MA Acting Handbook - 2021-2022

MA

Acting

Student Handbook 2021–2022

To the MA Acting Students Welcome to the MA Acting programme at ArtsEd. The information in this handbook will give you an overview of the structure of the year and will be a helpful reference point throughout the course, please keep it handy.

First and foremost, Simone and I would like to thank you for choosing to spend the next year with us as we explore and deepen your craft and process. The training that you’re about to embark on is going to require a lot of commitment, curiosity, patience, grace, energy and bravery – from all of us. We hope that throughout the year you are challenged and invigorated and have the opportunity to engage with practices that offer you the chance to deepen your personal actor process. There is no one size fits all process and no gate keepers of art, and we encourage you to grab everything with both hands to maximise your unique, brilliant potential.

The past has happened, the future unwritten – so let's grasp the now!

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.

Simone Coxall & Richard Neale

Course Leaders, MA Acting July 2021

Term Dates

2021 - 2022

Autumn 2021

Induction week Start Reading week End

Tues 14 September Mon 20 September w/c Monday 25 October Friday 17 December

Spring 2022

Start Reading week End

Monday 10 January w/c Monday 14 February Thursday 31 March

Summer 2022

Start End

Monday 11 April Friday 1 July

i

Welcome Where to go with problems The Administrative Staff Tutors Student Reps

5 5 5 5 5

The Staff

5

Student Charter Student Code of Conduct Staff Code of Conduct

7 8 10

Student Regulations Lateness/Absence Academic Warnings Fitness to Study Professional Discipline Casting Policy Stage and Screen Code of Conduct Drugs and Alcohol Security Digital media Photography and social networking Parking Computers Regulations

10 13 14 14 14 15 15 17 18 18 19 19 19

Day to day practicalities Making appointments Photocopying Student Lockers Student Post Front of House Duties Foyer Bar Bookings for Public Productions

19 19 19 19 19 20 20 20

Library, IT and other resources The Library The student common area

20 20 21

Emergency Procedures Accidents and Incidents Fire Drill Lock Down Drill

22 22 22 22

Student Support Tutorial Support Pastoral Support Counselling Equality, Diversity & Inclusivity Careers Support

22 22 23 23 23 24

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Finance Dyslexia and Disability Support Medical Problems Helplines

24 24 25 25

Student Feedback Student representatives Company meetings Board of Studies meetings Student evaluations Student complaints

26 26 26 26 26 26

Programme Specification Outline What will I be expected to achieve?

How will I learn?

Learning hours and credits How will I be assessed?

What do I have to do to pass/Assessment Criteria What degree can I get?

Programme content Careers Accreditation & Professional Recognition

28 28 29 30 31 32 33 35 35 39 40

Module Specifications

41

Module MA1 Acting Acting Skills Screen Acting Rehearsal Projects Module MA2 Movement Actor Movement Physical Skills Clown Intimacy and Stage Combat Module MA3 Expressive Voice Pure Voice Voice & Language Singing Accent Module MA4 Reflection Critical Appraisals The Actor’s Journal Module MA5 Performance Showcase Public Production Module MA6 Professional Employment Skills

41 42 44 45 50 51 52 54 55 58 59 61 62 64 67 68 69 71 72 73 77

Reading List

79 iii

Assessment Regulations General Principles Principles of the Assessment Framework Progression and Awards Academic Standards, Marking and Feedback Assessment Boards

83 83 83 84 100 106

Policies

113

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Welcome to ArtsEd! This handbook is designed to give you as much information as possible about the School of Acting and the MA course. The Introduction will hopefully be a userfriendly way to find answers to your questions simply and easily. The Programme Specification will give you details of the aims and objectives of each module together with what you will be expected to achieve.

Induction You will be given a thorough induction into school regulations and systems in the first week of the first term. Each student is given a Student Handbook (this!) including the Student Regulations (a copy of which each student is required to sign, and will be kept on file). The Course Leaders will give you induction seminars in a range of teaching, learning and assessment techniques and the role of groupworking in their training. You will be given a tour of the school facilities and are introduced to the student union, the staff group and their peers. You are given an induction to the library and IT facilities, and each student is given an ArtsEd email address and log in code to the school’s server. Each tutor will brief the students on the content of their module or module component in their timetabled classes.

Where to go with problems If you have any problems that may interfere with your progress on the course, you should talk to someone about them. The Course Leaders will always be able to talk to you at a mutually convenient time.

The Administrative Staff The administrative staff are here to help you with practical problems, from borrowing equipment to solving financial difficulties. Ask in the office who it would be best to talk to about your practical problems.

Tutors As you move 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 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.

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.

The Staff These are the people who work for the School of Acting. They can all be contacted via the HE Admin Office on the ground floor of the main building.

Julie Spencer

Director of the School of Acting 5

Being a student at ArtsEd

Simone Coxall & Richard Neale Joint Course Leaders MA Acting Justin Pierre

Head of Acting

Mike Hayden

Head of Voice

Gaby Nimo

Head of Movement

Kim Vithana

Head of TV/Film & Audio

Erica Jeffrey

EDI Co-ordinator

Laurie McQuire

Senior HE Administrator

Simon Robinson

HE Administrator

And these 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 Administrators 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

David Bumpstead

Registrar

Di Stedman

Production Manager

Phil Bell

Sound Technician

Åse Amy Djarf

Costume Supervisor

Marianne Harwich

Costume Assistant

Frank Daniel

Facilities Manager

Caroline Morley

Box Office Manager

Jules Cannon

Receptionist

Marisa Newton

Receptionist

Caroline Doyle

Centre Manager – The Catholic Centre

helpdesk@artsed.co.uk

I.T. Support

Regulations In addition to the student regulations (below), ArtsEd has a Student Charter, which outlines the responsibilities of the institution, the students, and the students’ union.

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Being a student at ArtsEd

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.

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.

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• •

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. 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)

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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.

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Disciplinary procedures are as stated in the student handbook; this includes, but is not limited to, verbal warnings, written warnings and barrings.

Staff Code of Conduct The purpose of this Code of Conduct is 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. You will be given as much notice as possible if you are expected to work outside of regular timetabled hours.

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 may be required, from time to time, to act as stewards on public productions. This will involve evening work.

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Being a student at ArtsEd

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. Students are only allowed to attend auditions after the Showcase, after first being cleared by the Course Leaders.

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 disclaims 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; 11

Being a student at ArtsEd

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. 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 in the courtyard, by the front door of the school at Bath Road or the front door of the Catholic Centre.

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. City, University of London registration fees will be payable separately.

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 ArtsEd or to City, University of London 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 selfdiscipline is crucial. It doesn’t matter how good you are at acting, if you are late or difficult to work with, or you do not fully engage in studio sessions, no one will want to work with you. So read the following carefully. It’s how we operate!

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Lateness/Absence Regulations 1. Students must sign by the time stated each day (usually 15 minutes before the 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 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 Course Leaders or the Director of the School.

7. Notification of illness must be reported to the office at least 15 mins 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 Course Leaders 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.

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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 Course Leaders or the Director of the School will collate progress reports from all your tutors. 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 a student’s fitness to study is questioned, 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

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• 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.

Casting Policy ArtsEd endorses the goals of diversity, inclusion, and the principles of equal opportunity for all students. To that end we operate a non-traditional, colour blind casting policy, where students’ ethnicity is irrelevant when choosing appropriate material for them to work on during their training.

Material for acting projects, classwork and showings in Term 1 and 2 will often be chosen to challenge you and extend your range, and therefore will not be limited to traditional casting stereotypes.

In Term 3, 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 processes, and 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.

A student may be given ‘limited casting’ due to lack of progress or in response to disciplinary action. If you are given limited casting, this will be considered during the audition process.

Action taken if regulation is breached: All students have no right to any part in any particular production or project, and must agree to play ‘as cast.’ Failure to do so may result in disciplinary action or dismissal from the project or production.

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 15

Being a student at ArtsEd

example (stage combat) can go awry, if proper guidance is not being followed. 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 emailed from DSM, production, director or course leader. g. Sticking to strict lines of communication, between students, production staff & crew is essential. To liaise and communicate with course leaders 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 give acting/character/staging notes to other actors – it is not your place 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 16

Being a student at ArtsEd

reputation. The production is a collective effort by all artists and production 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/absence must be reported to course leaders and director 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 / course leaders 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!!

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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.

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 Entry to the Catholic Centre is by door codes. Please be discreet when using the codes and keep them private. Ensure the Quiet room and the balcony doors are locked at all times. The Catholic Centre is used by a variety of different groups – theft can happen, so you are advised to take out insurance on any high value items such as smart phones, tablets or laptops. ArtsEd disclaims responsibility for any loss, theft, accident or damage of any kind that may occur to any student’s property.

All students and staff are issued with an ArtsEd lanyard and security (swipe) card which is needed to enter and leave the main Bath Road site. 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 whose phone rings during class/rehearsal will be dismissed from the class.

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Photography and social networking Students may not photograph or film each other in classes or rehearsals without the express permission of each student and member of staff or visiting tutor involved.

Photographs or film footage of classwork, rehearsal or performance must not be posted on social networking sites.

Parking There are no parking facilities on site. The areas around the college and the Catholic Centre are Controlled Parking Zones; if you park your car in any of the surrounding streets you will have to purchase a ticket.

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 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.

Day to day practicalities Making appointments Making an appointment to speak to the Course Leaders, or any other tutor should be done by approaching the person directly.

Photocopying There are photocopiers in the student common area and on the 2 nd 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. Student Lockers Students will be allocated a locker on the balcony of the Catholic Centre. Students must provide their own padlocks for their lockers. All lockers must be emptied and left clean and unlocked at the end of the year.

Student Post If you have any post delivered to you at the Bath Road site you will receive an email from the Course Administrator and you should collect it as soon as possible.

You may only have parcels delivered which are relevant to your 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. The school will not be held responsible for items left unclaimed.

19

Being a student at ArtsEd

Front of House Duties MA students provide Front of House Duties for MA public productions and students sometimes also volunteer to usher for 3rd year productions.

Foyer Bar 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.

Bookings for Public Productions Students of the MA course will be invited to watch all School of Acting public productions. You are entitled to one complementary ticket for all School of Acting shows. These should be booked with the Box Office Manager: boxoffice@artsed.co.uk You are advised to book early to avoid any disappointment. Should you wish to book tickets for your family or friends, including for the production in which you appear yourself, these must be paid for either in person or by phone at the box office, or online through the box office link on the website. 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.

LIBRARY, IT AND OTHER RESOURCES The Library ArtsEd facilities are specialist and limited. 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 collection consists of specialist books on acting, musical theatre, movement and dance, voice, stagecraft, media plus a substantial collection of plays. A very comprehensive collection of musical scores and librettos is available.

There is a large collection of videos and DVDs for use as research. This is the David Holloway Collection, donated by Dulcie Holloway. They include over 8,000 films.

These include Play and Musical performances and ‘genre’ films as well as new release purchases.

There is a substantial collection of musicals and music on CD. Personal CD Players with earphones are available for listening in the Main Library Area.

20

Being a student at ArtsEd

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 Current magazines 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

City, University of London Library All students will be issued with a university library card which gives them access to City’s extensive collections.

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. Well worth a visit!

Membership of Encyclopaedia Britannica and online library databases such as questia.com are strongly recommended.

Student 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!

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.

21

Being a student at ArtsEd

EMERGENCY PROCEDURES 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.

Accidents and Incidents In general terms accidents are defined as those happenings which involve or potentially initiate any form of medical injury or hurt. Incidents are those happenings which have personnel involvement but only inanimate objects are damaged, broken etc. All accidents and incidents are to be reported by the appropriate Director of School or member of staff involved, either directly or indirectly, as follows: Accidents: complete a form which is obtainable from the HE Administrator. The person injured in the accident must inform the school of the result of treatment and diagnosis.

Incidents: complete a form which is obtainable from HE Admin Office or Reception who will pass to the Facilities Manager.

Where there is a happening beyond the supervisory limit of staff, the pupil or student involved is to inform a member of staff, who in turn is to complete a report.

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.

Lock Down Drill The lockdown alarm will sound for 3 minutes. Remain in your classroom or go immediately to the nearest occupied classroom or office. Turn off any music and close the curtains or blinds. 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.

STUDENT SUPPORT Academic Support and Feedback Opportunities Tutorial Support You will have feedback tutorials whilst on the course. This may include: One to one tutorials with the Course Leaders Written feedback Panel feedback sessions 22

Being a student at ArtsEd

Group feedback opportunities Ongoing verbal feedback during classes and workshops is an integral component of the course. Students are encouraged to reflect upon and discuss observations made by tutors and seek clarification where appropriate.

Pastoral Support Your Course Leaders can be your first port of call for pastoral needs and work challenges or obstacles you may face during training. Pastoral tutorials can be initiated either by the student or a member of staff. You may also reach out to any other permanent member of faculty that you feel best able to help with your problem.

Counselling 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 Course Leaders or a member of the Admin staff if you feel that you need help.

The ArtsEd counselling service is not designed for students with long term emotional or personal problems. If you feel you need long term counselling you should ask your GP for a referral.

Equality, Diversity & Inclusivity 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 • 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 Nadine Higgin, School of Musical Theatre: nhiggin@artsed.co.uk Erica Jeffrey, School of Acting: ejeffrey@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.

23

Being a student at ArtsEd

Careers Support You are given continual guidance throughout the course on how to behave in a professional manner and promote yourself to the industry. During the Professional Employment Skills module you 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 and we operate as an agency promoting the students and finding them work. This service continues after you have completed the course.

Finance The financial position of most students has worsened considerably in recent years.

Although we only accept students who can pay their fees or will be in receipt of feepaying awards, students sometimes get into financial difficulties. The School of Acting recognises this pattern of student hardship and has a small fund of money available each year. Normally students in their final term have priority access to this money. However, if you are experiencing serious financial difficulties you should speak to David Bumpstead (Registrar) as soon as your financial difficulties become apparent.

Each request for financial assistance will be considered on its own merits.

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.

24

Being a student at ArtsEd

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.

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

Medical problems 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.

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 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 25

08444 775 774 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

Being a student at ArtsEd

Student Feedback When everyone is working on a course as intensive as 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 you need to be able to communicate your thoughts with the staff. In order to allow that to happen, we have set up the following: Student Representatives Each year group selects 2 representatives at the beginning of each academic year.

These student reps will organise meetings of the year group so you 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 Course Leaders or they speak at Board of Studies meetings (see below).

Student representatives are normally elected yearly by no later than Week 5 of the academic year. Students have the right to stand for re-election throughout their period of study. In the event of more nominations than places, a ballot is held among year group members.

Company Meetings Company meetings will be held regularly throughout each term. The Course Leaders will be at these meetings to give you information and to listen to what you have to say. The Course Leaders will then feed back the details of these meetings to the School of Acting Executive. If you have anything to say about the course, this is the time to do it.

Board of Studies Meetings The Board of Studies is made up of the Student Reps from each year of the BA and the MA courses, 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 Evaluations During the course you will be invited to complete anonymous student evaluation forms on individual modules or projects, and towards the end of the year you will be sent feedback questionnaires about your experience as a student at ArtsEd. Student complaints You are encouraged to raise issues as soon as possible with the Course Leaders 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.

ArtsEd policies supporting student welfare ArtsEd operates the following policies and procedures: 1. Equal Opportunities 26

Being a student at ArtsEd

2. Dignity & Respect 3. Safeguarding 4. Fitness to Study 5. Dyslexia 6. Complaints 7. Academic Misconduct 8. Student Charter 9. Codes 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.

27

Programme Specification

Programme Specification KEY FACTS Programme

MA Acting

Awarding Institution

City, University of London

Teaching Institution

The Arts Educational Schools

Location

ArtsEd

Type of study

Full time

UK Credits

180

ECTS

90

OUTLINE Summary description Our MA course offers rigorous and intensive vocational actor training focused on developing your potential as a highly skilled, creative and autonomous actor.

You will be given the skills and techniques to explore psychological and physical processes to engage in live & screen performance in innovative and stimulating ways.

Through working with classical & contemporary texts, creating your own companies and performance opportunities and analysing your relationship to your craft, you will be challenged and motivated to realise your abilities. By the end of your oneyear training you will be equipped to take your place as a creative practitioner and prepared to adapt to the contemporary, ever-changing creative industry.

Programme aims •

• • • •

To facilitate the development of autonomous, confident and resilient creative artists, capable of engaging in a range of performance processes with integrity, professionalism, assurance and flexibility To inspire you to take bold, creative risks, and to develop your ability to work outside the parameters of your habitual range of expressivity Develop a rigorous and profound understanding of the technical skills required of a professional actor To develop the actor’s ability to respond in the work with honesty, clarity, and spontaneity To develop the actor’s capacity to work within an inclusive, co-operative & responsive ensemble, understanding of the needs of the group whilst maintaining their personal process.

28

Programme Specification

• •

Develop a reflective practice, through which you can interrogate, assess and evaluate your work, and form strategies to build an autonomy within your process.

Inspire the actor to value their ability to make their own work, form their own companies and are not solely beholden to the vagaries of the profession

Pre-requisite modules, co-requisite modules and upgrades All modules on the programme are compulsory. There are no pre-requisite or corequisite modules. Some modules include units which are assessed pass/fail and do not contribute to the overall grade for the module.

Upgrades from one programme to another are not available.

What will I be expected to achieve?

On successful completion of this programme, you will be expected to be able to: Skills • Explore and perform a range of roles in which you are able to operate under psychological and physical ways of being outside of your habitual • build and maintain your vocal and physical skills through disciplined and regular practice.

• Develop and enhance your capacity for embodied awareness and action to facilitate moment to moment response with your fellow actors • Work independently as well as collaboratively to develop your contribution to any given performance • Adapt your performance style to work within different environments and media • Create and develop original performance Knowledge and understanding • demonstrate a critical and objective facility as a creative performer • demonstrate a deeper understanding of yourself and your inner creative impulses and the ability to harness this creativity to facilitate a concrete realisation in performance • demonstrate an extensive industry knowledge and the ability to utilise such knowledge, where appropriate, to establish new companies and instigate new work • develop your understanding of yourself as a self-employed business entity within the wider industry • develop strategies to foster resilience for yourself as an actor within process and within the industry Values and Attitudes • demonstrate a highly developed respect for and generosity towards the ensemble and an understanding of your role and responsibilities within that ensemble • develop trust in your personal creative abilities and to respond in the work with bravery, confidence and adaptability 29

Programme Specification

•

• •

demonstrate an advanced understanding of professional discipline, which extends beyond the practical considerations of timekeeping, reliability and courtesy, and involves a total commitment of the individual to the creative enterprise. develop a high level of trust with the other actors on the course and a high level of permission and willingness to risk true self-expression.

Value the actor’s responsibility to maintain and further interrogation of process and to regard the actor’s craft as a life-long exploration

How will I learn?

This section describes the different types of formal learning situation you may experience during your programme of study.

Workshops In these classes a product is built over a number of sessions. Students work in groups or individually, developing their own material under the supervision and guidance of a tutor. e.g. Acting Skills, Screen Acting Rehearsals Scenes are rehearsed, the form of the class changing with the requirements of the rehearsal. Early rehearsals use the seminar and workshop format, developing into small group/tutorial format later in the process. e.g. Contemporary/Shakespeare Technique Classes These classes teach technical facility through repetition. They offer the student the opportunity to practice regularly and to develop exercises creatively. e.g. Physical Skills, Voice Lecture/Seminars This is the form most often used by specialist speakers e.g. Professional Practice, Business Skills Tutorials Methods are adapted to the specific needs of individual students, conducted on a one to one or small group basis e.g. Professional Employment Skills, voice, singing Cross-discipline Classes and Tutorials Tutors from different disciples work simultaneously in classes or with individuals, in any of the above methods e.g. A voice tutor with a director work on a scene.

Learning hours The MA Acting is a one-year full-time programme. The taught element is delivered from September to June, followed by a period of self-directed study leading to submission of a final written assignment in September.

30

Programme Specification

Mode of delivery Duration Structure of academic year Hours of student learning Parts Credit Value

Taught Course 1 Year 3 x terms 1,800 6 Modules in 1 part 180

Learning hours and credits per module Module/ components

Contact hours

Self directed Study

Total learning hours

Term

Timetable

MA 1: Acting Acting Skills

Autumn

49.5

17

Screen Acting

Spring Autumn

3 x 1.5 hr classes x 11 weeks 5 x 1.5 hr classes x 5 weeks 4 x 1.5 hr classes x 5 weeks 2 x 1.5 hr class x 11 weeks 1 x 1.5 hr class x 5 weeks 2 x 1.5 hr classes x 5 weeks Half day's filming per student

67.5 33

14 16

22.5

10.5

33

5

6

11

Contemp: 3 x 4 hrs x 5 weeks Naturalism: 3 x 4 hrs x 6 wks

60 72

23.5 23

Classical: 3 x 4 hrs x 5 weeks 60 20th/21st c. Iconic: 3 x 4 hrs x 5 weeks plus 14 hours in week 12 74 Totals 443.5

23.5 23 156.5

600

33

9

47

30 16.5 15 16.5

15 12 12 4.5

50 28.5 27 21

16.5

5

26.5

10

5

15

Totals 137.5

62.5

200

23.5

55

Spring Summer Rehearsal projects

Autumn "

Rehearsal projects

Spring "

Credits

66.5 81.5 49

83.5 95 83.5 97 60

MA 2: Movement Actor Movement Physical Skills Clown Intimacy and Stage Combat Movement support: public production

Autumn Spring Autumn Spring Autumn Autumn

2 x 1.5 hr classes x 11 weeks 2 x 1.5 hr classes x 10 weeks 1 x 1.5 hr class x 11 weeks 1 x 1.5 hr class x 10 weeks 1 x 1.5 hr class x 11 weeks 1 x 1.5 hr class x 11 weeks

Summer

MA 3: Expressive Voice Autumn Pure Voice & Spring

Rehearsals

1 x 1.5 hr classes x 21 weeks

31

31.5

20

Programme Specification

Voice and Language Singing Accent

Autumn & Spring Autumn Spring "

2 x 1.5 hr classes x 21 weeks

63

21

84

16.5 15 12 138

5.5 6 6 62

22 21 18 200

20

Totals

15 3 18

191 91 282

206 94 300

30

Totals

105 175 280

70 50 120

175 225 400

40

35

65

100

35 1052

65 748

100 1800

1 x 1.5 hr class x 11 weeks 1 x 1.5 hr class x 10 weeks 1 x 75m class x 10 weeks

MA 4: Reflection Critical Appraisals Actor’s Journal MA5: Performance Showcase Summer Public Production Summer

Full time Full time

MA6: Professional Employment Skills Professional practice seminars, talks and All year workshops Totals TOTAL LEARNING HOURS AND CREDITS:

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 five assessment methods on the MA Acting programme. Further information about assessment can be found in the Assessment and Feedback Policy.

Classwork 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.

Rehearsal Process Your director will assess your process during the rehearsal and preparation period for performances.

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.

Written Assignments You will undertake independent research, write working journals and reflective essays, and collect information for professional development plans.

32

10 180

Programme Specification

Reflective performance You will undertake independent research, and present your research as part of a Reflection Event in term 3.

What do I have to do to pass?

The minimum pass mark for each unit or module of the course is 50%.

You will be assessed according to the criteria set out below.

ASSESSMENT CRITERIA FOR PERFORMANCE, REHEARSAL PROCESS AND CLASSWORK 70% + The student should be able to demonstrate the following characteristics: • A joyous, intelligent and courageous performance • Confident and bold response to the demands of the text and character(s) being played • Full creative ownership of the character(s) • Inspired and imaginative range of choices • Highly advanced technical skill • Highly responsive sensitivity to fellow actors 60% - 69% The student will be awarded a mark in this band if he or she consistently demonstrates the following characteristics: • A committed performance with creative flair and a level of risk • A clear understanding of the demands of the text and the character(s) being played • Ownership of the character(s) • Engaging range of choices • Strong technical skill • Sensitivity to fellow actors.

50% - 59% The student will be awarded a mark in this band if he or she demonstrates the following characteristics, with varying degrees of consistency: • A committed performance with creative flair and a level of risk • A clear understanding of the demands of the text and the character(s) being played • Ownership of the character(s) • Engaging range of choices • Good technical skill • Sensitivity to fellow actors.

Fail : 0 - 49% The student will be awarded a mark in this band if he or she demonstrates the following characteristics: 33

Programme Specification

• • • •

A performance displaying a lack of commitment and flair Poor understanding of the text and/or character being played.

Little technical ability A performance lacking sensitivity to the ensemble.

ASSESSMENT CRITERIA FOR WRITTEN REFLECTION AND SEMINAR PRESENTATIONS Marks are awarded with reference to the unit-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 the student’s ability to present research in a lucid and imaginative manner

70+ The work is thoughtful and fascinating, with a clear, articulate writing and/or presentation style. Clear links are made between different aspects of the training, and reflection on creatives’ and fellow students’ work is generous and insightful.

Challenges faced in class, 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. Any additional material is creative, relevant and detailed.

60+ The work contains some interesting insights. Some links are made between discoveries made in classes or 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 or presentation 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. The presentation is creative and engaging.

50+ The work meets the minimum requirements but is fairly basic in its execution. Few if any links are found between work covered in the class, 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.

34

Programme Specification

0 – 49 - FAIL The work is lazily presented, appears to have been created 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 classes, 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 or creativity.

What degree can I get?

In order to qualify for the award of MA Acting, you must satisfy the pass requirements for all modules within the programme and achieve 180 credits overall.

The overall aggregate mark for the Masters degree shall be calculated using overall percentage grades, according to the following weighting: MA1 MA2 MA3 MA4 MA5 MA6

Acting Movement Expressive Voice Reflection Performance Professional Employment Skills

30% 15% 15% 10% 30% n/a (Pass/fail)

There is no provision for awarding a distinction on this programme, all awards will be classified ‘Pass’ or ‘Fail’.

Programme Content Module MA1: Credit value: Core Units

Acting 60 Acting Skills Screen Acting Rehearsal projects: Contemporary Naturalism Classical 20th/21st Century Iconic

How do I pass Acting?

You are required to achieve a mark of 50% or above for your classwork in Acting Skills and Screen Acting, and 50% or above for your rehearsal process in each of the four Rehearsal projects. The module mark is calculated according to the following weightings: Acting Skills Screen Acting Contemporary Naturalism Classical

30% 20% 12.5% 12.5% 12.5% 35

Programme Specification

20th/21st c. Iconic

12.5%

Module MA1: Acting carries a weighting of 30% of the overall mark for the programme.

Module MA2: Credit value: Core Units

Movement 20 Actor Movement Physical Skills Intimacy and Stage combat Clown

Pass/fail units

How do I pass Movement?

You must achieve a grade of 50% or above in your classwork for all core units and to pass Intimacy and Stage Combat and Clown. The mark for the module is calculated according to the following weightings: Actor Movement Physical Skills

75% 25%

Module MA2: Movement carries a weighting of 15% of the overall final mark for the programme.

Module MA3: Credit value: Core Units Pass/fail units

Expressive Voice 20 Pure Voice Voice and Language Accent Singing

How do I pass Voice?

You must achieve a grade of 50% or above in your classwork for all core units and to pass Accent and Singing. The mark for the module is calculated according to the following weightings: Pure Voice Voice and Language

35% 65%

Module MA 3: Voice carries a weighting of 15% of the overall mark for the programme.

Module MA4: Credit value: Core Units

Reflection 30 Actors’ Journals Critical Appraisals

How do I pass Reflection?

You are required to achieve a mark of 50% or above for each of the two Critical Appraisals.

The mark for the module is calculated according to the following weightings: 36

Programme Specification

Critical Appraisal 1 Critical Appraisal 2

30% 70%

Module MA4: Reflection carries a weighting of 10% in the calculation of the overall mark for the programme.

Module MA5: Credit value: Core Units

Performance 40 Showcase Public Production

How do I pass Performance?

You must achieve a grade of 50% or above for both your rehearsal process and for your performance in each of the core units. Rehearsal and performance are equally weighted in the calculation of the mark for each unit. The mark for the module is calculated according to the following weightings: Showcase: 40% Public Production 60% Module MA5: Performance carries a weighting of 30% of the overall mark for the programme.

Module MA6: Credit value: Core Units

Professional Employment Skills 10 Professional Practice

How do I pass Professional Employment Skills?

You are required to pass your core units by participating in seminars, talks and workshops and collating these notes into a Professional Practice Portfolio. The module is marked pass/fail and is not included in the weighting of the overall mark for the programme.

PROGRAMME STRUCTURE Term 1: Autumn

Weeks 1 to 5, 7 to 12

Module MA1: Acting

Acting Skills Screen Acting Rehearsal Projects: Contemporary Naturalism Actor Movement Physical Skills Intimacy and Stage Combat Clown Pure Voice Voice and Language Singing

Module MA2: Movement

Module MA3: Expressive Voice

37

Programme Specification

Accent Module MA6: Professional Employment Skills Professional Practice Week 6: Reading week Weeks 13: Feedback and seminars, talks or workshops CHRISTMAS VACATION - during vacation: Module MA4: Reflection Critical Appraisal 1 Term 2: Spring

Weeks 1 to 5, 7 to 11

Module MA1: Acting

Acting Skills Screen Acting Rehearsal Projects: Classical 20th/21st Century Iconic Actor Movement Physical Skills Pure Voice Voice and Language Singing Accent

Module MA2: Movement Module MA3: Expressive Voice

Module MA6: Professional Employment Skills Professional Practice Week 6: Reading week Week 12: Showings, feedback and seminars, talks or workshops EASTER VACATION - during vacation: Module MA4: Reflection Critical Appraisal 2 Bibliography and Prep Term 3: Summer

Weeks 1 to 11

Module MA4: Reflection Module MA5: Performance

Critical Appraisal 2 Reflective performance Showcase Public Production END OF TAUGHT COURSE. Over the summer: Module MA6: Professional Employment Professional Practice Portfolio/Professional Skills Development Plan

Compensation between Modules There is no provision for compensation within or between modules on the MA 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 unit within a module.

38

Programme Specification

Where re-sits are available, re-sit provision is subject to the conditions set out in the Assessment Regulations. Full re-sit requirements can be found in the Assessment Regulations.

CAREERS The aim of the MA Acting programme is to prepare you for a career as a professional actor. We have an enviable record of success in achieving that aim, evidenced by our graduate destinations. Case studies include: Daniel Weyman (2002) theatre credits include the West End and many of the major UK theatres including Regent’s Park Open Air and the Bristol Old Vic, and has been nominated for Best Performance in a Play at the TMA Awards. On TV he has played regular characters in Foyle’s War and Silent Witness, and recent work includes Gentleman Jack and A Very English Scandal. Daniel does a huge amount of narration and audio books, and won the Audio Narrator of the Year at the Audio Production Awards.

Mueriann Bird (2012) – Mueriann kick-started her career on the stage in The National's Translations No.1 UK and Ireland Tour. She then continued onto The Strange Undoing of Prudencia Hart at The National Theatre of Scotland/New York in 2017. She's no stranger to the screen either, appearing in JK Rowling's Fantastic Beasts: The Crimes of Grindelwald in 2018, and plays reoccurring character, Lucinda Brown in TV show Outlander on Starz.

Rameet Rauli (2013) – Soon after graduating, Rameet became a hit TV star on Nickelodeon's Ride, playing reoccurring character, Anya. She then continued her TV success in Call The Midwife (BBC One) playing Ms Huq, Warren (BBC One) as Prisha and Find Me in Paris (Nickelodeon) playing reoccurring character, Lex. Mateo Oxley (2013) began his career with Punchdrunk at the National Theatre, and appeared in the National’s recent revival of Angels in America. On TV Mateo can currently be seen playing Princess Beatrice’s Italian boyfriend Edoardo MapelliMozzi in Channel 4’s The Windsors.

Jasmine Raymond (2019) already has several TV and film credits in her first nine months out, including feature films The Last Letter from Your Lover (Netflix), Pinky (ESA Pictures), commercials for Burger King, Halifax Building Society, and she plays Gail in Ted Lasso, a Warner Brothers production for Apple TV. Some of the 2019 graduates collaborated to form a theatre company, and their production of Shaping Dust won the Actor’s Centre Alan Bates Development Award and later transferred to The Cockpit. They were due to take it to this year’s Edinburgh Fringe Festival.

STUDY ABROAD / WORK PLACEMENTS Study Abroad or Placement options are not available for the MA Acting programme.

39

Programme Specification

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.

40

Module Specifications

MODULE SPECIFICATIONS Module MA1

Acting

HE Level

HE7

Credit Value of Module

60

ECTS

30

Outline To offer a comprehensive, integrated and practical approach to acting in order to lead you to a deeper awareness and understanding of yourself in response to your scene partners, and to the demands of the text. The unit parts of this module are Acting Skills, Screen Acting and Rehearsal Projects.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • explore and use your own psychological and physical responses as part of the creative process to embody characterisations that may lie outside of your habitual patterns • undertake all the preparation and research necessary to fulfil the demands of contemporary and classical texts as well as self-created work • respond truthfully, moment to moment, under the given circumstances of the text Knowledge and understanding • demonstrate an advanced understanding of professional responsibility, which extends beyond the practical considerations of timekeeping, reliability and courtesy and involves a total commitment of the individual to the creative enterprise • evaluate and assess your acting process within and outside of workshops and rehearsals so that you are able to build strategies for further development in your work Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

41

Module Specifications

How will I learn?

Details of the learning and teaching methods for each unit of this module are given within each relevant section.

How will I be assessed?

Details of the assessment methods for each unit of this module are given within each relevant section. The cumulative marks of each unit form the total mark for ‘Acting’ which forms 30% of the final mark for the MA.

UNITS OF ACTING:

ACTING SKILLS Tutors: Contact hours: Timetable:

Simone Coxall/Richard Neale, Kate Maravan and visiting tutors 117 3 x 1.5 hr classes per week, Autumn 4 then 5 x 1.5 hr classes per week, Spring

Outline You are expected to interrogate your acting process based on your relationship with conscious and sub-conscious response, and to develop your use of self to explore notions of character. As part of this interrogation you will explore a number of methodologies and practitioners, including Meisner, Bogart/Landau’s Viewpoints, Nikolai Demidov, Maria Knebel’s Active Analysis and Rudolf Laban, centered around a core Stanislavskian approach to acting. Subject areas covered include: • • • • • • •

Impulse & Reaction Emotional Availability Objectives, Obstacles & Given Circumstances Imagination Improvisation Working Outside of Habitual Patterns Notions of Character

What will I be expected to achieve?

On successful completion of this unit of the module you will be expected to be able to: Skills • employ tools to evaluate and assess a given text and to create clear and helpful structures for playing that text in an appropriate manner as defined by your, or your director’s, choices • create a fully embodied role which may lie outside of your habitual patterns • respond ‘truthfully’ to stimulus generated from the circumstances of the play and your acting partners

42

Module Specifications

Knowledge and understanding • develop and value a deeper and compassionate understanding of self and your habitual patterns to make effective choices within your process • understand that ‘acting is reacting’ and based on action or ‘doing’ Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

Some of this unit of the Acting module is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work. Many sessions have a combination of these methods.

How will I be assessed?

The assessment within this unit is predominantly based on your engagement with process as opposed to assessment of a singular performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. The mark awarded for Acting Skills forms 30% of the mark for the Acting module.

What will the assessors be looking for?

Assessment Criteria: • Ability to analyse text for objectives, counter-objectives/obstacles, given circumstances, units • Discovery of sub-conscious generation of sensation and behaviour through focusing attention on ‘the other’ or ‘target’ • Playing the text moment to moment, allowing appropriate impulse to be articulated • Using different tools to embody possible non-habitual versions of self • Using different versions of self to ‘play the game’, thus allowing you to explore different ways to spontaneously engage with Thinking, Feeling, Intuiting & Doing • Structuring of clear and appropriate choices in your work to follow a score as determined by your own creative process and any given direction • Working with openness and trust of self • Working with openness and trust towards the ensemble • Engaging in the work with a professionalism which is revealed through attendance, timekeeping, focus, preparation & readiness, enthusiasm

43

Module Specifications

SCREEN ACTING Tutor: Contact hours: Timetable:

Mark Street 60.5 2 x 1.5 hour class per week, Autumn 1 then 2 x 1.5 hour class per week, Spring Approximately half a day’s filming, Summer

Outline An introduction to the technical and creative challenges of working on a television or film set. You will receive practical experience of exploring your process in relation to the demands of acting for camera to create effective screen performances. You will also be given an understanding of the professional expectations and required practicalities of working on a film set. You will also develop skills in relation to self-taping, an essential part of many screen audition processes.

What will I be expected to achieve?

On successful completion of this unit of the module you will be expected to be able to: Skills • deliver engaging and truthful performances on screen, and at first readings • adapt techniques taught within other modules (including voice, text analysis, movement) to suit onscreen acting • work from an imagined environment allowing thought to stimulate behaviour • demonstrate a clear practical understanding of the technical requirements for the delivery of screen performance in comparison to live performance • present yourself confidently and professionally within a casting environment, be that through a self-tape or a traditional ‘in the room’ casting, and on a professional TV/Film set Knowledge and understanding • demonstrate an understanding of the various craft responsibilities and skills of the staff and crew involved in TV and film production • demonstrate understanding of the theoretical and practical expectations of working in the professional screen industry • analyse and reflect on your own performances and those of others Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

44

Module Specifications

How will I learn?

In terms 1 and 2 you will participate in a sequence of screen acting exercises and workshops which will be filmed, analysed and discussed with the tutor. You will also be involved in theoretical craft seminars and practical crewing exercises. You will work individually as well as in pairs for scene work. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work. In term 3 you will choose a short scene which will be filmed and edited for you to use in marketing yourself to the profession.

How will I be assessed?

The assessment within this unit of the module is predominantly based on your engagement with process as opposed to results achievement. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. The mark awarded for Screen Acting forms 20% of the mark for the Acting module.

What will the assessors be looking for?

Assessment Criteria: • Using your camera craft within a scene including continuity, hitting marks and vocal levels • Reacting from a vibrant truthful imagination • Working freely in front of the camera and not with unnecessary tensions • Working with the focus and professionalism that the industry demands • Committing to imaginative acting choices • Constructively self-assess a performance employing screen acting techniques and terminologies • Interpret and embrace direction on set • Finding imaginative and appropriate ways to prepare before a take • Actively listen to others in the scene

REHEARSAL PROJECTS Tutors: Contact hours: Timetable:

Simone Coxall, Richard Neale & Visiting Directors 266 3 x 4hr sessions per week per project, Autumn and Spring, plus an additional 14 hours at the end of the Spring term

Outline In this unit of the module you are able to further develop and apply your skills to specific texts. You are given the opportunity to develop an imaginative, rigorous and specific work process, integrating aspects of your learning from the breadth of the curriculum, thus developing your ‘toolbox’ of methods that best work for you.

You are also introduced to the expectations of a professional working environment.

You will work on 4 rehearsal projects over the first 2 terms, each of which allows focus on specific areas of process and practice:

45

Module Specifications

•

•

•

•

Contemporary – working outside of conventional notions of character to focus on the essential information and game structures that can be discovered from the text to elicit play and spontaneity. The text will be selected from recent 21st century published plays. Your process will be facilitated by either the course leader or a visiting practitioner.

Naturalism – typically working on a play from the late 19th or early 20th centuries. In this project you will build on your learning from the contemporary project to explore ways of playing character. Your process will be facilitated by either the course leader or a visiting practitioner.

Classical – using an Early Modern text (not exclusively Shakespeare) you will build on your learning from the Contemporary and Naturalism projects. In addition you will interrogate your relationship to working with a director and the principle of working with a more proscribed score, as defined by text, physical relationship to the acting space and the director’s vision. Your process will be facilitated by either the course leader or a visiting practitioner.

20th/21st Century Iconic – in this project you will widen the spectrum of plays already encountered, including those that may fall beyond commonly performed material. The project will consolidate and extend previous exploration of process, encourage greater emotional reach whilst requiring further research around the cultural, social, and political world of the play. It will seek to deepen the appreciation of the lenses you approach performance of plays through. Your process will be facilitated by either the course leader or a visiting practitioner.

What will I be expected to achieve?

On successful completion of this unit of the module you will be expected to be able to: Skills • realise a fully formed embodiment of role according to requirements of text, director’s vision, research and the actor’s creative imagination • select from the ever-expanding tools and techniques at your disposal to best facilitate your rehearsal process and performance practice Knowledge and understanding • evaluate your role within a process to make appropriate decisions reached by textual analysis, research into historical and contemporary relevance and the needs of the given ‘production’ • understand the professional expectations of an actor within a creative process Values and Attitudes • negotiate the balance between maintaining an open relationship to process and the more results-based expectations of performance • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

46

Module Specifications

•

value the working environment as a professional space in which you may work playfully and freely to take creative risks

How will I learn?

You will be taught within the structure of a rehearsal process which will vary according to the needs of the play. Typically this will involve some large group workshop teaching facilitated by your director and other small group rehearsal according to the scene being worked upon. This may involve individual, one to one direction. You will also be required to work extensively outside the rehearsal room, with your scene partners and also individually as you develop the role. Each project culminates in sharing of your work to fellow students and staff, this approach will continue to build a flexible yet robust and consistent framework of approaching, rehearsing and performing a diverse range of texts.

How will I be assessed?

The assessment within this unit of the module is based on your engagement with process throughout the length of each project culminating in a sharing of process at the end of the given time period of the project. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. The mark awarded for each of the individual Contemporary, Naturalism, Classical and 20th/21st Century Iconic Projects forms 12.5% of the mark for the Acting module.

What will the assessors be looking for?

Assessment Criteria – Contemporary Rehearsal Exercise: • Identification of objectives and counter-objectives/obstacles within the play: scene, act, life/super-objective & moment to moment • Releasing subconscious sensation and behavior (impulse) through the playing of ‘the game’ of objective • Development of listening / awareness and focusing outside of self • Mining the text for information useful for playing of role (given circumstances) • Begin to embody the given circumstances of the play • Trust in self to allow you to ‘yield to the moment’ as opposed to creating a pre-determined score of action and behaviour • Independent work so you come to rehearsal prepared to contribute to the creative process • An understanding of the notion of character as a version of self-revealed through the playing of objectives, embodiment of given circumstances, understanding the relationships in the play and the use of garments and objects • A conscious incorporation of your learning from your other workshops, where relevant, to start to develop an understanding of your best working practice Assessment Criteria – Naturalism Rehearsal Exercise: • Practising and consolidating the assessment criteria from Rehearsal Exercise 1, particularly within the areas of: analysis of text; playing the game of the objective and yielding to the moment to allow generation of 47

Module Specifications

• •

• • • •

subconscious sensation and behavior; relationship to listening / awareness and focusing outside of self to allow impulsive response; embodying given circumstances of the play through imagination and sensation work Using research into historical and social conditions to inform your playing of role Exploring the notion of character through strategies learnt from other workshops as well as rehearsals to find a ‘version of self’ that lies outside your habitual. These may include: life objective; Lecoq element work; the use of characteristics; private moment exercise; Inner Motive Forces; Laban; animal work; garments; music; Viewpoints An ability to cope with an increased workload through independent work and preparation for each rehearsal An autonomous approach to rehearsal in which the actor brings offers to rehearsal as opposed to waiting to be told what to do Working with openness and trust to develop a boldness of approach in which the actor can explore outside of their habitual (and possibly comfortable) ways of working A conscious incorporation of your learning from your other workshops, where relevant, to further develop understanding of your best working practice

Assessment Criteria – Classical Rehearsal Exercise: • Practising and consolidating the assessment criteria from Rehearsal Exercises 1 & 2, particularly within the areas of: using research and text analysis to identify objectives and given circumstances; playing ‘the game’ through embodied listening & awareness to generate subconscious action and sensation; developing a different version of self to appropriately play the role; consciously integrating your learning from the breadth of the curriculum; developing role and process independently so you enter rehearsal prepared & ready to work • Spontaneity and freedom whilst working with a ‘score’ – a specific set of conditions determined by text, given circumstances and director’s instruction • An understanding of the role of the professional actor in relationship to your director. This is defined through the criteria below.

• Working independently to make clear and justified choice in rehearsal • Working autonomously with ownership of the role of actor • Development of resilience in your role of actor to be able to handle your choices being rejected, altered and moulded in service of the piece • Working with openness, bravery and playfulness, responsible for your own process whilst maintaining respect and consideration for the ensemble • Working with a professionalism revealed through attendance, timekeeping, focus, preparation & readiness, enthusiasm Assessment Criteria – 20th/21st Century Iconic Rehearsal Exercise: • Deepening application and development of learning outcomes from previous rehearsal projects.

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Module Specifications

• • • • • • • •

Application of and engagement with social and cultural research in the construction of world, objective and need.

Embodied and conntected emotional reach.

Embodiment of vocal and physical choices in pursuit of character truth.

Working autonomously with ownership of the role of actor.

Use of space that meets the needs of the staging and theatrical reality of the work.

Ability to apply developing acting process in a useful, specific and owned manner.

Respond within the world of the play actively, with imagination and generosity.

Application of voice and movement techniques appropriate to the needs of the character.

MODULE TEACHING PATTERN Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Teaching Unit

Type

Acting Skills Screen Acting Rehearsal Projects

Workshop classes Workshop classes Rehearsals

117 60.5 266

31 32.5 93

148 93 359

Totals

443.5

156.5

600

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Acting Skills Screen Acting Rehearsal Projects Contemporary Naturalism Classical 20th/21st Century Iconic

Weighting

Pass Mark

Classwork Classwork

30% 20%

50% 50%

No No

Classwork Classwork Classwork Classwork

12.5% 12.5% 12.5% 12.5%

50% 50% 50% 50%

No No No No

What do I have to do to pass the module?

You are required to achieve a mark of 50% or above in all units. The overall module mark is calculated according to the weightings in the table above. The Acting module carries a weighting of 30% of your overall mark for the degree.

How will I get feedback on my assessments?

You will receive formative verbal feedback throughout the term within workshop sessions.

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Pass/ Fail

Module Specifications

Module MA2

Movement

Credit Value of Module

20

ECTS

10

HE Level

HE7

Outline This module aims to deepen your understanding of your physical self in order to facilitate more creative expression outside of personal habitual patterns. You will be given a greater awareness of your physical potential and tools to realise a greater range of ability which may be used in service of role. Within this work you will develop greater strength and flexibility within a more centred and grounded body.

You will work with a variety of methodologies which may include Laban, Pure Movement, Feldenkrais, Suzuki, Meyerhold’s Biomechanics, Alexander Technique, Lecoq, Viewpoints, Michael Chekhov and Animal Studies. The unit parts of this module are Embodied Action & Awareness, Thinking Body and Physical Skills.

What will I be expected to achieve On successful completion of the module you will be expected to be able to: Skills • effect a greater range of physical choices in your rehearsal and performance work •

use your somatic knowledge to inform and aid psychological choices in your work

Knowledge and understanding • understand the psycho-physical relationship between the outer physical form and the corresponding sensation shifts within the interior space • demonstrate a good understanding of the semiotics of movement • have a greater awareness of your spatial relationships within a performance context Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

Details of the learning and teaching methods for each unit of this module are given within each relevant section.

How will I be assessed?

50

Module Specifications

Details of the assessment methods for each unit of this module are given within each relevant section. The cumulative marks of each unit form the total mark for Movement which forms 30% of the final mark for the MA.

UNITS OF MOVEMENT:

ACTOR MOVEMENT Tutor: Contact hours: Timetable:

Visiting practitioners 63 2 x 1.5 hour classes a week, Autumn and Spring

Outline The unit focuses on making your physical actions linked to an intention or thought.

It builds upon the work done in Pure Movement to make you grounded, open and physically available and then asks you to feed intention into all actions so that you link mind and body, thought and action. Emphasis is placed on making you as physical and emotionally articulate as possible, looking at where intention and thought sit in the body and how movements convey intention. You will work with a variety of methodologies which may include: Laban, Lecoq, Michael Chekhov, Animal Studies and Viewpoints.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • Fully own movement choices within your physical range.

• Have a strong grasp of techniques needed to transform into character body with truth.

• Connect impulse to a clear physical action that is specific and moves beyond habitual ways of moving.

• Ensure movements are connected to intention and emotional truth and vice versa.

• Use movement to affect another actor in the space.

Knowledge and understanding • Understand the pyscho/physical connection and its role in performance.

• Understand your own movement patterns and the need to extend beyond them.

• Understand how to use stage space in relation to set, architecture and other actors.

• Know the value of making specific movement choices relevant to the needs of the character and given circumstance of any scene.

• Know how to apply movement work to the acting module.

Values and Attitudes • Work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble.

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Module Specifications

• • • •

Value the working environment as a professional space in which you may work playfully and freely to take creative risks.

Discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work.

Understand the value of working in abstraction and extended movement to find truth.

How will I learn?

Much of this unit of the Actor Movement module is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible. Within this you may work individually, in pairs or small groups, or within the larger ensemble. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There may be more formal sharings of process to the wider group which may contribute to the assessment process. The mark awarded for Actor Movement forms 50% of the mark for the Movement module.

What will the assessors be looking for?

Assessment Criteria: • A clear connection between intention and physical action.

• Imaginative, organic and inhabited responses to internal and external stimuli.

• Specificity and ownership of physical choices.

• Ensemble awareness and generosity through play and collaboration • Integration of sound, breath and text with physical form.

• Commitment to physical transformation.

• Ability to physically and actively listen to another actor in the space.

• Preparedness to explore emotional truth in extended movement.

PHYSICAL SKILLS Tutor: Contact hours: Timetable:

Visiting practitioners 31.5 1 x 1.5 hr class a week, Autumn and Spring

Outline In this unit you will develop core strength, flexibility, co-ordination, stamina and spatial awareness. You will begin to recognise habitual movement patterns and then work to broaden your range of movement. Rhythm, dynamics, alignment, use 52

Module Specifications

of space, clarity of movement will all be explored. The aim of the unit is to make you as physically articulate and specific as possible and allow you to inhabit physical choices with confidence and without self-consciousness. You will work with a variety of methodologies which may include Suzuki, Tai Chi, Yoga, Release Technique, Contact Improvisation, Pilates, Feldenkrais and Alexander Technique.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • Develop and extend your existing physical abilities in respect of stamina, core strength and flexibility.

• Ground yourself in the space.

• Identify habitual modes of moving and extend beyond them.

• Take ownership of all physical choices.

• Use space using different qualities of movement.

• Make specific physical choices with clear movement pathways.

Knowledge and understanding • Understand your own movement patterns and move beyond them.

• Understand how to use dynamics and space to expand physical choices.

• Know the importance of core strength and flexibility to enable you to be as available as possible for any impulse you need to connect to.

• Know how to use the space in relation to another actor.

Values and Attitudes • Work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble.

• Value the working environment as a professional space in which you may work playfully and freely to take creative risks.

• Discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work.

• Value working in abstraction and movement extension to better understand how your own body moves.

How will I learn?

Much of this unit of the Movement module is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible.

Within this you may work individually, in pairs or small groups, or within the larger ensemble. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There may be more formal sharings of process to the wider group which

53

Module Specifications

may contribute to the assessment process. The mark awarded for Physical Skills forms 25% of the mark for the Movement module.

What will the assessors be looking for?

Assessment Criteria: • Investment in techniques to increase stamina, strength and flexibility • Ability to ground and anchor yourself in the space • Understanding of optimal alignment according to your bodily structure • Ability to expand physical choices • Recognition of habitual patterns of movement • Ownership of physical choices • Movement in abstraction with confidence • Use of space in relation to self and others • Ability to use a wide range of dynamics • Ability to physically specific choices

CLOWN Tutor: Contact hours: Timetable:

Visiting Practitioners 16.5 1 x 1.5hr class a week, Autumn

Outline You will develop your imagination and your ability to respond creatively and playfully to stimuli, whether this is imaginary, tutor’s direction or in response to other actors. This until allows you to examine your relationship to self, character and process through the use of ‘play’, garments and ‘the nose’ within improvisatory exercises and games.

What will I be expected to achieve?

On successful completion of this unit of the module, you will be expected to be able to: Skills: • Construct a ‘character’ which is based on your understanding of self • Employ creativity, openness and courage in an improvisatory exercise • Respond attentively and spontaneously to other actors in a performance situation Knowledge and Understanding • Articulate understanding of how the use of Clown has informed your knowledge of self and habitual responses • Develop understanding of the relationship between performer and audience Values and Attitudes • Work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble 54

Module Specifications

• •

Value the working environment as a professional space in which you may work playfully and freely to take creative risks Discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

How will I learn?

You will take part in a series of practical classes and workshops culminating in a short performance working on solo exercises as well as in groups of two or more.

The majority of your work will be tutor led but there will be opportunities to develop performance outside of the class either as a solo performer or with another actor.

You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

How will I be assessed?

The assessment within this unit is predominantly based on your engagement with process as opposed to results achievement. You will be formally assessed throughout the module in relation to the assessment criteria for the module. This unit of. The module is Pass/Fail and will not contribute to the final mark for the module. You are required to pass this unit in order to pass the module.

What will the assessors be looking for?

Assessment Criteria: • To respond and adapt play from moment to moment • To work with openness to allow you to share your vulnerability • To connect with an audience • To play with voice • To play with physicality • To play with imagination • To listen and play with fellow actors • To be still and listen

INTIMACY AND STAGE COMBAT Tutor: Contact hours: Timetable:

Yarit Dor 16.5 1 x 1.5hr class a week, Autumn

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 for Performance: You will gain a foundational understanding of stage and screen combat

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Module Specifications

The techniques learned in workshop sessions will allow the student to develop an ability to take control of, and make, exciting physical choices. Contemporary combat is centred 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 scene 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 • 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

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Module Specifications

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 term 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 The Martial Arts of Renaissance Europe By the Sword History and Art of Personal Combat

Author Pace, C

Publisher

Year 2020

Anglo, S

Yale

2000

Cohen, R Wise, A

Pan Evelyn

2003 1971

Routledge; 1st edition

MODULE TEACHING PATTERN Teaching Unit

Type

Actor Movement Physical Skills

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

Clown Intimacy and Stage Combat Movement support

Total Student Learning Hours

Contact Hours

Self Directed Study Hours

63 31.5

24 24

87 55.5

16.5 16.5

4.5 5

21 21.5

10 137.5

5 62.5

15 200

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Actor Movement Physical Skills Clown Intimacy and Stage Combat

Classwork Classwork Classwork Classwork

Weighting

75% 25% n/a n/a

Pass Mark

50% 50% n/a n/a

Pass/ Fail

No No Yes Yes

What do I have to do to pass?

You are required to achieve a mark of 50% or above in Actor Movement and Physical Skills. The overall module mark is calculated according to the weightings in the table above. The Movement module carries a weighting of 15% of your overall mark for the degree.

How will I get feedback on my assessments?

You will receive formative verbal feedback throughout the term within workshop sessions.

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Module Specifications

Module MA3

Expressive Voice

Credit Value of Module

20

ECTS

10

HE Level

HE7

Outline To offer an awareness of the creative and expressive voice in order to tune a vocal instrument which is capable of expressing nuances of thought and emotion.

Through Pure Voice classes you will develop a thorough understanding of how your voice works and how to work safely, imaginatively, truthfully and dynamically, to create a more practicable and adaptable tool for your process. In your voice and language class you will develop the appreciation of how the investment and creative exploration of sounds in words can inform and shapes meaning and carry feeling. Through this you will develop your unique relationship to and ownership of language. You will have Singing classes to further develop your voice as well as approach song as an actor. In Term 2 you will take Accent classes to find increased understanding and specificity in your ability to articulate your own voice whilst developing accents. The units of Expressive Voice are Pure Voice, Voice and Language, Singing and Accent.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • maintain and utilise a highly responsive and excellently prepared vocal apparatus • demonstrate a high level of personal creativity using all the techniques taught • demonstrate a free and responsive vocal expression of the inner life of a character Knowledge and understanding • demonstrate an understanding of how the taught techniques are part of the personal creative process • demonstrate an understanding of how the taught techniques lead to a free and responsive vocal expression of the inner life of a character Values and Attitudes • recognise the value of a healthy vocal apparatus as a creative tool for the actor • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

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Module Specifications

How will I learn?

Details of the learning and teaching methods for each unit of this module are given within each relevant section.

How will I be assessed?

Details of the assessment methods for each unit of this module are given within each relevant section. The cumulative marks of each unit form the total mark for Expressive Voice which forms 15% of the final mark for the MA.

UNITS OF EXPRESSIVE VOICE:

PURE VOICE Tutors: Contact hours: Timetable:

Lloyd Wylde 31.5 1 x 1.5 hr classes a week, Autumn term and Spring term

Outline This unit aims to develop a free, flexible, centred, connected, grounded voice, that is alive with dynamic and expressive possibility, to serve the variation of textual styles and contexts of delivery, you may work in. Beginning with exploration of habitual voice, habitual body and habitual breath, you will explore the release of inhibitive tensions, which will open up body and breath awakening your vocal potential. The acquisition and development of technical vocal exercises grounded in anatomical and psychophysical knowledge aim to connect you with your individual sound opening the dynamics of resonance, pitch and diction to imaginative vocal expression. The methodologies of Barbara Houseman, Kristin Linklater, Patsy Rodenburg, Catherine Fitzmaurice and Cicely Beery amongst others, will be explored.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • • • • • •

Acknowledge and release habitual psychophysical tensions.

Work with a fully connected, free resonant, forward placed and responsive voice.

Work with vocal stamina and consistency.

Engage in precise, flexible, muscular, dynamic articulation/ diction.

Demonstrate the sophisticated use of dynamic, imaginatively applied taught vocal skills, to communicate through various forms, structures and genres of language.

Demonstrate the aptitude of fulfilling the demands of vocal use while working on stage, film and TV.

Knowledge and understanding • Understand how your physical and vocal habits impact on your voice and speech • Have an academic understanding of vocal anatomy and physiology.

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Module Specifications

• • •

Understand and value the importance of working with physical ease and to allow impulsive vocal response and the development of nuance.

Fully appreciate the theory and practice of healthy vocal use.

Appreciate and integrate the work of contemporary vocal practitioners into your own practice

Values and Attitudes • Have confidence in your voice as an immediate, sensitive and powerful means of expression.

• Work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • Value the working environment as a professional space in which you may work playfully and freely to take creative risks • Discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

Much of this unit is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible. Within this you may work individually, in pairs or small groups, or within the larger ensemble. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There may be more informal sharing of process within the group which may contribute to the assessment process. The mark awarded for Pure Voice forms 35% of the mark for Voice module.

What will the assessors be looking for?

• Engaging with commitment to the development and acquisition of technical skills • Evidence of addressing of habitual tensions.

• Demonstration of physical grounding and alignment • Ownership of a free, flexible, connected breath.

• Ability to vocally engage with appropriate vocal onset.

• Ability to work with ease from a connected optimal voice.

• Ownership of a dynamic and nuanced, connected resonant release.

• Demonstrate dynamic and connected use of pitch.

• Ownership of clear, flexible and muscular articulation/diction.

• Ability to confidently work in a variety of acoustic environments.

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Module Specifications

VOICE AND LANGUAGE Tutor: Contact hours: Timetable:

Adam Wallis 63 2 x 1.5 hr classes a week, Autumn and Spring term

Outline In this unit of the module you will develop your vocal technique in a manner that will complement your learning and development in the Pure Voice class. Exploring body and breath work into development of resonance, pitch range and clarity/dynamic articulation. The work graduates towards a sophisticated consideration of projection with a variety of acoustic settings e.g. outside, on stage, a TV studio etc. You will learn to apply your acquired textual skills to communicate text in a variety of forms, structures and genre to respond to your emotional and creative impulses which can be sustainable within a professional setting. At the end of this module you will receive an analysis of your progress with recommendations for further developmental exercises.

What will I be expected to achieve?

On completion of the module you will be expected to be able to: Skills • apply dynamic use of body and breath, resonance, pitch range, forward placement and clarity of articulation in application to a range of texts • speak text with ease, nuance, specificity, truthful connection and creativity.

• skilfully speak in verse - in particular applied to Shakespearean or equivalent text.

• critically analyse and break down the story and meaning within the text, to inform vocal choices.

• work with the sustainability and health of the voice in mind Knowledge and Understanding • Have a sophisticated imaginative and creative appreciation of the use of sound in the construction language.

• Have an understanding of the theoretical aspects of speaking verse - in particular, iambic pentameter, antithesis, rhythm and imagery • Demonstrate an understanding of vocal physiology with reference to body, breath, voice and speech Values and Attitudes • Have confidence in your voice as an immediate, sensitive and powerful means of expression.

• Work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • Value the working environment as a professional space in which you may work playfully and freely to take creative risks

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Module Specifications

•

Discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

How will I learn?

Much of this unit is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible. Within this you may work individually, in pairs or small groups, or within the larger ensemble. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There may be more informal sharing of process to the wider group which may contribute to the assessment process. The mark awarded for Voice and Language forms 65% of the mark for Voice module.

What will the assessors be looking for?

• •

• • • • • • • • •

Engagement with commitment to the development and acquisition of technical skills Ownership of all aspects of the vocal progression taught on the course: body and breath; optimum voice; resonance; forward placement; pitch and clear articulation/diction in response to the medium being employed in; Ability to use critical analysis of text to inform vocal choices.

Ability to deliver verse with confidence and connection.

Ability to deliver text with meaning and feeling.

Active engagement with rhetorical devices.

Ownership of dynamic, expressive delivery of language.

Demonstrate connection through physical embodiment of text.

Ability to confidently work in a variety of acoustic environments.

Ownership of imaginative, expressive delivery of heightened language.

Ability to deliver verse with clarity confidence and connection.

SINGING Tutor: Contact hours: Timetable:

Helen Ireland 31.5 1 x 75 min class a week, Autumn and Spring terms

Outline This unit enables you to approach singing as an actor and to begin work on a realisation of the potential of your singing voice. You will prepare the given material with the emphasis on ‘telling the story’ of the song, whilst also learning how to prepare the material as the actor would prepare a script.

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Module Specifications

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • incorporate the relevant techniques of acting and character creation into your singing performance • present suitable songs in an appropriate manner for a professional audition.

Knowledge and understanding • demonstrate an engagement with the appropriate techniques for the realisation of a creatively free and appropriate performance • understand how to adapt acting choices when performing a song in an audition context.

Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn You will work in groups of differing sizes in order to explore a variety of materials to expand your knowledge of repertoire and to challenge you in different areas. You will work in large groups for ensemble singing, and in pairs or individually to work with the singing tutor on different songs. You will have a sharing of your work at the end of each term to the whole group.

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There will be more formal sharings of process to the wider group at the end of term which may contribute to the assessment process. This unit of the module is Pass/Fail and will not contribute to a final mark for the module.

What will assessors be looking for?

• • • • • •

Demonstration of engaging with commitment to the development and acquisition of technical skills.

Evidence of being able to sing in ensemble.

Ability to sing in harmony Ability to apply taught vocal technique Evidence an understanding of fundamental music theory.

Demonstration of being able to communicate text through song.

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Module Specifications

• •

Demonstration of an active personal relationship with the song Ability to sing in time, with rhythmic accuracy and use of vocal dynamics.

ACCENT Tutors: Contact hours: Timetable:

Ingrid Gray 12 1 x 75 min class a week, Spring term

Outline In this unit of the module you will further interrogate the specifics of articulation and speech sound through exploration of different accents. You will be guided through the specifics of more than one accent to develop your understanding of this process. The accents you may use for this could be RP (received pronunciation) and General American. You will be taught how to research a new accent and how to independently develop your skills in this area. You will then work independently on an accent of your choosing to put this work into practice.

What will I be expected to achieve?

On completion of the module you will be expected to be able to: Skills • Independently research an accent and apply this research to develop your accent/dialect skills • Realise the potential for greater clarity in your work through the technical development of sound production and articulation • Use the phonetic alphabet to assist your accent work Knowledge and Understanding • demonstrate a greater understanding of the technical requirements in acting with an accent Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

Much of this unit is taught within a workshop environment to facilitate the maximum amount of individual experiential learning as possible. Within this you may work individually, in pairs or small groups, or within the larger ensemble. You will develop your learning through individual participation as well as peer observation and analysis. You will also take part in group discussions of research, observations and connections to previous work.

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Module Specifications

How will I be assessed?

The assessment within this unit is based on your engagement with process as opposed to assessment of a specific performance. You will be formatively assessed throughout the module in relation to the assessment criteria for the module. There may be more formal sharings of process to the wider group which may contribute to the assessment process. This unit of the module is Pass/Fail and will not contribute to a final mark for the module.

What will the assessors be looking for?

Assessment Criteria: • Increasing awareness of own accent features in order to explore other accents • Explore other accent through listening, feeling and observing • Applying new sounds of other accents • Working with full commitment and no judgment • Working with accent other than your own in a text – acting with an accent • Independent research of a new accent – develop a research method.

MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Pure Voice Voice and Language Singing Accent

Technique classes Technique classes Technique classes Technique Classes Totals

31.5 63 31.5 12 138

23.5 21 11.5 6 62

55 84 43 18 200

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Pure Voice Voice and Language Singing Accent

Classwork Classwork Classwork Classwork

35% 65% n/a n/a

50% 50% n/a n/a

No No Yes Yes

What do I have to do to pass the module?

You are required to pass Singing and Accent, and to achieve a mark of 50% or above in Pure Voice and Voice and Language. The overall mark for the module is calculated according to the weightings in the table above. The Voice module carries a weighting of 15% of your overall mark for the degree.

How will I get feedback on my assessments?

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Module Specifications

You will receive formative verbal feedback throughout the term within workshop sessions.

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Module Specifications

Module MA4

Reflection

Credit Value of Module

30

ECTS

15

HE Level

HE7

Outline This module provides you with the opportunity to reflect on your personal development as you progress through the programme. One of the essential aspects of optimal development within a 1-year programme is your ability to personally reflect and assess your progress, enabling you to strategise how to maximise your potential within the course. This can be achieved through your regular reflection within your ‘The Actor’s Journal’, an informal space for you to take notes and appraise your engagement with the work on the course. You may be required to use some of these reflections within your Critical Appraisal, a more formal interrogation and assessment of aspects of your process.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • independently research, reflect and analyse your personal creative process in relationship to your training experience • analyse and critically reflect on your personal development in relation to the wider field of creative practice, methodology, training and performance • develop concrete personal strategies that can be directly applied to your continued development Knowledge and understanding • demonstrate understanding of the connections across the breadth of your practice to reflect on patterns (or otherwise) within your training • develop your knowledge of and critical facility towards other practitioners within training and performance Values and Attitudes • distinguish between the subjective nature of the learning and formulate an objective understanding of your training process • work towards a development of understanding of your (and others’) practice which is self-compassionate and non-judgmental How will I learn?

Details of the learning and teaching methods for each unit of this module are given within each relevant section.

How will I be assessed?

Details of the assessment methods for each unit of this module are given within each relevant section. The cumulative marks of each unit form the total mark for ‘Reflection’ which forms 10% of the final mark for the MA. 67

Module Specifications

CRITICAL APPRAISALS Tutor: Contact hours:

Simone Coxall, Richard Neale and visiting practitioners 15

Outline Using your Actor’s Journals as a reference, you are required to make a creative appraisal of each term’s work and to reflect and rededicate yourself as old ideas and concepts are discarded and new areas of personal research emerge. You will also explore methodologies and experiences of process outside of your personal involvement in order to offer you perspective on your own learning. There are two formal Critical Appraisal tasks within the year.

Term 1: At the end of the Autumn term you will write and submit a written Critical Appraisal of between 2,500 – 2,750 words. This will be a reflection of your process and progress of your first term’s work.

Term 2: Over the Easter vacation, you will reflect on the second term’s work. You will be required to write an annotated bibliography referencing 3 outside sources. This will be between 600 & 750 words. A creative appraisal of this work in relation to your process will be presented in a performance of between 7 & 10 minutes in Term 3.

You will subsequently write an assessment of this process and detail strategies for continued development. This will be between 450 & 550 words.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • independently research, reflect and analyse your personal creative process in relationship to your training experience • analyse and critically reflect on your personal development in relation to the wider field of creative practice, methodology, training and performance • develop concrete personal strategies that can be directly applied within the next phase of your work • find articulation of your research in a written and performance form Knowledge and understanding • identify connections across the breadth of your practice to reflect on patterns (or otherwise) within your training Values and Attitudes • express and structure your ideas with a clarity and maturity that demonstrates an objective appraisal of an essentially subjective process

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Module Specifications

How will I learn?

You will undertake independent research, reflection and analysis which may involve many different forms including further reading, writing, painting, drawing, performance. In Term 1 you will take part in tutor and student-led research seminars, examining different perspectives from which to view your process and training.

How will I be assessed?

You will be summatively assessed on your written and performance work according to the learning outcomes above. A mix of random and selected work will be double marked. The individual marks for the 3 Critical Appraisal exercises form the total for the Reflection module. The marks are allocated as follows: Critical Appraisal 1 – 30%; Critical Appraisal 2 – 70%; What will the assessors be looking for?

Assessment Criteria: • Ability to structure essay argument /reflection and performance provocation • Depth and originality of investigation whether in reflective performance or written reflection • Ability to evidence statements and observations made • Evidence of changed practice and openness to revising ideas • Use of and ability to draw upon multiple perspectives • Clarity and rigour of written and performance language • Ability to choose and integrate theatrical forms relevant to your investigation or performance provocation • Evidence of rigorous, objective and honest analysis of process • Ability to critically evaluate and incorporate key practitioners and theorists

THE ACTOR’S JOURNAL Tutor: Contact Hours:

Simone Coxall, Richard Neale and visiting practitioners 3

Outline The Actor’s Journal is a narrative of the dynamic between the technical and taught areas of the programme and your own personal growth and management strategies. They offer you an opportunity for objective analysis and immediate structured reflection on your learning process and creative discoveries as you progress through the programme.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • analyse, reflect on, and critique each unit of the course, and the effect on you as a performer in an objective and developmental manner

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Module Specifications

Knowledge and understanding • demonstrate a comprehensive ability to analyse and reflect on your own working process • demonstrate advanced knowledge about current practitioners and productions and contemporary developments in theatre practice • demonstrate understanding of the actor’s craft that enables you to critically evaluate practice in the field.

Values and Attitudes • articulate your responses to the work of others without judgement • show the developing nature of your struggle to become a strong, self-confident, creative person of independent and critical thought How will I learn?

You will undertake independent research, reflection, analysis and writing. This process is supported through the Critical Appraisal seminar sessions in Term 1.

How will I be assessed?

Each term you will keep a journal in which you will log your feelings and discoveries throughout your classwork, projects, and performances. The journals are not marked independently but may be required for cross-referencing purposes in the assessment of the Critical Appraisals. The content of your Actor’s Journals does not contribute to any part of your final mark.

MODULE TEACHING PATTERN Teaching Unit

Type

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

Critical Appraisals Actors Journals

Tutorials Tutorials Totals

15 3 18

191 91 282

206 94 300

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Actors Journals Critical Appraisal 1 Critical Appraisal 2

Written reflection Essay Annotated Bibliography, Reflective performance, Written reflection

Weighting

Pass Mark

Pass/ Fail

n/a 30% 70%

n/a 50% 50%

Yes No No

What do I have to do to pass the module?

You are required to pass The Actor’s Journal and achieve a mark of 50% or above for each of the Critical Appraisals. The overall mark for the module is calculated according to the weightings given in the table above. The Reflection module carries a weighting of 10% of your overall mark for the degree.

How will I get feedback on my assessments?

You will be given written feedback on each of your Critical Appraisals.

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Module Specifications

Module MA5

Performance

Credit Value of Module

40

ECTS

20

HE Level

HE7

Outline This module is dedicated to rehearsals leading to performance of work in a public venue. You will have the opportunity to synthesise and integrate your training within these public performances and will be expected to work independently outside of your rehearsals to demonstrate an autonomy of process. This module also affords you the opportunity of presenting your work to an audience of industry professionals in a central London venue. This module is comprised of Showcase and Public Production.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • Synthesise your learning from the training thus far to produce clear and creative performance choices • Work with confidence and ownership of process Knowledge and understanding • demonstrate an understanding of and accordance to the professional expectations asked of you • Develop your professional adaptability of process through working with different materials and directors • Build your understanding of the technical requirements of working within a professional environment Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • demonstrate autonomy within process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work

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Module Specifications

UNITS OF PERFORMANCE:

SHOWCASE Tutors: Contact hours: Timetable:

Simone Coxall/Richard Neale, visiting directors 105 Full time, three weeks

Outline Together with one or more Showcase Directors, you will research and select suitable showcase scenes for yourself and other students. You will rehearse the selected scene and perform it as part of a showcase presentation in a central London venue for an invited audience of professional directors, agents and casting directors. You will also be given guidance as to how to market yourself towards the industry.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • use your learning within an integrated practice to create a fully-embodied interpretation of role • perform with professional confidence and creativity in front of potential employers Knowledge and understanding • demonstrate an understanding of and accordance to the professional expectations asked of you • demonstrate a clear understanding of your professional ‘offer’ in the market place Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • demonstrate autonomy within process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

A group selection process of material will give way to individual scene pair / group rehearsals with your director. You may have input from other practitioners in order for you to experience a breadth of direction to draw from. This process is also supported by the Voice department. This will culminate in an open dress rehearsal at ArtsEd and finally a performance in a central London venue.

How will I be assessed?

The mark for ‘Showcase’ is divided between process and performance. 50% of the mark is a formative assessment awarded by your director according to how you 72

Module Specifications

engage with process in relation to the assessment criteria for the module. 50% of the mark is a summative assessment awarded by three outside markers (drawn from the ArtsEd staff.) The mark awarded for ‘Showcase’ forms 40% of your mark for the Performance module.

Assessment Criteria: Process • Engaging with and selecting texts in-line with the specific brief of showcase • Evidence self-rehearsal outside of the rehearsal room • A clear understanding and respect of the structure of the rehearsal room • Working with professional etiquette through attendance, timekeeping, focus, preparation and enthusiasm • Working with openness and trust as part of an ensemble • Encompassing notes and suggestions in rehearsed work • Bringing offers to the rehearsal room and process • Demonstration of autonomy of process Performance • Clear playing of objectives, needs and want • Paying attention on ‘the other’ or ‘target’ • Connection to truth in imaginary circumstances • Active listening and response • Emotional reach • Connection to the ensemble and greater context of the play • An assured performance in terms of text and readiness • Application of technical learning from across the training in terms of voice and physical practice to support an embodied performance • An assured performance in terms of text and readiness • Confidence in inhabiting and utilising the performance space Reading List The appropriate play scripts and research material.

PUBLIC PRODUCTION Tutors: Contact hours: Timetable:

Visiting directors 175 Full time, five weeks

Outline You will rehearse a play and perform it for a public audience in an ArtsEd theatre venue. This unit of the module provides you with a practical experience of a full rehearsal and performance process for a script for stage. A full creative and technical team will support the production to offer you as near a professional, industry experience as possible. You will be able to explore your process over a 4-5 week rehearsal period and experience the demands of maintaining your

73

Module Specifications

development over this period as well as sustaining a role over multiple performances.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • use your learning within an integrated practice to create a fully-embodied interpretation of role • work at a high professional level, both independently and with a director.

• use a high level of personal judgement, responsibility, creativity and initiative in your work as a professional actor, both independently and with your director Knowledge and understanding • demonstrate an advanced understanding of professional responsibility, which extends beyond the practical considerations of timekeeping, reliability and courtesy, and involves total commitment to the creative enterprise Values and Attitudes • work with trust, generosity, openness and resilience as a collaborative performer within an inclusive ensemble • value the working environment as a professional space in which you may work playfully and freely to take creative risks • discover autonomy over your process so that you may apply yourself independently to explore creativity, rigour, adaptability and specificity within your work How will I learn?

You will be cast in a play chosen by the Course Leaders. You will work with a visiting professional director, supported by a full production team and production values, and the continuing guidance and support of your tutors. You will apply business and employment skills, assisting in the publicity and marketing of the season. Activities will include: • Director-led rehearsals • Voice and movement support (including stage combat, choreography, musical direction where appropriate) • Independent research • Independent reflection and development • Technical rehearsals • Dress rehearsals • Public performances How will I be assessed?

The mark for ‘Public Production’ is divided between process and performance. 50% of the mark is a formative assessment awarded by your director according to how you engage with process in relation to the assessment criteria for the module. 50% of the mark is a summative assessment awarded by three outside markers (drawn from the ArtsEd staff.) The mark awarded for ‘Public Production’ forms 60% of your mark for the Performance module.

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Module Specifications

Assessment Criteria: Process • Engaging with research and process in line with the performance text and director's vision • Engaging with the director in a collaborative artistic endeavour • A clear understanding and respect of the structure of the rehearsal room • Working with professional etiquette through attendance, timekeeping, focus, preparation, and enthusiasm • Working with openness and trust as part of an ensemble • Encompassing notes and suggestions in rehearsed work • Bringing offers to the rehearsal room and process • Demonstration of autonomy of process Performance • Clear playing of objectives, needs and want • Paying attention on ‘the other’ or ‘target’ • Connection to truth in imaginary circumstances • Active listening and response • Emotional reach • Connection to the ensemble and greater context of the play • An assured performance in terms of text and readiness • Application of technical learning from across the training in terms of voice and physical practice to support an embodied performance • An assured performance in terms of text and readiness • Confidence in inhabiting and utilising the performance space Reading List Production scripts and associated research material appropriate to the chosen texts.

MODULE TEACHING PATTERN Teaching Unit

Type

Showcase

Rehearsal and performance Rehearsal and performance Totals

Public production

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

105

70

175

175

50

225

280

120

400

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Showcase

Rehearsal 50% Performance 50% Rehearsal 50% Performance 50%

Public production

75

Weighting

Pass Mark

Pass/ Fail

40%

50%

No

60%

50%

No

Module Specifications

What do I have to do to pass the module?

You are required to achieve a pass mark of 50% for both the showcase and the public production. The overall mark for the module is calculated according to the weightings given in the table above. The Performance module carries a weighting of 30% of your overall mark for the degree.

How will I get feedback on my assessments?

You will be given verbal and written feedback on your rehearsal process and performance by the director of your production.

76

Module Specifications

Module MA6

Professional Employment Skills

Credit Value of Module

10

ECTS

5

HE Level

HE7

Outline In this module you will extend your knowledge and experience of the realities, opportunities and requirements of the industry to ensure that you are fully prepared to present yourself professionally and favourably at auditions, interviews, castings etc. You will be introduced to a variety of practitioners and industry professionals who will describe their personal involvements in the industry and will assist the actor in developing their expectations towards their involvement in the profession and in realising the actor’s potential. The invited guests will likely include directors, agents, casting directors, financial/accountancy consultants, actors, independent theatre companies, film makers, YA theatre makers, professional workshop leaders. This module consists of the unit parts of Professional Practice and Business Skills. Whilst the module can be broken down into the unit parts of Professional Practice and Business Skills, there is considerable crossover in respect of the learning outcomes and assessment. As such, the academic expectations for the units of this module are combined.

What will I be expected to achieve?

On successful completion of the module you will be expected to be able to: Skills • articulate a wide knowledge of the professional and creative structures of the industry • develop and employ strategies to enhance your employability • develop and employ strategies for resilience, self-care and financial survival within an uncertain profession Knowledge and understanding • demonstrate a comprehensive theoretical knowledge of how to obtain employment and how to maintain employability • apply a thorough knowledge of your professional responsibilities and expectations towards the actor within the industry Values and Attitudes • appreciate the importance of resilience, patience and proactivity to the working actor How will I learn?

Professional Preparation: You will take part in a rolling programme throughout the year of professional practice speakers from a wide range of industry roles. You will be briefed in advance of the sessions to give you the opportunity to research the speakers’ background and prepare questions. Some of these sessions will take the form of group workshops allowing you to explore aspects of practice within an experiential environment. Other sessions will be more seminar based which afford 77

Module Specifications

the opportunity to directly ask questions about the professional experience. In Term 3, you will experience casting situations with professional directors and casting directors to practice and develop your skills.

How will I be assessed?

You will submit a Professional Practice Portfolio, which should contain: • your own notes on the professional practice lectures, seminars and workshops • your up-to-date professional CV • reflective notes on mock interviews and castings • reflective notes on any 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 Professional Employment Skills does not carry any weighting in the overall mark for the degree, but you are required to pass the Professional Practice Portfolio in order to be eligible for the degree. This will be marked against the learning outcomes above.

MODULE TEACHING PATTERN Teaching Unit

Type

Professional Practice

Lectures, Seminars, Workshops Totals

Contact Hours

Self Directed Study Hours

Total Student Learning Hours

35

65

100

35

65

100

MODULE ASSESSMENT PATTERN Assessment Unit

Assessment Type

Weighting

Pass Mark

Pass/ Fail

Professional Practice Portfolio

Written assignment

n/a

n/a

Yes

What do I have to do to pass the module?

You are required to achieve a pass mark of 50% for your Professional Practice Portfolio.

How will I get feedback on my assessments?

You will receive written feedback on your Professional Practice Portfolio.

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Module Specifications

Title

Author

Publisher

Year

Alfreds, Mike

Nick Hern Books Nick Hern Vintage Nick Hern Books Vintage

2007

Nick Hern TCG, New York Nick Hern Anchor

2004 1991

GFCA Methuen Methuen Routledge Nick Hern Routledge Random House Nick Hern Books Bloomsbury Penguin Routledge

2015 2007 1981 2010 2013 2012 1997

Brennan, Amanda

Nick Hern

2014

Michael Caine Calderone, Marina & Le Conte, Marilyn Churcher, Mel Churcher, Mel

Applause Methuen

1997 2006

Nick Hern Virgin

2014 2003

Denis Lawson

Nick Hern

2014

Adamson, S (ed)

Arden

2001

Barton, John

Methuen

1984

MA1 - ACTING Acting Skills Different Every Night There Are No Secrets Sanford Meisner On Acting The Viewpoints Book A Practical Handbook For The Actor Actions – the Actor’s Thesaurus The Presence of the Actor The Actor and the Target The Actor’s Art and Craft A Peopled Labyrinth Acting on Impulse Respect for Acting Actor Training Tackling Text Embodied Acting True and False The Complete Stanislavsky Toolkit The Outstanding Actor Presence An Actor’s Work Screen Acting The Energetic Performer: An Integrated Approach to Acting for Stage and Screen Acting in Film Radioactive Duologues for Radio, Stage and Screen A Screen Acting Workshop Acting for Film: Truth 24 Times a Second The Actor and the Camera Rehearsal Projects Reading Shakespeare’s Dramatic Language Playing Shakespeare

Brook, Peter Meisner,S & Longwell,D Bogart, Anne and Landau, Tina Bruder, M et al Caldarone, Marina Chaikin, Joseph Donnellan, Declan Esper, Williams & DiMarco, Damon Fettes, Christoper Gillet, John Hagen, Uta Hodge, Alison Houseman, Barbara Kemp, R Mamet, David Merlin, B Rea, Ken Rodenburg, Patsy Stanislavski, K. / Benedetti, J.

79

2013 1987 2014 1986

2002 2008

2007 2015 2009 2008

Module Specifications

Speaking the Speech Dictionary of Shakespeare The Actor and his Text Richard II in New York Shakespeare Shakespeare on Toast Shakespeare’s Advice to the Players Speaking Shakespeare Year of the King A Shakespeare Glossary Then What Happens?

Storytelling and Adapting for the Theatre

Block, Giles Boyce, C Berry, Cicely Berkoff, Steven Burgess, Anthony Crystal, Ben Hall, Peter

Nick Hern Wordsworth Harrap Oberon Vintage Icon Oberon

2013 1990 1987 1999 1996 2009 2014

Rodenburg, Patsy Sher, Antony Onions, C.T. Alfreds, Mike

Methuen Methuen OUP Nick Hern

2002 1985 1986 2015

Bogart, Anne and Landau, Tina Brennan, Amanda

Nick Hern

2014 2016

MA2: MOVEMENT Actor Movement The Viewpoints Book The Energetic Performer To The Actor The Articulate Body Embodied Acting The Body Speaks Laban For All The Invisible Actor The Moving Body Vsevolod Meyerhold How You Stand, How You Move, How You Live An Acrobat of the Heart Intimacy & Stage Combat The Martial Arts of Renaissance Europe By the Sword History and Art of Personal Combat Clown Theatre Games The Clown In You

Chekhov, Michael Dennis, Anne Kemp, R Marshall, Lorna Newlove, J. & Dalby, J. Oida, Y. & Marshall, L. Lecoq, Jacques Pitches, J Vineyard, Missey

Singing Dragon Various Nick Hern Routledge Methuen Nick Hern Methuen Methuen Routledge Nation

Wangh, Stephen

Vintage

2000

Anglo, S

Yale

2000

Cohen, R Wise, A

Pan Evelyn

2003 1971

Barker, Clive Dream, C

1998 2014

Serious Play: Modern Clown Performance Theatre Games for the Lone Actor Why Is That So Funny

Peacock, L.

Faber Alejandro Gonzalez Routledge Northwestern Univ. Press Nick Hern

2001

Spolin, Viola Wright, J 80

1953+ 1995 2012 2008 2003 1997 2017 2003 2007

2011

2006

Module Specifications

MA3: EXPRESSIVE VOICE Voice and the Actor The Actor and the Text Text in Action Care of the Professional Voice Tackling Text Finding Your Voice Freeing Shakespeare’s Voice

Berry, Cicely Berry, Cicely Berry, Cicely Garfield Davies, D Houseman, Barbara Houseman, Barbara Linklater, Kristin

Voice and Speech in the Theatre The Actor Speaks The Right to Speak Speaking Shakespeare Classic Voice Accent Access Accents: Received Pronunciation How to do Accents English Phonetics and Phonology Singing Acting Through Song Singing Professionally: Studying Singing for Actors and Singers Singing and the Actor Successful Singing Auditions

1999 1993 2001 1998 2008 2002 1992

Turner, C Rodenburg, Patsy Rodenburg, Patsy Rodenburg, Patsy Weate, C

Virgin Virgin Virgin Heinemann Nick Hern Nick Hern Theatre Group NY Methuen Methuen Methuen Methuen Oberon

Dyer, P

Methuen (CD)

2007

Haydn-Rowles, J and Sharpe, E Roach, Peter

Oberon

2007

Cambridge

2005

Harvard, Paul Hong-Young, A.

Nick Hern ButterworthHeinemann Routledge A&C Black

2013 1985

Manchester University Penguin Methuen Methuen Routledge Penguin Methuen

1993

Kayes, Gillian Kayes, Gillian

2007 1997 1992 2005 2009

2002 2002

MA4: REFLECTION Arguments for a Theatre

Barker, Howard

Ways of Seeing The Shifting Point Towards a Poor Theatre Actor Training True and False Year of the King

Berger, John Brook, Peter Grotowski, Jerzy Hodge, Alison Mamet, David Sher, Anthony

1972 1988 1969 2010 1987 1985

MA5: PERFORMANCE Scripts and Reading for this module will be determined by your directors for each unit MA6: PROFESSIONAL EMPLOYMENT SKILLS Auditioning for Film and Television Successful Presentation Skills Acting Professionally The Monologue Audition

Bishop, Nancy

Performance

2015

Bradbury, A.J. Cohen, R. & Calleri, J. Kolhaas, Karen

Kogan Page Palgrave Limelight

2006 2017 2005

81

Module Specifications

The Outstanding Actor How to be Successful by Being Yourself

Rea, Ken Taylor, David

82

Bloomsbury John Murray Learning

2015 2017

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

i.

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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Assessment Regulations

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

o

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).

o

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

84

Assessment Regulations

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.

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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Assessment Regulations

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:

• • 4.4.2

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.

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

86

Award classification

Assessment Regulations

Bachelors Degree with Honours

70-100%

Class I (1st)

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

Overall aggregate mark

Award classification

Masters Degree Postgraduate Diploma

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:

87

Assessment Regulations • • •

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 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: 88

Assessment Regulations

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 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.

v.

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.

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.

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Assessment Regulations

4.6.3

Multiple Failed Assessments (Resits or Partial Repeat Year)

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:

i.

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: • •

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).

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.

90

Assessment Regulations •

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

•

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 apply1.

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.

1

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.

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Assessment Regulations

4.7

•

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.

•

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.

•

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.

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: 92

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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.

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.

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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 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.

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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 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)

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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

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 96

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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

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.

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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.

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.

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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.

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.

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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.

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

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.

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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 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: 101

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• • •

poor academic practice academic misconduct severe academic misconduct

as outlined in the Academic Misconduct Policy and Guidance.

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).

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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 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.

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If the offence has been committed by a student in relation to a module which is shared with another Programme, the Preliminary Investigation should: • • •

5.3.3

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.

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).

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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.

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.

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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.

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.

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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.

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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.

•

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.

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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.

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.

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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

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:

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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 Practice Panels.

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 Practice 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.

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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: • 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.

6.10

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.

v.

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.

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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 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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Policies

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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