appropriately quick, slow, light, heavy or is the student misguided in her choices? • Are the impulses of movement to action clear or unclear? 160

Module Specifications

Stagecraft: • Does the student take up stage positions appropriate to the playing space? • Does the student understand the conventions governed by the choice of staging and can she exploit the particular circumstances given by this choice? • Can the student manage the spatial relationships to other actors and to the audience in order to best communicate moments in the play? • Does the student show the ability to take up positions to share thoughts with the audience without ‘demonstrating’? • Does the student employ appropriate postures and gestures to communicate character in general and specific moments in the play? • Does the student have the ability to respond appropriately, in the moment, to the positioning and movement of other actors? • Is there a guiding sense of aesthetic as well as a sense of logic and credibility, and the ability to negotiate the two? • Does the student have stage presence (contained energy - stillness - readiness - connection to the floor)? • (If appropriate to the genre of the work) is the student able to convey a sense of a world beyond the playing space, particularly in relation to exits and entrances? Advanced Performance Skills: • Is the performance truthful and convincing? • Characterisation coherent and consistently developed throughout the piece • Is there a strong & sustained technique in the work? • Is there regard for the pace of the performance? Monotonous or varied? • Has the student thought about mood and how to create / sustain it? • Has thought been given to interaction with other performers? • Is the performance focused? Is the performer’s energy focused? • Does the student wear her costume well? Work with properties? • Has the student recognized the style of the piece? Are they employing the appropriate conventions? • Does the student perform with appropriate spontaneity, alertness, playfulness, lightness and openness? (where applicable) • Does the student demonstrate a command of improvisational skills in performance? (where applicable) • Do we get a sense of the world of the play? • Does the student use the performance conventions set by the director convincingly and appropriately? • Does the student indicate an advanced capacity to decode a play-text in relation to performance? (where applicable) Marking of Screen productions All staff assigned a marking task will write feedback for each student in accordance with the descriptors below and module outcomes as set out in the BA Acting Programme handbook. The director of the production will contribute to the grading process and give written feedback for each student. 161

Module Specifications

Directors feedback should consider during pre-production rehearsals did the student demonstrate: • Preparedness for the rehearsal. • Competently research the genre of the programme/film, given circumstances, set location. Research the style and subject matter of the piece. • Professionalism during rehearsal. • A level of professional engagement with the process during rehearsals and meetings associated to the rehearsals • Punctuality during rehearsal. • An ability to explore choices within a text and flex performance. • An ability to evaluate and act on director’s notes. • An ability to use rehearsal time effectively. • An ability to use acting methodologies in the rehearsal process. • An ability to work collaboratively. • An ability to use given resources, including self. • An ability to contribute creative ideas. • An ability to apply discoveries through improvisation to the script. • Did the student understand the overall performance style required by the director? • Did the student demonstrate an appreciation of the ‘world’ being created with a solid/confident/advanced or professional understanding of the importance and relevance of background, context, form, structure? • Was it evident the student was actively working outside of the rehearsal room to apply the notes given by the director (this perhaps could be evidenced in following rehearsals or was the actor given the same note several times)? Ensemble Skills: • Does the student demonstrate an ability to work as part of a team, creatively? • Is the student’s involvement a positive contribution to the overall performance? • Does the student embrace collaboration, generosity and inclusion when working with other actors? Technical Skills will be assessed pre filming and on location: • Camera assisting: camera set-up, lens changes, focus pulling and clapper board marking. • Sound: boom operating and radio mic set-up. • Lighting: setting up various film lights, flags and bounce frames with a particular emphasis on safety precautions. • Continuity: reports, lined scripts, visual continuity and script supervision. • Does the student understand how to read a call sheet? • Does the student know the various roles of crew on-set? During on set filming all students involved in a 3rd year on-screen projects will be assessed in the following areas: Basic Performance Skills: • Has the student learnt the script properly? 162

Module Specifications

• • • • • • • • • •

When filming scenes out of story order, does the actor pitch the performance contextually and emotionally correctly? Does the student understand every word they are saying? Can the student be understood? Is the text articulated clearly? Is the student using their voice and body to good effect within the constraints of particular camera shots? Does the action suit the word, the word the action? Is there internal and vocal energy in the performance? Are appropriate thoughts and emotions being communicated? Is the student fully involved/concentrated in the performance? Are there moments of absence on-screen? Does the student demonstrate an ability to commit to their character? Does the student commit fully to the choices they have made?

Advanced Performance Skills: • Is the performance truthful and convincing? • Is the characterisation coherent and consistently developed throughout the piece? • Is there a strong & sustained technique in the work? • Is there regard for the pace of the performance? Monotonous or varied? • Has the student thought about mood and how to create/sustain it? • Has thought been given to the interaction with other actors? • Is the performance focused? Is the performer’s energy focused? • Does the student wear her costume well? Work with properties? • Has the student recognized the style of the piece? Are they employing the appropriate conventions? • Does the student perform with appropriate spontaneity, alertness, playfulness, lightness and openness? (where applicable) • Does the student demonstrate a command of improvisational skills in performance? (where applicable) • Do we get a sense of the world they exist in? • Does the student use the performance conventions set by the director convincingly and appropriately? Acting: • Is it based on detailed observation of people, life and voices from the past? • Is the student equipped with ideas and freedom to explore? • Does the student demonstrate: an understanding of the psychological/emotional life of the character? The flaws of the character? The motivations of their character? Emotional reality that is contrary to the setting? • Does the student apply life experience to the life of the character? How does the character exist in reality? • Does the student demonstrate on-screen intensity of emotion? • Is it original or clichéd? Is it truthful or phony? • Does the student demonstrate a clear understanding of subtext and can this be read in their performance on-screen? 163

Module Specifications

• • • • • •

• • • • • • • • • Voice:

• • • • • • • • •

Has the student explored the hidden world of the character to aid telling their story? Does the student show consistent internal energy on-screen? Does the student demonstrate clear listening skills on-screen? Does the student fill negative space on-screen? Is there physical as well as vocal characterisation? Has the student thought about vocal patterning, physical and vocal rhythms and habits and mannerisms? Can the student control their voices with vocal dexterity and articulation? Is the performance lived or demonstrated? Is there clarity in the performance? Clear thought to be read on- screen? Does the student understand pivotal turning points in the script, the arc and the characters emotional journey? Does the student understand how costume and props colour and inform? Are the stakes high enough when choices with script are made? Is the character objectives/wants/thoughts played? Do we see the actor actively working to try to solve the characters problem? Is the empathy that civilizes and connects, shown on-screen in performance? Does the student respond quickly, physically and intellectually to the actor they are filming with? (If appropriate to the genre of the work) Is the student able to convey a sense of a world and people beyond the playing space? Do we believe this person? Are the choices made consistent and coherent? And delivered with an ease and truthfulness? Are voice and movement embodied? i.e. engaged and speaking from a supported position? Is there good articulation, clarity of diction? Does the student demonstrate vocal relaxation (i.e. focussed breath with open channels)? Does the student demonstrate appropriate breath control? Is there good energy in the voice? Is the voice expressive? Has thought been given to pitch, tone and expression? Is there emotional engagement with the text? Is there appropriate vocal delivery? Is it rushed, are there appropriate use of pauses, is it appropriate to character? Has thought been given to appropriate rhythms and word stress? Have informed choices been made in relation to phrasing? Does the student understand and maintain effectively their ‘own’ rhythm and pace when interacting with another character? Does the student understand varying vocal levels in relation to their given environment?

Movement : • Does the student have screen presence? (contained energy - stillness)? • Does the student show understanding and control of their own physical mannerism / habits and extraneous movement? 164

Module Specifications

• • • • • • • • •

Does the student understand how to adapt their physicality to the parameters of the various camera lens sizes? Can they work within this space effectively? Does the student demonstrate an understanding of physical continuity when engaged in the action of a scene? And in turn understand the connection between the continuity of movement and the text? Is the student physically fluid and relaxed? Does the student understand eye lines and how to explore eye lines within the parameters of a camera shot? Can the student convey the inner emotional life of their character through their eyes? Does the student demonstrate appropriate visual awareness? Does the student embody the physicality of their character? Does the student control their energy and effort? Is it appropriately quick, slow, light, heavy or is the student misguided in her choices? Are the impulses of movement to action clear or unclear?

Screen Craft: • Can the student understand and control the physical limitations that is required for on-screen acting? For example: The stillness of physicality in an ‘over the shoulder shot’? Edge of frame limitations? • Is the student able to demonstrate an understanding of how the speed of movement appears on-screen and how it needs to be adapted for screen? • Does the student demonstrate spatial awareness within the camera frame? And do they demonstrate an understanding of this when: Arriving into shot, leaving frame, taking a seat, turning away from the camera and turning back to the camera? • Does the student understand the basic language of filming? And the relationship between physicality and camera? i.e. shot sizes: close up, medium close up, mid shot, long shot, wide, over the shoulder, dirty shot, POV close-up, profile shot, two shot, panning, tracking, pick-up. • Is the student able to hit a mark? And work within the boundaries of a mark when in a dirty shot? And understand why this is technically important? • Does the student understand first, second and third position when instructed by the director? • Does the student demonstrate an understanding of how ‘actual’ space and distance is different to ‘on-screen’ space and distance? Can they adjust accordingly? • Does the student understand the physical conventions governed by the size of a camera shot and can they adapt their performance to accommodate this? • Is there a guiding sense of aesthetic as well as a sense of logic and credibility, and the ability to negotiate the two? • Does the student demonstrate focus and concentration on set? MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Film Production 1

Performance 80% Process 20% Performance 100%

Theatre Production 1

165

Weight -ing 20%

Pass Mark 40%

Pass/ Fail No

20%

40%

Module Specifications

Film Production 2 Showcase Theatre Production 2 Recorded Voice: voice reels

Performance 80% Process 20% Performance 80% Process 20% Performance 100% Classwork

20%

40%

20%

40%

20% n/a

40% n/a

No Yes

How do I pass Public Productions and Films? The public productions are assessed 100% on performance. Film Productions and Showcase are assessed 20% on rehearsal process and 80% on performance. You are required to achieve a grade of 40% or above in each unit. All Performances in the Public Productions and Films are marked by a panel of at least three and more usually four internal assessors, which may include the Course Director, the Head of Acting, the Head of Voice, the Head of Movement and/or another senior member of the faculty. When our own internal examiners themselves direct Third Year Productions another internal examiner will take their place on the marking panel. Process is marked by internal assessors. The Process mark in Showcase will be awarded by the director, and will reflect the contribution each student makes to the success of the Showcase as a whole and not just their own performance, including research of potential scenes and generosity towards others in the selection and sharing of material, as well as commitment to the rehearsal process. The Process mark in Films will be awarded by a member of the faculty (usually the Producer) who has been involved throughout the preparation and filming period of each project, and will reflect the contribution each student makes to the films outside their own performance, including responsibilities for crewing, setting up and clearing on location, carrying and maintaining equipment and supporting each other’s performance work. How and when will I get feedback on my assessments? You will receive written feedback from your director and each member of the marking panel on all your 3rd year film and theatre performances.

166

Module Specifications

Module 12: UK Credits: ECTS: Level:

Professional Employment Skills 20 10 6

Module Co-ordinator: Contact hours: Timetable:

Marcus Ellard 90 Workshops in the Autumn term Self-directed Study in the Spring and Summer terms

Outline You will further develop your knowledge and understanding of the business aspects of the profession that you have chosen to enter, and deepen your reflective practice. Aim • to ensure that the personal management skills and the levels of professional discipline developed earlier in the course are brought to a professional level. What will I be expected to achieve? On successful completion of the module you will be expected to be able to: Skills • engage creatively and analytically in the analysis of your rehearsal processes and performance • demonstrate intelligent engagement with and practical application of professional practices • acquire information retrieval skills needed to gather, sift, synthesize and organise material independently and to critically evaluate its significance • participate creatively and critically in appropriate independent research, whether investigating past or present text or characters or as part of the process of creating new characters Knowledge and understanding • identify a high level of professional working practices • recognise the areas of work you wish to pursue • reveal a good understanding of the industry you are about to enter • demonstrate clear understanding of your own casting potential Values and Attitudes • express your impressions of the play and the rehearsal process in a professional manner • reflect on and analyse, your own working practice in a professional manner • develop the ability to manage constructively and creatively personal, interpersonal and creative issues How will I learn? The module will be delivered in a range of ways, many of which are linked to the work of the Public Production and Film Module. Professional Practice seminars 167

Module Specifications

which began in Year 2 will continue with a range of industry speakers. At the end of the Autumn term you will take part in mock auditions and casting workshops. The Spring term sees the culmination of the New Writing project, completing a year-long research and development process with the writers, taking the work into full production. You will engage in independent research, in preparation for Showcase rehearsals, and will apply reflective and analytical skills to the writing of your production journal and Professional Practice Portfolio. Reading List Title Ways of Seeing SMFA: The Ninja Within

Author Berger, J Gillespie, Bonnie

Publisher Penguin Cricket Feet Publishing

Year 2008 2013

There are no Secrets The Actor's Life: A Survival Guide

Brook, Peter Fischer, Jenner

Methuen Bloomsbury

1995 2017

Cohen, R Kawasaki, Guy Dunmore, S

Spotlight Spotlight Mayfield Viking A&C Black

2020 2020 1998 2011 2001

Cricket Feet Publishing

4th ed 2014

Contacts The Spotlight Acting Professionally Enchantment An Actor’s Guide to Getting Work Self-Management for Actors: Getting Down to (Show) Business,

Gillespie, Bonnie

MODULE TEACHING PATTERN Teaching Unit

Type

Professional Employment Skills Production Journal Professional Practice Portfolio

Lectures and workshop classes Tutorial Tutorial

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

100

2 2

68 28

70 30

106

200

Totals 94

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Professional Employment Skills Professional Practice Portfolio Year 3 Production Journal

Classwork Written assignment Written assignment

n/a n/a n/a

Yes Yes Yes

168

Module Specifications

How will I be assessed? Assessment of the Professional Employment Skills module is pass/fail. You will be assessed on your classwork in the Professional Employment Skills workshops and seminars by your Head of Year. You will submit a Professional Practice Portfolio, which should contain: • your own notes on the professional practice lectures, seminars and workshops in Years 2 and 3 • your up-to-date professional CV • your publicity photograph • reflective notes on your mock interviews and castings in Years 2 and 3 • reflective notes on the Showcase, and on any subsequent professional interviews, auditions, castings and agent meetings • an action plan for the year which follows your graduation from the course, which should identify your particular strengths and interests, the areas of work you wish to pursue, and how you plan to go about this • notes on your knowledge of the industry, given the particular strengths and interests you identified in the Action Plan, including creative and production teams of relevant companies, casting directors, etc • notes on professional and self-management, e.g. tax matters, union membership, plans to continue developing your skills following graduation • all written feedback you have received during the three years of training You will submit a Production Journal containing constructive reflection on, and mature analysis of, your practical work as an actor on the first of the 3 rd year theatre productions. The Journal should contain: • • • • • • • • • • •

Research of the period within which the play is set (including reference sources) Research on the Playwright (including reference sources) A copy of the annotated play script First impressions and the main theme of the Play Background of the character Given circumstances (the facts presented in the play) Character objectives Notes on rehearsals New knowledge/skills Links with other classes Summary of the Project

In conjunction with the assessment criteria for written assignments, your PPP and Production Journal will be assessed against the following criteria: • your ability for independent research, analysis and reflection, allied to a professional ability to apply good judgement, creativity and autonomy to your own preparation and performance process. • your ability to receive constructive criticism and to apply it to your own creative preparation and performance • your ability to express and structure ideas and information with clarity and maturity

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What do I have to do to pass? Professional Employment Skills does not carry any weighting in the Year 3 overall mark but you are required to pass all three components in order to be eligible for the degree. How and when will I get feedback on my assessments? You will be given verbal feedback on your professional employment skills in the professional practice seminars, mock auditions and interviews, and written feedback on your Production Journal.

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Policies and procedures

ArtsEd Policies ArtsEd operates a number of detailed policies and procedures, which can be found in the Polices section of the website: https://artsed.co.uk/about-us/policies/ These include: • Access Control policy • Assessment and Feedback policy • Casting policy • Complaints Policy and Procedure • Data Protection policy • Dignity & Respect policy • Disability Statement • Dyslexia policy • Equal Opportunities policy • Fitness to Study policy • Health & Safety policy • IT Acceptable Use policy • Plagiarism policy • Privacy Notice • Safeguarding policy • Teaching, Learning and Support Strategy ArtsEd also endorses Equity’s Safe Spaces campaign: Equity – Safe Spaces As a training provider, we are committed to creating a safe space for students and staff to work in. Here is Equity’s statement: “Every single one of us working on this project is entitled to work in a safe space: a space free of fear, a space free of bullying and harassment of any kind. We will work together honouring our differences and celebrating the gifts we each bring to the table. We will treat one another with politeness and respect at all times and, if we are subjected to or witness bullying and harassment, we will speak out knowing that our voices will be heard and we will be taken seriously. Together we can create a Safe Space.”

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Assessment Regulations

Assessment Regulations 1

INTRODUCTION TO THE ASSESSMENT REGULATIONS

These Regulations are written for ease of use by students and staff of ArtsEd, and aim to support transparency in the operation of City, University of London’s assessment and award framework. The Regulations should be read together with the Programme information provided in the Programme and Module Specifications, any specific Programme Regulations where applicable and related Regulations and policies. These Assessment Regulations are also subject to relevant external legal and regulatory requirements including, but not limited to, the Equality Act 2010. 2

General Principles

The Assessment Regulations apply to all undergraduate and postgraduate programmes taught at ArtsEd that lead to an award of City, University of London. The Regulations should be read in conjunction with the Assessment and Feedback Policy and City’s other relevant regulations, policies and procedures.

ii.

The Assessment Regulations cover all aspects of the conduct of assessment, how students progress and how Awards are made.

iii.

All members of ArtsEd and City’s community are responsible for upholding the Assessment Regulations. Consistent use of these Regulations ensures: • that all students are treated fairly, • independence in the assessment process, and • that the assessment of students is appropriate to maintain the academic standards of ArtsEd’s programmes and City’s Awards.

iv.

The process of registration and/or re-registration will confirm a student’s acceptance of these Assessment Regulations and any amendments made for the academic year.

2.1

Awards of CITY involving validated and partner institutions

As a validated institution, ArtsEd is bound by these Regulations. For Validated Programmes, any variations are considered and approved by the Collaborative Provision Committee on behalf of Senate. Reference to Boards of Studies in these Regulations is synonymous with Course Boards for Validated Programmes. As ArtsEd’s programmes are validated by City, these regulations refer to the Course Board rather than the Board of Studies. 3

3.1

PRINCIPLES OF THE ASSESSMENT FRAMEWORK

Framework for Academic Awards

City has a Credit Framework to guide how academic Programmes are structured and how student achievement is measured. The Credit Framework sets out the amount and level of Credit that is required for each Award. The Awards of City are governed by Senate Regulations 15 (Undergraduate Programmes), 16 (Graduate Programmes) and 17 (Postgraduate Programmes). Specific requirements for each Programme are set out in Programme Specifications (as described in Section 3.2.1 below).

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3.2 3.2.1

Definitive Programme Information Programme Specifications

A Programme Specification is published for each Programme leading to an Award. The Programme Specification describes the Programme content and states what a student must do to satisfy the overall Programme outcomes for the Award in order to pass, including any Programme Regulations approved by Senate (as set out in Appendix 1). The Programme Specification must set out the amount of credits available for each Module, information on assessment for the Programme and the how the Award classification will be calculated.

3.2.2

Undergraduate Programmes are made up of a series of Modules that make up a Programme Stage. Each Programme Stage must be completed and passed before a student can progress to the next Programme Stage, except in exceptional circumstances where permitted by the Assessment Board (see Section 4.7).

One year CertHE and Postgraduate Programmes are made up of a series of Modules. These Programmes are not divided into Programme Stages.

Module Specifications

Module Specifications provide an overview of the Module content and describe the Learning Outcomes, the requirements to take, complete and pass that Module and any specific regulation that might apply. If the assessment of a Module has more than one assessment component, the Module Specification will detail the method of assessment for each one, how much each component contributes towards the final mark and any other conditions that must be met to satisfy the Learning Outcomes and pass the Module. 3.3

Purpose of assessment

Assessment schemes are designed to enable students to demonstrate the extent to which they have met the objectives (the ‘Learning Outcomes’) and standards for a Module, Programme Stage, Programme and Award. A range of assessment methods will be used that are appropriate to the Programme and all types of assessment are considered equally valuable. The weighting of each component of assessment will be appropriate to reflect its content and contribution to the module’s Learning Outcomes. The volume of assessment for each Programme will not exceed the amount required to demonstrate the achievement of Learning Outcomes.

3.4

Language of assessment

City requires that the language of assessment is in English except when competency in another language is being tested. 4 4.1

Progression and Award Requirements to pass a Module

To progress through a Programme, students are required to complete and pass modules in order to accumulate an amount of academic credit to the value of the Award they are registered for. The progression criteria are detailed in the Programme Specification. 173

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The amount and level of credit for each Module is clearly set out in the Module Specifications. A Module may include a number of assessment components (or tasks) and requirements that must be completed in order to pass that Module. Some assessment components and/or Modules may be designated as pass/fail, as detailed in individual Module Specifications. Credit is awarded by the Assessment Board where all the Learning Outcomes, and any other requirements of a Module, are met and that Module is deemed to be passed. The mark for a specific Module is calculated as a weighted average of the marks for the individual components. The weightings assigned to each component are set out in the Module Specification. Components assessed on a pass/fail basis do not contribute to the calculation of the Module mark. 4.2

Module Pass marks

To successfully pass a Module a student must achieve the Module pass mark(s) of at least 40%. Any other requirements stated in the Module specification must also be met. 4.2.1

Module Assessment Components

Students are expected to participate in and pass all required assessment components in order to pass the Module. Some Modules specify pass requirements (‘minimum qualifying marks’) for individual assessment components in addition to requiring that the overall Module pass mark must be met. Where minimum qualifying marks for assessment components exist within a Module: • • •

4.2.2

they must be clearly set out in the Module Specification the student will be regarded as having passed a component where they achieve at least the minimum qualifying mark in that component, and have achieved the pass mark for the Module overall the mark to be shown in the record of marks and used to calculate the student’s Module mark will be the original mark achieved for that component or, if the assessment component has been passed at a resit attempt, the capped resit mark for that component.

Module Failure

In certain circumstances, academic credit may be awarded in the event of Module failure. The Regulations provide for this where certain conditions are met (see Section 4.7.1 - Failure of a Module – Compensation). 4.3

Requirements to Pass a Programme

To pass a Programme Stage, a student must achieve the total amount of credit for that Programme Stage at the specified level for the Award, as set out in the Programme Specification. Credit will be achieved through passing the required modules or by exemption through Recognition of Prior Learning. At the end of each Programme Stage, students who have passed all Modules and/or have been awarded the required credit will be allowed to progress to the next Programme Stage. At the end of the Programme, once all Programme Stages and/or Modules have been completed and all the requirements of the Programme have been met, an Assessment Board will consider the appropriate Award to be made.

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PARTICIPATION AND ATTENDANCE

4.4

Attendance and participation in scheduled classes, workshops, rehearsals, performances, lectures and tutorials is mandatory. All students are required to participate in all assessment components by the specified deadlines. Assessments must be submitted in line with the arrangements approved by the Course Board. Where a student participates in, but fails a component or Module, resit and, in the case of one year CertHE programmes, compensation rules apply (see Section 4.6). 4.4.1

Late Participation in an Assessment

Where late submission is permitted, the penalties for late submission and arrangements for extensions are determined by Programme Teams, approved by the Course Board and published in the relevant Programme Handbook. If late submission is permitted, penalties will apply where a student: • participates in an assessment after the due date where a deadline has not been extended and there are no Extenuating Circumstances. • has been given an extension but participates in the assessment after the extended date but within any stipulated timeframe. 4.4.2

Failure to Participate

Where a student fails to participate in an assessment component and has no Extenuating Circumstances, then that component will be considered to be failed. No mark or credit will be awarded and a resit opportunity will be offered subject to the rules in Section 4.7.2. A student who has not met the pass requirements for the Module, and who does not complete any required resit assessment by the required date will be withdrawn from the Programme by the Assessment Board in accordance with the rules in Section 4.6.2.

4.5

Award and classification

Award classifications are determined by Assessment Boards and conferred by Senate. To qualify for the Award of a Certificate, Diploma or Degree a student must have: • •

gained the appropriate credit for the relevant Programme satisfied any additional requirements set out in the Programme Specification.

The Award classification for a Certificate, Diploma and Degree is calculated from the marks received for Modules: •

The credit value of each Module normally determines their weighting in the aggregation of marks. The method used to aggregate marks to calculate a degree classification is set out in the Programme Specification.

•

Where modules have been assessed on a pass/fail basis, credit is awarded for a pass but no marks are awarded and these Modules do not contribute to the overall aggregate mark calculation.

The award classification for BA (Hons) Acting or BA (Hons) Musical Theatre is determined as follows: Award

Overall aggregate mark

Award classification

Bachelors Degree with Honours

70-100%

Class I (1st)

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60-69%

Class II upper division (2.1)

50-59%

Class II lower division (2.2)

40-49%

Class III (3rd)

The award classification for the MA Acting is determined as follows: Award Masters Degree Postgraduate Diploma

Overall aggregate mark

Award classification

50-100%

Without classification

The award classification for CertHE Musical Theatre or Acting Foundation is determined as follows: Award

Overall aggregate mark

Award classification

Certificate of Higher Education

70-100%

With Distinction

60-69%

With Merit

40-59%

Without classification

A student who has completed the requirements for a named Award cannot re-register for the same Award to improve the classification attained. A student who does not meet the requirements for the Award for which they are registered, but meets the requirements for an approved Exit Award, will normally be conferred that Award as set out in the Programme Specification. 4.6

Failure of a Module

If a student fails a Module due to failure in an assessment component, the Assessment Board will normally offer one of the following options: • •

Compensation (where this option is permitted and detailed within the Programme Specification, and the student has met specific criteria), as detailed in Section 4.6.1 Resit, as detailed in 4.6.2

Where a student is eligible for compensation at the first assessment attempt, this should be applied in the first instance rather than offering a resit opportunity. A student may not progress to the next Programme Stage until they have successfully passed the current Programme Stage, except in exceptional circumstances as detailed below. If a student has multiple failed assessments at the first attempt, an Assessment Board may offer a partial repeat year, as detailed in Section 4.6.3. If a student has Extenuating Circumstances affecting multiple assessments, an Assessment Board may offer a repeat year, as detailed in Section 4.6.4. Exceptionally, where a student has: • •

had approved Extenuating Circumstances during either the main assessment periods and/or the reassessment periods, and where the nature of the assessment and Programme permits, and 176

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taking into account PSRB requirements, where applicable

an Assessment Board may exercise discretion in permitting a student to complete a limited number of outstanding assessments (no more than 15 credits) in the following academic year whilst continuing with the next block or stage of the Programme. The specific arrangements for completing these assessments must be approved as a Special Scheme of Study in accordance with the arrangements set out in the Special Scheme of Study Policy and must take account of the maintenance of academic standards, and any legal obligations. The Assessment Board must make it clear to the student that failure to pass the assessments being completed will normally result in withdrawal from the Programme, even if Modules from the next block or Programme Stage of the Programme have been successfully completed. 4.6.1

Compensation

Compensation allows students on one-year CertHE programmes to gain an award when they have not passed all of their modules but the Assessment Board confirms they have met all of the following criteria pertaining to their level of study. The student must have: • • •

Passed modules to the value of at least 95 credits and Obtained a mark of at least 30% in any failed module up to 25 credits and Obtained an average mark of 40% or greater for the whole level (across all 120 credits studied)

Compensation is only applied when the full profile of marks covering all 120 credits is available to the Assessment Board. If compensation is applied, the student will not be offered any further reassessment opportunities for the compensated module. The actual mark for the compensated module will be included on the results with the letters ‘CP’ to denote a Compensated Pass. Compensation is not available for failed Modules on other Undergraduate or Postgraduate Programmes. 4.6.2

Resits

A resit is a second attempt at an initial failed assessment without having to repeat the original period of teaching and learning. The resit mode may vary depending on the nature of the initial assessment. A resit is granted by the Assessment Board which also makes the final decision on resit arrangements. Where there is more than one assessment component in a Module, an Assessment Board will need to make clear which assessment components they are required to resit (see 4.6.2v below). A student normally has a maximum of two attempts to pass each assessment component; a first attempt and a resit. Students who have approved Extenuating Circumstances may be granted a further attempt (see Section 4.7). Resits will not normally be offered if a student fails two or more modules or two or more components within a module. Resit provision is subject to all the following conditions: i.

Where possible the student will be assessed by repeating the same activity. Where not possible for example when the failed or missed assessment is a performance in a play or 177

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other group dependent exercise, the student may be required to carry out a separate piece of work in place of the original assessment ii.

In cases where an entire module and its corresponding assessment point(s) are missed (for example, being absent for four weeks or more) the Director of the School, in consultation with the student, will consider if the student can continue on the programme in the current year or whether they should interrupt their studies. If the student interrupts their studies they may rejoin at the appropriate term in the following year to retake the assessment. If the student is allowed to continue on the programme in the current year an aggregate of the students’ previous marks will be used.

iii.

If the student fails the attempt at the failed or missed assessment then they may not progress with their studies and must withdraw from the course.

iv.

If a student fails to participate in one assessment component at the first attempt and has no Extenuating Circumstances, the first attempt will be recorded as a fail and a resit will be offered for that component. However if the student fails two or more assessment components within the same module, and has no Extenuating Circumstances, resits will not normally be offered.

No resits can be undertaken until failure of the assessment component has been confirmed by the Assessment Board, or an Interim Assessment Panel or, where a final decision is pending following a meeting of the Assessment Board, by the Assessment Board Chair and External Examiner.

vi.

The method and date of resit will be set by the Assessment Board or by Chair’s action following initial consideration by the Assessment Board. Interim Assessment Panel decisions on resits are provisional and subject to approval by the Assessment Board.

vii.

Resit arrangements will be as follows:

a. If the student fails any component, they must resit that component regardless of the aggregate Module mark, and regardless of whether the component has minimum qualifying marks or not (i.e. pass/fail components as well as those with a minimum pass mark of 40%). b. The mark for each assessment component that is subject to a resit opportunity will be capped at the pass mark for the Module (40% for undergraduate Modules or 50% for Postgraduate Modules). This capped mark will be used in the calculation of the final Module mark (which will be used in the Award calculation), together with any original marks for components that were passed at first attempt. c. If a student receives a lower mark in a resit for an assessment component than that achieved at the first attempt, the lower mark stands (not the first attempt mark even where this was failed); the Assessment Board cannot exercise discretion over which to accept. viii.

ix.

4.6.3

Where the pass mark for the Module overall is achieved and any component requirements are satisfied, the student will be awarded the credit for the Module. A student who has not met the pass requirements for the Module(s) and does not complete the resit by the date specified will not normally proceed on the Programme; the Assessment Board will require them to be withdrawn.

Multiple Failed Assessments (Resits or Partial Repeat Year)

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If a student: • •

has multiple failed assessments at the first attempt and has not met the requirements to progress to the next Programme Stage (and has no approved Extenuating Circumstances), or has approved Extenuating Circumstances affecting the second (resit) attempt at their assessments

and has not met the requirements to progress to the next Programme Staqe or complete their Award, an Assessment Board may, at their discretion and where permitted, offer either option (i) or (ii) below:

Resits at the next opportunity The student must resit any failed components (i.e. all those where the pass requirements have not been met) at the next opportunity to complete:

• •

their second attempt at the failed assessments (if the student had no Extenuating Circumstances), or an additional resit attempt (if the student has approved Extenuating Circumstances that related to a resit attempt).

The student is not expected to attend City other than to participate in relevant assessments. Marks for the resit attempt are capped at 40% (undergraduate) or 50% (postgraduate) and no further resit or compensation opportunities will be permitted.

If a Module is failed, the student will be withdrawn unless they are eligible for compensation and the Assessment Board agrees that they have therefore met the requirements for progression to the next Programme Stage or an Award.

ii.

Partial Repeat Year Based on the nature and number of assessments that have been failed, the Assessment Board may offer the student a partial repeat year (with attendance) to complete: • •

If a partial repeat year is undertaken: •

The student is not permitted to progress to the next Programme Stage of the Programme but must repeat the failed Modules and/or assessment components in full (with attendance) during the following academic year.

•

The student retains the marks for the Modules and/or components already passed in the previous academic year.

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The student attends City, and has full access to all facilities during the partial repeat year.

•

The student must resit any failed components where the pass requirements have not been met.

•

Marks for the resit attempt are capped at 40% (undergraduate) or 50% (postgraduate) and no further resit or compensation opportunities will be permitted.

•

If a Module is failed during a partial repeat year, the student will be withdrawn unless they are eligible for compensation and the Assessment Board agrees that they have therefore met the requirements for progression to the next Programme Stage or an Award.

•

Normally, the opportunity to repeat a year of study for progression purposes can only be offered once in the duration of the registration and will be counted as part of the student’s maximum period of registration.

There is no automatic right to a partial repeat year. Repeats may not be used to improve the classification of the Award where a student has passed. City must comply with relevant external legal and regulatory requirements, therefore partial repeat years may not be offered to students where legal or other restrictions apply4. If the Assessment Board offers a partial repeat year, the student may decline this and decide to participate in the resits at the next opportunity. If a student declines the offer of a partial repeat year, and participates in the resits at the next opportunity they will not be offered any further attempts at the failed assessments if they fail their resit attempts. 4.6.4

Full Repeat Year

A full repeat year is only permitted where the student has approved Extenuating Circumstances (see Section 4.8) affecting multiple assessments or the student has been suspended in accordance with the Fitness to Study Regulation (see Senate Regulations). Either the student or the Assessment Board can propose this approach. Where a student recommends a full repeat year, the Assessment Board will use its discretion in deciding whether the request is approved and will consider the requirements of any PSRB where applicable. If a full repeat year is undertaken: •

The student does not progress to the next Programme Stage but repeats all the Modules in the current Programme Stage during the following academic year.

•

The student is not able to carry forward any marks or credit from previous attempts at the Programme Stage in the previous academic year. Previous marks for the Programme Stage are disregarded and all assessment components are repeated including any which the student has previously passed.

Legal or other restrictions include Home Office requirements in relation to Tier 4 students. Schools should consult the Visa Compliance Team in advance of the Assessment Board(s) for guidance. 180

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4.7

•

The student attends City and has full access to all facilities during the full repeat year.

•

The marks that can be achieved are not capped, and the student is normally entitled to the resit opportunities available. If, however, the repeat year was granted in relation to resit assessments, the marks will be capped and no further resit opportunity will be offered.

•

Extenuating Circumstances

Students are expected to plan their work in order to meet assessment deadlines and to be aware of the relevant regulations and requirements detailed in Programme Handbooks. The Extenuating Circumstances process is for students who have experienced unforeseen significant disruption to their studies due to reasons beyond their control. Extenuating Circumstances criteria Extenuating Circumstances are defined as circumstances which are: • •

unforeseen and outside a student’s control, and which can be shown to have had a direct and substantial impact on their academic results (this may include an impact on the student’s capacity to study prior to an assessment, on their ability to complete an assessment, and/or on performance during an assessment).

An application for Extenuating Circumstances must demonstrate that it meets these criteria. Students with disabilities or long-term conditions Arrangements for students with disabilities or long-term conditions are detailed in Section 4.8.4 and are separate from the Extenuating Circumstances process. However, where a student is • •

awaiting formal diagnosis of a disability, or experiences an acute phase of an ongoing condition that has been previously notified to City which is likely to have seriously impaired the student’s performance at the same time as an assessment event, or before an assignment deadline,

this may be considered as an Extenuating Circumstances claim. 4.7.1

Submission of applications

City sets strict deadlines for the submission of requests for consideration of Extenuating Circumstances relating to assessment, progression or Award. This is to safeguard the fairness of the assessment process and to avoid creating an unfair advantage. Students are encouraged to raise issues early and before the assessment(s) if possible. Claims for Extenuating Circumstances must be submitted by the student to the relevant Extenuating Circumstances Panel: • not later than 7 calendar days after the assessment said to have been affected, and • all submissions must be made before the meetings of the relevant Extenuating Circumstances Panel and Assessment Board. Students will be notified of the relevant deadlines for their Programme in the Programme Handbook.

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The claim must be supported by evidence. The form can be submitted initially without supporting evidence but any outstanding evidence must be submitted by the deadline agreed by the School. If further assessments are affected by the Extenuating Circumstances after the initial claim, a new form should be submitted. The claim will be considered in accordance with Section 4.8.2 below) If, for a valid and overriding reason, the student is unable to meet the deadline for submitting a claim or supporting evidence for an Extenuating Circumstance, an appeal can be lodged (see Section 6.11) The full procedures which must be followed for the submission and consideration of Extenuating Circumstances claims is set out in the Extenuating Circumstances Guidance for Students and the Guidance for Extenuating Circumstances Panels. 4.7.2

Extenuating Circumstances Panel

Each Board of Studies will establish a Panel to consider applications for Extenuating Circumstances claims (see Appendix 2 for membership). •

The Extenuating Circumstances Panel will determine whether the claim meets the criteria for Extenuating Circumstances and whether supporting evidence is sufficient. The Panel will not have sight of the student’s individual marks when considering the application.

• Where the Extenuating Circumstances Panel is satisfied that the criteria have been met and the evidence received is sufficient, it will report the outcome of its consideration as a recommendation to the relevant Assessment Board (responsible for considering the student’s results and for making a decision on Award or progression). • Where an application for Extenuating Circumstances is accepted by the Panel, the most usual recommendation is for the student to be offered an additional opportunity to take the assessment(s). The Panel may, at its discretion, highlight particular factors in its recommendation which it is satisfied are worthy of consideration by the Assessment Board when deciding on the appropriate course of action, as outlined in the Guidance for Extenuating Circumstances Panels. A formal record will be kept of the meeting and Panel’s recommendations. • The student will be informed within 14 days from the date of the Panel’s recommendations and when the Assessment Board will meet to ratify the decision. • The decision on the course of action taken remains with the Assessment Board and will take into account the need to uphold academic standards and demonstrate that Learning Outcomes have been met as well as the Panel recommendation. • If a claim has not been accepted by the Panel this will be reported to the Assessment Board; no adjustment should be made and the student’s results should be considered in the usual way. • Extenuating Circumstances Panels should not normally approve second or multiple submissions for the same circumstances from any one student but there may be some cases where unforeseen circumstances last beyond the submission of the original claim. Students who have on-going medical conditions or other circumstances which cannot be described as unforeseen should be referred to the appropriate service for assessment of their needs (except where a student experiences an acute phase of an ongoing condition that has been previously notified to City which is likely to have seriously impaired the 182

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student’s performance at the same time as an assessment event or before an assignment deadline).

4.7.3

Assessment Board consideration of Extenuating Circumstances Recommendations

Based upon the report and recommendation from the Extenuating Circumstances Panel, the Assessment Board will consider the most appropriate course of action from the following: i.

The attempt at the affected assessment(s) should be set aside and the student offered an additional opportunity of taking the assessment/s. This will be either: • as an additional first attempt (if the Extenuating Circumstances related to a first attempt) or • as an additional resit attempt (if the Extenuating Circumstances related to a resit attempt). If a student chooses to take up the offer of an additional attempt, any mark received for the previous affected attempt will be permanently disregarded. If the student decides not to take up the offer of an additional attempt, the mark received for the previous attempt will stand. Where appropriate, (normally where there are multiple assessments affected by the Extenuating Circumstances) the Assessment Board may offer a repeat year option to enable the student to re-access learning and teaching, and take the assessments as a first attempt (or as a resit with a capped mark if the repeat year option is granted following resit assessments) (see Section 4.7.4).

ii.

Where the Assessment Board is satisfied that a further opportunity to take the original assessment is not possible or is inappropriate, it may arrange for an alternative assessment task to be set, on the condition that it must be an equivalent task which will enable the relevant Learning Outcomes to be demonstrated.

iii.

In exceptional cases, where a student’s performance in one or more Modules has been affected by Extenuating Circumstances, and the Assessment Board considers the options available under (i) and (ii) above to be unsuitable, it may review borderline progression/Award decisions based on the affected performance. Recommendations arising from such reviews of borderline progression/Award decisions will require the approval Chair of the Board of Studies and will be reported to Senate on an annual basis.

If Extenuating Circumstances prevent a student from completing the final assessment, the Assessment Board may recommend to Senate that an Aegrotat Award should be made (see Section 4.15). When selecting any of the options set out in (i) to (iii) above, the Assessment Board’s decision must take account of the need to ensure parity of treatment of all students, and to avoid any action which might compromise academic standards and integrity. It must also have regard to any PSRB requirements.

iv.

In exceptional circumstances where soon after assessment(s) a student presents new evidence of a previously unsuspected disability after the deadline for submission of an Extenuating Circumstances claim, and the student could not have reasonably suspected they had the condition, or obtained a diagnosis at an earlier time, the student may request consideration under the Extenuating Circumstances Regulation and Policy. The student should submit a Stage 1 Appeal on the grounds of Undisclosed Extenuating Circumstances, in accordance with the

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appeal regulations. An Extenuating Circumstances Panel may only consider the claim once formal diagnosis is confirmed. For the avoidance of doubt, Assessment Boards cannot alter a student’s marks or re-consider assessment decisions that were made prior to receiving formal notification of a potential disability via an Extenuating Circumstances claim. On the basis of subsequent diagnosis of disability, an Assessment Board may either: •

offer an additional first attempt at the relevant assessment(s) with reasonable adjustments in place (if the Extenuating Circumstances related to a first attempt),

•

offer an additional resit attempt (if the Extenuating Circumstances related to a resit attempt and the student has not yet attempted the resit(s) for the relevant assessment(s)) or

•

uncap the marks for the relevant resit assessment(s) (if the student has already completed the resits for the relevant assessments(s) or offer an additional discretionary resit attempt with reasonable adjustments in place.

The above would apply to the student’s current Programme Stage only.

4.7.4

Students with ongoing health-related conditions or disabilities

Where a student is admitted to a Programme with declared disabilities or on-going health conditions, City will agree learning and assessment strategies to provide the student with reasonable adjustments, additional support and/or facilities (see Disability Support). Students can declare a disability or ongoing health condition prior to admission and at any time whilst they are registered at City. It is expected that when a student consents for information to be shared, it will be shared sensitively with all relevant services and the personal tutor for the assessment of their needs and not just the initial point of contact. A record of formal diagnosis of ongoing health conditions, specific learning difficulties or other disability will be requested to enable City to implement reasonable adjustments to support the student. If the student fails to provide records of formal diagnosis, this will hinder City's ability to implement the necessary reasonable adjustments. Students awaiting formal diagnosis of disability should submit a claim to the Extenuating Circumstances Panel for consideration with supporting evidence to follow. If the student experiences a health condition after their initial admission to a Programme which may have a temporary but significant impact on their ability to engage with their studies, the student may be advised to interrupt their studies if it is considered that the Extenuating Circumstances and/or extensions procedures would be insufficient (see Section 4.19). Otherwise, City will endeavour to provide support and guidance to enable the student to complete their Programme of study.

4.8

recognition of PRIOR LEARNING (RPL) and PRIOR EXPERIENTIAL LEARNING (RPEL)

Recognition of Prior Learning and Prior Experiential Learning are not available for degree programmes taught at ArtsEd and validated by City, University of London.

4.9

Failure to Pass a Programme

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If having exhausted all permitted resit attempts and compensation opportunities a student still fails a Module (and therefore a Programme Stage or Programme) the student will be withdrawn from the Programme. This rule applies even if a student has exceptionally been admitted to the next Programme Stage of the Programme with assessments outstanding from the previous Programme Stage, and has successfully completed Modules from the next Programme Stage (see Section 4.7). The student may be eligible to receive an Exit Award if they satisfy the requirements of that Award as detailed in Section 4.11. Section 4.14 sets out the Regulation relating to re-enrolment following failure.

4.10

Exit Awards

If a student does not fully complete a Programme of study, the Assessment Board will consider whether they are eligible for an Exit Award where this is an approved option within the Programme specification. The non-completion may be due to failure to pass some components of the Programme or a decision by the student to withdraw from the Programme of study before the final assessment.

4.10.1

Ordinary Degrees

The award of Ordinary Degree is not available at ArtsEd. 4.10.2

Diplomas of Higher Education and Certificates of Higher Education

The Assessment Board will award a Certificate of Higher Education to those students who successfully complete the CertHE Foundation in Musical Theatre or CertHE Foundation in Acting. The Assessment Board may award a Diploma of Higher Education or Certificate of Higher Education where the student has successfully completed Years Two or One of an Honours degree programme, and has achieved sufficient credit at the appropriate academic level(s) for a Diploma or Certificate of Higher Education as detailed in the Credit Framework. 4.10.3

Postgraduate Diplomas and Postgraduate Certificates

Where it is an approved exit route from a Programme and detailed in the Programme Specification, a Postgraduate Diploma or Postgraduate Certificate may be awarded where a student has not satisfied the requirements to be awarded a Masters Degree.

4.11

TRANSFER PROVISIONS

The only entry point onto ArtsEd’s courses is at the start of each programme. Therefore students cannot transfer credits achieved at another higher education institution to join ArtsEd’s programmes part way through. Normally, degrees can only be awarded on successful completion of all years or parts of the programme. However, as stated above at 4.10.2, students who have successfully completed either year 1 or year 2 of their undergraduate study, and who wish to transfer from ArtsEd to another institution, may, at the discretion of the Assessment Board, be granted an exit award. Transfer between programmes at ArtsEd is not permitted. 4.12

Topping up to a Diploma or Degree

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If a student has been Awarded a Certificate or Diploma of City and then wishes to return to complete the Diploma or Degree for the same Programme, they may apply to be re-admitted to complete the higher Award provided that: • the student was not withdrawn from the Programme due to academic failure • the credit already Awarded remains current • the maximum period of registration for the Programme will not be exceeded • the student returns within a maximum of five years from the start of their original period of registration. It is not necessary for students topping up to a diploma or degree to be considered through the Recognition of Prior Learning (RPL) process (Section 4.9) but the previous Award must be rescinded as follows: • A student returning to top-up to a Diploma must rescind their Certificate on successful completion of the Diploma. • A student returning to top-up to a Degree must rescind their Certificate or Diploma on successful completion of the Degree. If the student fails to achieve the higher Award, they will retain their original Certificate or Diploma.

4.13

Re-enrolment

A student who has been withdrawn from a Programme or who has accepted an Exit Award is not permitted to re-enrol on the same Programme or to transfer to a Programme that is significantly similar in content to the original Programme (e.g. from Acting to Musical Theatre). 4.14

Aegrotat Award

A student prevented by illness or other sufficient cause from completing an Award may, at the discretion of the appropriate Assessment Board and subject to PSRB requirements, receive an Aegrotat Award. An Aegrotat Award will be awarded without classification. Candidates must normally have completed the penultimate Programme Stage (or assessment) of their Programme of study to be recommended for an Aegrotat Award. For undergraduate and postgraduate Awards, the Aegrotat Award should correspond to the level of study that is interrupted. To be eligible for this Award, both the Internal and External Examiner(s) must confirm that an Award would have been likely to be awarded if the final assessment for a Programme had taken place. The Assessment Board may make a recommendation for an Aegrotat Award of a qualification up to but not exceeding the final qualification for the Programme on which a candidate is registered. Aegrotat Awards are approved by the Director of Student and Academic Services on behalf of Senate. 4.15

Posthumous Awards

A Posthumous Award may be recommended by an Assessment Board where a student has died, provided that the student had completed all assessments for the penultimate progression point of the Programme. Posthumous Awards are approved by the Director of Student and Academic Services on behalf of Senate, and are reported to Senate. The Assessment Board can recommend that a posthumous degree should be awarded with honours and classification. If the student had completed all assessments for the Award, the case should then be considered by the relevant Assessment Board in the usual way.

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4.16

Revocation of Awards

In exceptional circumstances, City may revoke an Award made to a student. Such cases will be subject to the provisions of Senate Regulation 13 - Student Discipline and will be investigated by a Senateappointed City Disciplinary Panel which will approve and apply sanctions in accordance with the Regulation.

4.17

Periods of Registration

Each Programme will be subject to a minimum period of registration (as defined in Senate Regulation 15) and the following maximum period of registration, except where a different period is prescribed by the relevant Programme Regulation. The periods of registration are subject to relevant external legal and regulatory requirements. Periods of Registration Normal length of (Full-time)

Maximum period of Registration (Fulltime)*

Maximum period of Registration (Parttime)*

Taught Masters Degree

1 year

3 years

5 years

Postgraduate Diploma

2 terms

2 years

3 years

Postgraduate Certificate

1 term

2 years

3 years

Sandwich Integrated Masters Degree with Honours

5 years

8 years

10 years

Integrated Masters Degree with Honours

4 years

7 years

9 years

Sandwich Bachelor Degree with Honours

4 years

7 years

9 years

Bachelors Degree with Honours

3 years

6 years

8 years

Ordinary Degree

3 years

6 years

8 years

Graduate Diploma

2 terms

2 years

3 years

Graduate Certificate

1 term

2 years

3 years

Foundation Degree

2 years

4 years

6 years

Diploma of Higher Education

2 years

4 years

6 years

Certificate of Higher Education

1 year

2 years

3 years

Foundation Year

1 year

2 years

3 years

Award

Programme

* The normal lengths and maximum periods of registration for academic Programmes are set out above and will apply to all Programmes except where City is required to vary or limit those periods to comply with legal, statutory and regulatory requirements. A Programme of study must be followed continuously and completed within the maximum period of registration. Maximum periods of registration will normally include resits, repeats and any periods of interruption of studies. A student who has reached the end of the maximum registration period without achieving their intended qualification will be awarded the highest qualification they are entitled to (from their accrued credits) see Section 4.11 Exit Awards.

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4.18

Interruption of Studies

A student can apply to take an authorised break in their period of study (an ‘Interruption of Studies’) of up to one year for on-going medical or personal reasons. Personal reasons include, but are not limited to, financial reasons. If a student wishes to apply for an Interruption of Studies, they must make an application to the Dean’s nominee for approval. The application must include a description of the circumstances, together with any directly relevant evidence. In exceptional circumstances, where a student’s ability to study has been seriously impacted and the student is unable to apply for an Interruption of Studies, the Fitness to Study Regulation may be invoked. The normal period of interruption that may be granted is one year. At the end of this period, in exceptional circumstances, a student may apply to extend the interruption by a further year. Following a period of interruption, a student should normally start their studies at the beginning of the equivalent term in which the interruption commenced. A student may re-commence their study at a different point if this is considered the most appropriate timing for them re-join the Programme. This will be decided on a case-by-case basis and the rationale for the timing will be documented. An interruption of studies of less than one year may be approved in exceptional circumstances. Where this is approved, the student’s return to the Programme must be dealt with via the Special Scheme of Studies procedure. The Special Scheme of Study should take into account the elements of the Programme that a student has been absent for. Consideration of Interruption of Studies applications will take account of any overriding professional, statutory and regulatory body (PSRB) or legal requirements and the maximum period of registration for the Programme. Where the teaching for one or more Modules has been completed at the point of interruption, a student may apply to complete the assessments for that Module during the period of interruption. This will normally only be permitted where the nature of the student’s circumstances leading to the interruption would not affect their performance in the assessments. Where the student is permitted to sit assessments during the interruption period, they must attempt all the assessments for Modules for which teaching has been completed. Where a student has resit assessments outstanding at the start of the interruption period, they may apply to attempt those resit assessments during the period of interruption. Where the student is permitted to sit resits during the interruption period, they must attempt all resit assessments that are outstanding. If, following a student’s Interruption of Study, City has made changes to that student’s Programme and/or the availability of particular Modules, City will ensure that students who have interrupted their period of study are fully informed of the changes and the implications for their studies prior to their return to the Programme. Where appropriate, a student’s return to the Programme will be dealt with via the Special Scheme of Studies procedure to take account of changes to the Programme during the Interruption of Studies. A student who has had a break in his/her Programme and returns to City to complete the Programme will be governed by the Regulations and any statutory and legal requirements in force at the time of reentry to City.

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Assessment Regulations

4.19

Leaving a Programme

If a student decides that they do not want to complete their Programme, they must advise the School, in writing, that they wish to withdraw. It is the responsibility of the student to ensure that a request to withdraw is approved by the School. Failure to formally withdraw from the Programme will mean that later assessments will be recorded as not attempted and therefore failed (see 4.10 Failure to Pass a Programme). Once a student has been withdrawn from a Programme they will be considered as a new student for any subsequent re-registration, except for where allowance is made for students to top-up to a higher qualification, i.e. from a: • • •

Certificate or Diploma of Higher Education to Undergraduate degree Postgraduate Certificate to Postgraduate Diploma or Masters degree Postgraduate Diploma to Masters degree

within the maximum registration period of the qualification (see Section 4.13). Limitations apply where a student has been withdrawn due to academic failure (See Section 4.14 Reenrolment Following Failure).

5.1

Academic Standards, Marking and Feedback

Marking and Moderation

Assessment criteria and grade-related criteria will be provided in the Programme Handbook to help students to understand how their academic performance will be assessed. Arrangements for marking and moderation are as set out in the Assessment and Feedback Policy. 5.2 5.2.1

External Examiners External Examiner appointments

To ensure academic standards and externality in the assessment process, each Programme will have at least one External Examiner who takes an overview of the assessment process of the Programme. There may be additional External Examiners appointed for large Programmes, or to cover particular academic areas within a Programme, as determined by the appropriate Board of Studies. An External Examiner may also be appointed to cover a number of related Programmes. Nominations for External Examiners are considered by Boards of Studies and approved by the Deputy President and Provost (or their nominee) on behalf of Senate. Appointments are made according to criteria and conditions that ensure the seniority and expertise of External Examiners to carry out the full range of duties. Criteria and conditions are set out in the External Examiners Policy. External Examiners are appointed for a period of up to a maximum of four years. Exceptionally, this can be extended by one further year. Appointments can be terminated prematurely by the Deputy President and Provost (or their nominee) on behalf of Senate, or the External Examiner, in line with the approved criteria and process published in City’s Quality Manual. External Examiner duties

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Assessment Regulations

External Examiners are members of the Assessment Board with voting rights for the Programme(s) that they oversee. External Examiners provide essential independence in the assessment process and have the following responsibilities to: •

Review, approve or otherwise and comment on the assessments compiled by the Internal Examiners, including all assessment tasks that contribute to the final Award. External Examiners have a right to see all assessment material if they wish.

•

Review appropriately sized samples of assessed work. The scope of the External Examiner’s minimum assessment requirements will be agreed at an early stage in each academic year and/or assessment period.

•

Attend meetings of the Assessment Board(s) for the Programme as a voting member where Award or progression is being considered and to participate in decision-making. Examiners may also attend other Assessment Boards if they wish but would not have voting rights at those Boards.

•

Approve the decisions of the Assessment Board(s); or, if they are unwilling to approve any one or more of them, make independent representation to the President via Student and Academic Services.

•

Report to City on • the standard of the Award(s), the standard of student performance and the comparability of these with Awards made at other institutions, and • academic standards on Programmes, the robustness of the marking and the soundness and fairness of processes for the assessment and determination of Awards, through initial comments to be considered at meetings of Assessment Boards and a written report, submitted annually.

•

Perform such other special duties that might be requested by City and agreed with the External Examiner. This might include, by arrangement, attendance at any oral and practical assessment or interview in addition to those at which their attendance is agreed.

External Examiners have the right to submit written comments on any aspects of the assessment(s) to the President.

5.3

ACADEMIC MISCONDUCT

Academic Misconduct is any action that produces an improper advantage for the student in relation to their assessment(s) or deliberately and unnecessarily disadvantages other students. It can be committed intentionally or accidentally. City actively pursues all cases of suspected misconduct. The assessment of the type and severity of individual cases will be determined by academic judgement and these may be designated as: • • •

poor academic practice academic misconduct severe academic misconduct

as outlined in the Academic Misconduct Policy and Guidance. 190

Assessment Regulations

5.3.1

Identification of poor academic practice and academic misconduct

City reserves the right to use technology to detect and/or follow up cases of suspected academic misconduct. This may be used: • •

for a whole Module cohort, normally at the submission of work stage, where Programmes use technology for this purpose as part of a Preliminary Investigation for specific individuals or groups of students where academic misconduct is suspected.

A member of staff who suspects academic misconduct has been committed should first follow the Preliminary Investigation procedure set out below (see Section 5.7.2). The student will not be considered as being guilty of poor academic practice and/or academic misconduct until the matter has been investigated and the outcome determined in accordance with this Regulation and the Academic Misconduct Policy and Guidance (see Assessment policies). Where academic misconduct is suspected or discovered during an invigilated examination, the invigilator in charge will take such immediate action as they consider necessary and will then follow the documented procedures set out in Regulation 11 Conduct of Examinations.

5.3.2

Preliminary Investigation

The staff member suspecting the misconduct will ascertain the initial concerns, gather evidence and notify their Head of Department (or nominee) that a preliminary investigation will be conducted. During the preliminary investigation, the student will be informed of the allegation made against them and invited to discuss the allegations suspected of committing poor academic practice or academic misconduct. The purpose of the preliminary investigation is to: • establish the facts of the allegation of academic misconduct and the evidence to support it • determine whether there is a case to answer • determine whether the case relates to poor academic practice or academic misconduct • resolve the matter, determine the action to be taken or refer the case to an Academic Misconduct Panel where appropriate (see section 5.7.3). The preliminary investigation is a matter of academic judgement and should be completed either by a member of academic staff with either: • one or more additional member(s) of academic staff, or • as a joint review with a member of professional staff (to support the investigation for regulatory advice and conducting and managing investigations). The process for investigating the evidence for the suspected academic misconduct is published in the Assessment and Feedback Policy and Guidance. The Preliminary Investigation will seek to resolve the case as follows: i. Poor Academic Practice

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Assessment Regulations

Where staff have found from the evidence gathered that poor academic practice has been identified, the student will be invited to attend an informal meeting as an opportunity to resolve the matter as soon as possible within a mutually convenient timeframe. The student may be accompanied to the informal meeting by one member of City’s community on the understanding that the purpose of the meeting is to support the student to understand the allegation and the importance of good academic practice. If the matter is the student’s first instance of poor academic practice: • the work can be marked accordingly in line with the assessment criteria (as outlined in the Assessment and Feedback Policy and Guidance) • support will be provided to promote the student’s understanding and development of good academic practice • the student will receive a written warning that further breaches would be referred to an Academic Misconduct Panel and/or a more serious penalty applied For subsequent instances of poor academic practice, i.e. where the student has committed more than one instance of the same offence and has received a warning or guidance following the initial offence, the matter will be referred to an Academic Misconduct Panel.

ii. Academic Misconduct Where Academic Misconduct is suspected: • •

•

if the student disputes the allegation the case will be referred to an Academic Misconduct Panel if the student accepts they are guilty of Academic Misconduct and the case relates to: a. a minor first instance of academic misconduct, it may be dealt with at the preliminary investigation stage in accordance with Sanction 1 in Appendix 3 and a written warning issued to the student. A record of the outcome will be retained and the recommendation to apply this Sanction will be made to the Assessment Board. b. a student’s second instance of Academic Misconduct, it will be referred to an Academic Misconduct Panel. all cases of severe Academic Misconduct will be referred to an Academic Misconduct Panel.

If no agreement on the outcome of the Preliminary Investigation can be reached by the staff completing it, the case will be referred to a Panel. The student will be informed within 10 working days when the investigation is escalated from the Preliminary Investigation to an Academic Misconduct Panel to enable them to prepare for the hearing. Preliminary investigations, including those relating to poor academic practice, will be documented and noted on the student’s record for the duration of the Programme. If the offence has been committed by a student in relation to a module which is shared with another Programme, the Preliminary Investigation should: • • •

be undertaken in the School which owns the module involve staff representation from the student’s School (the School where the student is registered) if this is different from the School that owns the Module report the outcome of the investigation to the student’s School for note on the student’s record. 192

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5.3.3

Academic Misconduct Panels

If a case of academic misconduct has not been resolved during the preliminary investigation an Academic Misconduct Panel appointed by the Board of Studies for considering cases of academic misconduct will be established. The Academic Misconduct Panel membership is set out in Appendix 2. The Panel will be conducted as set out in the Academic Misconduct Policy and Guidance. If the offence has been committed by a student in relation to a module which is shared with another Programme, the Academic Misconduct Panel should: • be undertaken in the School which owns the module • involve staff representation from the student’s School (the School where the student is registered) if this is different from the School that owns the Module • report the outcome of the investigation to the student’s School for note on the student’s record. The Panel will be given access to records of any previous cases of academic misconduct (including poor academic practice) committed by the student prior to the hearing (including those in previous years or in Modules owned by another School). The date of the hearing will be set for a mutually convenient date where possible. The student will be invited to attend the hearing and may choose to be accompanied by one other person. If the student chooses to be accompanied, they must provide information about the person’s relationship to them and the reason for the person’s attendance in advance of the hearing. The hearing is an opportunity for the student to discuss the suspected misconduct and, if accompanied, the student is normally expected to speak on their own behalf unless the Panel agrees that their companion may represent them. The student may present their case to the Panel in writing if they wish. The student may also respond to any evidence used by the Panel. If a student does not subsequently attend the meeting, and has not given adequate reasons for this in advance, the Panel may continue in the student’s absence. The Panel will investigate each case and decide whether or not academic misconduct has taken place. The Panel will determine its findings in relation to the evidence they have seen and heard on the balance of probabilities, i.e. the Panel will be satisfied that an event occurred if they consider that, on the evidence available, the occurrence of the event was more likely than not. If the Panel finds that academic misconduct has not taken place, no further action is taken and the student’s record is updated to remove reference to the allegation. The notes of the Panel are retained. The marking process is resumed in the normal way and the results are considered by the Assessment Board. If a student has committed poor academic practice this should be taken into account during the marking process as detailed in Section 5.72i). If academic misconduct has taken place the Panel must decide on an appropriate sanction to recommend to the Assessment Board (see Section 5.7.4). The Panel will report its decisions and recommendations, with reasons, to the Assessment Board for the appropriate Programme. 5.3.4

Sanctions

The range of sanctions that may be considered by an Academic Misconduct Panel are outlined in Appendix 3.

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The selection of the sanction to be recommended to the Assessment Board is a matter of academic judgement and will depend on the level of academic misconduct and will take into account the following facts: • The instance of the misconduct (first or subsequent) and the nature of any previous offence(s). • The extent of the misconduct. • Whether the misconduct was deliberately fraudulent. The following circumstances may also influence the Panel’s recommended choice of sanction: • The effect a sanction would have on the student’s ability to enter their chosen profession. • The student’s year of study. • The nature of the Module (number of credits, structure, aggregation formula). • Any Extenuating Circumstances. The reasons for the recommendation must be clearly recorded in the report to the Assessment Board. The Panel must also make clear the rationale for any deviations from the usual sanctions for a particular type of misconduct. In addition to the sanctions in Appendix 3, the Panel may recommend that the student undergo training in good academic practice. Where the Panel considers that the case is serious enough to warrant a sanction greater than those it is able to recommend, it may recommend that the case is dealt with under City’s Student Discipline Regulations (Senate Regulation 13). The Panel may recommend a sanction it considers to be appropriate for consideration by the Disciplinary Panel, including any of those listed in the Student Discipline Regulations. A note will be made on the student’s record and the Panel will inform the Assessment Board of the referral to the Disciplinary Panel and the recommendation made to it. If the student has broken the law, law enforcement may occur. Where Programmes are PSRB-accredited and a student is found to have committed academic misconduct, the disciplinary and/or conduct procedures of the PSRB may apply in addition to those of City. 5.3.5

Consideration of Academic Misconduct Panel recommendations

The Assessment Board will only consider recommendations for sanctions for academic misconduct received via the Academic Misconduct Panel or via the Preliminary Investigation. The Assessment Board: • will not re-consider the Academic Misconduct Panel’s finding of academic misconduct, but • will consider the recommendations of the Panel regarding the action to be taken and take these into account when awarding a student’s marks and making decisions concerning a student’s progress and Award. Where the case is being considered under the Student Discipline Regulations, the Assessment Board will note any recommendations made by the Panel but will await the outcome of the disciplinary process before implementing them or making a decision on progress and Award. Unless the student has admitted to the academic misconduct, if it has not been possible to conduct the hearing before the date of the Assessment Board, the Board can request that Chair’s Action be taken in relation to the outcome of the hearing once it has been determined. 5.3.6

Reporting and recording of Academic Misconduct cases

The student will receive a written notification of the outcome of the Academic Misconduct Panel and their student record will be updated. 194

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Where misconduct is found it is recorded at the Assessment Board and a note is made on the student’s record. PSRBs may be informed of cases of academic misconduct as long as this is done in accordance with the Data Protection Act 1998 and only once the internal procedures have been completed. The student must be notified before the PSRB is informed. Records of academic misconduct will be retained in accordance with the Records Retention schedule in Appendix 4. 5.3.7

Oversight

The Assessment Board will retain oversight and be informed about any students that have received confirmed academic misconduct outcomes and the Modules concerned. A summary of academic misconduct cases must be kept by the Board of Studies and the outcomes will be reported to Senate. 6

Assessment Boards

Assessment Boards are sub-committees of Senate with delegated authority to approve Awards and degree classifications. The primary purpose of an Assessment Board is to ensure the standards of City’s academic Awards and consistency and fairness in the application of the Assessment Regulations. Assessment Board membership is set out in Appendix 2. Assessment Boards convene at appropriate points in the academic year to make decisions, on behalf of Senate, on final marks, progression, Award (including the Award of credit) and withdrawal through consideration of student results. Assessment Boards will be held as soon as possible after the completion of the final assessment for each Programme Stage of a Programme, block of study or other relevant progression point. A further meeting will be held after the completion of resits. Each Assessment Board is provided with the relevant data set which must be prepared and checked in advance of the meeting (see Section 6.3). Advisory panels such as Interim Assessment Panels, Module Panels (or meetings to discuss results for Modules shared across Programmes) and Preliminary Assessment Panels may also be held (see Section 6.9). The Assessment Board may consider recommendations from its advisory panels but may not delegate decision making responsibility to them with regard to progression and Award. Where student marks have already been considered by an Examination Board of a Professional, Statutory or Regulatory Body (PSRB) in accordance with the requirements of the PSRB, the Assessment Board will note the marks already considered but will not consider them further.

6.1

The role of the Assessment Board

Assessment Board decisions are made in accordance with City’s Assessment Regulations, including specific Programme Regulations, where approved (see Appendix 1). Assessment Boards will consider results anonymously and profiling of student performance is not permitted. The role of Assessment Boards is to: •

consider and agree marks achieved by each student for assessment components, the overall Module mark and credit to be Awarded.

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consider recommendations from Extenuating Circumstances Panels, Academic Misconduct Panels, Fitness to Practise Panels, Fitness to Study Panels and other advisory panels as applicable (see Section 6.9).

•

make and approve decisions with regard to the performance of students who: -

meet all requirements to pass and may progress from one Programme Stage to another

meet all requirements to pass and be Awarded Degrees, Diplomas or Certificates and the classification, where appropriate (see Section 4.6)

fail to meet requirements and are eligible for resit assessments or partial repeats (see Section 4.7)

have approved Extenuating Circumstances and may be permitted an additional attempt at the assessment(s) and/or, where appropriate, a full repeat year (see Section 4.8)

fail to meet requirements and are to be withdrawn from the Programme

are permitted to transfer to another Programme of study (related or unrelated), if eligible.

will receive a lower Award than the one for which they are registered and assessed (an exit Award, see Section 4.11)

•

apply any relevant PSRB requirements in accordance with approved Programme Regulations.

•

agree the application of compensation (see Section 4.7.1)

•

consideration of the final classification for eligible students in accordance with Section 6.6.

•

consider initial comments from External Examiners in advance of their written report.

•

report any matters about the content, operation and assessment of a Programme to the Board of Studies, and/or any matters of significant risk as appropriate in accordance with Senate Policy.

Following the Assessment Board the agreed student results will be verified, signed-off and released, with records retained, in accordance with the agreed protocols (Appendix 4). Any results not agreed at the Assessment Board will be deferred to the next meeting of the Assessment Board, or will exceptionally be considered by Chair’s Action where this has been authorised by the Assessment Board for the student result(s) concerned.

6.2

Membership of Assessment Boards

Members of the Course Board are also members of the Assessment Board. The Assessment Board is usually chaired by the Course Board Chair. The Assessment Board Chair will ensure the business of the Board is carried out efficiently and in accordance with the Regulations. The External Examiner(s) are members of the Assessment Board and should be present at meetings of an Assessment Board, except meetings where only resit results are being considered and where prior permission has been sought from the Assessment Board for decisions on resit results to be taken in the absence of the External Examiner. If the External Examiner(s) cannot attend the Assessment Board, the decisions of the Board will stand. In such circumstances, the views of the External Examiner(s) must be sought in advance and, if received, will be reported to the Board.

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6.3

Assessment Board Data

In advance of an Assessment Board, the data for consideration at the Assessment Board will be checked and a report will be provided to the Assessment Board to support its decision-making in relation to the statistical breakdown of marks, Module performance across and between Modules and any Modules with poor or unusual results. The report will also identify, where applicable, where recommendations for scaling of marks and/or compensation have been identified. These tasks may be undertaken by a Preliminary Assessment Panel and presented to the Assessment Board for consideration (see 6.9.3).

6.4

Quoracy

In order to conduct its business, an appropriate representation of members (see Appendix 2) must be in attendance at the Assessment Board. The quorum for an Assessment Board will be one third of the non ex officio voting membership. If the Assessment Board is not quorate, it will not have the power to make decisions affecting progression or final Award. If a meeting is not quorate it must be re-arranged at the earliest opportunity and a report must be made to Student and Academic Services. 6.5

Conflict of Interest

There must be appropriate independence in the consideration of students’ academic performance. A conflict of interest will include, but is not limited to, a current or previous personal, family or legal relationship. Where a conflict of interest exists, the person will not act as an examiner or attend the Assessment Board meeting. Any member of an Assessment Board who considers that there might be a conflict of interest with one or more of the students being considered must raise this matter with the Assessment Board Chair at the earliest opportunity and in advance of the Assessment Board meeting.

6.6

FINAL AWARD CLASSIFICATION

The rounding-up of marks for assessment components, Modules and/or at the end of a Programme Stage to enable components or Modules to be eligible for compensation or to improve students’ classifications at progression points is not permitted, to prevent any undue inflation of marks. When considering final Award marks, where students’ overall marks fall within 0.5% of a higher classification, the Assessment Board will award the higher classification. The marks will not be altered. The treatment of borderline classifications must be applied consistently by the Assessment Board across the student cohort to ensure fairness and transparency. Students’ performance in components, Modules and/or at previous Programme Stages must not be taken into account. Where a student has approved Extenuating Circumstances, any consideration of borderline cases arising from Extenuating Circumstances should be undertaken in accordance with the Extenuating Circumstances Regulations (Section 4.8). The Assessment Board will apply relevant professional, statutory or regulatory body requirements in accordance with any approved Programme Regulations.

6.7

Confidentiality

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Assessment Regulations

The business of the Assessment Board is confidential to the membership of that Board except where disclosure is required by regulators or by law. The following are general principles of confidentiality: •

Access to students’ marks before and after Assessment Board meetings should be restricted to members of staff who require access in their work capacity.

•

Staff are not permitted to inform students of their classification/Award outcome before results are published. This does not preclude providing feedback to students, based on the marking criteria for the assessed work.

•

The recommendations, discussions and decisions of Assessment Boards are strictly confidential.

6.8

CHAIR’S ACTION

Exceptionally, it may be necessary for the Chair to make decisions on behalf of the Assessment Board if the Board has granted this permission and agreed the scope of the decision(s) to be made. Chair’s Action should only be used as an exceptional response to ensure that decisions are made by the full Assessment Board wherever possible. Chair’s Action can be taken: •

after the Board has convened if decisions are outstanding or when further information about specific cases becomes available, where the Board has given its permission, or

•

where circumstances meant it was not possible for a student’s results to be considered at the meeting.

The Chair will normally consult with the relevant Internal and External Examiner(s) before taking action.

6.9

ASSESSMENT BOARD ADVISORY PANELS

The following advisory panels may be held prior to an Assessment Board. These panels may make recommendations to an Assessment Board but cannot make decisions relating to progression or Award. The membership for each panel is detailed in Appendix 2. 6.9.1

Module Panel

Module Panels are typically used where Modules are taken by students from more than one Programme and/or School. Module Panels do not make decisions on progression or award so there is no requirement to review marks anonymously. A Module Panel may be convened, by the Assessment Board of the School which owns the Module, to: • in advance of the Assessment Board meeting, consider student performance on the Module, provisional marks and any discrepancies between cohorts or possible issues associated with the Module. • make recommendations to an Assessment Board and/or comment on statistical analysis of student performance. Module Panels are not permitted to: • confirm final marks • apply compensation • make decisions about progression or Award • make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels and/or Fitness to Practise Panels. 198

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6.9.2

Interim Assessment Panel

An Interim Assessment Panel may be convened to make provisional recommendations to the Assessment Board with regard to student progress. Interim Assessment Panels do not make decisions on progression or award so there is no requirement to review marks anonymously. Where a Programme permits students to allow students to undertake an earlier resit of failed assessment(s) while continuing their studies and before the final Assessment Board, an Interim Assessment Panel must be held. Interim Assessment Panels are permitted to: • consider student achievement in modules completed up to a specified but nonprogression point and exercise discretion in deciding whether and how a student can undertake an earlier resit of failed assessments while continuing their studies Interim Assessment Panels are not permitted to: • make recommendations or decisions on the progression of students from one Programme Stage to another, or on final Award • apply compensation • make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels, Fitness to Study Panels and Fitness to Practise Panels. Communications to students following an Interim Assessment Panel will clarify that any results released are provisional and may be amended following an Assessment Board. The Panel must also explain the implications for a student’s progression and/or final Award in the event of resit failure. The recommendations of an Interim Assessment Panel will be reported to the Assessment Board for approval. Assessment Boards should only overrule the recommendations of Interim Assessment Panels where the majority of those present, including the External Examiner, do not consider those recommendations to be justified. In such instances clear reasons must be given. Students cannot appeal against the decisions of an Interim Assessment Panel, but have the right to appeal against an Assessment Board decision once results have been confirmed if specific grounds are met (see Section 6.11) 6.9.3

Preliminary Assessment Panel

It is recommended that a Preliminary Assessment Panel is held prior to an Assessment Board to verify data and the report to be provided to the Assessment Board (see Section 6.9.3) and resolve any initial queries. Preliminary Assessment Panels do not make decisions on progression or award so there is no requirement to review marks anonymously. External Examiners are not required to attend a Preliminary Assessment Panel. Preliminary Assessment Panels are permitted to: •

make recommendations to the Assessment Board in relation to the statistical breakdown of marks, Module performance across and between Modules and any Modules with poor or unusual results

•

consider proposals from the internal examiners and make recommendations for scaling of marks and compensation

Preliminary Assessment Panels are not permitted to:

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6.10

make decisions on the progression of students from one Programme Stage to another, or on final Award apply compensation make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels and Fitness to Practise Panels.

consideration of assessment results for shared Programmes and Modules

Where Programmes involve more than one School, and/or where Modules, teaching or services are shared, the following apply: i.

The Programme will be assigned to a School which will own, and be the ‘home’ School for, that Programme.

ii.

The Module will be assigned to a School which will own, and be the ‘home’ School for, that Module.

iii.

Where Modules are shared: Preliminary results and student performance data will be considered by the home School for the Module, in advance of the relevant Assessment Boards. This is to support the decision-making process and identify any relevant matters relating to the specific cohort or Module. Where appropriate, a briefing note will be prepared for the Assessment Board. Representatives from all Programmes involved in those Modules will be involved in these discussions and a Module Panel may be held (see Section 6.9.1). The results for the Module will be confirmed by the relevant Assessment Board for the Module in its home School

iv.

The Assessment Board for a Programme in its home School is responsible for: managing the panels which report to the Assessment Board (unless the Panel relates to Academic Misconduct for a Module owned by another School). Extenuating Circumstances Panels will normally be managed by the home School for the Programme, but may be managed by the home School for a Module if is requested by the Dean of the home School for the Programme. considering and agreeing the results for Modules owned by the School making decisions on progression and Award.

If the ‘home’ Assessment Board for a Module has not yet met, results for students from another School who have taken that Module will remain provisional until confirmed by this Board.

vi.

Where a student has taken a Module owned by a different School to the ‘home’ School for their Programme, the ‘home’ Assessment Board for the student’s Programme cannot adjust the Module marks agreed by the other School.

6.11

STUDENTS’ RIGHT TO APPEAL

Students have the right to appeal against a decision of the Assessment Board if specific grounds are met (see Senate Regulations 20 and 20b).

6.12

Suspension of the Assessment Regulations

In very exceptional circumstances, where the integrity of the assessment process is compromised by unforeseen circumstances (not otherwise accounted for in the Regulations) or where the application of 200

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the Regulations would unfairly disadvantage a group of students, it may be necessary to suspend the Assessment Regulations. City’s Ordinances allow the President, in certain circumstances, to suspend or depart from Regulations to ensure that a group of students may progress or graduate where it would not be reasonable and/or equitable to adhere to the existing Regulations. Circumstances that might require suspension of the Assessment Regulations must be considered alongside any relevant case precedents and legal and regulatory considerations to ensure that students are treated fairly and consistently throughout City and to maintain academic standards. Any approved change must be comprehensively and effectively communicated to any students impacted by the decision at the earliest opportunity.

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BA Acting Handbook - 2021-2022

Articles inside

Assessment Boards

Progression and Award

Academic Standards, Marking and Feedback