BA (Hons)
Musical Theatre 3 Year Musical Theatre Course TCL Level 6 Diploma
Student Handbook 2021–2022
September 2021 THE STUDENT HANDBOOK Welcome to ArtsEd! This Handbook has been designed to help you understand, and get the most out of, the BA (Hons) Musical Theatre Programme. Make sure you are familiar with its contents – with the degree structure, contents of each module, assessment requirements and regulations as well as other advice on being a student at ArtsEd. If you are unsure about anything or have suggestions for additions to the handbook please let us know. Please note that the information contained in this Handbook is correct at the time of going to press in July 2021. The School reserves the right to make amendments in response to obligations or legislation beyond its control. The timetable may, on occasion, be affected by national holidays or extra-curricular enrichment activities. You will, of course, be informed of any changes. In response to the Covid-19 pandemic, we have been able to deliver our courses through a blended learning approach, combining face to face and online teaching. In 2021-22 we hope to deliver all teaching on site, but if further lockdowns are imposed we may need to transition to remote learning.
Director of Musical Theatre
TERM DATES Autumn 2021
Year 3 term begins Foundation course Year 2 term begins
6 September 10 September 15 September
Spring 2022 Classes start Half Term Term Ends
Monday 10 January w/c Mon 14 February Thurs 31 March
Year 1 Induction begins Classes Start Half Term Term Ends
Summer 2022 Classes start Bank holiday Half Term Term ends
Wednesday 15 September Monday 20 September w/c Mon 25 October Fri 10 December (Y1 and Y2) Fri 17 December (Foundation & Y3)
Foundation: 19 April
Monday 25 April Monday 2 May w/c Mon 30 May Year 3 & Foundation: Fri 27 May Y1 and Y2: Thursday 7 July
Being a student at ArtsEd Who are all these people and what do they do? Central Administration Musical Theatre Executive Musical Theatre teaching staff What are the rules? Student Charter Staff Code of Conduct Student regulations Lateness/Absence Academic Warnings Fitness to Study Professional Discipline Casting Policy Public Performance Regulations Drugs and Alcohol Security Digital media Computers How does the school work on a day-to-day basis? Absences Accidents Accommodation Appointments Assessment Bikes Box Office Buddy Scheme Cars Catering Changing rooms Common area Complaints Computers Contact Details Counselling Council Tax Dentist Doctor Drinks Emails Equal Opportunities Fees Fire Drill First Aid Front of House Gym Hardship Fund Health and Safety Injury Lanyards Learning Support Library Lockdown Drill Lockers Lost Property
5 5 5 5 6 7 7 8 9 11 12 13 13 14 14 14 15 15 15 16 16 16 16 16 16 17 17 17 17 18 18 18 18 18 19 19 19 19 19 19 19 20 20 20 20 20 20 21 21 21 21 21 21 21 21 22
Pastoral Care Photocopying Physio Post Pupils Recycling Scores and Scripts Smoking Swipe cards Theft Tutor Group Visitors Wardrobe What if you’ve got a problem? Administrative staff Tutors Personal Tutorial Support Heads of Year Student Reps Equality, Diversity & Inclusivity Wellbeing Officer Healthcare Sexual Health Finance Accommodation Careers support Dyslexia and Disability support Outside Agencies and Helplines Policies supporting student welfare What if the students, as a group, have a problem? Student reps Heads of Year Board of Studies Student complaints Library and other resources THE COURSE Programme Specifications Outline and Programme Aims What will I be expected to achieve? How will I learn? Teaching methods: Technique Classes Rehearsals and Performance Classes, Workshops Lectures, Seminars and Tutorials How will I be assessed? What do I have to do to pass? What degree can I get? Exit points How do I get feedback on my work from tutors? Course content Re-Sit provision Careers Accreditation and Professional Recognition TCL Level 6 Diploma in Professional Musical Theatre
22 22 22 22 22 22 22 22 23 23 23 23 23 23 23 23 23 24 24 24 24 25 25 25 25 25 25 26 27 27 27 28 28 28 28 30 30 30 31 31 31 31 32 33 33 35 35 36 36 37 42 43 44 44
Module Specifications Year 1 Year 1 Performance Module Year 1 Dance Module Year 1 Acting Module Year 1 Singing Module Year 1 Contextual Studies Module Year 2 Year 2 Performance Module Year 2 Dance Module Year 2 Acting Module Year 2 Singing Module Year 2 Contextual Studies Module Year 3 Year 3 Performance Module Year 3 Skills Year 3 Dance Year 3 Acting Year 3 Singing Year 3 Professional Employment Skills Module Policies and Procedures
47 47 52 64 72 77 81 87 95 102 108 113 117 117 122 126 130 136
Assessment Regulations General Principles Principles of the Assessment Framework Progression and Awards Academic Standards, Marking and Feedback Assessment Boards
137 137 137 139 159 167
Assessment Criteria Classwork and End of Year Assessments Assessment Criteria Grade Descriptors Rehearsals and Performance Assessment Criteria Grade Descriptors Assessment Criteria for Written work Participation Grades
175 175 175 175 177 178 178 180 182
Critical Reflection requirements
184
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Welcome to ArtsEd! Who are all these people and what do they do?
When you start at a new school, college, university or job, it can take time getting to know who everyone is. We have an open door policy so never feel you can’t talk to anyone. Here is a list of some of the people who you may come in contact with. CENTRAL ADMINISTRATION THE ACTING PRINCIPAL
THE FINANCE DIRECTOR
HEAD OF FACILITIES HEAD OF PRODUCTION THE IT DEPARTMENT
THE LIBRARY DIRECTOR OF DEVELOPMENT HEAD OF HR
Julie Spencer has overall responsibility for ArtsEd, including the School of Musical Theatre, the School of Acting and the Day School and Sixth Form. Her Deputy is Yewande Akindele. Her PA is Nichola Milner. Mike Stewart deals with fees. These must be paid before the first day of term. You must talk to him if you are having difficulty with fees. Frank Daniel is responsible for anything to do with the building. Di Stedman is responsible for the technical side of all productions in the theatres The IT Manager, IT Administrator and IT Assistant look after ArtsEd’s IT network and computers. You can contact them at helpdesk@artsed.co.uk John Antrobus is responsible for the Library, supported in the afternoon by Karen Smith Sue Sandle is the Development Manager and is responsible for fundraising and marketing. Cheryl Jarman is responsible for Human Resources.
THE SCHOOL OF MUSICAL THEATRE EXECUTIVE TEAM THE DIRECTOR ACTING HEAD OF DANCE HEAD OF MUSIC
Jonathan O’Boyle has overall responsibility for the musical theatre course Karen Edwards is in charge of all dance classes and for monitoring your progress in all the dance disciplines Chris Whitehead is responsible for all singing classes and for monitoring your progress in singing
Being a student at ArtsEd HEAD OF ACTING HEADS OF YEAR
THE ADMINISTRATORS THE REGISTRAR
Page 6 Rohan Tickell is responsible for all acting classes and for monitoring your progress in acting Dan Bird, Nadine Higgin and Karen Edwards & Jonathan O’Boyle are Heads of 1st, 2nd and 3rd Year students respectively. Discuss with them any problems you might have. Nadine is also the Equality, Diversity & Inclusivity officer. Laurie-Ann McQuire and Simon Robinson are your first port of call for any day-to-day queries. David Bumpstead is the Registrar, and also arranges learning support for students who need it.
THE SCHOOL OF MUSICAL THEATRE TEACHING STAFF DANCE Jazz
Ballet Tap Ballroom/Pas de Deux Contemporary SINGING Ensemble singing
1-2-1 singing technique
1-2-1 repertoire
Jill-Louise Hydes Karen Edwards Vikki-Marie Ryan Natasha Volley Sandra Doling Joshua Tuifua Charlotte Gale Avalon Rathgeb Emile Ruddock Raf Pilot Sean Moon & visiting tutors Visiting tutors Tim Whiting Michael Haslam Jerome Van Den Chris Whitehead Travis Baker Ceris Deverill Rob Hickmore. Ann James. Mary King James Spilling Tim Evans Michael Haslam James Michalos Phillip Sutton Tim Whiting
Berghe Tina Thomas Besfort Williams Miriam Gellert-Shemtov Rachel Dussek
Being a student at ArtsEd ACTING Acting Voice and Speech
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Rohan Tickell Dan Bird Mark Street Caitlin Stegemoller Adam Wallis
WE HAVE AN OPEN DOOR POLICY, SO NEVER FEEL YOU CAN’T TALK TO ANYONE
What are the rules? Any institution needs to have rules so it can run smoothly and so everyone understands what they are supposed to do (or not do.) The rules are designed to be helpful; to give you an indication of how professionals work and to make sure that the training is fair for everyone. In addition to the student regulations, ArtsEd has a Student Charter and a Staff Code of Conduct, which outlines the responsibilities of the institution, the students, and the students’ union and the staff.
ArtsEd Student Charter
ArtsEd undertakes to: • Ensure that its employees treat students and colleagues equitably, professionally and respectfully. ArtsEd undertakes to provide: • A safe, supportive and inclusive environment in which to study. • High standards of teaching, support, advice and guidance. • Access to activities that will enhance employability and personal development. • Regular continuing professional development for its staff. • Support for student participation in academic development and course management, including elections of representatives. • Access to a range of pastoral support services. • Clearly defined access to library, IT, and other facilities. ArtsEd undertakes to provide students with the following information: • Timetables, including changes, cancelled classes, re-scheduling of content • Clear deadlines and timeframes – detailed in Course documentation – for feedback on submitted work. • Student and Course information detailing: assessment criteria, contact hours, mode of delivery of course, assessment arrangements and regulations, academic guidance and support, appeals and complaints procedures and professional requirements (where appropriate). • Course costs and tuition fees, payment options and deadlines, and an estimate of necessary additional costs. Students undertake to:
Being a student at ArtsEd • • • • • • • • • • •
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Treat staff, visitors and their fellow students equitably, professionally and respectfully. Respect the academic judgement of the institution. Attend induction, participate in timetabled classes, rehearsals and performances, and attend meetings with tutors. Obtain agreement from the School, in advance, for any essential absences. Take responsibility for managing their own learning: actively engaging in their course; ensuring they spend sufficient regular time in private study, and participating fully in group learning and assessment activities. Submit assessed work by stated deadlines and actively participate in feedback. Make prompt payment of charges made by the institution. Return promptly and in good condition any equipment loaned by the institution. Support Course Representatives and participate in systems which will lead to improvements in the quality of learning and teaching as detailed in the Student Handbook. Respect the physical environment of the institution and behave respectfully towards all members of the ArtsEd community and its neighbours as set out in the Student Codes of Conduct. Abide by all of the School’s Health and Safety policy and all other codes and policies.
The Students’ Union undertakes to: • Support all students to ensure they receive equal treatment and are aware of their responsibilities and rights. • Support student participation in quality enhancement activities. • Provide students with advice on welfare problems. • Represent the interests of students at local and national level. • Support active student/community engagement, especially as regards combating antisocial behaviour.
Staff Code of Conduct The purpose of this Code of Conduct is designed to give clear guidance on the standards of behaviour all ArtsEd staff are expected to observe. At ArtsEd staff are expected to: • • • • • •
Demonstrate consistently high standards of professional conduct in order for students to do the same. Maintain high standards of ethics and behaviour both in and outside ArtsEd. Create an inclusive, welcoming and safe learning environment. Maintain appropriate boundaries between professional and personal life. Treat students, colleagues and visitors equitably, professionally and respectfully. Place the needs and safety of the student at the centre of any decision they make.
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Be aware of how behaviour may be perceived: intention is not the same as impact. Avoid any professional or personal behaviour which could risk damaging ArtsEd’s reputation within the industry or the local community.
STUDENT REGULATIONS 1. Students must sign in by the stated time each day. Penalties for lateness or absence are set out in the Lateness/Absence Regulations below which also form part of these regulations. Students may be required occasionally to work in the evening or at the weekend. Students must bear this in mind if considering taking paid work during the term. 2. Student performance is monitored constantly. Academic Warnings are given to students for unsatisfactory progress or if attendance is poor. If progress and attendance continues to be unsatisfactory, the Director of the School of Musical Theatre will ask the student to withdraw from the course. See Academic Warnings below. 3. Assessment. Any student whose performance at the assessments and whose overall progress through the year is unsatisfactory will be asked to discontinue the course. More detail about assessments can be found in the module specifications section of the student handbook. 4. Students are required, from time to time, to act as stewards on 3rd year productions. This will involve evening work. 5. Students have no right to any part in any particular performance or project, and must agree to play “as cast”. 6. Students may not audition or arrange to meet agents/casting directors without prior agreement with the Director of the School. Only 3rd Year Students are allowed to attend auditions after the Showcase, and this must be cleared by the Head of Year. 7. Students may not accept any professional or amateur engagements during the course, (even during the holidays) without prior approval of the Director of the School. 8. If a student is deemed incapable of work because of the effect of drink or drugs he/she will be suspended immediately pending an inquiry (see Misconduct and Drugs and Alcohol below). 9. ArtsEd disclaim responsibility for loss, accident or damage of any kind that may occur to the property of students, wherever it occurs - private arrangements are advised, if insurance is desired. 10. Misconduct. Misconduct will lead to disciplinary action, which could result in the dismissal of a student from ArtsEd. Examples of misconduct
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are provided below, although the list is not exhaustive. ArtsEd may choose to investigate and take action on misconduct offences whether they take place on ArtsEd premises or elsewhere, including online and in social media. a. Disrupting any ArtsEd activities; b. Violent, indecent, disorderly, threatening or offensive behaviour or language (whether expressed orally, in writing or electronically) including harassment; c. Conduct which unjustifiably infringes freedom of thought or expression whilst on ArtsEd premises or engaged in ArtsEd activity; d. Possession or use of illegal drugs or weapons on the premises; e. Fraud, deceit, falsification of documents, deception or dishonesty; f. Behaving in a way likely to cause injury to any Person or to impair safety; g. Harassing, victimising or discriminating against any Person on grounds of age, disability, race, ethnic or national origin, religion or beliefs, sex, sexual orientation, gender reassignment, pregnancy, maternity, marriage or civil partnership, colour or socio-economic background; h. Failing to comply with any ArtsEd rule, regulation or policy; i. Damaging, defacing, stealing or misappropriating ArtsEd property or the property of any student, member of staff or visitor to ArtsEd; j. Misusing or making unauthorised use of ArtsEd premises or items of property, including IT facilities or safety equipment; k. Deliberately doing, or failing to do, anything which thereby causes ArtsEd to be in breach of a statutory obligation; l. Behaving in a way which brings ArtsEd into disrepute; m. Making false, frivolous, malicious or vexatious complaints; n. Any misconduct prior to a student’s enrolment at ArtsEd, which was not previously known, which raises questions about the fitness of the student to remain a member of the ArtsEd community. 11. Misconduct and the Law a. ArtsEd may report to the police any allegation that a criminal offence has been committed. 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 parking will be barred for the day. 14. The building, including its outside spaces, is non-smoking. Students are not permitted to smoke by the front door of the school.
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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, Instagram, Youtube or any other social-networking sites. 18. Fees may be paid in full in September or in three termly instalments. All fees must be paid on or before the date set for financial registration each term. 19. In the event of a student being dismissed from the course, no further fees will be payable by the student (as long as all fees until the point of dismissal have been paid in full) and the student will not be entitled to claim the return of any fees or any part thereof already paid, including the deposit. 20. In the event of a student withdrawing from the course, a term’s notice is required or fees for the term following the student’s withdrawal will be payable and the student will lose their deposit. 21. Students who have any outstanding fees owing to ArtsEd at the end of the course will not receive their degrees until all fees have been paid in full. One of the most important things to say about the course is that strong selfdiscipline is crucial. It doesn’t matter how good you are at acting, if you are late or lazy or difficult to work with, no one will want to work with you. So read the following carefully. It’s how we operate! Lateness/Absence Regulations 1. Students must sign by the stated time each day (usually 15 minutes before your first class). Any student who is late or who fails to sign in will result in the student being barred for the rest of the day. 2. If there are genuine extenuating circumstances (which can be evidenced) 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.
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5. Second and subsequent barrings for lateness, absence or failure to sign in will be considered to be a breach of the Rules and Regulations and will result as follows: a. Second barring: formal verbal warning b. Third barring: first formal written warning c. Fourth barring: final formal written warning d. Fifth barring: immediate dismissal from the course. 6. Appointments with banks, doctors, dentists etc. should be arranged, if possible, outside timetabled class time so that classes/rehearsals are not missed. Preferably such appointments should be made for weekends or holidays. 24 hours notice must given for doctors, dentists and any other necessary appointments. All such appointments must be signed off by the student’s Head of Year or the Director of the School. 7. Notification of illness must be reported to the office before 8.00am on the day in question by leaving a message on 020 8987 6663. Any notification after this will be marked as absence without reason, and this will be noted as a barring. 8. Where a student has been absent due to illness for more than five consecutive days, a medical certificate must be provided. 9. All classes on the timetable are compulsory. A member of staff will refuse admission to a class if a student arrives late or is not correctly attired. 10. The Director of the School may exclude a student from the production or project concerned (and re-cast it accordingly) if a student has been late or absent on three occasions on which he/she was called. 11. If a student is to be unavoidably absent from any single class or rehearsal, she/he must inform the departmental office by telephone 020 8987 6663 by 8.00am on the day concerned, stating the reason. If such absence continues for more than one day, such information must be provided by 8.00am on each succeeding day. 12. It is each student’s responsibility to catch up on all work missed due to absence. 13. If a student misses 10% or more of their coursework, for illness, injury or any other reason, the student will be called to a meeting with the Director of the School. 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, the Head of Year 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,
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and a review date will be set, usually at the half term or end of term. Academic warnings are carried forward into subsequent academic years until lifted. If insufficient progress has been made by the review date, the academic warning may continue, and a new review date may be set, or you may be issued with a final written academic warning, and a final review date set. If insufficient progress has been made by that date, you will be dismissed from the course. Fitness to Study Fitness to study refers to a student’s ability to fully and positively engage with their training and to fulfil the expectations of the course without negative impact on other students or staff. The training at ArtsEd prepares students for the professional theatre, film and television industry, and in order to succeed a student must be able to meet industry standards of punctuality, commitment, engagement and preparation. If concern is raised over a student’s fitness to study, there is a formal procedure to follow. A Wellbeing Action Plan will be put in place, and a review date agreed. If by that date, depending on the reason for implementing the Fitness to Study procedure, for example the problem is not resolved, the student’s health has not improved or the behaviour remains unchanged (as appropriate) the student may be counselled to defer or withdraw from the course. Full details can be found in the Fitness to Study Policy. Professional Discipline The nature of the course with its focus on both individual and group development is such that it requires high levels of commitment from each student. Cause for concern forms may be issued for any of the following reasons:
• • • • •
Persistent lateness Disruption to the work of the group by way of conduct and/or attitude Lack of evident commitment to the work Repeated failure to complete homework or learn lines In addition, violent or other unacceptable behaviour (as outlined in the Misconduct section of the student regulations above) can result in immediate dismissal from the course.
Once a cause for concern form has been issued, the student will be required to attend a meeting with the Director of the School. If the student’s professional discipline does not improve, the following actions can be taken: 1. The student may be given the opportunity to defer and repeat the year. 2. The student may be counselled to withdraw from the course. 3. The student may be permitted to continue with limited casting for their final year.
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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 Year 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 Year 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 in Year 3, 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. Public performance regulations 1. Students are not permitted to absent themselves from the performance venue without permission from the production's director or company manager. 2. Students are required to learn lines accurately and on time. Students must carry out to the best of their ability all direction given with regard to interpretation of the script, dialect work and staging. If a student does not fulfil this work in a satisfactory manner, the School reserves the right to recast the student, in line with current industry practice. 3. Students are required to be available at weekends for rehearsal as required. Students should not expect to be excused for other employment. Every attempt will be made to work around financial and personal hardships, but it may not be possible to do so. 4. Students are expected at all times to conduct themselves so as not to obstruct or do damage to the good name and reputation of ArtsEd. Drugs & Alcohol This is important. The course is very intense and you need to be able to concentrate properly and to always be physically and mentally alert. Even at 8.30 in the morning!! We realise that students may use alcohol socially but you must not use alcohol during school time. You must never be under the influence of alcohol or drugs (illegal substances) during school time and you must make sure that any
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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 All students and staff are issued with an ArtsEd lanyard and security (swipe) card. The swipe card is needed to enter and leave the building. Lanyards, with swipe cards showing, must be worn in all public areas of the building. If you lose your lanyard or your card you must pay for a replacement. Replacement cards cost £5 and lanyards £2 . Swipe card replacements must be ordered via https://artsed.co.uk/artsed-replacement-id-card by 5pm on the second day without a card. On the third day without a card you will be reported to the Administrator and the Director of the School and may be barred. If your card has been stolen, you must provide a crime reference number to avoid the replacement charge. Your card will be de-activated at the end of the course. Digital media Unless given express permission by the tutor or director, mobile phones, tablets, laptops or other digital media is not permitted within the classroom or rehearsal room. Out of courtesy to fellow actors and directors/teachers students are requested to keep their phones switched off at all times. Permission may be given to take notes on tablets, phones or laptops, but not for other use.
Action taken if regulations are breached:
Any student whose phone rings during class/rehearsal will be dismissed from the class. Computer regulations The school computers must only be used for activities related to the course. You are not allowed to use the equipment to view obscene, hateful or offensive material. The full IT regulations can be found in the policies section of the website along with the other policies referred to therein.
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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.
How does the school work on a day-to-day basis? Absences
Every student has to 'sign in' every day (see Lateness/Absence Regulations). If you are ill, you must ring in on 020 8987 6663 and speak to Laurie or leave a message on the answer phone. Do not leave messages on the main switchboard. If you are ill or if you miss the 'signing in' time you are barred for the day. Calls to explain the delay are not acceptable. Being 'ill' in the morning and 'OK' in the afternoon is not acceptable. If you are ill you must ring in each day. If you are absent for five days or more you must get a doctor's note. If you need to take time off college for any other reason you must discuss it with your Head of Year first. Use your free time during the week including your lunch breaks to sort out any personal matters.
Accidents
Accident or injury must be reported immediately to the office, and Laurie or Simon will contact one of the School’s appointed First Aiders. There is also a First Aid Box in the Office. You must get a chit if injury is preventing you from dancing. First Aiders include: Heather Robbins, Laurie McQuire, Simon Robinson, Jules Cannon (Reception), Nichola Milner (Principal’s PA), Frank Daniel (Head of Facilities), Luis Rodriguez (Maintenance).
Accommodation If you need to change your accommodation, or have a problem with where you are staying, talk to Laurie or Simon in the office. You must let the office know your up-to-date phone number and address. Appointments
Making an appointment to speak to the Director of the School, the Principal or any other tutor should be done by approaching the person directly or the Principal’s PA.
Assessment
Monitoring of your progress is continuous. Your tutors will let the relevant Head of Department know immediately if they have any concerns about your level of attainment, discipline or attendance. Your tutors will mark your effort and attainment grades half way through the year in mid February. If your marks are less than 45 in core subjects (Jazz, Acting and Singing) this will signal a lack of progress and you will be called for a meeting with the Director of the School.
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At the end of the summer term you will have formal assessments in each of the disciplines before an assessment panel of internal examiners, which may also include an external assessor. Also at the end of the summer term your tutors will give you a percentage mark in each subject for your work in class. This grade incorporates effort and professional behaviour as well as the level of attainment you have reached. You are also assessed on your performances in the end of term projects, and will receive written and verbal feedback on these. You must pass the formal assessments in each discipline; achieve a pass grade from each of your subject tutors and a pass grade in each of the projects to be allowed to continue into the next year. In the 3rd year you are assessed only on your performance and rehearsal process in public performances. An average of all your 3rd year performance marks is calculated to give 80% of your final degree mark. The other 20% comes from your final mark for year 2, and these marks together give your final degree classification. Bikes
Bikes can be parked at the front of the building or there are more bike rails the other side of the railway bridge near the tube station. NEVER LEAVE YOUR BIKE UNLOCKED. You are advised to invest in a strong D lock. Students are not permitted to lift bikes over the barriers.
Box Office
Students are offered standby seats for 3rd year public productions, subject to availability. Alternatively, students may be permitted to watch open dress rehearsals. All other tickets must be paid for. Box office opening hours are 10am12pm and 1-5pm Monday to Friday. Payment can be made by cash or card (cheques will not be accepted). There is a 50p charge for each ticket when paying by card. Full list of terms and conditions of sale are on the ArtsEd website.
Please note – tickets cannot be refunded or exchanged. Buddy Scheme
Each First Year student is allocated a Second Year student to be their buddy. Your buddy should have made contact with you over the summer to provide useful information and to answer any questions regarding accommodation, equipment, reading material etc. During the first year you will have your buddy on hand should you experience any problems you would rather discuss with a fellow student.
Cars
There are no parking facilities on site. The area around the School is a Controlled Parking Zone; if you park your car in
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any of the surrounding streets you will have to purchase a ticket. Catering
The canteen serves subsidised hot meals at lunchtime and breakfast from 8-11am. The Day School pupils are in before the HE students so please keep to your allocated lunch time otherwise it gets chaotic. Please observe the refectory code of conduct:
Clear the table after you have finished and return your tray to the stands provided. Respect others who are eating and keep the noise to an acceptable level. Also in the canteen there is a café which is open during term time from 8am to 4.45pm, serving hot and cold drinks, snacks and sandwiches. On show nights and for special student events, the bar serves wine, beer and soft drinks for the use of all students over the age of 18. It is also open to members of the public coming to see productions. It is very important that you behave responsibly in the bar. As well as the general public, you could be sharing the space with agents and casting directors and it is important we maintain the school’s good reputation, both with the local community and with the industry. Changing Room The changing rooms can be very congested so please be tidy and use your lockers at all times. Do not leave your possessions lying about the floor or the changing rooms will not be cleaned. There are spot checks from time to time and anything left lying around will be disposed of. Common Area
There is a student common area on the 2nd floor. This space is shared with students from both schools. Although this is a meeting place for students, it is also designated as a quiet study area, so you must respect others’ need to concentrate. If you need somewhere to rehearse, ask in the office if there are rooms available. If you see others rehearsing, feel free to ask them to do the same!
Complaints
At ArtsEd we pride ourselves on our openness and approachability. You are encouraged to raise issues as soon as possible with your Head of Year or any member of staff, and informal resolution is encouraged. If the issue is not resolved, the Complaints Policy is explained in the Policies section of the website.
Computers
The computers and printers in the common area are available all day for student use. In order to use the school computers
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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, or from the librarian. The Network account will provide you with access to all of our software packages, including the ArtsEd Intranet. ArtsEd will not be held responsible for any loss of data. You should save all your work onto USB memory sticks or external hard drives. Contact details
THE OFFICE MUST KNOW HOW TO CONTACT YOU DURING TERM TIME – YOU MUST REMEMBER TO TELL THEM IF YOU MOVE OR CHANGE MOBILE NUMBER OR EMAIL. Office phone 020 8987 6663.
Counselling
If you are struggling and need emotional support, the ArtsEd counselling service is here to help. The school has partnered with Togetherall to provide an online digital mental health service which offers 24/7 support with trained clinicians, as well as a range of helpful tools and resources. A number of staff are also trained mental health first aiders. Please speak with your Head of Year or a member of the Admin staff if you feel that you need help.
Council Tax
If you are over 18 you must complete a form to send to your local council to confirm that you are a full time student and therefore not liable for Council Tax. When you get a Council Tax Bill ask Simon in the Office to provide you with a letter confirming your status as a student.
Dentist
It is very important that you register with a Dentist. To find your nearest NHS dentist search www.nhs.uk/servicesearch/Dentists
Doctor
You must register with a local Doctor (see ‘Healthcare’ for more information). For emergency appointments, there is a walk in clinic at Charing Cross Hospital, 10 minutes’ walk from Hammersmith tube station.
Drinks
Only water in reusable plastic bottles is allowed in the studios and classrooms. Drinks in cans and glass bottles are not permitted. There are water fountains in the canteen, in the foyer and on the second and third floors.
Emails
You will be given an ArtsEd email address. Messages and timetable changes will be sent to you so please check your email regularly.
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Equal Opportunities The School does not discriminate on the grounds of race, colour, ethnic or national origins, marital status, sex, sexual orientation, disability, religious beliefs or age. The full Equal Opportunities Policy is available on the website. The School aims to: • foster the sense of the intrinsic worth of each individual • encourage in each student the sense of her/his unique individuality • make the commitment to the performing arts the sole measure of value. The School will not tolerate unfair discrimination against any student by any other student or member of staff. Any student who feels they have been treated unfairly within the scope of this policy should raise the matter with the Director of the School. Fees
Fees must be paid before the start of term. You will not be admitted to college, or be allowed to continue with your training, until your fees are paid. This rule applies equally to those DaDA holders who pay a student contribution to fees. If you are asked to leave the course no further fees will be payable as long as all fees until the point of dismissal have been paid in full. However you will not be entitled to claim the return of any fees (including your deposit), in whole or in part, which have already been paid. In the 3rd year, you will not be allowed to graduate until all fees are paid in full. If you are having financial difficulties, speak to your Head of Year (see ‘Hardship Fund’ below).
Fire Drill
If the fire bell rings go out of the building immediately by the nearest available door. There are several clearly marked FIRE EXIT. There will be Fire Marshalls on hand to show you where to go. Please leave in a calm, ordered and disciplined way. Fire marshals will show you where to wait until it is safe to return to the building. DO NOT STOP TO COLLECT YOUR BELONGINGS.
First Aid
See ‘Accidents’ above.
Front of House
In your second year you may be required to usher for one or more of the 3rd year public productions.
Gym
There is a gym which is open on weekdays in term times unless a timetabled class is taking place. A gym instructor is on hand to teach you safe use of all the gym equipment, and to help you prepare a suitable fitness programme. You cannot use the gym until you have completed an induction.
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ArtsEd has a small amount of hardship money available each year. Normally final year students have priority access to this money. However, any student with serious financial difficulties should ensure that they speak to their Head of Year as soon as their financial difficulties become apparent. Each request for financial assistance will be considered on its own merits.
Health and Safety There is information throughout the module specifications regarding health and safety. The performing arts are physically taxing. The School aims to help you understand how to acquire and maintain good levels of fitness, and to be aware of your own and others’ health and safety. Injury
If vocal or physical injury is preventing you from participating fully in any classes your Head of Year will give you a form, to let your tutors know that you cannot take part in those classes.
Lanyards
You will be issued with a lanyard in which to display your swipe card. You must wear your lanyard in all public areas of the building during the working day. Replacement lanyards cost £2.
Learning Support If you are experiencing difficulties in any area of the curriculum, you may be referred for Learning Support sessions, arranged by David Bumpstead. If you think you may need additional support, or you already have a diagnosis of dyslexia and wish to find out if you are eligible for Disabled Students Allowance, please see David (see ‘Dyslexia Policy’ on the website). Library
You will be given a library induction during your first week of term. The Library is open at the following times: Monday to Thursday 7.45am – 7pm Friday 7.45am – 3pm
Lockdown Drill The lockdown alarm will ring for 3 minutes. Remain in your classroom or go immediately to the nearest occupied classroom or office. Turn off any music, draw the curtains or blinds and sit quietly on the floor until you are told by a member of staff that the danger has passed. The all-clear alarm will sound again for 20 seconds. Lockers
You will be allocated a locker. It is your responsibility to provide a suitable padlock; coded ones are useful as they do not require a key. USE YOUR LOCKER AT ALL TIMES. Lockers must be emptied of all possessions at the end of each academic year.
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Lost Property
Anything found should be brought to the Office. If you have lost anything check there first. At the end of each half term anything unclaimed will be thrown away or sent to charity.
Pastoral Care
Heads of Year are your Personal Tutors. They should be your first port of call if you have any kind of problem. You can also contact the Director of the School.
Photocopying
There are photocopiers in the student common area and on the 2nd floor corridor outside room 204. Photocopier credit can be purchased either from the librarian or from machines on the 2nd floor. FOR REASONS OF COPYRIGHT STUDENTS ARE EXPRESSLY FORBIDDEN TO PHOTOCOPY MUSIC. When working on a project or production, photocopies of scripts and/or scores will be provided.
Physio
The programme is very hard physically and injuries can and do happen. We offer physio and massage treatments at heavily subsidised student rates. Appointments are made via Reception. Treatments include Sports Physio and Sports Massage.
Post
You will be informed if any post arrives for you. You may only have parcels delivered which are relevant to your course, e.g. books, scripts, dance wear, etc. Any items which must be signed for, such as laptops, phones, passports etc will only be accepted if agreed in advance by reception. Signedfor items will be held in reception for you to collect. You must collect them on the day of delivery. The school will not be held responsible for items left unclaimed.
Pupils
We share the building with the ArtsEd Day School and 6th form. It is very important that you do not put yourself at risk by making any kind of contact with the pupils. In particular you must not use the changing rooms or toilets dedicated to the pupils' use.
Recycling
Recycling bins are available throughout the building.
Scores and Scripts All hired scores and scripts must be signed for. Marking on hired scores should be made with a soft black pencil and erased before returning, and scores must be signed back in. You will be charged for any damage to hired scores/scripts and for not returning items by the stated deadline. Smoking
Smoking is forbidden on all ArtsEd premises. Students are not permitted to smoke within sight of the main building in Bath Road.
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Swipe cards
All students and staff are issued with a Security (swipe) Card which must be used to enter and leave the building. If you lose your card you must pay for a replacement. Replacement cards cost £5. Swipe card replacements must be ordered via https://artsed.co.uk/artsed-replacementid-card by 5pm on the second day without a card. On the third day without a card you will be reported to your Head of Year and may be barred. If your card has been stolen you must provide a crime reference number to avoid the replacement charge. Your cards will be de-activated at the end of the course.
Theft
Unfortunately, as in any public building, your belongings may be at risk if you do not use sensible security precautions. Use your lockers. Do not bring in any more cash than you need for the day or wear expensive clothes and jewellery. The school is not responsible for theft or loss.
Tutor Group
Your group meets with your Head of Year once a week to share information, discuss problems and monitor well-being, injury and attendance. This is a good time to arrange a private chat with your Tutor.
Visitors
Students are not allowed to bring visitors into the college, apart from as guests to public productions.
Wardrobe
Costumes are not provided for projects – please note you may not borrow costumes from the wardrobe department.
What if you’ve got a problem?
To start with you could talk to the other new people, or the people you share a house with, but as the course moves on it may be better to talk about things with the various staff members who are practiced in dealing with them. Administrative Staff The administrative staff are here to help you with practical problems. Ask Laurie or Simon who it would be best to talk to about your practical problems. The HE Admin Office is usually open from 8am to 5pm, Monday to Friday. Tutors As you progress through the course you may have problems coping with the work for some reason or other. Although you will have regular tutorials, the tutors of individual modules or projects will be ready to talk to you at a mutually convenient time. They are not trained counsellors, but they will always do their best to help, giving you time, support and guidance on a whole range of matters. Just ask. Personal Tutorial Support Students are often subject to outside pressures which may be affecting their work. Students will have weekly group tutorial meetings with their Head of
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Year, and can make appointments at mutually convenient times for one-to-one tutorials. Each student will have at least one individual tutorial with the Head of Year per term where any problems or obstacles to work can be discussed. Appointments can be made to see the Director of the School at any time. Students with more complex problems may be referred for additional support. Heads of Year Each week you and your year group will have a Company Meeting with your Head of Year, to talk about problems that may be shared by everyone in the year group. Student Reps You will elect two students to represent you as a year group, and it will be their job to make sure any issues you raise are heard by staff (see more about Student Reps in the section below). Equality, Diversity and Inclusivity (EDI) We are committed to creating a culture of equity at ArtsEd, which provides a truly inclusive learning environment. Our ethos is to consistently promote diversity of all kinds across the school, in both students and staff. If you experience any form of discrimination, we encourage you to report it. We have several different ways you can do this: • We have an Open Door Policy, which means you can talk to any trusted member of staff • You can send a confidential email to report@artsed.co.uk • Our Equality, Diversity and Inclusivity Co-ordinators (contact details below) are there to guide you through our reporting procedures and to support you • 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 co-ordinators and senior staff • The Student Union has EDI reps and they will introduce themselves to you during induction week Equality, Diversity and Inclusivity (EID) 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. 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
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Healthcare You are advised to register with a doctor as soon as possible. The NHS website has detailed advice on how to choose a GP on http://www.nhs.uk/choiceintheNHS/Yourchoices/GPchoice/Pages/ChoosingaGP. aspx. To find a local GP surgery, type in the postcode of your term time address on this website http://www.nhs.uk/Service-Search/GP/LocationSearch/4. Sexual Health The nearest NHS sexual health clinic is just opposite Hammersmith tube station at 10 Hammersmith Broadway, London W6 7AL. For an appointment call 020 3315 1010. For confidential advice you can speak to a sexual health adviser on 020 3315 9779. Finance There are a limited number of bursaries available for students in their second or third year who are struggling financially. Students may be able to submit applications for these after discussion with the Director of the School. We also have a Hardship fund to help students who are experiencing short term difficulties. Accommodation ArtsEd does not provide on-site accommodation for its students. Most students find accommodation in shared student flats in the local area. The Registrar will send out the contact details of reputable local estate agents. Support for new students in finding accommodation is also provided by their buddies and through the ArtsEd Freshers page. Careers Support Students are given continual guidance throughout the course on how to behave in a professional manner and promote themselves to the industry. In Years Two and Three students will gain experience of how to market themselves and promote their careers through extensive audition practice and careers workshops. During Year Three students are introduced to professional agents, directors and casting directors and are given one-to-one tutorial advice on agent representation and employment opportunities. Professional creatives and casting directors often contact the School of Musical Theatre for casting recommendations or to arrange auditions and until students have signed professionally we operate as an agency promoting the students and finding them work. This service continues after the students have completed the course. Dyslexia and Disability Support ArtsEd is committed to supporting any students 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
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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 different coloured paper, as appropriate; and students can be referred for additional learning support. The School will do its best to support any student who has already been diagnosed as being on the dyslexic spectrum or has a disability of some sort that needs accommodating. The sooner a student's needs are properly assessed, the more we can help. The largest single disability group at drama school tends to be people with dyslexia or dyspraxia. This can mean people find things such as sight-reading, memorising lines, picking up multiple instructions in a class and time management extremely difficult. Dyslexia is not a sign of lower intelligence but it can be distressing and demoralising, as it can interfere with studies. Sometimes, people slip through the net and are not diagnosed prior to coming to ArtsEd. We can arrange for dyslexia/dyspraxia and related SpLD assessments. If agreed, costs for all such assessments are paid for by the school. If the student is eligible, a Needs Assessment is carried out and Disabled Students Allowance (DSA) may be made available for specialist equipment, assistive software, and other costs. Additionally, regular 1-2-1 Study Skills Support can be accessed for students with dyslexia, dyspraxia, ADHD and/or processing issues. If you think you may need support, make an appointment to see David Bumpstead, the Registrar. The earlier you come forward the better, as it might be something you want to talk about later in your training. Useful Helplines and Outside Agencies Many of these are Freephone numbers which means you can call at no cost from any UK landline 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 ArtsEd policies supporting student welfare ArtsEd operates the following policies and procedures:
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
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1. Equal Opportunities 2. Dignity & Respect 3. Safeguarding 4. Fitness to Study 5. Dyslexia 6. Complaints 7. Academic Misconduct 8. Student Charter 9. Code of Conduct 10. Access Control all of the above policies and others are available to students on the website www.artsed.co.uk or above in this handbook.
What if the Students, as a group, have a problem? When everyone is working so hard, it is very important that you have the opportunity to talk regularly about how things are going. The whole group needs to be able to get together to talk on a regular basis and then they need to be able to communicate their thoughts with the staff. In order to allow that to happen, we have set up the following: Induction You are given a thorough induction into school regulations and systems in the week before timetabled classes begin. You are given this Student Handbook and the Student Regulations (a copy of which you are required to sign, and will be kept on file). Tutors will provide induction seminars in a range of teaching, learning and assessment techniques as well as in the Health and Safety systems in operation in the school. You are given a tour of the building and the school facilities and are introduced to the student union, the staff group and your peers. You are given an induction to the library, gym and IT facilities, and given an ArtsEd email address and log in code to the school’s server. Each tutor will brief you on the content of their module or module component in their first timetabled class. Incoming students are assigned a “Buddy” from amongst the 2nd year students who makes contact during the summer prior to the new term and acts as the point of contact for you in the first weeks of term. Student Representatives Each year group selects two representatives at the beginning of each academic year. These student reps will organise meetings of the year group so students can talk about problems etc. without members of the staff being present. The student reps will then be able to tell the staff how the year group, or individuals within it, feel about things. No names need to be mentioned. The student reps either speak directly to a member of staff or they speak at Board of Studies meetings (see below).
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Heads of Year Group tutorials are held once a week for each year group. A member of staff (the Head of Year) will be at these meetings to give students information and to listen to what they have to say. The Head of Year will then feed back the details of these meetings to the Musical Theatre Executive. If there is anything you want to say about the course, this is a good time to do it. Board of Studies Meetings The Board of Studies is made up of the Student Reps from each year, the Musical Theatre Executive team and senior members of staff. The Board meets once a term in order to monitor the student experience, assess teaching standards and to clarify learning outcomes. Student complaints You are encouraged to raise issues as soon as possible with the Director of the School or any member of staff, and informal resolution is encouraged. If the issue is not resolved, the procedure for submitting a formal complaint is set out in the Complaints policy on the website.
Library and other Resources ArtsEd Library ArtsEd facilities are specialist and limited. Students are encouraged to use them in conjunction with the more general London public libraries and specialist local libraries such as the Goethe Institute. The library Collection is one small specialist part of a much larger research resource that consists of specialist and general public and private libraries all over London. Students are also expected to build their own specialist library as part of their professional development. The mission of the library is to provide the very best possible library service to the entire community of library users at ArtsEd. The library houses a substantial collection of musicals and music on CD, and a very comprehensive collection of musical scores and librettos. Personal CD Players with earphones are available for listening to CDs. The library collection consists of specialist books on Acting, Musical Theatre, Film, Movement and Dance, Voice, Stagecraft, Media plus a substantial collection of Plays, and a collection of over 8,000 DVDs for use as research. These include Play and Musical performances and ‘genre’ films as well as new release purchases. There is unique collection of magazines including an archive collection of Plays and Players dating from the 1960s. A collection of Dancing Times from the 1940s is also in the archive. Back editions of contemporary magazines such as Total Theatre and Theatre Research International are included. Students should ask for the magazine catalogue to find out what this archive offers. Contemporary magazines often yield the latest research and magazine archives can give a very personal eyewitness account of twentieth century theatre, not
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available in books. A daily quality newspaper is available and the weekly theatre paper, The Stage. Other magazines and periodicals are also available. Library Hours Monday to Thursday Friday
7.45am – 7pm 7.45am – 3pm
Access to City, University of London Library All students will be issued with a City, University of London library card which gives them access to the university’s extensive collection of research material. Specialist Libraries Students can join the lending library at the Barbican Centre EC2. This has a Video Library containing classic performances from the world of Film, Theatre, TV, Opera and Ballet. It has an Arts Library with a wide choice of books on painting, sculpture, theatre, cinema and ballet whilst the Music Library provides books, scores, cassettes and compact discs. The Music Performance Research Society’s pioneering collection of live performances is to be found here. Membership of Encyclopedia Britannica and online library databases such as questia.com are strongly recommended.
Programme Specification
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Programme
BA (Hons) Musical Theatre
Awarding Institution
City, University London
Teaching Institution
ArtsEd
Type of study
Full Time
UK Credits
425
Outline The BA (Hons) Musical Theatre is a 3 year full-time musical theatre training programme designed to prepare graduates for successful careers in professional musical theatre. The programme is divided into three parts, each part equating to a year of study. Each year is normally 33 weeks, divided into three terms of approximately 11 weeks, with 10 teaching weeks and one performance and/or assessment week. On average there are a minimum of 36 hours of timetabled teaching per week.
Programme Aims The programme aims to:
• Enable you to perform to a professional standard, safely and with confidence • Develop students’ skills in dance, singing and acting to the highest level of which you are capable • Prepare students for a performance career in the musical theatre industry
What will I be expected to achieve?
At the end of the BA (Hons) Musical Theatre you will be expected to demonstrate knowledge and understanding, qualities, skills and other attributes in the following areas: Knowledge and Understanding • you will have developed a thorough knowledge and understanding of the industry and of current musical theatre creative practice • you will be able to demonstrate a command of your subject by critical reflection and appraisal based on technical and contextual studies and in practice Skills • you will have developed your imaginative, expressive and technical skills in all three core musical theatre disciplines to a professional level • you will have acquired the professional employment skills to enable you to secure and maintain a career in the professional arts and entertainment industry
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Values and Attitudes • you will have developed a collaborative attitude to the creative process • you will have developed personal values and qualities which will enhance your professional and personal life
How will I learn? Teaching Methods The section that follows describes the different types of formal learning situation you may experience during your programme of study. Technique Classes Technique Classes are designed to develop your practical performance skills. These classes will require a certain amount of repetition as you practice control and gain an understanding of how your body works. You will often work as individuals within a group of individuals all performing the same task. Although the tutor will give you personal attention at times, it is your own commitment to the exercises that will pay the biggest dividends. The tutor will be looking for concentrated effort; commitment to the work; growth in your understanding of the techniques and the development of control.
Note: Ballet and Jazz in Year 1 and Tap classes in Years 1 and 2 will be taught in
groups streamed according to ability; all other technique classes will be unstreamed. Technique classes include:
Ballet, Jazz, Tap, Contemporary Speech and Voice, Accents Ensemble Singing Solo singing Individual coaching for performance e.g. repertoire & acting tutorials
Rehearsals and Performance Rehearsals are a vital part of the training and they are designed to expand your knowledge of performance styles and rehearsal methods. You will take part in many performances during your training, although only in Year 3 will these be public. Performance in all its forms gives you the opportunity to apply the skills and techniques you are acquiring at every stage of your training. Different periods of history and different cultures have produced a variety of forms of musical theatre and you will learn to understand the different “styles” of performing that will be needed in your career. Project rehearsals will involve research into the period or culture; study of the text; creation of character and exploration of style. There are many different approaches to the rehearsal period and each project director will have their own way of doing things. You should remain
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open and positive to the particular methods of the individual director, choreographer and MD. Your tutors will be looking for commitment; hard work; evidence of private study; a positive attitude and the development of your skills.
e.g. Rehearsals leading to internal project showings of original choreography and extracts from musicals and plays (Years 1 & 2) Rehearsals leading to internal showings of Song and Dance routines from musicals (Years 1 & 2) Rehearsals leading to public performances of fully staged musicals (Year 3) Classes on performance of songs e.g. Performance Classes, Song Workshops Individual Tutorials leading to performance in assessments (Years 1 & 2) or Auditions (Year 2 & 3) Presentation e.g. performing a song to tutors and fellow students in Performance Class Self-directed study e.g. learning of lines, choreography, and music Acting Classes Some elements of acting are difficult to quantify as these are innate (for example impulse or instinct), but even these elements can be developed and maximised. Every student at ArtsEd – including you! – has demonstrated an instinct for acting at the audition otherwise you would not have been offered a place on the course. You will be given the opportunity to explore rich variety of practices and techniques for (amongst others) studying the text, building a character and understanding and shaping a scene that will enable you to become a more inventive and creative actor. The tutor will be looking for an openness to each of these techniques and processes; a positive exploration of them; hard work; enthusiasm; commitment and generosity of spirit towards the other students. In acting classes you will workshop exercises to develop your imagination, concentration and observation. Workshops Workshops are a powerful way for students to express their own ideas, skills and creativity within a group of their peers. The tutor will have an area of work they wish to explore and they may start the session with games and/or exercises that will prepare the group to focus on that particular area of work. Different tutors will have different methods of working. You may be asked to work in smallish groups to explore and create as a group (e.g. Physical Theatre Practice, Character Creation) with guidance from the tutor, or you may work one to one with the tutor, exploring ways to approach a variety of material (e.g. Lift Off, Song Workshop). and there will be guidance from the tutor only when it is necessary.
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Groups and/or individuals may be asked to show the results of their work during or at the end of the session. It is important to note that the exploration of ideas and skills is the prime objective of workshops. They are designed to help you grow as creative performers and to understand that both success and failure are part of the creative process. The tutor will be looking for good group skills; imaginative and explorative input; risk taking; active reflection/feedback; energy and commitment. Lectures, Seminars and Tutorials Lectures are used when there is a lot of information to be communicated to a lot of people. Actors need to have a broad knowledge of the world in order to have a wide understanding of human behaviour. Since a lecture is designed to expand your knowledge, all that is required of you at the time is to listen, take notes and ask constructive questions. e.g. Current Musical Theatre Creative Practice (Year 2) Seminars are designed to be inter-active. The speaker may give a short presentation and then introduce a topic or a number of topics. The students may then be asked to discuss these topics in small groups and be asked to share a summary of their discussion with the rest of the groups towards the end of the session. e.g. Contextual Studies Tutorials provide an opportunity for the Head of Year to offer support and advice to students, and to provide information to the students as a group. In one-to-one tutorials students can discuss their progress or seek pastoral support. Group tutorials with the Head of Year take place weekly throughout the course and provide a forum for discussion of any aspect of the training, as well as support for students in preparation for written work.
e.g. Project Journals, Professional Practice Portfolios, Production Journals, Health and Safety and Wellbeing talks
How will I be assessed? Performance: Projects & Productions In Years 1 and 2 you will take part in three in-house projects, one acting, one singing and one dance. You will be assessed by the creative team on your rehearsal process and by the Heads of Department on your standard of performance. In the Third Year you will perform in 3 productions, two public productions of fully staged musicals and a showcase presentation. You will be assessed by the creative team on your rehearsal process and by the Heads of Department on your standard of performance. Public productions are marked 100% on performance, and the Showcase is marked 20% for performance and 80% for process.
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Preparation and Technique: Mid year classwork marks
Tutors give first and second year students an indicative grade for their work half way through the year in mid-February. Mid and end of year class work grades are awarded on the basis of the student’s response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria based on the requirements of professional rehearsal: • commitment, preparedness for work; self-directed study • concentration; application; personal motivation • receptiveness to the process • ability to accept, and act on, notes and corrections • ability to work within group (listening; sensitivity; responsiveness generosity; co-operation). • progression: growth and development of skills and knowledge • development of flexibility and spontaneity; • capacity to experiment and take risks • development of awareness of the working process • quality of reflective/critical understanding and expression Note: If a student scores 45% or less in any core subject this signals a lack of progress and will trigger a meeting with the Course Director. See sections below under ‘What do I have to do to pass’ for more detail. Full assessment regulations can be found towards the end of this handbook (see index for page number).
End of Year Assessments In the second half of the summer term first and second year students have formal assessments in each of the assessed technique components before a panel of assessors. The panel will be made up of course tutors and may also include an external assessor. Dance: Assessments in Jazz, Ballet and Tap. Contemporary Dance, Ballroom Pas de Deux (1st year) and Pas de Deux (2nd year) are marked pass/fail. Singing: Two contrasting solo songs and an ensemble song in Year 1 and three contrasting songs and an ensemble song in Year 2. Song Workshop and Song and Dance are marked pass/fail. Acting: Scenes (Years 1 and 2) Physical Theatre Practice and Lift Off are marked pass/fail.
End of Year Classwork Marks Towards the end of the summer term students are given grades for class work in all core components; this grade incorporates effort and attendance as well as the level of attainment reached.
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Written Assessments
With tutorial support, students will write a rehearsal journal for one project or production each year, reflecting on their rehearsal process and performance. Each year students will prepare a Professional Practice Portfolio containing notes on lectures and seminars, reflections on their technical training, and written feedback on their assessments.
What do I have to do to pass?
To pass Year 1 and progress to Year 2, you must have acquired 160 credits and passed each module in accordance with the requirements for the module as set out in the Module Specification. To pass Year 2 and progress to year 3, you must have acquired 145 credits and passed each module in accordance with the requirements for the module as set out in the Module Specification. In other words, you must pass the formal assessments in each discipline, achieve a pass grade in each core subject and a pass grade in each of the projects to be allowed to continue to the next part of the programme (i.e. from year 1 to year 2, or year 2 to year 3). Your end of year classwork grades are aggregated with assessment grades and project grades to reach the overall grade for the year. To pass Year 3 a student must have acquired 120 credits and passed each module in accordance with the requirements for the module as set out in the Module specification. This means you must achieve a pass in each of the Year 3 public performances, and all three components of Year 3 Skills. All students are also required to produce a rehearsal notebook on projects and productions demonstrating research and reflection, and to create a Professional Practice Portfolio containing notes and reflection on all aspects of the training. These are pass/fail assessments and do not carry any weighting in the degree. See the back of this handbook for Assessment Criteria and Grade Descriptors.
What degree can I get? In order to qualify for the award of BA (Hons) Musical Theatre, you must satisfy the pass requirements for all modules within the programme and achieve 425 credits overall. The overall aggregate degree marks for the Honours degree will be calculated as follows: Average of the three percentage marks achieved for the Year 3 Performance module:
60%
Aggregate mark for the Year 3 Skills module:
20%
Final mark for Year 2:
20%
The class of the award of an Honours degree shall normally be:
Programme Specification BA (Hons) Musical Theatre Class I Class II upper division Class II lower division Class III
Page 36 Minimum Overall Aggregate Mark 70% 60% 50% 40%
An award of Ordinary Degree is not available for this programme.
Exit points Occasionally students have to leave the programme early due to injury or other personal circumstances and are unable to continue the course after a deferral. In order to help these students complete an undergraduate degree programme at alternative institutions exit points are provided at the end of years 1 and 2 so that, with permission from the Course Director and subsequent approval from the Assessment Board, students leaving early may be awarded either a Certificate (Year 1) or Diploma of Higher Education (Year 2). There will be no change to entry points to the programme; all students must successfully complete all three years of the programme to qualify for the degree.
How will I get feedback on my work from the tutors? Monitoring of students’ progress is continual, and you will receive verbal and written feedback throughout the programme. Students will receive one-to-one tutorial support in the following components of the programme: Projects and Productions Each student receives one-to-one feedback from their lead creative and a Head of Department after each of the Year 1 and 2 project showings. Year 3 students receive written feedback from the creative team on their rehearsal process, and from the Heads of Department and the Course Director on their performance. Mid and End of Year Assessments Year 1 and Year 2 students will each receive one-to-one tutorial support from the Head of Dance, Head of Music and Head of Acting in February and June of each year after mid year classwork evaluations and end of year assessments. Areas of success will be highlighted and students will be given targets to work towards. Classwork Students receive tutorial support from module and component tutors at the end of each unit of work, and tutorials can be arranged with Heads of Year and/or Heads of Department by approaching the member of staff directly. Written Feedback After projects and end of year assessments students are given written feedback by their tutor. This will focus on identifying strengths and weaknesses and offering guidance on how to make improvements.
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Course Content All components of the course are compulsory.
Part One – HE Level 4 Module MT1: Credit value: Components
Year 1 Performance 35 Dance Project Acting Project Singing Project Performance Class Song and Dance Song Workshop
How do I pass Year 1 Performance? You must achieve a grade of 40% or above in all three projects. You will be assessed immediately after the performance of each project. The creative team will mark your rehearsal process and Heads of Department will mark your standard of performance. In Year 1 the overall grade for each project is weighted 80% for process and 20% for performance. The overall mark for the module is calculated as an average of the three project marks. Performance Class, Song and Dance and Song Workshop are marked pass/fail. You are required to pass them, but they carry no weighting in the calculation of the overall mark for the module. Module MT2: Credit value: Components
Year 1 Dance 40 Jazz Ballet Tap Contemporary Ballroom Pas de Deux Fitness, Nutrition and Injury Prevention Wellbeing
How do I pass Year 1 Dance? You must pass each component of the module. You will take part in formal assessments in Jazz, Ballet and Tap at the end of the summer term. Your marks for these assessments will be aggregated with the marks for classwork throughout the year. To pass you must achieve grades of 40% or above for all your assessments and classwork. The marks for each component are weighted as follows: Assessment: 75% Classwork: 25% Contemporary, Ballroom Pas de Deux, Fitness, Nutrition and Injury Prevention; and Wellbeing are marked pass/fail. You are required to pass them but they carry no weighting in the calculation of the overall module mark.
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The overall mark for the module is weighted as follows: Jazz 50% Ballet 35% Tap 15% Module MT3: Credit value: Components
Year 1 Acting 40 Acting Speech and Voice Physical Theatre
How do I pass Year 1 Acting? You will take part in formal assessments at the end of the summer term in Acting and Speech and Voice. Your marks for these assessments will be aggregated with the marks for classwork for each component throughout the year. To pass you must achieve grades of 40% or above for all your assessments and classwork in Acting and Speech and Voice. The marks for Acting and Voice are weighted as follows: Assessment: 75% Classwork: 25% Physical Theatre is marked pass/fail. You must pass your classwork in this component but it does not carry any weighting in the calculation of the overall module mark. The overall mark for the module is weighted as follows: Acting 70% Speech and Voice 30% Module MT4: Credit value: Components
Year 1 Singing 40 Singing Technique Repertoire Ensemble
How do I pass Year 1 Singing? You will take part in formal singing assessments at the end of the summer term. The end of year singing assessment consists of the performance of two contrasting solo songs and an ensemble song. The solos contribute 40% each and the ensemble song 20% to the end of year assessment grade for singing. The assessment grade is given a weighting of 75% of the overall mark for the Singing module, against 25% for classwork. The classwork mark is calculated according to the following weightings: Singing Technique 50% Repertoire 25% Ensemble 25%
Programme Specification Module MT5: Credit value: Components
Page 39 Year 1 Contextual Studies 5 History of Musical Theatre Critical Reflection Professional Practice Portfolio
How do I pass Year 1 Contextual Studies? You will submit a Critical Reflection of your Acting Project. All components of Year 1 Contextual Studies are marked pass/fail. You are required to pass each component, but no marks will be awarded and the module has no weighting in the calculation of the Year 1 overall mark.
Part Two – HE Level 5 Module MT6: Credit value: Core Components
Year 2 Performance 35 Dance Project Acting Project Singing Project Performance Class/Audition Technique Song and Dance Song Workshop CV and Photograph Workshops
How do I pass Year 2 Performance? You must achieve a grade of 40% or above in all three projects, and you must pass each of the other components. You will be assessed immediately after the performance of each project. The creative team will mark your rehearsal process and Heads of Department will mark your standard of performance. In Year 2 the overall grade for each project is weighted 50% for process and 50% for performance. Performance Class/Audition Technique, Song and Dance, Song Workshop and CV and Photograph Workshops are marked pass/fail, and carry no weighting in the calculation of the overall mark for the module. The overall mark for Year 2 Performance is calculated as an average of the three project marks. Module MT7: Credit value: Core Components
Year 2 Dance 35 Jazz Ballet Tap Pas de Deux
How do I pass Year 2 Dance? You will take part in formal dance assessments in Jazz, Ballet and Tap at the end of the summer term of Year 2. Your marks for these assessments will be aggregated with the marks for classwork throughout the year. To pass you must achieve grades
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of 40% or above for all your assessments and classwork. The marks for each core component are weighted as follows: Assessment: 75% Classwork: 25% Pas de Deux is marked pass/fail and carries no weighting in the overall mark for the module. The overall mark for the module is weighted as follows: Jazz 50% Ballet 35% Tap 15% Module MT8: Credit value: Core Components
Year 2 Acting 35 Acting Speech and Voice Lift Off
How do I pass Year 2 Acting? You will take part in formal acting assessments at the end of the summer term. Your marks for these assessments will be aggregated with the marks for classwork throughout the year. To pass you must achieve grades of 40% or above for all your assessments and classwork. The assessment marks for each component are weighted as follows: Assessment: Classwork:
75% 25%
Lift Off is marked pass/fail, and carries no weight in the calculation of the overall mark for the module. The overall mark for the module is weighted as follows: Acting Speech and Voice Module MT9: Credit value: Components
70% 30% Year 2 Singing 35 Singing Technique Repertoire Ensemble
How do I pass Year 2 Singing? At the end of the summer term you will be formally assessed in singing before a panel which may include an external assessor. The singing assessment consists of the performance of three solo songs and an ensemble song. You must choose two contrasting solo songs and submit a selection of five further contrasting songs from which the panel will choose one for you to
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sing. Each of the four songs contributes 25% to the end of year assessment grade for singing. The assessment grade is given a weighting of 75% of the overall mark for the Singing module, against 25% for classwork. The classwork mark is calculated according to the following weightings: Singing Technique 50% Repertoire 25% Ensemble 25% Module MT10: Credit value: Components
Year 2 Contextual Studies 5 Current Musical Theatre Creative Practice Wellbeing, Yoga and Mindfulness Critical Reflection Professional Practice Portfolio
How do I pass Year 2 Contextual Studies? You will submit a Critical Reflection of your Jazz (Swing) component. You are required to pass each component, but no marks will be awarded and the module has no weighting in the calculation of the Year 2 overall mark.
Part Three – HE Level 6 Module MT11: Credit value: Core Components
Year 3 Performance 60 Two Public Productions Showreels Critical Reflection
How do I pass Year 3 Performance? You must achieve a grade of 40% or above in both productions and the showreels, and you must pass the Critical Reflection. You will be assessed immediately after the performances of each production. The Musical Theatre Executive will mark your performance in each production and the Showreels. For Year 3 productions the overall grade is weighted 100% for performance. For the Showreels the weighting is 80% process and 20% performance. Your process for the Showreels will be marked by the creatives. The Critical Reflection is marked pass/fail and carries no weighting in the calculation of the overall mark for the module. The overall grade for Year 3 Performance is calculated as an average of the marks for the public productions and showcase. Year 3 Performance carries a weighting of 60% of your final degree mark.
Programme Specification
Module MT12: Credit value: Components
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Year 3 Skills 45 Dance Singing Acting
How do I pass Year 3 Skills? You must pass all three components of Year 3 Skills. You will be assessed on your classwork in all three components in the Autumn and Spring terms. Classes will continue in term 3, but will not be included in the assessment scheme. The marks in each component are weighted as follows: Dance
Jazz Ballet Tap
60% 25% 15%
Singing
Singing Technique 50% Repertoire 50% Song Workshop n/a
Acting
Acting for Camera 70% Speech and Voice 30%
Your overall mark for the module is calculated as an average of the marks for Dance, Singing and Acting, and carries a weighting of 20% of your overall degree mark. Module MT15: Credit value: Components
Year 3 Professional Employment Skills 15 Auditions and Audition Class Careers Workshop Professional Practice Portfolio
How do I pass Year 3 Professional Employment Skills? You are required to participate in all classes and to pass the Professional Practice Portfolio, but no marks will be awarded and the module has no weighting in the calculation of the Year 3 overall mark.
Compensation between Modules There is no provision for compensation within or between modules on the BA (Hons) Musical Theatre.
Re-sit Provision If you fail a module, you may be given the opportunity to re-sit those elements which you did not pass. Re-sit provision for the different elements of the programme may be available as follows:
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1.2.1 Third Year Productions Students will be required to perform a 15 minute extract of the production which must include elements of all three disciplines of dance, singing and acting. No production values will be assigned to the re-sit other than playback facilities, and students must source their own collaborators, e.g. performers, creatives, production and technical support. Alternatively, permission may be granted to submit a Special Scheme of Study in place of a re-sit. 1.2.2 First and Second Year Projects Students will be required to present a five minute (First Year) or ten minute (Second Year) solo extract or abridged version of the project. Sound equipment will be provided as necessary for playback of accompanying music. 1.2.3 Classwork Re-sit tasks will be set appropriate to the component which has been failed. Re-sits will normally not be offered where a student has failed more than one module or more than two components of a module. 1.2.4 End of Year Assessments Students will be required to repeat the task set for the original assessment. 1.2.5 Written Assignments Students will either be required to resubmit a revised version of the original assessment task, or may be required to submit an appropriate replacement task. 1.2.6 Number of Re-sits Re-sits will not normally be offered where a student has failed more than one module or more than two components of a module. Marks for re-sits are capped at 40%. If you fail the re-sit you may be given permission to repeat the year (subject to the approval of the Assessment Board) or you will have to withdraw from the programme. If you have to re-sit more than one component you may be given permission to repeat the year (subject to the approval of the Assessment Board) or you will have to withdraw from the programme. The full re-sit regulations are set out in the assessment regulations at the back of this handbook.
Careers The aim of the BA (Hons) Musical Theatre programme is to prepare you for a successful career in the performance industry. The main focus of the programme is on musical theatre, but graduates have gone on to succeed in all areas of performance including acting for television and film. Many graduates go on to develop successful careers in musical theatre creative practice, including directing and choreography, as well as careers in the wider creative industries such as agent representation, casting and production.
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Accreditation and Professional Recognition ArtsEd is accredited by the Council for Dance, Drama and Musical Theatre (CDMT) and is a founder 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. The course is also validated to offer the Trinity College London Diploma in Professional Musical Theatre (see below). This is the qualification which is linked to Dance and Drama Award funding.
Level 6 Diploma in Professional Musical Theatre Students in receipt of a Dance and Drama Award take the Trinity College London Level 6 Diploma in Professional Musical Theatre, which is recognised by the Qualifications and Curriculum Authority (QCA). It is placed at level six on the National Qualifications Framework. The word ‘professional’ is key in the naming of this qualification as it was developed specifically to recognise the high level of skill and talent that emerges from some of the most prestigious of England’s professional performing arts training institutions. The uniqueness of the qualification stems from the way it was developed: following advice from members of the theatrical professions and the participating professional training schools. The Diploma in Professional Musical Theatre (Level 6) is a qualification which is attained as a result of successfully completing a three year vocational training. Training providers are validated to provide the qualification and assessment is undertaken by the provider and Trinity College London. The emphasis of the Diploma in Professional Musical Theatre is on the artistic, creative, technical and professional skills that a performer needs in order to prepare fully for a varied, sustainable and high level performing career in musical theatre. Course work will include techniques of and performance in singing, acting, dance and supporting professional studies that aim to enable you to sustain a long-term career in Musical Theatre. You will have an opportunity to perform and the college will bring in people working in the professional field to talk to and work with. Each validated course has its own unique identity and will provide the Diploma within its own curriculum. The Diploma in Professional Musical Theatre provides the successful candidate with 380 credits at level 6 and 40 credits at level 5. See below for the outline structure and the pages that follow for the full course details.
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Structure The Diploma is a unit-based qualification. The focus at ArtsEd is on the triple threat, where the core disciplines of Singing, Dance and Acting are given equal weight. Therefore ArtsEd students do not follow either Unit 4, Supporting Technical Skills – Dance or Unit 5, Supporting Technical Skills – Acting. Students entered for the Diploma must successfully complete Units 1, 2, 3, 6, 7 and 8. Units 1 to 6 comprise the core techniques and performance skills needed to become a professional musical theatre performer. Units 7 and 8 contain the professional supporting studies which underpin the first six units. These develop the skills to enable candidates to become informed practitioners who are well prepared to secure and maintain employment. Unit 1 – Technical Skills in Professional Musical Theatre – Singing Delivered through: o Singing Technique o Repertoire o Ensemble Unit 2 – Technical Skills in Professional Musical Theatre – Dance as a Key Skill Delivered through: o Jazz o Ballet o Tap o Contemporary o Pas de Deux Unit 3 – Technical Skills in Professional Musical Theatre – Acting as a Key Skill Delivered through: o Acting o Voice and Speech o Physical Theatre o Acting for Camera Unit 4 – Technical Skills in Professional Musical Theatre – Dance as a Supporting Skill (n/a) Unit 5 – Technical Skills in Professional Musical Theatre – Acting as a Supporting Skill (n/a) Unit 6 – Performance in Professional Musical Theatre Delivered through: o Year 1 Acting Project o Year 1 Dance Project o Year 1 Singing Project o Year 2 Dance Project o Year 2 Singing Project
Programme Specification o o o o o o o
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Year 2 Acting Project Performance Class Song and Dance Class Song Workshop Two Public Productions Showcase Special Schemes of Study
Unit 7 – Additional Professional Skills and Practice • Transferable Skills Delivered through: o Professional Employment Skills o Project and Production Journals o Contextual Studies o Self-assessment o Disciplinary policy, including Lateness and Absence Policies • Employment Delivered through: o Current Musical Theatre Practice o Professional Employment Skills o Professional Development Plan o Professional Employment Preparation o Professional Practice Portfolio •
Safe Practice
Delivered through: o Integrated studies including Health and Safety, Fitness, Nutrition and Injury Prevention, safe practice in the core disciplines of Dance, Acting and Singing, Professional Employment Preparation, Professional Employment Skills, Projects, Public Productions
Unit 8 – Integrated Professional Studies in Professional Musical Theatre The integration of all units is an essential concept of this qualification and is central to the successful delivery of the Diploma. Assessment of this Unit is through the Critical Reflection and Professional Practice Portfolio in Year 3.
Module Specification
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BA (Hons) Musical Theatre Module Specifications On the pages that follow you will find module specifications setting out in detail the aims of each module, how you will learn, what you will be expected to achieve, and how you will be assessed.
Module MT1:
Year 1 Performance
UK Credits:
35
ECTS:
17.5
Level:
4
Outline You will develop your performance experience in a variety of projects and workshops. Overall Aims To enable you to gain experience of: • creating a reflective process for rehearsal • sustaining a role in front of an audience • working with a variety of professional directors, musical directors and choreographers in a professional theatre environment What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Knowledge and understanding •
demonstrate an understanding of different theatrical forms and periods
Skills
• work in a professional way in rehearsal and performance • work with a variety of professional directors, musical directors and choreographers • use technique in performance • work on sustained pieces involving drama, dance and singing
Values and attitudes • •
maintain, as a matter of habit, professional standards of punctuality, reliability and courtesy value the rehearsal process
Projects Tutors Tutor led Hours
Guest and in-house directors, choreographers and musical directors 8 x 16 + 10 = 138
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Aims • to introduce you to professional working practices • to give you opportunities to apply technique to performance • to prepare you for the public performances in the final year • to enable you to reflect on your work in rehearsal and performance What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • • •
apply singing, dance and drama techniques to performance sustain a role as an actor, singer and dancer work with a group work with a variety of professionals structure your independent study keep a working research and development diary
How will I learn? You will take part in three in-house productions (projects) in your first year: a dance, acting and singing project. Projects rehearse on two afternoons a week for up to six culminating in a single performance usually in a rehearsal studio in front of an audience of students and staff. There are no sets or lighting, and costume and props are kept to a minimum. You will keep a written research and development diary for each project, and will formally submit your diary at the end of the acting project Examples of recent projects: 1. Acting: a cut version of a play by a contemporary playwright. Recent examples include: Lucy Prebble, Jessica Swale, Moira Buffini and Jim Cartwright. Lucy Kirkwood, Roy Williams, Stella Feehily and Morgan Lloyd Malcolm 2. Dance: a devised project based on a theme, style or genre of music 3. Singing: excerpts from works by a chosen composer. Recent projects have included Cy Coleman, Flaherty & Ahrens, Howard Goodall
Performance Class Tutors Tutor led Hours
Dan Bird, Chris Whitehead 20
Aims To enable you to acquire technical and performance skills in the performance of songs. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • •
give clear instructions to an audition pianist perform songs in a variety of styles with confidence in front of an audience
Module Specification •
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acquire a repertoire of songs for audition purposes
How will I learn? You will participate in a sequence of workshop classes in which you and other students perform songs accompanied by a Repertoire Tutor in front of an audience consisting of your year group and tutors. You receive written feedback from the tutors on your performance. The class does not run until the Spring term so as to give you the opportunity to build confidence and prepare songs for presentation.
Song and Dance Tutors Tutor led Hours
Various in-house and guest choreographers and musical directors. 26
Aims To enable you to develop your technical and performance skills in the performance of musical theatre chorus numbers. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • • • • •
progress in technique in all three disciplines developing ability to dance, sing and act at the same time progress in applying performance skills the ability to learn, memorise and perfect musical staging developing stamina and versatility progress in music reading
Knowledge and Understanding • • •
understanding of style awareness of musicality and an understanding of how musical numbers are constructed the discipline of choral singing
How will I learn? You will take part in a sequence of workshop classes in which a musical theatre number is rehearsed by a choreographer and a musical director then performed at the end of each half term in front of an audience of tutors and fellow students. Examples of numbers from musicals performed recently include ‘Mame’, ‘Crazy For You’, ‘Beauty and the Beast’. You will keep a written research and development diary to be submitted at the end of the second song and dance project.
Song Workshop Tutors Tutor led Hours
Visiting industry professionals 17.5
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Aims To enable you to • bring together the technical and performance skills of acting and singing • discover a personal response to songs • discover the text and subtext of songs • perform with clarity, truthfulness and intensity What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • •
sustain the narrative of a song communicate the song clearly to an audience structure the song so as to achieve variety and sustain the audience’s interest make a personal connection with a song
Knowledge and Understanding • •
discover and play the subtext of a song find private associations with the lyrics of a song
How will I learn? You will take part in a sequence of workshop classes in which you perform songs to an audience of the tutor group with guidance and feedback from tutors. MODULE TEACHING PATTERN Self Directed Study Hours
Total Student Learning Hours
46
43
89
Rehearsals and Performance
46
42
88
Singing Project
Rehearsals and Performance
46
42
88
Performance Class
Workshop classes
20
10
30
Song and Dance
Workshop classes
26
4
30
Song Workshop
Workshop classes Totals
17.5
7.5
25
201.5
148.5
350
Teaching Component
Type
Dance Project
Rehearsals and Performance
Acting Project
Contact Hours
How will I be assessed? You will be assessed on your rehearsal process and your standard of performance in each of the projects after the performance. The creative team will mark your rehearsal process and Heads of Department will mark your standard of performance. Your classwork will be assessed at the end of the summer term by the module tutors. See Year 1 Contextual Studies for details
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of how the project journal will be assessed. The assessment criteria can be found at the back of the student handbook. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Performance Rehearsal process Performance Rehearsal process Performance Rehearsal process
20% 80% 20% 80% 20% 80%
Performance Class Song and Dance
Classwork
Song Workshop
Dance Project Acting Project Singing Project
Pass Mark
Pass/Fail
40
no
40
no
40
no
n/a
n/a
yes
Classwork
n/a
n/a
yes
Classwork
n/a
n/a
yes
What do I have to do to pass? You must achieve a grade of 40% or above in all three projects and a pass in the other components. The overall grade for each project is weighted 20% for performance and 80% for process. The overall grade for the module will be calculated as an average of the three project marks. How and when will I get feedback on my assessments? You will be given verbal feedback on your rehearsal process and on your standard of performance in each of the projects by the creative team together with a senior tutor (usually a Head of Department). Feedback takes place immediately after the performance. You are required to record your feedback session, using your mobile phone or another recording device. As stated in the student regulations, you must not post coursework, performances or feedback on any social networking sites. After the projects you will receive written feedback from the lead creative, usually within two weeks of the performance. Reading lists and other research materials will be suggested appropriate to the style and genre of each of the projects.
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Module MT2:
Year 1 Dance
UK Credits:
40
ECTS:
20
Level:
HE4
Outline You will develop competence and confidence in a variety of different dance techniques. You will begin to develop your skills in and knowledge of the core dance disciplines of Musical Theatre. You will take part in weekly technique classes in jazz, ballet, tap and contemporary, and will also be introduced to ballroom. Health and safety is a feature of all the disciplines within the dance department, and you will learn how to avoid injury, develop fitness and stamina, and become aware how to maintain your own and others’ health and safety. Aims of the module • To give you a solid foundation in dance technique • To develop your competence and confidence in jazz, ballet, tap, contemporary, ballroom and physical conditioning • To develop an understanding of history of dance in musical theatre • To develop an understanding of the human body to avoid injuries and develop technique and freedom of expression. • To develop the relationship between Acting, Singing and Dance • To provide you with a cohesive dance training in a Musical Theatre context What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Knowledge and understanding • •
demonstrate understanding and use of appropriate technique in dance develop an understanding of dance techniques and terminology used in professional theatre
Skills • • •
use imagination, concentration and observation in performance perform with belief, energy and focus develop your confidence in the use of a range of dance styles and techniques
Values and attitudes • •
recognise the value of working in a disciplined way as an individual within the context of a group demonstrate awareness of health and safety and safe practice in dance
Module Specifications
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Jazz Tutor Tutor led Hours
Natasha Volley and Karen Edwards 4.5 hours x 30 = 135 hours
Groups
First years are taught in separate groups streamed according to ability
Aims To enable you to begin the acquisition of • the basic technical and performance dance skills required by the professional musical theatre • stability, placement and foundation in technique • an understanding of Matt Mattox jazz technique What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • • •
progress in technique, alignment, placing, control, strength flexibility, fluidity of movement, dynamics and accuracy the acquisition and application of performance skills ability to sustain and apply technique
Knowledge and Understanding • •
an understanding of safety in dance to ensure an injury free career an awareness of musicality and subtlety of jazz dance style, energy, concentration, imagery, personality, feeling & communication through dance
How will I learn? You will participate in a sequence of technique classes introducing Matt Mattox jazz technique based on body mechanics and conditioning. Term 1 Dance etiquette Preparation for Dance: basic warm up, stretch, limbering and strengthening Correct posture, body alignment, use of footwork, legs and port de bras Body Awareness and placing Isolations, weight distributions dynamics and flow Counting and Rhythm Correct use of turn out and parallel Basic travelling steps Theory of turning, jumping Dance vocabulary and technical terms Spatial Awareness Term 2 Continuation and development of first term’s work Introduction of dance combinations and choreographic sequences
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Term 3 Continuation and development of first two terms’ work Communication, focus, expression and eye contact Further development of dance combinations and routines Develop an understanding of dynamics and how to apply them to performance Preparation for End of Year Dance Assessment
Ballet
Tutor Tutor led Hours
Sandra Doling 4.5 x 30 = 135 hours
Groups
First year ballet classes are streamed according to ability.
Aims To enable you to begin the acquisition of • the technical dance skills that feed into Jazz dance and the Musical Theatre dance repertoire. • a technical foundation and vocabulary What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • •
Progression in technique the ability to communicate through technique
Knowledge and Understanding • •
an understanding of safety in dance to ensure an injury free career an awareness of musicality, energy, focus and concentration
How will I learn? You will participate in a sequence of technique classes in Ballet taught as a springboard to the other dance disciplines and not as a separate entity. You are not expected to follow or take up a classical ballet performing career, but to acquire a solid foundation of alignment and technique, knowledge and vocabulary from which to develop your skills in the Jazz and Musical Theatre dance repertoire. Term 1 Dance etiquette Preparation: strengthening, balance, body placement and alignment, use of feet, Port de Bras, correct posture, correct use of turn out, basic placement Musicality Basic Barre work Simple centre practice and transfer of weight Basic Adage Preparation and basic pirouettes finishing in 5th position
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Basic Petit Allegro & Mid Allegro Ballet vocabulary and technical terms (including handouts of terminology) Term 2 Continuation and development of first term’s work Basic Grand Allegro Term 3 Continuation and development of first two terms’ work Communication and focus Develop an understanding of dynamics and how to apply them to performance More demanding Enchâinement Spatial Awareness More demanding vocabulary of Grand Allegro More highly developed musicality Preparation for end of year dance assessments
Tap Tutor Tutor led Hours
Charlotte Gale 20 x 3 = 60 hours
Group
First year tap classes are streamed into groups according to ability. Tap groups are different from the jazz/ballet groups.
Aims To enable you to begin the acquisition of • the basic technical tap skills required in professional musical theatre • a broad technical tap vocabulary dependant on your own capability and the level of your streamed group What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • •
progress in technique musicality, rhythm and tempo
Knowledge and Understanding • •
an understanding of safety in dance to ensure an injury free career understanding of Tap vocabulary
Values and Attitudes •
an awareness and appreciation of musicality
How will I learn? You will take part in a sequence of technique classes introducing the techniques of Free-style tap, influenced by American and Show Tap.
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Term 1 Preparation for Tap: Clarity of beats, relaxation, attack and rhythm Basic combinations Spatial Awareness Term 2 Continuation and development of first term’s work Development of style and focus Short combinations using learnt vocabulary Term 3 Continuation and development of first two terms’ work Communication, focus, expression and eye contact Introduction of dance combinations and routines Variety of Tap dance styles Preparation for formal Tap assessment Develop an understanding of dynamics and how to apply them to performance Stamina
Contemporary Tutor Tutor led Hours
Visiting tutors 1 x 30 = 30 hours
Groups
This class is streamed according to ability in Tap
Aims To enable you to begin the acquisition of • the basic technical dance skills that will assist and develop a wider spectrum of dance styles in musical theatre • use of the body in a dynamic and safe manner • an understanding of Horton technique What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • •
progress in technique body dynamics and communication musicality and rhythm
Knowledge and Understanding • •
an understanding of safety in dance to ensure an injury free career an awareness of the musicality and subtlety of contemporary technique in relation to Musical Theatre training
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How will I learn? You will take part in a sequence of technique classes introducing Horton technique. The technique is a contemporary technique, which bases its skills on body mechanics and conditioning. Term 1 Preparation for Dance: basic warm up, stretch, limbering and strengthening Correct Posture, body alignment, use of footwork, legs and Port De Bras Body Awareness and placing Isolations, weight distributions and flow Counting and Rhythm Basic travelling steps Theory of turning, jumping and falling Dance vocabulary and technical terms Terms 2 and 3 Continuation and development of first term’s work More involved and complicated combinations Preparation for assessment (term 3)
Ballroom Pas de Deux Tutor Tutor led Hours
Raf Pilot and/or guest tutors 1.25 hours x 14 weeks = 17.5 hours
Groups
this class is streamed according to ability in Jazz
Aims To enable you to begin the acquisition of: • technique in three ballroom dance styles • a technically and stylistically varied dance vocabulary • awareness of yourself and your partner and the space in which you are dancing (‘spatial awareness’) • responsiveness and generosity to your partner • understanding of the etiquette and collaborative nature of dancing with a partner What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • • • •
progress in technique improved posture and strong frame progress in your ability to dance in hold the ability to give and receive signals from a partner perform basic Waltz, Tango and Jive steps with accuracy and confidence
Knowledge and Understanding •
understand the concept of leading and following
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understand how technique is applied to each dance in order to accentuate its particular style understand the importance of timing and how to dance in time with the music understand safety in dance to ensure an injury free career
Values and Attitudes •
appreciation of the responsiveness, openness and generosity necessary to build a rapport with a partner
How will I learn? You will take part in a sequence of workshop classes, introducing you to the Waltz, Tango, Jive and Quickstep. You will explore style, feeling and technique, discovering how the steps fit the rhythm and the music of each dance. Classes will enable you to develop partnering skills, leading and following, and emphasis will be placed on good posture, hold and frame. Each week you will learn a selection of new steps as well as recapping the basic step of each style. Ballroom Pas de Deux is taught once a week during the first term of the first year (Weeks 1-3 – Waltz, Week 4 add basic Tango steps. Gradually finish with waltz and continue with Tango throughout weeks 5-8. Weeks 9 and 10 Quickstep. Week 11 - revision of all dances. Three weeks in 3rd term Jive). Preparation for Ballroom Pas de Deux: basic warm up and strengthening Parallel placement Correct Posture, body alignment, use of footwork, legs and co-ordination of the arms Body and Spatial Awareness Isolations and weight distributions Counting, musicality and rhythm Development of Ballroom style FITNESS HEALTH AND SAFETY The Dance Department aims to maintain fitness, health and safety as a priority amongst the staff and students. Health and Safety
Health and Safety is not taught as a separate class but embedded in the teaching throughout all of the dance disciplines.
Your Head of Year will ensure that you complete a weekly written injury report to be kept on file. If you cannot take part in a class due to injury or illness you must obtain a Dance Rest badge from the Head of Dance. The badge should be shown to the class tutor as confirmation of your inability to take part in the class.
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Students with continued or recurring injury and illness may be referred to one of the resident support team. All students are encouraged to use resident support staff where possible to prevent injury. These include a Sports Massage Therapist and a Fitness coordinator. Reports on treatment given are recorded by the Head of Dance (with the exception of GP referral). External practitioners and treatments should be discussed with Head of Dance and reports sent where appropriate to support progress. Jazz The warm up, technical exercises and combinations in the jazz class are designed to increase in intensity and difficulty as the year progresses. Bare feet, toe thongs or split sole jazz shoes are worn so that you can feel and use the floor thoroughly. Suitable supportive clothing is worn: students to work in shorts to allow tutor to check that each student is working their legs correctly. You will learn to design and lead an aerobic, cardio warm up at the beginning of each class, monitored by the tutor. This warm up is designed to raise the heart rate, introduce oxygen to the muscles and to raise the temperature of the muscles and the body so that you are ready to work technically. Great importance is placed on strengthening and warming up areas of potential weakness. These areas include the back, groin, ankles and knees. Particular care is given to warming up the upper back, neck and weaker joints. The exercises are designed to work the body in a considered and isolated technical manner, to develop and strengthen the jazz discipline, taking care to work correctly and safely throughout each class using core strength, stability, correct weight placement, thorough use of legs, feet, plié, resistance to the floor and strength in the back to support all technical requirements of the Isolation Jazz Technique. Ballet You are given safety information with your corrections The importance of warm up and warm down is emphasised Body conditioning may be suggested as necessary Contemporary You are taught the safety of falling and floor-work. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills
• check dance studio floors before class to ensure that they are in a good condition i.e. not slippery, splintered and have an even surface • wear appropriate clothing for dance class e.g. not to wear jewellery or clothing that may be a danger to you or others • warm up before class or performance to enable the body to perform to its full potential with complete safety • take action in the event of pain and or injury • work back after a holiday
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Knowledge and Understanding
• understand your physical limitations and how to work around them
Fitness, Nutrition and Injury Prevention Tutor Tutor led Hours
Benjamin Ensall 16.5 hours
Groups
Students are taught in mixed groups
Aim To enable you to understand how to acquire strength and fitness so as to achieve a healthy, fit and injury-free career. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills
• The ability to use basic gym equipment
Knowledge and Understanding
The understanding of: • the benefits of regular exercise through aerobic activity, strength training, muscular endurance and flexibility • core strength • the need to strengthen and tone rather than build bulk muscle • how to maintain your health, fitness and safety at all times
Wellbeing Tutor Tutor Led Hours
Benjamin Ensall, visiting speakers 6 – Lectures and tutorials
You will take part in a series of lectures and seminars on various issues relating to Health, Safety and Injury Prevention. These include safe sex and sexual health, safety on the street, drugs and alcohol, stress management, nutrition for the performer and eating disorders. Any health or injury problems should be reported to your Head of Year. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Knowledge and Understanding
• how to maintain your health, fitness and safety at all times • how take action in the event of pain or injury • how to take account of your physical limitations
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MODULE TEACHING PATTERN Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Teaching Component
Type
Jazz
Technique classes
135
135
Ballet
Technique classes
135
135
Tap
Technique classes
60
60
Contemporary
Technique classes
30
30
Ballroom Pas de Deux
Workshop classes
17.5
17.5
Fitness, Nutrition and Injury Prevention Wellbeing
Workshop classes
16.5
16.5
6
6
400
400
Lectures and tutorials Totals
How will I be assessed? Monitoring of your progress in all components of the dance module is continuous. Tutors inform the Head of Dance immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and your teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique classes • Mid and End of Year evaluation of classwork in Jazz, Ballet, Contemporary and Tap • End of Year formal assessment in Jazz, Ballet, Contemporary and Tap • Practical assessment in projects and public performances • Observation of written assignments, tests, notebooks and diaries Mid and End of Year Classwork Tutors give students indicative grades half way through the year in midFebruary and formal classwork marks at the end of the year in June. Grades are given as a percentage mark, according to the grade descriptors and assessment criteria set out at the back of this handbook. Mid and end of year class work grades are awarded on the basis of your response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria relating to Professional Employment skills: • commitment, preparedness for work; self-directed study • concentration; application; personal motivation • receptiveness to the process • ability to accept, and act on, notes and corrections • ability to work within group (listening; sensitivity; responsiveness; generosity; co-operation) • progression: growth and development of skills and knowledge • development of flexibility and spontaneity • capacity to experiment and take risks • development of awareness of the working process
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End of year Assessments At the end of the summer term you will take part in formal assessments before a panel of four assessors in each of the core disciplines of jazz, ballet and tap. MODULE ASSESSMENT PATTERN Assessment Component
Jazz Ballet Tap
Assessment Type
end of year assessment classwork end of year assessment classwork end of year assessment classwork
Weighting
Pass Mark
Pass/Fail
75% 25%
40%
no
75% 25%
40%
no
75% 25%
40%
no
Contemporary
classwork
n/a
n/a
yes
Ballroom Pas de Deux
classwork
n/a
n/a
yes
Fitness, Nutrition and Injury Prevention
classwork
n/a
n/a
yes
Wellbeing
classwork
n/a
n/a
yes
What do I have to do to pass? You are required to achieve a pass mark of 40% or above in Jazz, Ballet and Tap, and to pass each of the other components. Assessment criteria and grade descriptors can be found at the back of this handbook. Contemporary, Ballroom Pas de Deux, Fitness, Nutrition and Injury Prevention; and Wellbeing are marked pass/fail and do not carry any weighting in the calculation of the overall mark for the module. The overall mark for the module is calculated according to the following weightings: Jazz 50% Ballet 35% Tap 15%
How and when will I get feedback on my assessments? You will receive written feedback on all elements of your dance assessment from each of the four assessors on the panel. You will also have an individual tutorial with the Head of Dance during which you will receive verbal feedback on your assessments and be given targets to work towards.
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READING LIST Title
Author
Publisher
Year
Basic Principles of Classical Ballet
Agripinna Vaganova Elisabeth Frich Cherry Radford
Dover Publications Sterling Indepenpress (Kindle edition) Concord (Kindle edition) Routledge
1969
Methuen Drama
2009
Matt Mattox Book of Jazz Dance Men Dancing Part Real, Part Dream: Dancing with Martha Graham Fifty Contemporary Choreographers Dance Technique, Injury Prevention and Care of the Dancer
Stuart Hodes, Richard Move Martha Bremser, Lorna Sanders Justin Howse, Moira McCormack
1993 2011 2011 2011
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Module MT3:
Year 1 Acting
UK Credits:
40
ECTS:
20
Level:
HE4
Outline You will begin to develop a personal approach to acting through exploration of a variety of techniques. You will also begin to build a strong technical foundation in vocal technique. Overall Aims To enable you to act in a variety of performance situations, including musicals and plays, with confidence, concentration, discipline, energy and technical control. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • • • •
use imagination, concentration and observation in performance perform with belief, energy and focus work in an effective and disciplined way as a member of a group in performance demonstrate confidence in the use of a range of acting styles and techniques demonstrate the playing of single actions and objectives apply voice techniques to text work work confidently with text
Knowledge and Understanding • • •
demonstrate your understanding and delivery of theatrical texts work confidently with the techniques and terminology of professional theatre understand the basics of character creation through body and voice
Values and Attitudes • •
Appreciate the value of feedback and constructive criticism Respect and value the work of others.
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Acting Tutor Tutor led Hours
Dan Bird 4 hours x 30 weeks = 120 hours
Aims • • • • • •
To develop your ability to observe your environment and use your observations creatively in realisation of character and text. To develop your ability to use your own experiences to inform character interpretation. To develop your knowledge and experience of the working methods of Stanislavski. To develop your research abilities and link that research into your practical character work. To develop your ability to work productively as an ensemble member To develop your ability to create believable characters from observation of yourself and the people around you
What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • • • • • • • •
work effectively both individually and in groups practice different approaches to line learning and text deconstruction apply Stanislavski’s basic principles of actions and objectives use your own experiences and emotional responses in the creation of character use observation of others in the creation of character deliver believable characterisation appropriate to the demands of a text use research productively in the creation and realisation of character maintain a character throughout an improvised context display spontaneity in the creative process focus and concentrate in rehearsal create and maintain a character diary
Knowledge and understanding • •
understand the initial practical approaches to a piece of text understand basic stagecraft
Values and Attitudes • • • •
recognise the value of working as an individual within the context of a group value the necessity for discipline in the rehearsal room appreciate the value and importance of research demonstrate self-discipline and focus in self-directed study
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How will I learn? You will take part in workshop classes, tutorials, solo and group improvisations and role plays and group presentations focusing on the following topics: Term 1 • fundamental English skills and practical application to text • core Stanislavskian precepts • text and script analysis • research practices • the actor in the space • connection and presence • communication Term 2 • character development, including animal observations and application to text • acting through song workshops • Clowning • actions, units and objectives • Improvisation skills • Storytelling Term 3 • advanced practical approaches to actions, units and objectives in the analysis of text • practical scene building and rehearsal skills • recap and application of accrued skills to assessment scenes
Speech & Voice Tutors Tutor led Hours
Caitlin Stegmoller, Adam Wallis 4 hours x 30 weeks = 120 hours
A sequence of technique classes in voice and speech involving: • Physical preparation: relaxing and centring the body, encouragement of neutral physicality so as to free the breathing mechanism and to open up the possibilities of a free, supported and expressive voice. • Exercises to develop breathing capacity, control, connection and support for the sound. • Exercises to begin to have an open channel and good resonance. • Exercises to develop vocal expression and variety (pitch, pace, volume and emotional tone) • Exercises to develop articulation and clear speech. • Applying vocal technique to text to begin to meet the communicative need of the actor and the text. • Exploration of the structures of speech and the use of the IPA in transcribing them.
Module Specifications •
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Work to develop a truthful and connected delivery of text in Received Pronunciation (RP).
Aims • To develop a relaxed, centred and aligned body. • To develop abdominal release, optimal breathing and a free supported voice. • To develop clear, vibrant, dynamic and flexible speech. • To develop effective listening. • To develop storytelling, communication of ideas and imagery and verse speaking. • To develop confidence in sight reading. • To develop an understanding of the structure and notating of speech through work on the IPA. • To develop practical ability in speaking Received Pronunciation (RP) • To lay the foundation for work on further accents and dialects in year 2 What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • •
perform without restrictive physical and vocal habits maintain good alignment, abdominal release and supported breathing and voice begin to use the voice with expression and freedom and clear articulation engage in storytelling, communicating ideas and verse speaking understanding and a connected voice Sight read with increasing confidence and fluency
Knowledge and Understanding • • • • •
understand the anatomy and physiology of vocal production understand how to maintain the condition of the voice and to guard and protect it in the future sustain accurate and natural RP speech recognise and reproduce the sounds and symbols of the IPA as used in RP use IPA phonetics to help in notating RP text for performance
How will I learn? You will take part in a sequence of technique classes. Term 1 You will be introduced to the way in which voice functions. The main emphasis of the work is the understanding and practice of relaxation and good physical alignment, the encouragement of the optimal movement of the breathing muscles, an open channel and a free voice. This will be applied through a storytelling project. Introduction to the anatomy of speech and articulation, the I.P.A.: Cardinal vowels and Received Pronunciation (RP) vowels and consonants. Practice in listening to and identifying RP vowels and consonants. Practice in speaking RP vowels and consonants.
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Term 2 Work continues as before with continued exercises on relaxation, optimal breath and the free voice. This is developed with a focus on support and articulation, which feeds into a focus on the communication and articulation of ideas through a project on rhetorical speeches. Introduction to the concepts of notating connected speech. Introductory work on the transcription of written and aural text. Introduction and practice of RP in connected speech. Term 3 Work continues to develop and embed the technique of a free supported voice and is enhanced through work on resonance and optimal pitch. This is developed along with rhetorical speaking skills/devices in a project on rhetorical speeches. Continued development of speaking and transcription skills. The production of a breakdown of student’s native accent. Projects Appropriate vocal technique is further developed through acting projects.
Physical Theatre Tutor Tutor led Hours
Laura Weston 1.25 x 14 = 17.5 hours
Aims To enable you to: • Understand the potential of your body as an actor’s tool. • Understand the link between physicality and characterisation. • Release creativity through physical expression. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Knowledge and understanding • •
an understanding of the language of physical theatre an awareness of both personal and group physicalisation
Skills •
progress in using the body as an expressive actor’s instrument
Values and Attitudes •
an awareness of the link between physical theatre and character creation and therefore the interconnectivity of the acting training
How will I learn? An introduction to physical theatre and characterisation through physicality. Sessions may include animal imagery, mask work, neutrality and transformation.
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Fitness, Health and Safety Health and Safety is not taught as a separate class but embedded in the teaching throughout the module.
The planning, implementing and maintaining of personal health and fitness is an intrinsic part of the programme. Students are instructed on all aspects of theatre discipline, health and safety and best practice. Learning takes place during timetabled acting, voice and physical theatre classes, and in technical rehearsals. Acting • Theatre practice including Health & Safety is taught and assessed as part of 1st Year Acting classes. • All 1st Year students work as Technical crews for productions and are instructed in back-stage Health and Safety rules Voice You are given instruction on how to use your voice safely. Emphasis is placed on individual responsibility for your own voice, its development and care. What will I be expected to achieve? At the conclusion of the Year 1 Acting module you should understand how to:
Skills • • • •
Prepare and execute suitable warm-up exercises in order to protect the body and the voice. Use the voice and body safely. Maintain physical awareness of fellow performers and technicians in rehearsal and performance. Demonstrate a sense of physical self-awareness.
Knowledge and Understanding • •
Understand and implement the principles of fitness health and safety. Maintain awareness of the possible limitations of any given performance space.
Values and Attitudes • • •
Understand and value rehearsal room discipline in a health and safety context. Behave professionally and safely in a rehearsal room/class room. Understand and value focus and concentration when in a technical environment.
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MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Acting
Workshop classes
120
60
180
Speech and Voice
Technique classes
120
60
180
Physical Theatre
Workshop classes Totals
17.5 257.5
22.5 142.5
40 400
How will I be assessed? Monitoring of your progress in each of the assessed components of the Year 1 Acting module is continuous. Tutors inform the Course Director immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique and Workshop classes • Mid and End of Year evaluation in Acting, Voice and Speech • End of Year assessment in Acting, Voice and Speech • Practical assessment in projects and public performances • Observation of written assignments, tests, notebooks and diaries Mid and End of Year Classwork Tutors give students indicative grades half way through the year in mid February and classwork is marked formally at the end of the year. Mid and end of year class work grades are awarded on the basis of your response to, and development through, the process. Assessment is made with reference to the specific learning outcomes described above and the following general criteria relating to Professional Employment skills: • Commitment; preparedness for work; self-directed study • concentration; application; personal motivation • receptiveness to the process • ability to accept, and act on, notes and corrections • ability to work within group (listening; sensitivity; responsiveness; generosity; co-operation) • progression: growth and development of skills and knowledge • development of flexibility and spontaneity • capacity to experiment and take risks • development of awareness of the working process End of year Assessments Towards the end of the summer term first year students have formal assessments in each of the disciplines before a panel which may include an external assessor. The formal assessment in acting consists of the following three elements:
Module Specifications
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Acting: 1. You will work on scenes, to be presented to a panel of internal and external assessors during assessment fortnight. Voice and Speech: 2. The Acting scene presented during assessment fortnight will include a separate mark for voice and speech. 3. You will work on a rhetorical speech in Received Pronunciation, to be presented during assessment fortnight. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Acting
end of year assessment 1 class work end of year assessment 2 end of year assessment 3 class work class work
Speech and Voice
Physical Theatre
Weight ing
Pass Mark
Pass/ Fail
75 25 50 25 25 n/a
40
No
40
No
n/a
Yes
What do I have to do to pass? You are required to achieve a grade if 40% or above in end of year assessments and class work in Acting and Speech and Voice, and to pass Physical Theatre. Assessment criteria and grade descriptors can be found at the back of this handbook. The overall mark for the module is calculated according to the following weightings: Acting 70% Speech and Voice 30% How and when will I get feedback on my assessments? Individual one-to-one feedback will be provided by the first year acting tutor towards the end of the assessment fortnight. Speech and Voice feedback will be given in class time after assessments are completed. Clarification of feedback or extra tutorials can be requested from the Head of Department. READING LIST Title
Author
Publisher
Year
The Oxford Illustrated History of Theatre The Empty Space Blink The Basics of Acting The Actor and the Target An Actor Prepares
John Russell Brown (ed.) Peter Brook Malcolm Gladwell Bella Merlin Declan Donnellan Konstantin Stanislavski Barbara Houseman
OUP
2001
Penguin Classics Penguin Routledge Nick Hern Bloomsbury Academic Nick Hern
2008 2007 2010 2005 2013
Finding Your Voice
2002
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Module MT4:
Year 1 Singing
UK Credits:
40
ECTS:
20
Level:
HE4
Outline You will develop your technical ability, musicality and confidence in singing. Overall Aim To enable you to sing with technical control, safety, confidence, concentration, discipline and energy. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • • • •
demonstrate presentational skills for professional performance protect and sustain your voice in performance control singing technique in performance work in an effective and disciplined way as a soloist and as a member of a chorus in performance use a range of singing styles and techniques in performance perform a range of songs to suit a variety of audition requirements read a vocal line at sight
Knowledge and Understanding • •
work confidently with the techniques and terminology of professional musical theatre study a song in depth by following the printed instructions in a score
Values and attitudes •
demonstrate an understanding and appreciation of a wide variety of vocal writing and styles
Singing Technique Tutors include Tutor led Hours
Travis Baker, Ceris Deverill, Robert Hickmore, Ann James, Tina Thomas, James Spilling, Besfort Williams, Miriam Gellert-Shemtov, Rachel Dussek 20
Aims To enable you to: • develop a sound vocal technique • sing with confidence and expression, regardless of the size of your voice • understand how to protect and sustain your voice
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What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • •
progress in singing technique the ability to follow printed instructions in a score confidence in performance of a song
Knowledge and Understanding •
an understanding of safe singing
How will I learn? You will participate in a sequence of one-to-one lessons focusing on the following singing techniques: • breath control • posture • vocal placement • diction • intonation
Repertoire Tutors Tutor led Hours Groups
Phillip Sutton, Timothy Evans, James Michalos, Michael Haslam, Tim Whiting 0.5 x 30 = 15 one-to-one
Aims To enable you to: • study songs, within your range, in depth • sing with confidence and expression, regardless of the size of your voice • understand how to protect and sustain your voice What will I be expected to achieve? On successful completion of this component, you will be expected to have developed:
Skills • • •
a personal repertoire of songs an ability to follow printed instructions in a score confidence in performance of a song
Knowledge and Understanding •
an understanding of safe singing
How will I learn? You will participate in a sequence of one-to-one portfolio lessons (repertoire) involving the study and performance of a minimum of 12 songs by writers
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such as Jerome Kern, George Gershwin, Cole Porter, Richard Rodgers, and simpler works of contemporary composers. You will study the style, background, development of thought and artistry required in the performance of musical theatre songs.
Ensemble Tutors Tutor led Hours
Tim Whiting, Chris Whitehead, Michael Haslam 3 hours x 30 weeks = 90
Aim To introduce you to the discipline of choral singing and to lay the foundation for the ensemble work required in Year One and Year Two projects, and especially in Year Three full-scale public productions. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • •
the choral skills needed by members of the ensemble in musical theatre productions the ability to sing in harmony and counterpoint
Values and Attitudes •
the importance of working effectively as a member of an ensemble
How will I learn? You will take part in a sequence of rehearsals of ensemble pieces, usually in four harmony parts (soprano, alto, tenor and bass) culminating in performances before an audience of tutors and students Choruses selected from: • West End or Broadway Musicals • operettas by Gilbert and Sullivan or others from the same era • specific harmonised arrangements by different composers, classical and popular
Fitness, Health and Safety Health and Safety is not taught as a separate class but embedded in the teaching throughout the module.
The safe use of the voice is central to all singing classes. All rehearsals and performances begin with a vocal warm-up and you are taught how and when to “mark” in rehearsal. The Head of Music has the responsibility for monitoring vocal problems. Singing tutors and repertoire coaches inform the Head of Music about any of their students who have problems.
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Typical of the more serious problems include chronic tonsillitis, chronic sore throats and early stages of nodules. If any such problems arise, you are immediately encouraged to see your doctor and, if necessary, referred to an ENT specialist and/or a Speech Therapist. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Knowledge and Understanding • •
understand the vocal mechanism understand how to maintain the condition of the voice and guard and protect it in the future
Skills • •
prepare and execute suitable vocal warm-up exercises select repertoire which does not “push” the voice
MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Singing Technique
Technique classes
20
102
122
Repertoire
Technique classes
15
100
115
Ensemble
Technique classes Total
90 125
73 275
163 400
How will I be assessed? Monitoring of your progress in each of the assessed components of the singing module is continuous. Tutors inform the Head of Music immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and your teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique classes • Mid and End of Year evaluation in Singing • End of Year assessment in Singing • Practical assessment in projects and public performances • Observation of written assignments, tests, notebooks and diaries Mid and End of Year Classwork Tutors give students indicative grades half way through the year in mid February and mark classwork formally at the end of the year in June. Mid and end of year class work grades are awarded on the basis of your response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria relating to Professional Employment skills: • Commitment; preparedness for work; self-directed study • concentration; application; personal motivation
Module Specifications • • • • • • •
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receptiveness to the process ability to accept, and act on, notes and corrections ability to work within a group (listening; sensitivity; responsiveness; generosity; co-operation) progression: growth and development of skills and knowledge development of flexibility and spontaneity capacity to experiment and take risks development of awareness of the working process
End of Year Assessments At the end of the summer term first year students have formal singing assessments before a panel which may include an external assessor. The end of year singing assessment consists of the performance of two contrasting solo songs and an ensemble song. The solos contribute 40% each and the ensemble song 20% to the end of year assessment grade for singing. The assessment grade is given a weighting of 75% of the overall mark for the Singing module, against 25% for classwork. The classwork mark is calculated according to the following weightings: Singing Technique 50% Repertoire 25% Ensemble 25% MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Singing Assessments
end of year assessment Solo 1: 40% Solo 2: 40% Ensemble song: 20% Classwork 50% 25% 25%
Singing Technique Repertoire Ensemble
Weighting
Pass Mark
Pass/Fail
75%
40%
no
25%
40%
no
What do I have to do to pass? You must pass all components to progress to Year 2. You must pass each of the three songs and achieve a grade of 40% or above in end of year singing assessments, and 40% or above in your classwork for singing technique, repertoire and ensemble. You must have worked a minimum of 15 contrasting songs to a satisfactory level to pass the repertoire component. Assessment criteria and grade descriptors can be found at the back of this handbook. READING LIST Title
Author
Publisher
Year
Singing and the Actor Care of the Professional Voice
Gillyanne Kayes D. Garfield Davies (ed.) Matthew Syed
Methuen Drama Methuen Drama
2004 2004
Fourth Estate
2011
Bounce
Module Specifications
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Outliers Acting Through Song
Malcolm Gladwell Paul Harvard
Penguin Nick Hern
Module MT5:
Year 1 Contextual Studies
UK Credits:
5
ECTS:
2.5
Level:
HE4
2009 2013
Outline You will gain an understanding of how current musical theatre evolved and will develop your ability to become a thinking, reflective performer. Students who are training for a career in musical theatre need to develop a command of their subject. You will achieve this by critical reflection and appraisal of your own and others’ work and by becoming aware of the background to the art-form. The module includes: • Modular classes introducing you to the musical theatre canon • A reflective journal of your acting project • Occasional organised theatre trips Aims To enable you to • understand the background of musical theatre so as to inform and enhance your practice as a performer • extend your knowledge beyond the immediate requirements of your technical practice • become an informed and articulate performer What will I be expected to achieve? On successful completion of this module, you will be expected to be able to demonstrate:
Knowledge and Understanding • • •
understanding of the roles of the composer, librettist, lyricist and choreographer awareness of the significant developments in musical theatre dramatic, musical and choreographic practices appreciation of the interconnection of the libretto, the music and dance
Skills • • •
the ability to undertake relevant research the ability to critically reflect on your training the ability to incorporate personal reflections into a written journal
Values and Attitudes •
an appreciation of different musical, dramatic and choreographic styles in musical theatre
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History of Musical Theatre Tutor Tutor led Hours
Chris Cuming, Heather Nimmo 1.25 x 14 = 17.5 hours
Aims To enable you to acquire: • a broad based historical knowledge of the development of the dramatic, choreographic and musical styles and genres in the Musical Theatre form • a comparative and contextual understanding and appreciation of acting, dance and music in the Musical Theatre form • A practical introduction to research and dramaturgic skills What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Knowledge and Understanding • •
intelligent understanding of the key cultural, historical and creative developments which led to the creation of the modern musical creative understanding of the influence of key creative personnel that have helped shape and define musicals across the 20th century and into the 21st
Skills • •
the ability to engage with the works of the key writers and composers in musical theatre an ability to conduct independent research into musical theatre history
How will I learn? At induction, you will take part in a workshop giving you an overview of the evolution of modern musical theatre, from its roots in classical theatre through to the birth of opera, and the popular musical entertainments of the 19 th and early 20th century. You will be introduced to current and past developments in musical theatre, and these subjects will form the basis for class discussion and further research. You will be encouraged to see as much theatre as possible, and where possible we will arrange for discounted or in some cases free tickets.
Critical Reflection Tutor Tutor Led Hours
Dan Bird 2 hours tutorial support
Aim To enable you to reflect on your work in the course of rehearsals and performance. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Module Specifications
Page 79
Skills
• research into the background of the play, musical or dance piece being rehearsed • research into your character and situation • evaluate your work in rehearsal and performance How will I learn? With tutorial support, you will write a Research and Development Diary for your acting project, and then write a more formal Critical Reflection which interrogates your progress and understanding across the preparation, rehearsal and performance of the project. You will keep a R&D diary of the other two projects, and for your second S&D project, but there is no requirement to formalise these notes for submission. See ‘Critical Reflection Requirements’ at the end of this handbook for full details.
Professional Practice Portfolio Tutor Tutor Led Hours
Dan Bird 1 hour tutorial support
During talks and lectures you are required to take notes which should be later typed up and placed in the portfolio, along with any handouts. The portfolio should be separated into relevant sections or headings, each section marked for easy reference, e.g. Personal Health and Fitness, etc. In Year 1 the portfolio should normally contain: Notes from personal development talks (usually police safety, sexual health, nutrition, stress management, wellbeing and mindfulness) Singing/Repertoire lists Project feedback sheets Feedback sheets from all 1st year assessments Aim To enable you to reflect on your training. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Knowledge and Understanding
• understand and reflect on different aspects of your training
Skills • evaluate your work in rehearsal and performance MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Module Specifications
Page 80
History of Musical Theatre
Lectures and seminars
17.5
14.5
32
Critical Reflection
Tutorial and self directed study
2
10
12
Professional Practice Portfolio (PPP)
Tutorials and self directed study Total
1
5
6
20.5
29.5
50
How will I be assessed? You will be assessed on your classwork in the History of Musical Theatre component, on the Critical Appraisal which you will write after the acting project in the Year 1 Performance Module, and on the Professional Practice Portfolio which you will submit in June. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Weight ing
Pass Mark
Pass/Fail
History of Musical Theatre
Classwork
n/a
n/a
Yes
Critical Reflection
Written assignment
n/a
n/a
Yes
PPP
Written assignment
n/a
n/a
Yes
What do I have to do to pass? You are required to pass each of the three components in order to pass the module. Contextual Studies does not carry any weighting in the Year 1 overall mark but you are required to pass the module in order to progress to Year 2. Indicative grades will be given for the project journal, and assessment criteria for written work can be found at the back of this handbook. How and when will I get feedback on my assessments? You will receive written feedback from the marker on your Critical Reflection and verbal feedback on the PPP from your Head of Year. READING LIST Title
Author
Publisher
Year
Broadway, the Golden Years Changing Stages Broadway Babies Say Goodnight Musicals
R Emmet Long Richard Eyre Mark Steyn Kurt Gänzl
Applause Bloomsbury Faber Carlton
1998 2001 2000 1996
Module Specifications
Page 81
Module MT6:
Year 2 Performance
UK Credits:
35
ECTS:
17.5
Level:
HE5
Outline You will further develop performance experience in a variety of projects and workshops. Overall Aims To enable you to gain further experience of: • sustaining a role in front of an audience • combining the disciplines of dance, singing and acting in one artistic whole • performing a variety of roles in musicals of differing styles • working with a variety of professional directors, musical directors and choreographers in a professional theatre environment What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • •
work in a professional way in rehearsal and performance work with a variety of professional directors, musical directors and choreographers use technique in performance extend your skills, imagination and understanding work on sustained pieces involving acting, dance and singing
Knowledge and Understanding •
develop your understanding of different theatrical forms and periods
Projects Tutors Tutor led Hours
Guest and in-house directors, choreographers and musical directors 8 hours x 17 weeks + 10 hours = 146
Aims To develop your ability to: • work to a professional standard in rehearsal • perform with freedom, commitment and flexibility • apply technique to performance • meet the demands of more challenging, and a wider range of, dramatic texts and musical and choreographic styles What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Module Specifications
Page 82
Skills • • • •
apply singing, dance and acting techniques to performance sustain a role as an actor, singer and dancer structure your independent study keep a working journal
Knowledge and Understanding
• understand how to work effectively and collaboratively in a group • understand how to work collaboratively and creatively with a variety of professional practitioners
Values and Attitudes
• demonstrate an excellent level of professional discipline and courtesy • appreciate and accept constructive criticism How will I learn? You will take part in three in-house performance projects in your second year: a singing project focusing on solo and ensemble singing, using excerpts from musicals or operettas with challenging scores (recent projects include Candide, Jerry Springer the Opera); a devised dance project, choreographed around a single theme and using contemporary or 20th century music (recent projects include Back to Black/Amy Winehouse and Movin’ Out/Billy Joel); and an acting project using excerpts from an early 20th Century comedy such as those by Noël Coward or Terence Rattigan (recent projects include Private Lives and Hay Fever). Projects rehearse on two afternoons a week for six weeks culminating in a single performance. The performance may take place in a rehearsal studio or in the School’s theatre, in front of an audience of students and staff. There are no sets or lighting, and costume and props are kept to a minimum.
Performance Class/Audition Technique Tutors Tutor led Hours
Jonathan O’Boyle, Rohan Tickell and Chris Whitehead 1 hour x 30 weeks = 30 hours
Aims To enable you to develop technical and performance skills in the performance of songs. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • •
give exact instructions to an audition pianist perform a wide range of songs in a variety of styles with confidence and professionalism in front of an audience perform with confidence and competence in audition situations
Knowledge and Understanding •
offer a repertoire of songs for all types of audition
Module Specifications
Page 83
How will I learn? You will take part in a sequence of workshop classes in which you will perform songs accompanied and guided by a musical director in front of an audience consisting of your year group and tutors. You receive feedback on your performance from the tutors at the end of the class. The class develops into a ‘mock’ audition in the Spring & Summer terms.
Song & Dance Tutors Tutor led Hours
Various in-house and guest choreographers and musical directors. 1.25 hours x 10 weeks = 12.5 hours
Aims To enable you to continue to develop your technical and performance skills in the performance of musical theatre chorus numbers. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills • • • •
further development of technical ability in all three disciplines increased ease of style and performance the ability to communicate character and motivation, to a professional level, in a variety of dance and vocal styles further development of stamina
Knowledge and Understanding •
ability to learn and retain more complex routines
How will I learn? You will participate in a sequence of workshop classes which further develop the skills you learned in the first year, integrating dance with ensemble singing. Each half term you will rehearse a different musical theatre number under the guidance of a choreographer and a musical director and will perform it in front of an audience of tutors and fellow students. Examples of musicals used: ‘Kiss Me Kate’, ‘Smokey Joe’s Café’, ‘The Life’. You will keep a written research and development diary to be submitted at the end of the first song and dance project.
Song Workshop Tutors Tutor led Hours
Guest directors, singers and musical directors. 1.25 hours x 13 weeks = 16.25 hours
Aims To enable you to perform a wider variety of songs with increased individuality, clarity, truthfulness and intensity.
Module Specifications
Page 84
What will I be expected to achieve? On successful completion of this component, you will be expected – to the level required by professional musical theatre – to be able to:
Skills • • •
discover the subtext of a song and make an effective personal response to the lyrics of a song sustain the narrative of a song effectively and communicate the song clearly sustain the audience’s interest by increased control of modulation
Knowledge and Understanding •
make appropriate choices of songs for audition
How will I learn? You will take part in a sequence of practical classes in which you perform songs to an audience of your tutor group and receive analysis and guidance from the tutors.
CV and Photograph Workshops Tutors Tutor led Hours Timetable
tbc 10 workshops will be delivered in Tutorial time
Aims To ensure that you develop the personal management skills needed to introduce you to the profession, to obtain employment and maintain employability, and to understand the contractual and legal obligations relevant to professional employment. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • •
write competent letters seeking work and representation choose photographs which accurately reveal casting potential prepare clear and concise CVs that are accurate and relevant
Knowledge and Understanding • •
have an understanding of the contractual and legal requirements of standard theatrical contracts have a clear understanding of the contractual obligations governing the relationship between a performer and their agent
How will I learn? You will be helped, in individual tutorials, to prepare CVs, write letters to agents and casting directors, and to select photos appropriate to your casting potential. MODULE TEACHING PATTERN
Module Specifications
Page 85 Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Rehearsal and Performance
49
18
67
Acting Project
Rehearsal and Performance
49
18
67
Singing Project
Rehearsal and Performance
48
18
66
Performance Class/Audition Tech. Song & Dance
Workshop class
30
60
90
Workshop class
12.5
12.5
25
Song Workshop
Workshop class
16.25
8.75
25
CV and Photograph Workshop
Tutorials
10
Total
214.75
Teaching Component
Type
Dance Project
10 135.25
350
How will I be assessed? You will be assessed on your rehearsal process and your standard of performance in each of the three projects. You will be assessed immediately after the performance of each project by the production team on your rehearsal process and by Heads of Department on your standard of performance. Projects also provide an important focus for formative assessment and give subject tutors the opportunity to assess the progress of your ability to use technique in performance. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Dance Project
Rehearsal Performance Rehearsal Performance Rehearsal Performance
Singing Project Acting Project
50% 50% 50% 50% 50% 50%
Weight ing
Pass Mark
Pass/Fail
av*
40%
No
av*
40%
No
av*
40%
No
Performance Class/Audition Tech. Song & Dance
Classwork
n/a
n/a
Yes
Classwork
n/a
n/a
Yes
Song Workshop
Classwork
n/a
n/a
Yes
CV and Photograph Workshop
Classwork
n/a
n/a
Yes
What do I have to do to pass? You must achieve a grade of 40% or above in all three projects and a pass in the other components. The assessment criteria for performance can be found at the back of this handbook. The overall grade for each project is weighted
Module Specifications
Page 86
50% for performance and 50% for process. Performance Class, Song and Dance, Song Workshop and CV and Photograph Workshop are marked pass/fail and do not carry any weighting in the calculation of the overall module mark. *The overall grade for the module will be calculated as an average of the three aggregate project marks. How and when will I get feedback on my assessments? You will be given verbal feedback (viva) immediately after the performance by the lead creative of the project together with another senior member of the faculty. You will also receive a written summary of the feedback, together with additional comments from the Course Director. READING LIST Reading lists and other research materials will be suggested appropriate to the style and genre of each of the projects.
Module Specifications
Page 87
Module MT7:
Year 2 Dance
UK Credits:
35
ECTS:
17.5
Level:
HE5
Outline You will further develop your technical ability, creativity, stamina and musicality in a variety of different dance techniques. Work will become progressively more challenging, focusing on extending your range and strengthening your technique in the core musical theatre dance repertoire of jazz, ballet and tap, supported by pas de deux classes and underpinned by a supervised fitness regime. Overall Aims • to further develop your competence and confidence in jazz, ballet, tap and pas de deux • to further develop an understanding of the theory and history of dance in musical theatre • to further develop an understanding of the human body to avoid injuries and develop technique and freedom of expression • to further develop the relationship between acting, singing and dance What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • • •
use imagination, concentration and observation in performance perform with belief, energy and focus use of a wide range of dance styles and techniques pick up combinations in a range of styles to suit audition requirements use a variety of dance techniques in performance work collaboratively and creatively with a variety of professional choreographers
Knowledge and Understanding
• work confidently with the techniques and terminology of professional theatre
Values and Attitudes
• demonstrate an excellent level of professional discipline and ensemble skills in performance • appreciate and accept constructive criticism and correction
Module Specifications
Page 88
Jazz Tutor Tutor led Hours
Jill-Louise Hydes, Vikki-Marie Ryan and Karen Edwards 138.75
Aims to enable you to develop, to a standard required by the professional musical theatre, your ability to use: • a wide range of technical and performance dance skills • a technically and stylistically varied dance vocabulary • acting skills through dance • an understanding of Luigi Jazz technique What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate progress in:
Skills • • •
technical ability, alignment, placement, balance, co-ordination, flexibility, control and fluidity the ability to communicate character and motivation, sensitivity, emotion, concentration and energy in a variety of dance styles the ability to dance at audition to a standard high enough to obtain professional employment
How will I learn? You will participate in a sequence of practical classes based on body mechanics and conditioning and influenced by classical ballet. Term 1 Continuation of and progression from the work in Year One A more physical warm-up focusing on strengthening the body More intricate and demanding technical, strengthening and limbering work Weekly combinations of varying Musical Theatre Jazz styles Character development and telling a story through dance Term 2 Continuation and development of all previous work Exploration of performance skills in jazz dance Preparation for auditions Combinations from the Musical Theatre Repertoire Working as a swing Term 3 Continuation of previous work Work on Dance assessment Dance audition technique
Module Specifications
Page 89
Ballet Tutors Tutor led Hours
Joshua Tuifua 4.5 hours x 30 weeks = 135 hours
Aims to enable you to continue the acquisition of • the technical dance skills that feed into Jazz dance and the Musical Theatre dance repertoire. • A technical foundation and vocabulary. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate further progress in:
Skills • •
development in technical ability the ability to communicate character and motivation
How will I learn? You will participate in a sequence of practical classes building on the work in Year 1 Ballet classes. Term 1 Reinforce understanding and practice of Year One’s work More developed Barre work, Centre Practice, Adage, Pirouettes and Allegro More intricate and demanding technical, strengthening and limbering work Further understanding of ballet technique in relation to musical theatre Term 2 Further continuation and development of the Ballet curriculum Exploration of communication skills in Ballet through technique Fouettés, tours, grand pirouettes and allegro enchainements Term 3 Continuation and development of all previous work Preparation for Dance Assessments
Tap Tutor Tutor led Hours Groups
Avalon Rathgeb 1.25 hours x 30 weeks = 37.5 hours students are streamed into 3 separate ability groups
Aims to enable you to develop • technical and performance tap skills to the level required by the professional musical theatre • a technically varied tap vocabulary • confidence in their beats and rhythms
Module Specifications
Page 90
What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate further progress in:
Skills • • •
the development of technical ability in tap increased control and freedom in tap the ability to communicate character and motivation in tap
How will I learn? You will participate in a sequence of technique classes in tap. Term 1 Continuation and progression of Year One’s work A more physically and technically demanding warm-up focusing on strengthening the body More intricate repertoire of steps Combinations from the Musical Theatre Repertoire Term 2 Continuation and development of all previous work Exploration of performance skills in Tap Character development and telling a story through dance Term 3 Work on Tap assessment Tap audition technique
Pas de Deux Tutor Tutor led Hours
Sean Moon and guest tutors 1 hour x 30 weeks = 30 hours
Aims To enable you to acquire technical and performance skills in Pas de Deux. To enable you to apply taught skills in choreography. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate progress in:
Skills
• Pas de Deux technique • acquisition and application of performance skills whilst working with a partner • the ability to tell a story through Pas de Deux
Knowledge and Understanding • •
awareness of the subtlety of Pas de Deux lifts and styles understanding of safety in Pas de Deux to ensure an injury free career
Module Specifications
Page 91
Values and Attitudes •
awareness, sensitivity and responsiveness to your partner in Pas de Deux
How will I learn? You will participate in a sequence of technique and workshop classes in a variety of pas de deux styles and techniques, including: Safety in lifting Preparation for lifting Balancing Basic lifts leading to more advanced lifts Grips, support & holds Communication, focus, expression and eye contact Synchronicity and complicity Dance vocabulary and technical terms Variety of musical theatre lifting styles from the 1920’s to the present
Fitness, Health and Safety The Dance Department continues to emphasise the importance of maintaining fitness, health and safety as a priority. Jazz Continuing from Year 1 • The warm up in the jazz class evolves in intensity and difficulty as the year progresses. • You may dance barefoot, wear a foot thong or jazz shoes so that you can feel and use the floor. • Suitable supportive clothing must be worn. • Depending on the tutor’s style, the warm-up may be either gradual and accumulative or may commence with aerobic activity. Warm-ups are monitored and are highly effective at warming up the body in preparation for more vigorous activity. • Great importance is placed on strengthening and warming up areas of potential weakness. These areas include the back, groin, ankles and knees. Particular care is given to warming up the upper back, neck and weaker joints. Ballet • The importance of warm up and warm down continues to be emphasised • You are given safety information with your corrections Pas De Deux • You are instructed on the technique of lifting and how to avoid injury to yourself or your partner • Emphasis is placed on trust and placement What will I be expected to achieve? On successful completion of the Dance Module you should have a developed further detailed understanding of how to:
Module Specifications
Page 92
Skills, Knowledge and Understanding • • • • • • •
check dance studio floors before class to ensure that they are in a good condition i.e. not slippery, splintered and have an even surface wear appropriate clothing for dance class e.g. not to wear jewellery or clothing that may be a danger to you or fellow students warm up before class or performance to enable the body to perform to its full potential with complete safety take action in the event of pain and or injury understand your physical limitations and how to work around them work back after a holiday work back after an injury
Fitness, Nutrition and Injury Prevention Tutor Tutor led Hours
Benjamin Ensall 8.75
Aim To enable you to understand how to acquire strength and fitness so as to achieve a healthy, fit and injury-free career. What will I be expected to achieve? On successful completion of this component you will be expected to demonstrate further development in:
Skills •
The ability to use basic gym equipment
Knowledge and Understanding
The understanding of: • How to maintain your health, fitness and safety at all times • the action to take in the event of pain or injury • how to work safely within your physical limitations • the benefits of regular exercise through aerobic activity, strength training, muscular endurance and flexibility • the need to achieve strengthening and toning rather than building bulk muscle • the basics of bone structure, heart rates, aerobic/cardiovascular activity and energy systems • the essentials of good nutrition How will I learn? With guidance from the tutor, you will take part in fitness classes designed to help you develop a personal fitness regime. You will take part in a series of workshops and seminars on various issues relating to Health, Safety and Injury Prevention. Each week you are given the opportunity to report any health or injury problems to the tutor.
Module Specifications
Page 93
MODULE TEACHING PATTERN Self Directed Study Hours
Total Student Learning Hours
Teaching Component
Type
Contact Hours
Jazz
Technique classes
138.75
138.75
Ballet
Technique classes
135
135
Tap
Technique classes
37.5
37.5
Pas de Deux
Technique classes
30
30
Fitness, nutrition and injury prevention
Technique classes, lectures and tutorials Totals
8.75
8.75
350
350
How will I be assessed? Monitoring of your progress in each of the assessed components of the dance module is continuous. Tutors inform the Head of Dance immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique classes • Mid and End of Year evaluation in Jazz, Ballet and Tap • End of Year assessment in Jazz, Ballet and Tap • Practical assessment in projects and public performances • Observation of written assignments, tests, notebooks and diaries Mid and End of Year Classwork Tutors give students indicative grades half way through the year in mid February and classwork is formally assessed at the end of the year in June. Mid and end of year class work grades are awarded on the basis of the student’s response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria relating to Professional Employment skills • commitment, preparedness for work; self-directed study • concentration; application; personal motivation • receptiveness to the process • ability to accept, and act on, notes and corrections • ability to work within group (listening; sensitivity; responsiveness; generosity; co-operation) • progression: growth and development of skills and knowledge • development of flexibility and spontaneity • capacity to experiment and take risks • development of awareness of the working process End of year Assessments At the end of the summer term second year students have formal assessments in jazz, ballet and tap before a panel which may include an external assessor. Assessments include both taught and unseen routines.
Module Specifications
Page 94
MODULE ASSESSMENT PATTERN Pass Mark
Pass/Fail
75% 25%
40%
No
75% 25%
40%
No
75% 25%
40%
No
n/a
n/a
Yes
n/a
n/a
Yes
Assessment Component
Assessment Type
Weighting
Jazz
End of year assessment classwork End of year assessment classwork End of year assessment classwork Classwork Classwork
Ballet Tap Pas de Deux Fitness, nutrition and injury prevention
What do I have to do to pass? Students are required to achieve a pass mark of 40% or above in Jazz, Ballet and Tap, and to pass each of the other components. Assessment criteria and grade descriptors can be found at the back of this handbook. Pas de Deux and Fitness, nutrition and injury prevention are marked pass/fail and do not carry any weighting in the calculation of the overall mark for the module. The overall mark for the module is calculated according to the following weightings: Jazz 50% Ballet 35% Tap 15% How and when will I get feedback on my assessments? You will receive written feedback on all elements of your dance assessment from each of the four assessors on the panel. You will also have an individual tutorial with the Head of Dance, during which you will receive verbal feedback on your assessments and be given targets to work towards. READING LIST Title
Author
Rock n’ Roll Dances of the 1950s (The American Dance Floor) Hermes Pan: The Man Who Danced with Fred Astaire Dance Class How to Charleston Correctly Jack Cole (Choreographer)
Lisa Jo Sagolla
Publisher
Year
Greenwood (Kindle edition) John Franceschina OUP USA
2011
Paul Bottomer Bemis Walker Iosias Jody
Southwater Dance Books Betascript
2006 2009 2011
Franklins Watts
1984
Da Capo
1995
Unsung Genius: The Passion of Glenn Loney Dancer-Choreographer Jack Cole Tap!: The Greatest Tap Dance Rusty Frank Stars and Their Stories, 1900-1955
2012
Module Specifications Module MT8:
Page 95
Year 2 Acting
UK Credits:
35
ECTS:
17.5
Level:
HE5
Outline You will explore a variety of acting styles and techniques and develop ownership of your creative process. You will also further strengthen your vocal technique. Overall Aims To enable you to develop your ability to: • Perform confidently in a variety of performance situations, including musicals and plays. • Perform to a professional standard with discipline, energy and technical control. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • • •
Perform confidently and truthfully with energy and focus. Use imagination and creativity in performance. Work in an effective and disciplined way as a member of a group in performance. Develop an ownership of your own creative process. Be in full control of your body and voice in performance. Develop confidence in the use of a range of acting styles and techniques
Knowledge and Understanding • • •
Demonstrate a developed understanding of textual analysis. Demonstrate a developed understanding of the performance of text. Demonstrate a confident understanding of the techniques and terminology of professional theatre.
Acting Tutor Tutor led Hours
Rohan Tickell 4.5 x 30 + 1.25 x 3 = 138.75 hours
Aims To enable you to: • Further develop the skills of creativity, imagination and group work. • Further develop the ability to work productively through self-directed study. • Further develop textual analysis skills. • Cultivate an expanded practical understanding of character development/design
Module Specifications • • • •
Page 96
Cultivate an understanding of/empathy for other actors’ creative processes. Reinforce the first year work on theatrical discipline and health and safety Further develop the use of vocal and physical skills in performance. Further develop an ability to reflect on your work as an actor.
What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • •
Take responsibility for character development. Work creatively in a group or individually Improvise both spontaneously and with preparation. Work instinctively and without self-editing. Research and find appropriate scenes.
Knowledge and Understanding • • • • • •
Demonstrate an advanced understanding of the requirements of an actor in a rehearsal room and performance situation. Demonstrate an advanced ability to implement Stanislavski’s system of textual analysis. Demonstrate an understanding of a range of acting methodologies. Further develop the creation of believable characters. Further expand the understanding of the value of research and textual analysis. Further develop knowledge and understanding of the creative process.
Speech & Voice Tutor Tutor led Hours
Adam Wallis, Caitlin Stegmoller 4 x 30 = 120 hours
Aims • To free the actor through an embodied vocal technique - extending the awareness of the difference between our habitual voice and our free voice. • To further explore the interdependence of body and breath in developing a free, supported and placed voice. • To develop connections between speech/voice and the expression of thought, emotion and imagination. • To explore how vocal choices support acting choices and vice versa. • To develop the ability to maintain vocal technique in performance. • To develop strategies for exploring a variety of texts • To introduce and develop sight reading skills • To encourage personal responsibility in the development and application of vocal techniques. • To extend abilities in the practice of a number of accents for performance.
Module Specifications
Page 97
What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate:
Skills
• A free supported voice that is responsive to imagery, emotion, thought and • • • • •
external stimuli. A voice that is able to use a full range of vocal variety to serve the needs of all types of performance and character without constriction and unnecessary tensions. Techniques to cope safely with extended vocal demands such as shouting and screaming. Ability to sustain convincingly in performance any of the accents which have been studied in depth. Ability to create a basic accent breakdown by listening to a recording of an accent Ability to mark up a text using phonetics
Knowledge and Understanding
• an understanding of how voice techniques free the actor’s communication
and ability to play with truth. • theory of the placement, posture, intonation, vowel and consonant changes and dialect changes of the accents studied. • Enhanced understanding of the IPA as it relates to the accents studied
Values and Attitudes
• an increased appreciation of words and language through a variety of text How will I learn? In the second year vocal technique is reviewed and extended through regular technique classes. There is an increasing emphasis on personal responsibility for vocal preparation and development. The year’s work will focus on extending the vocal range and articulatory agility of the performer through a succession of performance texts from classical through to contemporary play texts and poetry. Articulation and speech skills will also be refined by using a bone prop and classical drill work as part of your daily practice. As you develop your ability to work with increasingly complex and demanding texts the focus will be on embracing truth on a large scale with accompanying vocal technique extending to shouting and screaming, and then incorporating these into performance. Vocal practice is extended into scene work to enable the connections to be made between acting and vocal theory and practice. Practical text skills are also developed through the study of sight reading techniques. In dialect classes, you listen to a variety of source materials and are asked to analyse the placement, posture, intonation and major sound changes in each accent. With guidance from the tutor and access to detailed dialect breakdowns, you develop your skills in speaking and inhabiting the accents, applying them to a number of texts as well as developing the ability to improvise in each accent. Development is continuously assessed through class
Module Specifications
Page 98
performance. Dialects studied are General American, Southern American (Texas), and New York (Brooklyn).
Lift Off Tutor Tutor led Hours
Rohan Tickell, Visiting Guest Tutor, Visiting Musical Directors 1.25 x 10 = 12.5 hours
Aims To enable you to develop your ability to: • Move truthfully and seamlessly from spoken to sung text whilst maintaining /developing character and narrative. • Deliver dialogue effectively and creatively in connection with underscoring. • Invoke a range of tactics and tools to enable different styles of transition between the sung and spoken. • Unite the technical and performance skills of acting with those involved in the delivery of song. • Work effectively with Directors and Musical Directors on the integration spoken and sung material. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • • • • • •
Integrate acting into singing Achieve the affective transition from spoken dialogue to song Time dialogue to underscoring Time spoken text within a song Perform excerpts from through sung musicals, including recitative, with confidence and clarity Work confidently with vamp bars
How will I learn? You will participate in a sequence of practical classes, working with a Director and a Musical Director on excerpts of musicals. Excerpts may include scenes of dialogue, underscoring, singing and spoken text within a song.
Fitness, Health and Safety The planning, implementing and maintaining of personal health and fitness is an intrinsic part of Year 2 teaching. Acting Students are instructed on all aspects of theatre discipline, health and safety and best practice. This is reinforced in the performance year both in class and in rehearsal. Voice You are given instruction on how to use the voice safely.
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Emphasis is placed on the individual’s responsibility for the voice, its development and care. What will I be expected to achieve? At the conclusion of the Acting Module you should have developed a professional level of understanding of how to: • prepare and execute suitable warm-up exercises in order to protect the body and the voice • be aware of other performers on stage – mass exits, discipline & control of actions • be aware of the dangers of unrehearsed action • have respect for other performers – confidentiality, personal hygiene, kissing, spitting • be aware of self – misuse of drugs and alcohol • take care of the voice – shouting, stage whisper • maintain the condition of the vocal mechanism • maintain safety for self, other performers, stage management and audience in all staged encounters and to maintain distance and adjust where necessary for safety. MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Acting
Workshop classes
138.75
40
178.75
Speech and Voice
Technique classes
120
30
150
Lift Off
Workshop classes Totals
12.5 271.25
8.75 78.75
21.25 350
How will I be assessed? Monitoring of your progress in each of the components of the acting module is continuous. Tutors inform the Head of Acting immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and your teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique classes • Mid and End of Year evaluation in Acting, Voice and Speech • End of Year assessment in Acting, Voice and Speech • Practical assessment in projects and studio performances • Observation of written assignments, tests, notebooks and diaries Mid and End of Year Class work Tutors give students indicative grades half way through the year in mid February and formal classwork marks at the end of the year in June. Mid and end of year class work grades are awarded on the basis of your response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria relating to Professional Employment skills:
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• • • • •
commitment, preparedness for work; self-directed study concentration; application; personal motivation receptiveness to the process ability to accept, and act on, notes and corrections ability to work within group (listening; sensitivity; responsiveness; generosity; co-operation) • progression: growth and development of skills and knowledge • development of flexibility and spontaneity • capacity to experiment and take risks • development of awareness of the working process You must achieve a pass grade in each subject to progress to Year 3. In addition, you are provided with a written report on your work in these components. End of year Assessments At the end of the summer term you will be formally assessed in each of the disciplines before a panel which may include an external assessor. The formal assessment in acting consists of performance of a duologue or scene chosen and rehearsed in class with support from your tutor. Your acting in the scene will be assessed separately from your voice work. You will also be required to select and perform a short (two minutes maximum) monologue and rehearse it in all three core American accents you have learned in class. On the day of the assessment you will perform the speech in your chosen accent, and then you will perform it a second time in an accent chosen by the panel. In support of your practical work you will be required to submit a written deconstruction of each accent together with appropriately marked up scripts. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Acting
Acting assessment class work Voice assessment 70% Accent assessment 30% class work class work
Speech and Voice Lift Off
Weight ing
Pass Mark
Pass/ Fail
75% 25% 75%
40%
No
40%
No
n/a
Yes
25% n/a
What do I have to pass? You are required to achieve a grade of 40% or above in the end of year acting, voice and accent assessments, and in your class work in Acting and Speech and Voice, and to pass the other components. Assessment criteria and grade descriptors can be found at the back of this handbook. The overall mark for the module is calculated according to the following weightings: Acting 70% Speech and Voice 30%
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How and when will I get feedback on my assessments? Individual one-to-one feedback will be provided by the Head of Acting and the second year voice tutor towards the end of the assessment fortnight. Clarification of feedback or extra tutorials can be requested from the Head of Department during weekly bookable tutorials. READING LIST Title
Author
Publisher
Year
Different Every Night A Challenge for the Actor The Ode Less Travelled Bounce The Complete Stanislavski Toolkit Shakespeare’s Advice to the Players Why Is That So Funny?
Mike Alfreds Uta Hagen Stephen Fry Matthew Syed Bella Merlin Peter Hall
Nick Hern Methuen Arrow Robinson Nick Hern Oberon Books
2013 1991 2007 2012 2014 2009
John Wright
Methuen
2006
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Module MT9:
Year 2 Singing
UK Credits:
35
ECTS:
17.5
Level:
HE5
Outline You will further develop your technical ability, musicality and confidence in singing to the standard required by the professional musical theatre. Overall Aims To enable you to develop your ability to sing in musical theatre productions to a standard required by professional musical theatre with technical control, safety, confidence, concentration, discipline and energy. What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • • • •
demonstrate presentational skills for professional performance protect and sustain your voice in performance control singing technique in performance work in an effective and disciplined way as a soloist and as a member of a chorus in performance use a range of singing styles and techniques in performance perform a range of songs to suit a variety of audition requirements work confidently with the techniques and terminology of professional musical theatre
Knowledge and Understanding •
study a song in depth by following the printed instructions in a score
Values and Attitudes •
demonstrate an appreciation of a wide variety of vocal writing and styles
Singing Technique Tutors include Tutor led Hours Groups
Ceris Deverill, Robert Hickmore, Ann James, Mary King, Tina Thomas, James Spilling, Besfort Williams, Travis Baker, Rachel Dussek 20 one-to-one
Aims To enable you to develop to a standard required by the professional musical theatre: • a sound vocal technique • the ability to sing with confidence and expression, regardless of the size of the voice
Module Specifications •
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the ability to understand how to protect and sustain your voice.
What will I be expected to achieve? On successful completion of this component, you will be expected to demonstrate, to a standard required by the professional musical theatre, the ability to:
Skills • •
use vocal technique with confidence and consistency follow printed instructions in a score
Knowledge and Understanding •
an understanding of safe singing
How will I learn? You will receive a sequence of one-to-one singing lessons focusing on the importance of: • breath control • posture • vocal placement • diction • intonation
Repertoire Tutor Tutor led Hours Groups
Michael Haslam, Phillip Sutton, James Michalos, Tim Evans, Tim Whiting 0.5 x 30 = 15 one-to-one
Aims To enable you to: • perform with confidence a wide range of musical theatre songs • study more complex material in depth • sing with confidence and expression, regardless of the size of the voice • select material which protects and sustains the voice What will I be expected to achieve? On successful completion of this module, you will be expected to be able to:
Skills • • • • •
sing a wide range of songs from the musical theatre repertoire sing in other styles including jazz, blues, pop and rock follow printed instructions in a score with greater confidence perform a song to a professional standard attend an audition and to sing well enough to obtain professional employment
Knowledge and Understanding •
demonstrate an understanding of safe singing
Module Specifications
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How will I learn? You will take part in individual singing lessons to build a repertoire of a minimum of 15 songs focusing on: • development in knowledge and understanding of more mainstream musical theatre writers such as Sondheim, Weill, Lloyd Webber and Boublil and Schonberg • development of knowledge and understanding of the classical repertoire, through blues and jazz material, up to contemporary pop songs, rock songs and comedy/character songs
Ensemble Tutor Tutor led Hours
Chris Whitehead, Tim Whiting, Jerome Van Den Berghe 3 x 30 = 90
Aims To develop further, through practical application, the necessary aural, notational and musicianship skills needed to rehearse and perform four part harmony songs to the level required by the professional musical theatre. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills • •
demonstrate accurate listening, reproduction and retention skills follow and read a vocal line
Knowledge and understanding •
demonstrate an awareness of the elements constituting good ensemble singing: o accuracy and uniformity of rhythm, pitch and diction o the ability to blend vocally and to balance as an ensemble
How will I learn? You will take part in a sequence of technique classes rehearsing ensemble pieces, usually in four harmony parts (soprano, alto, tenor and bass), culminating in performances before an audience of tutors and students. The work will become more complicated and diverse than in Year 1 to reflect greater knowledge and skills in this discipline. Choruses selected from: • West End or Broadway Musicals • operettas by Gilbert and Sullivan and others from the same era • specific harmonised arrangements by different composers, classical and popular
Fitness Health and Safety The planning, implementing and maintaining of personal health and fitness is an intrinsic part of Year 2 of the Music Module.
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The safe use of the voice is central to the individually taught Technique and Repertoire classes. All rehearsals and performances begin with a vocal warm-up and students are taught how and when to “mark” in rehearsal. What will I be expected to achieve? On successful completion of this component, you will be expected to have further developed their ability to:
Skills •
prepare and execute suitable vocal warm-up exercises
Knowledge and Understanding • • •
understand the vocal mechanism understand how to maintain the condition of the voice and guard and protect it in the future select repertoire which does not “push” the voice
MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Singing Technique
Technique classes
20
80
100
Repertoire
Technique classes
15
85
100
Ensemble
Technique classes Total
90 125
60 225
150 350
How will I be assessed? Monitoring of your progress in each component of the singing module is continuous. Tutors inform the Head of Music immediately if they have any concerns about your level of attainment, discipline or attendance. The purpose of assessment is to enable you and your teachers to identify your strengths and weaknesses in the key areas of the programme. The main assessment methods are: • Continuous observation in all Technique classes • Mid and End of Year evaluation in Singing • End of Year assessment in Singing and Musicianship • Practical assessment in projects and public performances • Observation of written assignments, texts, notebooks and diaries Mid and End of Year Classwork Tutors give students indicative grades half way through the year in midFebruary and formal classwork marks at the end of the year in June. Mid and end of year class work marks are awarded on the basis of your response to, and development through, the process. Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria relating to Professional Employment skills: • commitment, preparedness for work; self-directed study • concentration; application; personal motivation
Module Specifications • • • • • • •
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receptiveness to the process ability to accept, and act on, notes and corrections ability to work within group (listening; sensitivity; responsiveness; generosity; co-operation) progression: growth and development of skills and knowledge development of flexibility and spontaneity capacity to experiment and take risks development of awareness of the working process
End of year Assessments At the end of the summer term you will be formally assessed in singing before a panel which may include an external assessor. The singing assessment consists of the performance of three solo songs and an ensemble song. You must choose two contrasting solo songs and submit a selection of five further contrasting songs from which the panel will choose one for you to sing. Each of the four songs contributes 25% to the end of year assessment grade for singing. The assessment grade is given a weighting of 75% of the overall mark for the Singing module, against 25% for classwork. The classwork mark is calculated according to the following weightings: Singing Technique 50% Repertoire 25% Ensemble 25% MODULE ASSESSMENT PATTERN Weighting
Pass Mark
Pass/ Fail
end of year assessment Chosen song 1 25% Chosen song 2 25% Panel song 25% Ensemble song 25%
75%
40%
no
Classwork 50% 25% 25%
25%
40%
no
Assessment Component
Assessment Type
Singing Assessments
Singing Technique Repertoire Ensemble
What do I have to do to pass? You must pass all components to progress to Year 3. You must pass each of the four songs and achieve a grade of 40% or above in end of year singing assessments, and 40% or above in classwork for singing technique, repertoire and ensemble. Assessment criteria and grade descriptors can be found at the back of this handbook.
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READING LIST Title
Author
Publisher
Year
Singing and the Actor Singing and Teaching Singing
Gillyanne Kayes Janice L. Chapman Meribeth A. Dayme Richard Miller D. Garfield Davies (ed.) James C. McKinney Kurt Zanzl Thomas de Mallet Burgess & Nicholas Skilbeck Matthew Syed Malcolm Gladwell David DeVenney
Methuen Drama Plural
2004 2005
Springer
2009
Wadsworth Methuen Drama
1986 2004
Waveland
2005
Carlton Library Binding
1996 1999
Fourth Estate Penguin Scarecrow Press
2011 2009 2009
Dynamics of the Singing Voice The Structure of Singing Care of the Professional Voice The Diagnosis and Correction of Vocal Faults Musicals The Singing and Acting Handbook Bounce Outliers The New Broadway Song Companion Acting the Song
Tracey Moore with Allworth Press Allison Bergman
2008
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Module MT10:
Year 2 Contextual Studies
UK Credits:
5
ECTS:
2.5
Level:
HE5
Outline You will build on the knowledge of musical theatre you acquired in Year 1, developing an understanding of current musical theatre creative and professional practices, and reflecting on your own and others’ work. Overall Aims To enable you to • Further extend your knowledge beyond the immediate requirements of your technical practice • Become an informed and articulate performer What will I be expected to achieve? Knowledge and Understanding On successful completion of the module you should have further developed your understanding of: • the roles of technical, design and executive personnel in professional musical theatre • significant developments in current musical theatre dramatic, musical and choreographic practices
Current Musical Theatre Practice Module Co-ordinators Jonathan O’Boyle Tutor Visiting tutors Tutor led Hours 1 hour x 20 weeks = 20 hours Aims To enable you to continue to acquire • a broad based historical knowledge of the development of the dramatic, choreographic and musical styles and genres in the Musical Theatre form • a comparative and contextual understanding and appreciation of the role of different design and technical personnel in the production of a professional musical • an understanding of the role of executive personnel in the current musical theatre industry What will I be expected to achieve? On successful completion of this component, you will be expected to have further developed your knowledge and understanding of: • the influence of current musical theatre practitioners on the development of the musical theatre industry • the role of sound and lighting designers, technicians, production and stage management in the production of a musical
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• the expectations of agents and casting directors at audition and interview • the role of agents and casting directors in promoting an actor’s career How will I learn? A series of professional practice talks by visiting musical theatre practitioners, technicians, creatives, agents, casting directors and producers.
Wellbeing, Yoga and Mindfulness Tutor Tutor led Hours
visiting tutors 1.25 x 13 = 16.25
Aims To allow you time in a busy and challenging timetable to practise and promote wellbeing and resilience through yoga practice and relaxation techniques, to support you in all areas of your life. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to demonstrate progress in:
Skills • • •
the acquisition and application of yoga poses the practice of a variety of relaxation techniques higher levels of stamina, strength and concentration
Knowledge and Understanding • •
intelligent understanding of mindfulness understanding of how to care for your own mental health in the same way as you care for your physical health (‘mental hygiene’)
Values and Attitudes • • •
appreciation of the importance of focusing on your own wellbeing sensitivity in your working relationships with others openness to new ideas and approaches
How will I learn? You will participate in a sequence of workshop classes introducing you to yoga practice, mindfulness and the promotion of wellbeing. Yoga helps cultivate personal empowerment, confidence, clarity and creativity. It develops our ability to stay focused, inspired and motivated. The practice of yoga and mindfulness can lead to greater self awareness and higher levels of consciousness in day to day life, improving relationships and helping you to achieve your potential. Class activities will be structured as follows: Tuning into the breath and physical sensations Waking up the body Flowing sequences exploring range of motion, stability, strength and fluidity Meditation and breath work Relaxation
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Critical Reflection Tutor Tutor Led Hours
Dan Bird 2 hours of tutorial support
Aim To enable you to further develop your ability to reflect on your work in the course of rehearsals and performance. What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills, Knowledge and Understanding
• research into the background of the play, musical or dance piece being rehearsed • research into your character and situation • evaluate your work in rehearsal and performance
How will I learn? You are required to keep a Research and Development diary during the jazz dance classes, and you will formalise your notes of the Jazz (Swing) into critical appraisal form for assessment.
Professional Practice Portfolio Tutor Tutor Led Hours
TBC 45 minutes of tutorial support
During talks and masterclasses you are required to take notes, these notes should then be typed up in detail and placed in the portfolio, along with any handouts. The portfolio should be separated into relevant sections or headings, each section marked for easy reference, e.g. Personal Health and Fitness, Nutrition, etc. In Year 2 the portfolio should normally contain: Professional practice talks Vocal health handouts Speech warm up handouts Accent handouts Master classes (all guest teachers) Mock auditions/Performance Class Notes on pantomime auditions Jazz/Dance assessment feedback Swing maps Singing/Repertoire lists Feedback sheets from all 1st & 2nd year assessments Project feedback sheets Aim To enable you to reflect on your training.
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What will I be expected to achieve? On successful completion of this component, you will be expected to be able to:
Skills, Knowledge and Understanding
• evaluate your work in rehearsal and performance • understand and reflect on different aspects of your training • understand your own casting potential
MODULE TEACHING PATTERN Total Student Learning Hours
Teaching Component
Type
Contact Hours
Self Directed Study Hours
Current Musical Theatre Practice
Lectures and seminars
20
20
Wellbeing, Yoga and Mindfulness
Workshop classes
16.25
16.25
Critical Reflection
Tutorial and selfdirected study
2
7
9
Professional Practice Portfolio
Tutorial and selfdirected study
0.75
4
4.75
Total
39
11
50
How will I be assessed? You will be assessed on your classwork in the Current Musical Theatre Practice component, on the Critical Reflection which you will write after Dance (Swing) classes, on Character Questions for Audition/Performance class songs and on the Professional Practice Portfolio which you will submit in June. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Current Musical Theatre Practice
Classwork
n/a
n/a
Yes
Critical Reflection
Written assignment
n/a
n/a
Yes
PPP
Written assignment
n/a
n/a
Yes
What do I have to do to pass? You are required to pass each of the three components in order to pass the module. Contextual Studies does not carry any weighting in the Year 2 overall mark but you are required to pass the module in order to progress to Year 3. How and when will I get feedback on my assessments? You will receive written feedback from the marker on your Critical Reflection and verbal feedback on the PPP from your Head of Year.
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READING LIST Title
Author
Publisher
Year
The Spotlight The Actor’s Handbook An Actor’s Guide to Getting Work
n/a Jill Fenner S. Dunmore
The Spotlight Bloomsbury A&C Black
2012 1998 2001
Module Specifications
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Module MT11:
Year 3 Performance
UK Credits:
60
ECTS:
40
Level:
HE6
Outline You will rehearse and perform two of fully staged musicals and a Showreel, and reflect on your own and others’ work in a production journal. Overall Aims To enable you to gain experience of: • sustaining a role • engaging an audience • combining the disciplines of dance, singing and acting in one artistic whole • performing a variety of roles in musicals of differing styles • working with a variety of professional directors, musical directors and choreographers in a professional theatre environment What will I be expected to achieve? On successful completion of the module you will be expected to be able to:
Skills • • • • •
bring a professional level of interpretive skills to rehearsal and performance work creatively and collaboratively with a variety of professional directors, musical directors and choreographers apply a professional level of technique in performance to engage with an audience demonstrate professional skills, creative imagination and sensitive understanding work on sustained pieces involving acting, dance and singing
Knowledge and Understanding • •
articulate understanding of different theatrical forms and periods realise the performance possibilities of a script and score
Values and Attitudes •
reflect with creativity and sensitivity on your own and others’ work
Productions Tutors Tutor led Hours
Guest and in-house directors, choreographers and musical directors 22.5 x 6 x 3 = 405 hours rehearsal + 39 hours performance + 17 hours company class = 461 (average)
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Aims To create productions which replicate industry conditions and expectations as accurately as possible in order to provide you with experience at a professional level of how to: • sustain a role in front of an audience • combine the interpretive skills and technical disciplines of dance, singing and acting into one artistic whole • perform roles in musicals of differing styles • work effectively within hierarchical and non hierarchical structures • evaluate your work in rehearsal and performance What will I be expected to achieve? On successful completion of this component you should be able to:
Skills • • • • •
apply performance skills and technique to a variety of roles in musicals of differing styles perform with confidence in professionally equipped theatres demonstrate professional discipline in rehearsal and performance collaborate effectively with professional production staff including wardrobe, lighting, sound and stage-management work creatively with a variety of professional directors, designers, musical directors and choreographers
Knowledge and Understanding • •
understand the requirements of working with bands and various forms of sound enhancement reflect upon your work using a rehearsal notebook
How will I learn? The third year of the programme is a production year in which you gain experience of performing in public. You will normally perform in 3 productions, one of which is a filmed showreel presentation, the others fully staged musicals. Each musical has a minimum of 7 performances and plays in one of ArtsEd’s professionally staffed theatres. Each production rehearses for between 6 and 7 weeks. For the showreel you will rehearse and perform two songs, chosen in consultation with your singing tutors and the Head of Music. You will perform one song in full, and a shortened version of another contrasting song. The performance will be filmed in an ArtsEd theatre, with production support. The edited films will be presented on the ArtsEd website, and links sent to agents, casting directors and other industry professionals. You are required to audition for each of the productions in front of an audition panel consisting of the director, musical director and choreographer together with the Director of the School or their representative. The panel, in deciding on casting, takes into consideration your suitability for the role while keeping in mind the need to provide all students with suitable performance opportunities. During performance weeks you will participate in compulsory company class consisting of full vocal and physical warm ups, focusing exercises and clean up
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calls. Company class may be led by creatives, in-house staff or dance and voice captains. Recent and Future Productions: 2020-21 Recorded Showreels Kipps-The Half-a-Sixpence Musical Ragtime The Wedding Singer Cats
2021-22 Bandstand The SpongeBob Musical Lysistrata Jones Gentlemen Prefer Blondes Recorded Showreels
Critical Reflection Tutor Tutor Led Hours
Dan Bird 2 hours tutorial support
You are required to write a critical reflection during the rehearsals for one of the productions in which you appear in the course of Year 3. The reflection, of approximately 3,000 words, should contain research into the authors and social context of the chosen musical, together with a synopsis, character notes and rehearsal and performance notes and evaluation. You will submit the reflection at the beginning of the summer term. See ‘Critical Reflection requirements’ at the back of this handbook for full details. Aim To enable you to further develop your ability to reflect on your work in the course of rehearsals and performance. What will I be expected to achieve? On successful completion of this component you will expected to be able to:
Skills, Knowledge and Understanding
• research into the background of the musical being rehearsed • research into their character and situation
Values and attitudes
• evaluate your work in rehearsal and performance • demonstrate sensitivity in the evaluation of others’ work
MODULE TEACHING PATTERN Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Rehearsal and performance
461
97
558
Tutorial and selfdirected study Total
2
40
42
Teaching Component
Type
Productions Critical Reflection
600
Module Specifications
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How will I be assessed? You are assessed after the final performance of each production by the Course Director, the Head of Year 3, the Heads of Dance, Music and Acting on your standard of performance. The External Examiner may moderate the marking process if present at a performance. Productions provide an important focus for formative assessment and give subject tutors the opportunity to assess the progress of your ability, in your final year, to use technique in performance. You will submit a Critical Reflection at the beginning of the summer term. MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Two Public Productions
Performance
100
40%
No
Showreels
Performance
20
40%
No
Rehearsal Process
80
Written assignment
n/a
n/a
Yes
Critical Reflection
What do I have to do to pass? You are required to achieve a grade of 40% or above for performance in the two musicals and 40% or above for both rehearsal process and performance of the Showreels. You must pass the Critical Reflection in order to pass the module overall, but no marks will be awarded and the reflection is not included in the weighting for the module. The overall grade for the module will be calculated as an average of the aggregate marks awarded for the two public productions and the showreel. How is this module weighted in the overall mark for my degree? The Year 3 Performance module is given a weighting of 60% in the calculation of your degree, so each production is worth 20% of your final mark. How and when will I get feedback on my assessments? You will receive written feedback on the productions from the creative team and from the Director of the School, Heads of Department and senior members of the faculty. You will receive written feedback on your critical reflection from the marker. READING LIST Reading lists and other research materials will be suggested appropriate to the style and genre of each of the productions.
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Module MT12:
Year 3 Skills
UK Credits:
45
ECTS:
22.5
Level:
HE6
Outline You will continue your training in dance, acting and singing, maintaining your skills at a professional level in all three disciplines.
YEAR THREE DANCE Overall Aims To consolidate at a professional level your • competence and confidence in dance through performance • understanding of the theory and history of dance in musical theatre • understanding of the human body to avoid injuries and develop technique and freedom of expression • understanding of the relationship between acting, singing and dance What will I be expected to achieve? On successful completion of the module you will be expected to demonstrate, to a level required by the professional musical theatre, your ability to:
Skills • • • • •
apply imagination, concentration and observation in performance perform with belief, energy and focus work in an effective and disciplined way as a member of a group in performance develop your confidence in the use of a range of dance styles and techniques work confidently with the techniques and terminology of professional theatre
Knowledge and Understanding • •
pick up combinations in a range of styles to suit current audition requirements demonstrate understanding and use of technique in performance
Jazz Tutor Tutor led Hours Groups
Jill-Louise Hydes, Vikki Marie Ryan and Karen Edwards 4 x 20 weeks = 80 hours third years are taught in three separate unstreamed classes
Aims to enable you to consolidate at a professional level • technical and performance dance skills required by the professional musical theatre • a technically and stylistically varied dance vocabulary.
Module Specifications • • • •
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A deeper understanding of the Luigi Jazz technique and exploration of Fosse style Acting through dance Preparedness for auditions Levels of fitness and stamina
What will I be expected to achieve? On successful completion of the component you will be expected to demonstrate:
Skills • •
a professional standard of technical agility a professional level of dance performance
Knowledge and Understanding • •
knowledge of the current Musical Theatre repertoire recognition of current choreographers, choreographic styles and practices
Values and Attitudes • •
a professional attitude in researching for auditions a professional approach in researching for auditions
How will I learn? You will participate in: • warm-ups of a professional company standard • combinations from the musical theatre repertoire which are technically, physically and stylistically demanding
Ballet Tutor Tutor led Hours Groups
Joshua Tuifua 1.5 x 20 weeks = 30 hours Third years are taught in three separate classes that are not streamed
Aims to enable you to consolidate • technical skills required as a professional performer in the musical theatre industry • stable technique • preparedness for auditions • levels of fitness and stamina • self awareness in technical work What will I be expected to achieve? On successful completion of the component the student will be expected to demonstrate:
Skills •
a professional and secure standard of technical agility in performance
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Knowledge and Understanding •
recognition of the influence of classical ballet in musical theatre
How will I learn? Classes develop to enhance and reinforce the need for stable technique as a professional performer.
Tap Tutor Tutor led Hours
Emile Ruddock 1 x 20 = 20
Aims To enable you to maintain at a professional level • technical and performance tap skills to the level required by the professional musical theatre • a technically and stylistically varied tap vocabulary • Confidence in beats and rhythms What will I be expected to achieve? On completion of the Year Three Tap Component you should be able to demonstrate, at a level required by the professional musical theatre:
Skills • • • •
technical ability in tap increased control and freedom in tap the ability to communicate character and motivation in tap the ability to tap to a standard high enough to support an audition in professional musical theatre
Fitness, Health and Safety The Dance Department continues to maintain fitness, health and safety as a priority amongst the staff and students. It is a feature of all the disciplines within the dance department. Jazz • The warm up in the jazz class is at a professional level. • Footwear is varied to prepare you for the variety of dance styles you will experience in the profession. Work may be in barefoot, foot thong, soft shoe or heels. • Suitable supportive clothing must be worn. • Depending on the tutor’s style, the warm-up is either gradual and accumulative or commences with aerobic activity. Both are monitored and both are highly effective at warming up the body in preparation for more vigorous activity. • Great importance is placed on strengthening and warming up areas of potential weakness. These areas include the back, groin, ankles and knees. Particular care is given to warming up the upper back, neck and weaker joints
Module Specifications
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Ballet • The importance of warm up and warm down continues to be emphasised • You are given safety information with your corrections Tap • The importance of warm up and warm down continues to be emphasised • You are given safety information with your corrections What will I be expected to achieve? On successful completion of the Dance Module you will be expected to demonstrate a professional level of understanding of how to:
Skills, Knowledge and Understanding • • • • • •
check dance studio floors before class to ensure that they are in a good condition i.e. not slippery, splintered and have an even surface wear appropriate clothing for dance class e.g. not to wear jewellery or clothing that may be a danger to you or fellow students warm up before class or performance to enable the body to perform to its full potential with complete safety take action in the event of pain and or injury understand physical limitations and how to work around them work back after a holiday or injury
TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Jazz
Technique classes
80
10
90
Ballet
Technique classes
30
5
35
Tap
Technique classes Total
20 130
5 20
25 150
How will I be assessed? You will be assessed on your classwork in the Autumn and Spring terms. Classes will continue in term 3, but will not be included in the assessment scheme. ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Jazz
Classwork
60%
40%
No
Ballet
Classwork
25%
40%
No
Tap
Classwork
15%
40%
No
What do I have to do to pass? You are required to pass all components. The overall mark for the module is calculated as an average of the marks for Dance, Singing and Acting. The Year 3 Skills module carries a weighting of 20% of your overall degree mark.
Module Specifications
Page 121
How and when will I get feedback? You will receive verbal and written feedback on your achievement in dance for each of the public productions. READING LIST Title
Author
Luigi’s Jazz Warm Up: An Introduction to Jazz Style and Technique Razzle Dazzle: the Life and Works of Bob Fosse The Fosse Style
Luigi, LP Kriegel, Dance FJ Roach Inc NY
Bob Fosse’s Broadway All His Jazz: The Life and Death of Bob Fosse The Dance Workshop And Promenade Home Hoofing on Broadway Dance with Demons: The Life of Jerome Robbins
Margery Beddow Martin Gottfried
Somewhere: The Life of Jerome Robbins Time Steps: My Musical Life
Amanda Vaill
Tap Dancing America: A Cultural History The “Dansical” Staging Musical Theatre
Kevin Boyd Grubb Debra McWaters
R. Cohen Agnes De Mille Richard Kislan Greg Lawrence
Donna McKechnie, Greg Lawrence Constance Valis Hill Pamyla Alayne Stiehl EA Novak, D Novak
Publisher
Year
Horizons 1997
St Martins Press Inc University Press of Florida Heinemann Da Capo Press
1996
Unwin Paperbacks Virgin Books Simon & Schuster Berkeley Publishing Corps. US Broadway Books
1986 1989 1987 2002
Simon & Schuster
2006
OUP USA
2010
BiblioBazaar
2011
Players Press
1997
2008 1997 2003
2006
Module Specifications
Page 122
YEAR THREE ACTING Outline You develop skills in acting for camera and consolidate your acting and voice and speech training. Overall Aims To enable you to consolidate your ability at a professional level to: • perform as an actor in a variety of performance situations, including musicals, plays and television drama with confidence, concentration, discipline, energy and technical control What will I be expected to achieve in this module? At the conclusion of the acting module you will be expected to demonstrate a professional level of ability to:
Skills • • •
use imagination, concentration and observation in performance perform with belief, energy and focus act with confidence in a range of styles and techniques
Knowledge and Understanding • •
speak and understand a variety of theatrical texts work confidently with the techniques and terminology of professional theatre
Values and Attitudes •
work in an effective and disciplined way as a member in performance
Acting for Camera Tutor Tutor led Hours (class)
Mark Street 3 x 20 = 60
Aims To enable you to apply to performance a professional level of: • studio etiquette, camera craft, health and safety awareness, script and character analysis • practical understanding of the integration of actor training with the specific demands of Film/Television • analysis, observation, imagination, personal and collaborative creativity • appropriate application of vocal and physical skills to Film/Television format What will I be expected to achieve? On successful completion of the component you should be able to demonstrate a professional level of competence in:
Skills • •
vocal and physical technique the use of imagination, concentration, creativity and observation in professional Film/Television contexts
Module Specifications
Page 123
Knowledge and Understanding • •
the use of analysis and research in the creation of believable characters The specific working practices/expectations of the Film/Television environment.
How will I learn? You will take part in a sequence of workshop classes reflecting the working conditions of a professional studio environment and developing the acting technique needed to work in the Film/Television industry. These will incorporate a variety of teaching and learning techniques including: theatre games; group and solo improvisation; recorded scenes for camera; seminars; student presentations; tutorials; industry role play.
Speech & Voice Tutors Tutor hours
Caitlin Stegmoller 50
Aims • To develop your ability to work with a range of theatre texts. • To review accents in a range of theatre texts. • To prepare you for acting auditions. What will I be expected to achieve? On successful completion of the component, you will be expected to:
Skills • • • •
approach a range of texts from classical to musical theatre apply successful voice and text work in preparation for auditions use your voice successfully in a range of performance contexts sustain any of the dialects used to a professional standard
How will I learn? The regular weekly voice class includes the following areas of work: • extension of text work from classical to contemporary • regular review of voice and speech skills • text and accent preparation for in-house musical theatre acting auditions • text and accent preparation for sight read audition scenes Coaching for productions/showcase includes the following areas of work: • Textual analysis, accent development and voice into performance skills.
Fitness Health and Safety Acting You are instructed on all aspects of theatre discipline, health and safety and best practice. This is reinforced in the performance year both in class and in rehearsal.
Module Specifications
Page 124
Voice You are given instruction on how to use your voice safely in public performances. Emphasis is placed on the individual’s responsibility for the voice, its development and care. What will I be expected to achieve?
Skills, Knowledge and Understanding
At the conclusion of the Acting Module you should understand, to a level required by the professional theatre, how to: • prepare and execute suitable warm-up exercises in order to protect the body and the voice • be aware of other performers on stage – mass exits, discipline & control of actions • be aware of the dangers of unrehearsed action • have respect for other performers – confidentiality, personal hygiene, kissing, spitting • be aware of self – misuse of drugs and alcohol • take care of the voice – shouting, stage whisper • move in period costume – skirt and train management, heels • manage props safely – cigarettes, liquids, knives, firearms • be aware of hazards – fire, stage machinery, blood spillage • clean masks before and after use • maintain the condition of the vocal mechanism • observe hygiene and safety when handling and applying make-up • maintain safety for yourself, for other performers, stage management and audience in all staged encounters and to maintain distance and adjust where necessary for safety TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Acting for Camera
Workshop classes
60
20
80
Speech and Voice
Technique classes Total
50 110
20 40
70 150
How will I be assessed? You will be assessed on your classwork in the Autumn and Spring terms. Classes will continue in term 3, but will not be included in the assessment scheme. ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Acting for Camera
Classwork
70%
40%
No
Speech and Voice
Classwork
30%
40%
No
Module Specifications
Page 125
What do I have to do to pass? You are required to pass both components. The overall mark for the module is calculated as an average of the marks for Dance, Singing and Acting. The Year 3 Skills module carries a weighting of 20% of your overall degree mark. How and when will I get feedback? You will receive verbal and written feedback on your achievement in acting for each of the public productions. REQUIRED READING Title
Author
Publisher
Year
The Year of the King The Second Circle Film and Television Acting Action! An Actor’s Guide to Getting Work
Anthony Sher Patsy Rodenburg Ian Bernard Robert Benedetti Simon Dunmore
Nick Hern W. Norton & Co Focal Press Longman A&C Black
2004 2008 1998 2006 1991
Module Specifications
Page 126
YEAR THREE SINGING Outline You continue your training in singing, maintaining your skills at a professional level. Aims To enable you to sing in musical theatre productions to a professional standard with technical control, safety, confidence, concentration, discipline and energy. What will I be expected to achieve? At the conclusion of the module you will be expected to be able to:
Skills • • • • •
demonstrate presentational skills for professional performance protect and sustain your voice in performance control singing technique in performance use a range of singing styles and techniques in performance perform a range of songs to suit a variety of audition requirements
Knowledge and Understanding • • •
study a song in depth by following the printed instructions in a score demonstrate an understanding and appreciation of a wide variety of vocal writing and styles work confidently with the techniques and terminology of professional musical theatre
Values and Attitudes •
work in an effective and disciplined way as a soloist and as a member of a chorus in performance
Singing Technique Tutors include Tutor led Hours
Ceris Deverill, Robert Hickmore, Ann James, Mary King, Tina Thomas, James Spilling, Rachel Dussek 13 hours
Aims To enable you to maintain and consolidate vocal standards required by the professional musical theatre, particularly: • a sound vocal technique • the ability to sing with confidence and expression, regardless of the size of the voice • the ability to understand how to protect and sustain the voice. What will I be expected to achieve? On successful completion of this component you will be expected to demonstrate, to a standard required by the professional musical theatre, the ability to:
Module Specifications
Page 127
Skills • •
use vocal technique with confidence and consistency follow printed instructions in a score
Knowledge and Understanding •
an understanding of safe singing
How will I learn? A sequence of one-to-one singing lessons with continued emphasis on • breath control • posture • vocal placement • diction • intonation
Repertoire Tutors
Tutor led Hours
Tim Evans, Michael Haslam, Phillip Sutton, James Michalos, Tim whiting 0.5 x 20 = 10 hours
Aims To enable you to maintain and consolidate your ability, at a level required by the professional musical theatre, to: • perform with confidence a wide range of musical theatre songs • study more complex material in depth • sing with confidence and expression, regardless of the size of the voice • select material which protects and sustains the voice • select material to meet audition requirements for a wide range of musical theatre productions What will I be expected to achieve? On successful completion of this component you will be expected to demonstrate to a professional level the ability to:
Skills • • • •
sing a wide range of songs from the musical theatre repertoire sing in other styles including jazz, blues, pop and rock follow printed instructions in a score attend an audition and to sing, with confidence, to an adequate standard to obtain professional employment
Knowledge and Understanding •
an understanding of safe singing
Song Workshop Tutors Tutor led Hours
Various guest directors, singers and musical directors. 20 hours
Module Specifications
Page 128
Aims To enable you to perform a wider variety of songs with increased individuality, clarity, truthfulness and intensity. What will I be expected to achieve? On successful completion of this component you will be expected to demonstrate, to the level required by professional musical theatre, the ability to:
Skills • • •
discover the subtext of a song and make an effective personal response to the lyrics of a song sustain the narrative of a song effectively and communicate the song clearly sustain the audience’s interest by increased control of modulation
Knowledge and Understanding •
make appropriate choices of songs for audition
How will I learn? A sequence of practical classes in which you perform songs to an audience of their tutor group and receive analysis and guidance from the tutors. Health and Safety The safe use of the singing voice is central to the individually taught technique and repertoire classes. All rehearsals and performances begin with a vocal warm-up and you are taught how and when to “mark” in rehearsal. What will I be expected to achieve? On successful conclusion of the Singing Module you will be expected to know how to: • prepare and execute suitable vocal warm-up exercises • understand the vocal mechanism • understand how to maintain the condition of the voice and guard and protect it in the future • select repertoire which does not “push” the voice MODULE TEACHING PATTERN Teaching Component
Type
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Singing Technique
Technique classes
13
62
75
Repertoire
Technique classes
10
32
42
Song Workshop
Workshop classes Total
20 43
13 107
33 150
How will I be assessed? You will be assessed on your classwork in the Autumn and Spring terms. Classes will continue in term 3, but will not be included in the assessment scheme.
Module Specifications
Page 129
ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Singing Technique
Classwork
50%
40%
No
Repertoire
Classwork
50%
40%
No
Song Workshop
Classwork
n/a
n/a
Yes
What do I have to do to pass Year 3 Singing? You are required to pass all three components. How and when will I get feedback? You will receive verbal and written feedback on your achievement in singing for each of the public productions. SUGGESTED READING LIST Title
Author
Publisher
Year
Singing and the Actor Singing and Teaching Singing Dynamics of the Singing Voice The Structure of Singing Care of the Professional Voice
Gillyanne Kayes Janice L. Chapman Meribeth A. Dayme Richard Miller D. Garfield Davies (ed.) James C. McKinney
Methuen Drama Plural Springer Wadsworth Methuen Drama
2004 2005 2009 1986 2004
Waveland
2005
W. Timothy Gallwey and Barry Green David Craig David Craig Kevin D. Robison
Pan
2003
Applause Applause Heinemann
1993 1989 2000
The Diagnosis and Correction of Vocal Faults The Inner Game of Music A Performer Prepares On Singing on Stage The Actor Sings
MODULE ASSESSMENT PATTERN Assessment Component
Assessment Type
Weighting
Pass Mark
Pass/Fail
Dance
Classwork
av*
40%
No
Acting
Classwork
av*
40%
No
Singing
Classwork
av*
40%
No
What do I have to do to pass the Year 3 Skills module? You are required to pass all three components. *The overall mark for the module is calculated as an average of the aggregate marks for the three components. The Year 3 Skills module is given a weighting of 20% in the calculation of your overall degree mark.
Module Specifications
Page 130
Module MT15:
Year 3 Professional Employment Skills
UK Credits:
15
ECTS:
7.5
Level:
HE6
Outline You will prepare for professional auditions and employment.
Auditions and Audition Classes Tutors Tutor led Hours
Guest and in-house tutors 25 hours
Aims To ensure that you have the means to secure employment and maintain themselves in the professional arts and entertainment industry by • acquiring professional employment skills and relevant knowledge of the industry • developing personal skills and qualities which will enhance their professional and personal lives What will I be expected to achieve? On successful completion of the module you will be expected to be able to:
Skills • • • • • • • • • •
research information relating to job opportunities and identify key requirements accurately show competence in self-presentation in correspondence and at interview target potential employers and agents choose personal photographs which accurately reveal casting potential prepare clear and concise CVs which provide accurate and concise information choose appropriate clothes for auditions and interviews perform a range of audition pieces which demonstrate an understanding of the differing requirements of potential employers demonstrate professional competence at audition record and maintain professional contacts in a systematic way draw up a personal training programme which can be continued after graduation
Knowledge and Understanding •
demonstrate an understanding of the principles of Tax and National Insurance as applied to the professional performer
How will I learn? A sequence of inter-linked classes and workshops in the final year of training: • Careers advice and guidance • Professional Practice Workshops
Module Specifications • • •
Page 131
Auditions and Audition class Professional CV and Photos Workshop New Writing
The Module is supported by contacts available to you through the regular flow of guest professional practitioners working as directors, musical directors and choreographers on projects and productions and with resident staff all of whom are, or have been, working professionals. They pass on their extensive knowledge of the industry in a number of ways – formally and informally, often on an individual basis. The Course Director with the Administrators provide points of contact for agents, casting directors and producing managements wishing to contact present and past students. Also, you benefit from opportunities to participate in a range of external professional performance opportunities arranged through the School, usually during the vacations. These are in addition to the professional auditions which you are permitted to attend in the final term following the Showcase.
Careers Workshop Tutors Tutor led Hours
Guest and in-house tutors 1 hour x 10 weeks = 10 hours
Aims To prepare you for the business aspect of employment, including contractual and legal obligations. What will I be expected to achieve? On successful completion of the module you will be expected to be able to:
Knowledge and Understanding • • • •
understand understand understand understand
the the the the
implication of agency agreements and employment contracts basic taxation system in relation to performers role of Equity and the range of services it offers structure of the performance industry
How will I learn? A sequence of lectures, workshops and seminars in the third year on topics such as tax, self-employment and national insurance, contracts of employment, the structure of the performance industry, the role of agents and casting directors, the role of Equity and Spotlight.
Professional Practice Workshops Tutors Tutor led Hours
In house staff and guest tutors 30
Aims To give you the opportunity to gain new skills and develop a greater understanding of the industry which you are about to join. What will I be expected to achieve?
Module Specifications
Page 132
On successful completion of this component you will be expected to be able to:
Skills • •
demonstrate the ability to develop new skills quickly and effectively identify areas of work you wish to pursue
Knowledge and understanding •
demonstrate good understanding of the industry you are about to enter
Values and attitudes •
be open to new experiences and ways of working
How will I learn? You will take part in a series of professional practice workshops. These may focus on the three core disciplines, for example on a dance style not previously covered in the curriculum, or on a particular style of ensemble singing, or they may introduce new skills such as circus skills or devising. Workshops may also cover practical business applications, such as corporate work, setting up your own company or managing your finances.
Professional Practice Portfolio Tutor Tutor Led Hours
Karen Edwards 2 hours tutorial support
You are required to create a portfolio reflecting on a variety of aspects of your professional practice. The portfolio should be separated into relevant sections or headings, as below, and should contain the following elements: SECTION 1: ACTION PLAN • Your up-to-date professional CV (n.b. your own CV, not copied from Spotlight) • Your publicity photograph • An Action Plan for the year which follows your graduation from the course, which should: Identify areas of work you wish to pursue and how this might be achieved An outline of how you will support yourself financially through the year (a more detailed budget is a requirement of section 3) Ideas that can be put into practice which support ongoing training after ArtsEd SECTION 2: INDUSTRY KNOWLEDGE • Your own reflective notes on the following experiences, including the outcome, as appropriate: Auditions for Year 3 productions Mock auditions Professional auditions arranged by ArtsEd External auditions and castings Agent interviews
Module Specifications •
• •
Page 133
Research into a minimum of ten musical theatre productions currently running in the West End or on tour, detailing key creatives, casting director/s and producers, and outlining suitable audition material for the role/s you would like to audition for in each production Notes from contextual studies lectures from Years 1, 2 and 3 Further evidence of industry knowledge (e.g. relevant companies or casting directors to contact, given your/ particular strengths and interests identified in the Action Plan)
SECTION 3: PERSONAL MANAGEMENT • Notes on professional and financial self-management, e.g. tax matters, union membership etc. This section should also include: A more detailed, personalised budget plan that takes into account income/expenditure as you prepare to begin life after ArtsEd SECTION 4: FITNESS, HEALTH AND SAFETY • A personalised training programme detailing a specific exercise regime that can be undertaken post-ArtsEd • Notes on maintaining mental well-being • Notes on diet and nutrition, including sample shopping lists, recipes etc. • Notes on injury prevention and good vocal health SECTION 5: FEEDBACK • Copies of feedback on your classwork, projects, assessments and performances from Years 1, 2 and 3 APPENDIX • Copies of any published reviews of 3rd year productions or other external professional performance opportunities arranged through the School • Any other information/handouts you think might be relevant or useful to you as a resource Aim To enable you to demonstrate a working knowledge and understanding of the business aspects of the profession that you have chosen to enter. What will I be expected to achieve? On successful completion of this component you will be expected to demonstrate a professional level of understanding of how to
Skills • •
produce an up-to-date professional CV create an Action Plan for the year which follows their graduation from the course
Knowledge and understanding • •
identify the areas of work they wish to pursue demonstrate a good understanding of the industry they are about to enter
Module Specifications
Page 134
MODULE TEACHING PATTERN
Contact Hours
Self Directed Study Hours
Total Student Learning Hours
Teaching Component
Type
Auditions and Audition Classes Careers Workshops Professional Practice Workshops Professional Practice Portfolio
Workshop classes, auditions Workshop classes Workshop classes, lectures and seminars Self-directed study
25
40
65
10 30
3 20
13 50
2
20
22
Total
67
83
150
How will I be assessed? You will be assessed on your classwork in auditions and audition classes and on the Professional Practice Portfolio. MODULE ASSESSMENT PATTERN
Assessment Component
Assessment Type
Weighti Pass ng Mark
Pass/Fail
Auditions and Audition Classes Careers Workshops Professional Practice Workshops Professional Practice Portfolio
Classwork Classwork Classwork
n/a n/a n/a
n/a n/a n/a
Yes Yes Yes
Written assignment
n/a
n/a
Yes
What do I have to do to pass? You are required to pass each component in order to pass the module. Professional Employment Skills does not carry any weighting in the Year 3 overall mark but you are required to pass the module in order to be eligible for the degree. How and when will I get feedback? You will receive verbal feedback from the panel on in-house auditions, and from your Head of Year on the Professional Practice Portfolio. READING LIST Title
Author
Publisher
Year
Auditioning for the Musical Theatre Thank you – that’s all we need for today Thank You Very Much! How to Audition for the Musical Theatre How to Audition
Fred Silver Mary Hammond
Penguin Edition Peters
1988 2010
Stuart Ostrow Donald Oliver
Smith & Kraus Smith & Kraus
2002 1985
Gordon Hunt
Harper Collins
1995
Module Specifications Audition: Everything an Actor Needs to Know to Get the Part Next! Auditioning for the Musical Theatre The Actor’s Handbook An Actor’s Guide to Getting Work
Page 135 Michael Shurtleff
Bantam Books
1979
Stephen M. Alper
Heinemann
1995
Jill Fenner S. Dunmore
Bloomsbury A&C Black
1998 2001
SPECIAL SCHEME OF STUDY A number of students each year are offered work before graduation. Permission from the school must be sought in writing before accepting any such offer. Permission might be granted to take time off from studies, and the student might be given academic credit for the professional work undertaken as replacement for course work if most or all of the following criteria are met: 1) the offer of professional work is considered to be of an appropriate professional standard; 2) payment to the student is at an appropriate professional level; 3) the work will enhance the training of the student; 4) the work will enhance the future employment prospects of the student; 5) the work involved can be described as fulfilling the objectives of course work missed; 6) adequate documentation can be provided which proves that the work to be done meets the above criteria; 7) the work can be assessed in an appropriate manner, equivalent to procedures used for internal work. Permission will only be granted for time off from the final term of skills classes and professional practice. As there is no equivalent production in the final summer term, the special scheme of study is not included in the assessment scheme. Therefore, there will be no requirement for the work undertaken to be viewed by staff of ArtsEd and/or the external examiner.
Policies
Page 136
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.”
Assessment Regulations
Page 137 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
Assessment Regulations
Page 138
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).
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. 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.
3.2.2
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 Regulations
Page 139
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
Progression and Award
4.1
Requirements to pass a Module
To progress through a Programme, students are required to complete and pass modules in order to accumulate an amount of academic credit to the value of the Award they are registered for. The progression criteria are detailed in the Programme Specification. 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
Assessment Regulations
Page 140
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. 4.4
PARTICIPATION AND ATTENDANCE
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).
Assessment Regulations 4.4.1
Page 141
Late Participation in an Assessment Where late submission is permitted, the penalties for late submission and arrangements for extensions are determined by Programme Teams, approved by the Course Board and published in the relevant Programme Handbook. If late submission is permitted, penalties will apply where a student: • participates in an assessment after the due date where a deadline has not been extended and there are no Extenuating Circumstances. • has been given an extension but participates in the assessment after the extended date but within any stipulated timeframe.
4.4.2
Failure to Participate Where a student fails to participate in an assessment component and has no Extenuating Circumstances, then that component will be considered to be failed. No mark or credit will be awarded and a resit opportunity will be offered subject to the rules in Section 4.7.2. A student who has not met the pass requirements for the Module, and who does not complete any required resit assessment by the required date will be withdrawn from the Programme by the Assessment Board in accordance with the rules in Section 4.6.2.
4.5
Award and classification
Award classifications are determined by Assessment Boards and conferred by Senate. To qualify for the Award of a Certificate, Diploma or Degree a student must have: • •
gained the appropriate credit for the relevant Programme satisfied any additional requirements set out in the Programme Specification.
The Award classification for a Certificate, Diploma and Degree is calculated from the marks received for Modules: •
The credit value of each Module normally determines their weighting in the aggregation of marks. The method used to aggregate marks to calculate a degree classification is set out in the Programme Specification.
•
Where modules have been assessed on a pass/fail basis, credit is awarded for a pass but no marks are awarded and these Modules do not contribute to the overall aggregate mark calculation.
The award classification for BA (Hons) Acting or BA (Hons) Musical Theatre is determined as follows:
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Bachelors Degree with Honours 70-100%
Award classification 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 Masters Degree Postgraduate Diploma
Overall aggregate mark
Award classification
50-100%
Without classification
The award classification for CertHE Musical Theatre or Acting Foundation is determined as follows: Award
Overall aggregate mark
Award classification
Certificate of Higher Education
70-100%
With Distinction
60-69%
With Merit
40-59%
Without classification
A student who has completed the requirements for a named Award cannot re-register for the same Award to improve the classification attained. A student who does not meet the requirements for the Award for which they are registered, but meets the requirements for an approved Exit Award, will normally be conferred that Award as set out in the Programme Specification. 4.6
Failure of a Module
If a student fails a Module due to failure in an assessment component, the Assessment Board will normally offer one of the following options: • Compensation (where this option is permitted and detailed within the Programme Specification, and the student has met specific criteria), as detailed in Section 4.6.1 • Resit, as detailed in 4.6.2
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Where a student is eligible for compensation at the first assessment attempt, this should be applied in the first instance rather than offering a resit opportunity. A student may not progress to the next Programme Stage until they have successfully passed the current Programme Stage, except in exceptional circumstances as detailed below. If a student has multiple failed assessments at the first attempt, an Assessment Board may offer a partial repeat year, as detailed in Section 4.6.3. If a student has Extenuating Circumstances affecting multiple assessments, an Assessment Board may offer a repeat year, as detailed in Section 4.6.4. Exceptionally, where a student has: • had approved Extenuating Circumstances during either the main assessment periods and/or the reassessment periods, and • where the nature of the assessment and Programme permits, and • 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.
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The actual mark for the compensated module will be included on the results with the letters ‘CP’ to denote a Compensated Pass. Compensation is not available for failed Modules on other Undergraduate or Postgraduate Programmes. 4.6.2
Resits A resit is a second attempt at an initial failed assessment without having to repeat the original period of teaching and learning. The resit mode may vary depending on the nature of the initial assessment. A resit is granted by the Assessment Board which also makes the final decision on resit arrangements. Where there is more than one assessment component in a Module, an Assessment Board will need to make clear which assessment components they are required to resit (see 4.6.2v below). A student normally has a maximum of two attempts to pass each assessment component; a first attempt and a resit. Students who have approved Extenuating Circumstances may be granted a further attempt (see Section 4.7). Resits will not normally be offered if a student fails two or more modules or two or more components within a module. Resit provision is subject to all the following conditions: i. Where possible the student will be assessed by repeating the same activity. Where not possible for example when the failed or missed assessment is a performance in a play or 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.
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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. 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. ix. 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.
4.6.3
Multiple Failed Assessments (Resits or Partial Repeat Year) If a student:
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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:
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•
The student is not permitted to progress to the next Programme Stage of the Programme but must repeat the failed Modules and/or assessment components in full (with attendance) during the following academic year.
•
The student retains the marks for the Modules and/or components already passed in the previous academic year.
•
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
1
Full Repeat Year
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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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:
4.7
•
The student does not progress to the next Programme Stage but repeats all the Modules in the current Programme Stage during the following academic year.
•
The student is not able to carry forward any marks or credit from previous attempts at the Programme Stage in the previous academic year. Previous marks for the Programme Stage are disregarded and all assessment components are repeated including any which the student has previously passed.
•
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
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which can be shown to have had a direct and substantial impact on their academic results (this may include an impact on the student’s capacity to study prior to an assessment, on their ability to complete an assessment, and/or on performance during an assessment).
An application for Extenuating Circumstances must demonstrate that it meets these criteria. Students with disabilities or long-term conditions Arrangements for students with disabilities or long-term conditions are detailed in Section 4.8.4 and are separate from the Extenuating Circumstances process. However, where a student is • •
awaiting formal diagnosis of a disability, or experiences an acute phase of an ongoing condition that has been previously notified to City which is likely to have seriously impaired the student’s performance at the same time as an assessment event, or before an assignment deadline,
this may be considered as an Extenuating Circumstances claim. 4.7.1
Submission of applications City sets strict deadlines for the submission of requests for consideration of Extenuating Circumstances relating to assessment, progression or Award. This is to safeguard the fairness of the assessment process and to avoid creating an unfair advantage. Students are encouraged to raise issues early and before the assessment(s) if possible. Claims for Extenuating Circumstances must be submitted by the student to the relevant Extenuating Circumstances Panel: • not later than 7 calendar days after the assessment said to have been affected, and • all submissions must be made before the meetings of the relevant Extenuating Circumstances Panel and Assessment Board. Students will be notified of the relevant deadlines for their Programme in the Programme Handbook. 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)
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If, for a valid and overriding reason, the student is unable to meet the deadline for submitting a claim or supporting evidence for an Extenuating Circumstance, an appeal can be lodged (see Section 6.11) The full procedures which must be followed for the submission and consideration of Extenuating Circumstances claims is set out in the Extenuating Circumstances Guidance for Students and the Guidance for Extenuating Circumstances Panels. 4.7.2
Extenuating Circumstances Panel Each Board of Studies will establish a Panel to consider applications for Extenuating Circumstances claims (see Appendix 2 for membership). •
The Extenuating Circumstances Panel will determine whether the claim meets the criteria for Extenuating Circumstances and whether supporting evidence is sufficient. The Panel will not have sight of the student’s individual marks when considering the application.
• Where the Extenuating Circumstances Panel is satisfied that the criteria have been met and the evidence received is sufficient, it will report the outcome of its consideration as a recommendation to the relevant Assessment Board (responsible for considering the student’s results and for making a decision on Award or progression). • Where an application for Extenuating Circumstances is accepted by the Panel, the most usual recommendation is for the student to be offered an additional opportunity to take the assessment(s). The Panel may, at its discretion, highlight particular factors in its recommendation which it is satisfied are worthy of consideration by the Assessment Board when deciding on the appropriate course of action, as outlined in the Guidance for Extenuating Circumstances Panels. A formal record will be kept of the meeting and Panel’s recommendations. • The student will be informed within 14 days from the date of the Panel’s recommendations and when the Assessment Board will meet to ratify the decision. • The decision on the course of action taken remains with the Assessment Board and will take into account the need to uphold academic standards and demonstrate that Learning Outcomes have been met as well as the Panel recommendation. • If a claim has not been accepted by the Panel this will be reported to the Assessment Board; no adjustment should be made and the student’s results should be considered in the usual way. • Extenuating Circumstances Panels should not normally approve second or multiple submissions for the same circumstances from any one student
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but there may be some cases where unforeseen circumstances last beyond the submission of the original claim. Students who have on-going medical conditions or other circumstances which cannot be described as unforeseen should be referred to the appropriate service for assessment of their needs (except where a student experiences an acute phase of an ongoing condition that has been previously notified to City which is likely to have seriously impaired the 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
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reviews of borderline progression/Award decisions will require the approval Chair of the Board of Studies and will be reported to Senate on an annual basis. If Extenuating Circumstances prevent a student from completing the final assessment, the Assessment Board may recommend to Senate that an Aegrotat Award should be made (see Section 4.15). When selecting any of the options set out in (i) to (iii) above, the Assessment Board’s decision must take account of the need to ensure parity of treatment of all students, and to avoid any action which might compromise academic standards and integrity. It must also have regard to any PSRB requirements.
iv.
In exceptional circumstances where soon after assessment(s) a student presents new evidence of a previously unsuspected disability after the deadline for submission of an Extenuating Circumstances claim, and the student could not have reasonably suspected they had the condition, or obtained a diagnosis at an earlier time, the student may request consideration under the Extenuating Circumstances Regulation and Policy. The student should submit a Stage 1 Appeal on the grounds of Undisclosed Extenuating Circumstances, in accordance with the 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
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Where a student is admitted to a Programme with declared disabilities or ongoing health conditions, City will agree learning and assessment strategies to provide the student with reasonable adjustments, additional support and/or facilities (see Disability Support). Students can declare a disability or ongoing health condition prior to admission and at any time whilst they are registered at City. It is expected that when a student consents for information to be shared, it will be shared sensitively with all relevant services and the personal tutor for the assessment of their needs and not just the initial point of contact. A record of formal diagnosis of ongoing health conditions, specific learning difficulties or other disability will be requested to enable City to implement reasonable adjustments to support the student. If the student fails to provide records of formal diagnosis, this will hinder City's ability to implement the necessary reasonable adjustments. Students awaiting formal diagnosis of disability should submit a claim to the Extenuating Circumstances Panel for consideration with supporting evidence to follow. If the student experiences a health condition after their initial admission to a Programme which may have a temporary but significant impact on their ability to engage with their studies, the student may be advised to interrupt their studies if it is considered that the Extenuating Circumstances and/or extensions procedures would be insufficient (see Section 4.19). Otherwise, City will endeavour to provide support and guidance to enable the student to complete their Programme of study.
4.8
recognition of PRIOR LEARNING (RPL) and PRIOR EXPERIENTIAL LEARNING (RPEL)
Recognition of Prior Learning and Prior Experiential Learning are not available for degree programmes taught at ArtsEd and validated by City, University of London.
4.9
Failure to Pass a Programme
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.
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4.10 Exit Awards If a student does not fully complete a Programme of study, the Assessment Board will consider whether they are eligible for an Exit Award where this is an approved option within the Programme specification. The non-completion may be due to failure to pass some components of the Programme or a decision by the student to withdraw from the Programme of study before the final assessment.
4.10.1 Ordinary Degrees The award of Ordinary Degree is not available at ArtsEd. 4.10.2 Diplomas of Higher Education and Certificates of Higher Education The Assessment Board will award a Certificate of Higher Education to those students who successfully complete the CertHE Foundation in Musical Theatre or CertHE Foundation in Acting. The Assessment Board may award a Diploma of Higher Education or Certificate of Higher Education where the student has successfully completed Years Two or One of an Honours degree programme, and has achieved sufficient credit at the appropriate academic level(s) for a Diploma or Certificate of Higher Education as detailed in the Credit Framework. 4.10.3 Postgraduate Diplomas and Postgraduate Certificates Where it is an approved exit route from a Programme and detailed in the Programme Specification, a Postgraduate Diploma or Postgraduate Certificate may be awarded where a student has not satisfied the requirements to be awarded a Masters Degree.
4.11 TRANSFER PROVISIONS The only entry point onto ArtsEd’s courses is at the start of each programme. Therefore students cannot transfer credits achieved at another higher education institution to join ArtsEd’s programmes part way through. Normally, degrees can only be awarded on successful completion of all years or parts of the programme. However, as stated above at 4.10.2, students who have successfully completed either year 1 or year 2 of their undergraduate study, and who wish to transfer from ArtsEd to another institution, may, at the discretion of the Assessment Board, be granted an exit award. Transfer between programmes at ArtsEd is not permitted.
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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
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a candidate is registered. Aegrotat Awards are approved by the Director of Student and Academic Services on behalf of Senate. 4.15 Posthumous Awards A Posthumous Award may be recommended by an Assessment Board where a student has died, provided that the student had completed all assessments for the penultimate progression point of the Programme. Posthumous Awards are approved by the Director of Student and Academic Services on behalf of Senate, and are reported to Senate. The Assessment Board can recommend that a posthumous degree should be awarded with honours and classification. If the student had completed all assessments for the Award, the case should then be considered by the relevant Assessment Board in the usual way. 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 Senate-appointed 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
Award
Normal length of Programme (Full-time)
Maximum period of Registration (Full-time)*
Maximum period of Registration (Part-time)*
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
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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
* The normal lengths and maximum periods of registration for academic Programmes are set out above and will apply to all Programmes except where City is required to vary or limit those periods to comply with legal, statutory and regulatory requirements. A Programme of study must be followed continuously and completed within the maximum period of registration. Maximum periods of registration will normally include resits, repeats and any periods of interruption of studies. A student who has reached the end of the maximum registration period without achieving their intended qualification will be awarded the highest qualification they are entitled to (from their accrued credits) see Section 4.11 Exit Awards. 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
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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-bycase basis and the rationale for the timing will be documented. An interruption of studies of less than one year may be approved in exceptional circumstances. Where this is approved, the student’s return to the Programme must be dealt with via the Special Scheme of Studies procedure. The Special Scheme of Study should take into account the elements of the Programme that a student has been absent for. Consideration of Interruption of Studies applications will take account of any overriding professional, statutory and regulatory body (PSRB) or legal requirements and the maximum period of registration for the Programme. Where the teaching for one or more Modules has been completed at the point of interruption, a student may apply to complete the assessments for that Module during the period of interruption. This will normally only be permitted where the nature of the student’s circumstances leading to the interruption would not affect their performance in the assessments. Where the student is permitted to sit assessments during the interruption period, they must attempt all the assessments for Modules for which teaching has been completed. Where a student has resit assessments outstanding at the start of the interruption period, they may apply to attempt those resit assessments during the period of interruption. Where the student is permitted to sit resits during the interruption period, they must attempt all resit assessments that are outstanding. If, following a student’s Interruption of Study, City has made changes to that student’s Programme and/or the availability of particular Modules, City will ensure that students who have interrupted their period of study are fully informed of the changes and the implications for their studies prior to their return to the Programme. Where appropriate, a student’s return to the Programme will be dealt with via the Special Scheme of Studies procedure to take account of changes to the Programme during the Interruption of Studies. A student who has had a break in his/her Programme and returns to City to complete the Programme will be governed by the Regulations and any statutory and legal requirements in force at the time of re-entry 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).
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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 Re-enrolment 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
External Examiners
5.2.1 External Examiner appointments To ensure academic standards and externality in the assessment process, each Programme will have at least one External Examiner who takes an overview of the assessment process of the Programme. There may be additional External Examiners appointed for large Programmes, or to cover particular academic areas within a Programme, as determined by the appropriate Board of Studies. An External Examiner may also be appointed to cover a number of related Programmes. Nominations for External Examiners are considered by Boards of Studies and approved by the Deputy President and Provost (or their nominee) on behalf of Senate. Appointments are made according to criteria and conditions that ensure the seniority and expertise of External Examiners to carry out the full range of duties. Criteria and conditions are set out in the External Examiners Policy. External Examiners are appointed for a period of up to a maximum of four years. Exceptionally, this can be extended by one further year. Appointments can be terminated prematurely by the Deputy President and Provost (or their nominee) on behalf of Senate, or the External Examiner, in line with the approved criteria and process published in City’s Quality Manual.
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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.
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ACADEMIC MISCONDUCT Academic Misconduct is any action that produces an improper advantage for the student in relation to their assessment(s) or deliberately and unnecessarily disadvantages other students. It can be committed intentionally or accidentally. City actively pursues all cases of suspected misconduct. The assessment of the type and severity of individual cases will be determined by academic judgement and these may be designated as: • • •
poor academic practice academic misconduct severe academic misconduct
as outlined in the Academic Misconduct Policy and Guidance. 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.
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During the preliminary investigation, the student will be informed of the allegation made against them and invited to discuss the allegations suspected of committing poor academic practice or academic misconduct. The purpose of the preliminary investigation is to: • establish the facts of the allegation of academic misconduct and the evidence to support it • determine whether there is a case to answer • determine whether the case relates to poor academic practice or academic misconduct • resolve the matter, determine the action to be taken or refer the case to an Academic Misconduct Panel where appropriate (see section 5.7.3). The preliminary investigation is a matter of academic judgement and should be completed either by a member of academic staff with either: • one or more additional member(s) of academic staff, or • as a joint review with a member of professional staff (to support the investigation for regulatory advice and conducting and managing investigations). The process for investigating the evidence for the suspected academic misconduct is published in the Assessment and Feedback Policy and Guidance. The Preliminary Investigation will seek to resolve the case as follows: i. Poor Academic Practice 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
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warning or guidance following the initial offence, the matter will be referred to an Academic Misconduct Panel. ii. Academic Misconduct Where Academic Misconduct is suspected: • •
•
if the student disputes the allegation the case will be referred to an Academic Misconduct Panel if the student accepts they are guilty of Academic Misconduct and the case relates to: a. a minor first instance of academic misconduct, it may be dealt with at the preliminary investigation stage in accordance with Sanction 1 in Appendix 3 and a written warning issued to the student. A record of the outcome will be retained and the recommendation to apply this Sanction will be made to the Assessment Board. b. a student’s second instance of Academic Misconduct, it will be referred to an Academic Misconduct Panel. all cases of severe Academic Misconduct will be referred to an Academic Misconduct Panel.
If no agreement on the outcome of the Preliminary Investigation can be reached by the staff completing it, the case will be referred to a Panel. The student will be informed within 10 working days when the investigation is escalated from the Preliminary Investigation to an Academic Misconduct Panel to enable them to prepare for the hearing. Preliminary investigations, including those relating to poor academic practice, will be documented and noted on the student’s record for the duration of the Programme. If the offence has been committed by a student in relation to a module which is shared with another Programme, the Preliminary Investigation should: • • •
be undertaken in the School which owns the module involve staff representation from the student’s School (the School where the student is registered) if this is different from the School that owns the Module report the outcome of the investigation to the student’s School for note on the student’s record.
5.3.3 Academic Misconduct Panels If a case of academic misconduct has not been resolved during the preliminary investigation an Academic Misconduct Panel appointed by the
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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
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The Assessment Board will only consider recommendations for sanctions for academic misconduct received via the Academic Misconduct Panel or via the Preliminary Investigation. The Assessment Board: • will not re-consider the Academic Misconduct Panel’s finding of academic misconduct, but • will consider the recommendations of the Panel regarding the action to be taken and take these into account when awarding a student’s marks and making decisions concerning a student’s progress and Award. Where the case is being considered under the Student Discipline Regulations, the Assessment Board will note any recommendations made by the Panel but will await the outcome of the disciplinary process before implementing them or making a decision on progress and Award. Unless the student has admitted to the academic misconduct, if it has not been possible to conduct the hearing before the date of the Assessment Board, the Board can request that Chair’s Action be taken in relation to the outcome of the hearing once it has been determined. 5.3.6 Reporting and recording of Academic Misconduct cases The student will receive a written notification of the outcome of the Academic Misconduct Panel and their student record will be updated. Where misconduct is found it is recorded at the Assessment Board and a note is made on the student’s record. PSRBs may be informed of cases of academic misconduct as long as this is done in accordance with the Data Protection Act 1998 and only once the internal procedures have been completed. The student must be notified before the PSRB is informed. Records of academic misconduct will be retained in accordance with the Records Retention schedule in Appendix 4. 5.3.7 Oversight The Assessment Board will retain oversight and be informed about any students that have received confirmed academic misconduct outcomes and the Modules concerned. A summary of academic misconduct cases must be kept by the Board of Studies and the outcomes will be reported to Senate. 6
Assessment Boards
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Assessment Boards are sub-committees of Senate with delegated authority to approve Awards and degree classifications. The primary purpose of an Assessment Board is to ensure the standards of City’s academic Awards and consistency and fairness in the application of the Assessment Regulations. Assessment Board membership is set out in Appendix 2. Assessment Boards convene at appropriate points in the academic year to make decisions, on behalf of Senate, on final marks, progression, Award (including the Award of credit) and withdrawal through consideration of student results. Assessment Boards will be held as soon as possible after the completion of the final assessment for each Programme Stage of a Programme, block of study or other relevant progression point. A further meeting will be held after the completion of resits. Each Assessment Board is provided with the relevant data set which must be prepared and checked in advance of the meeting (see Section 6.3). Advisory panels such as Interim Assessment Panels, Module Panels (or meetings to discuss results for Modules shared across Programmes) and Preliminary Assessment Panels may also be held (see Section 6.9). The Assessment Board may consider recommendations from its advisory panels but may not delegate decision making responsibility to them with regard to progression and Award. Where student marks have already been considered by an Examination Board of a Professional, Statutory or Regulatory Body (PSRB) in accordance with the requirements of the PSRB, the Assessment Board will note the marks already considered but will not consider them further.
6.1
The role of the Assessment Board
Assessment Board decisions are made in accordance with City’s Assessment Regulations, including specific Programme Regulations, where approved (see Appendix 1). Assessment Boards will consider results anonymously and profiling of student performance is not permitted. The role of Assessment Boards is to: •
consider and agree marks achieved by each student for assessment components, the overall Module mark and credit to be Awarded.
•
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)
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-
fail to meet requirements and are eligible for resit assessments or partial repeats (see Section 4.7)
-
have approved Extenuating Circumstances and may be permitted an additional attempt at the assessment(s) and/or, where appropriate, a full repeat year (see Section 4.8)
-
fail to meet requirements and are to be withdrawn from the Programme
-
are permitted to transfer to another Programme of study (related or unrelated), if eligible.
-
will receive a lower Award than the one for which they are registered and assessed (an exit Award, see Section 4.11)
•
apply any relevant PSRB requirements in accordance with approved Programme Regulations.
•
agree the application of compensation (see Section 4.7.1)
•
consideration of the final classification for eligible students in accordance with Section 6.6.
•
consider initial comments from External Examiners in advance of their written report.
•
report any matters about the content, operation and assessment of a Programme to the Board of Studies, and/or any matters of significant risk as appropriate in accordance with Senate Policy.
Following the Assessment Board the agreed student results will be verified, signed-off and released, with records retained, in accordance with the agreed protocols (Appendix 4). Any results not agreed at the Assessment Board will be deferred to the next meeting of the Assessment Board, or will exceptionally be considered by Chair’s Action where this has been authorised by the Assessment Board for the student result(s) concerned.
6.2
Membership of Assessment Boards
Members of the Course Board are also members of the Assessment Board. The Assessment Board is usually chaired by the Course Board Chair. The Assessment Board Chair will ensure the business of the Board is carried out efficiently and in accordance with the Regulations. The External Examiner(s) are members of the Assessment Board and should be present at meetings of an Assessment Board, except meetings where only resit results are being considered and where prior permission has been sought from the Assessment Board for decisions on resit results to be taken in the absence of the External Examiner.
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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.
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When considering final Award marks, where students’ overall marks fall within 0.5% of a higher classification, the Assessment Board will Award the higher classification. The marks will not be altered. The treatment of borderline classifications must be applied consistently by the Assessment Board across the student cohort to ensure fairness and transparency. Students’ performance in components, Modules and/or at previous Programme Stages must not be taken into account. Where a student has approved Extenuating Circumstances, any consideration of borderline cases arising from Extenuating Circumstances should be undertaken in accordance with the Extenuating Circumstances Regulations (Section 4.8). The Assessment Board will apply relevant professional, statutory or regulatory body requirements in accordance with any approved Programme Regulations.
6.7
Confidentiality
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.
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The Chair will normally consult with the relevant Internal and External Examiner(s) before taking action.
6.9
ASSESSMENT BOARD ADVISORY PANELS
The following advisory panels may be held prior to an Assessment Board. These panels may make recommendations to an Assessment Board but cannot make decisions relating to progression or Award. The membership for each panel is detailed in Appendix 2. 6.9.1 Module Panel Module Panels are typically used where Modules are taken by students from more than one Programme and/or School. Module Panels do not make decisions on progression or award so there is no requirement to review marks anonymously. A Module Panel may be convened, by the Assessment Board of the School which owns the Module, to: • in advance of the Assessment Board meeting, consider student performance on the Module, provisional marks and any discrepancies between cohorts or possible issues associated with the Module. • make recommendations to an Assessment Board and/or comment on statistical analysis of student performance. Module Panels are not permitted to: • confirm final marks • apply compensation • make decisions about progression or Award • make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels and/or Fitness to Practise Panels. 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 non-progression point and exercise discretion in deciding whether
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and how a student can undertake an earlier resit of failed assessments while continuing their studies Interim Assessment Panels are not permitted to: • make recommendations or decisions on the progression of students from one Programme Stage to another, or on final Award • apply compensation • make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels, Fitness to Study Panels and Fitness to Practise Panels. Communications to students following an Interim Assessment Panel will clarify that any results released are provisional and may be amended following an Assessment Board. The Panel must also explain the implications for a student’s progression and/or final Award in the event of resit failure. The recommendations of an Interim Assessment Panel will be reported to the Assessment Board for approval. Assessment Boards should only overrule the recommendations of Interim Assessment Panels where the majority of those present, including the External Examiner, do not consider those recommendations to be justified. In such instances clear reasons must be given. Students cannot appeal against the decisions of an Interim Assessment Panel, but have the right to appeal against an Assessment Board decision once results have been confirmed if specific grounds are met (see Section 6.11) 6.9.3 Preliminary Assessment Panel It is recommended that a Preliminary Assessment Panel is held prior to an Assessment Board to verify data and the report to be provided to the Assessment Board (see Section 6.9.3) and resolve any initial queries. Preliminary Assessment Panels do not make decisions on progression or award so there is no requirement to review marks anonymously. External Examiners are not required to attend a Preliminary Assessment Panel. Preliminary Assessment Panels are permitted to: • make recommendations to the Assessment Board in relation to the statistical breakdown of marks, Module performance across and between Modules and any Modules with poor or unusual results •
consider proposals from the internal examiners and make recommendations for scaling of marks and compensation
Preliminary Assessment Panels are not permitted to: • make decisions on the progression of students from one Programme Stage to another, or on final Award • apply compensation
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make decisions on the outcomes of Extenuating Circumstances Panels, Academic Misconduct Panels and Fitness to Practise Panels.
consideration of assessment results for shared Programmes and Modules Where Programmes involve more than one School, and/or where Modules, teaching or services are shared, the following apply:
i.
The Programme will be assigned to a School which will own, and be the ‘home’ School for, that Programme.
ii.
The Module will be assigned to a School which will own, and be the ‘home’ School for, that Module.
iii.
Where Modules are shared: Preliminary results and student performance data will be considered by the home School for the Module, in advance of the relevant Assessment Boards. This is to support the decision-making process and identify any relevant matters relating to the specific cohort or Module. Where appropriate, a briefing note will be prepared for the Assessment Board. Representatives from all Programmes involved in those Modules will be involved in these discussions and a Module Panel may be held (see Section 6.9.1). The results for the Module will be confirmed by the relevant Assessment Board for the Module in its home School
iv.
The Assessment Board for a Programme in its home School is responsible for: managing the panels which report to the Assessment Board (unless the Panel relates to Academic Misconduct for a Module owned by another School). Extenuating Circumstances Panels will normally be managed by the home School for the Programme, but may be managed by the home School for a Module if is requested by the Dean of the home School for the Programme. considering and agreeing the results for Modules owned by the School making decisions on progression and Award.
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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Classwork and End of Year Assessments Marks are awarded on the basis of the student’s response to, and development through, the process. Assessment Criteria Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following general criteria based on the requirements of professional rehearsal: • • • • • • • • • • • • • •
•
commitment, preparedness for work; self-directed study understanding of ensemble skills: listening, responsiveness, generosity, co-operation and focus in group work development of sustained concentration in class, rehearsal and performance awareness and receptiveness to the process ability to accept, and act on, notes and corrections progression: growth and development of skills and knowledge development of flexibility and spontaneity; sense of performance: spontaneity, naturalness and fluency capacity to experiment and take risks connection to the material, indicated by: emotional release, concentration and believability understanding of character, situation, musicality and style application of technical dance skills in Jazz, Ballet and Tap accuracy and fluency in reproduction of taught dance combinations application of technical voice and movement skills o Year 1: release, alignment, support, resonance, accent and articulation o Year 2: all of the above plus RP, vocal range and emotional connection application of technical singing skills: use of dynamics, projection, vocal strength, pitch, tone and range.
GRADE DESCRIPTORS Classwork and End of Year Assessments 85-100% A mark in this range is indicative of outstanding and exceptional work in all respects. The student demonstrates outstanding commitment to developing their technical skills and knowledge, concentration and creativity, and their attainment is exceptional. Understanding of character, musicality and style, and the application of technical skills in each discipline is outstanding. The student’s attendance, punctuality and professional courtesy is faultless. It is evident the student works exceptionally hard to prepare, both in terms of
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rehearsal of practical techniques and exercises and private study, consistently doing more than is expected or has been set. The student responds quickly and with creativity and imagination to the tutor’s notes, corrections and feedback, and the ability to accept constructive criticism is outstanding. The student demonstrates exceptional generosity, co-operation and commitment to the ensemble. 70-84% Marks awarded in this band will reflect an excellent standard of work for the current level of the programme. The student demonstrates very strong commitment to developing their technical skills, creativity and knowledge. The application of technical skills in each discipline is excellent. The student’s understanding of character, musicality and style, and connection to the material is excellent. The student’s ability to sustain concentration is highly developed, and their work is focused, expressive and creative as well as technically highly accomplished. Behaviour with regard to attendance, punctuality and professional courtesy is consistently excellent. It is evident the student prepares very well both in terms of rehearsal of practical techniques and exercises, private study and research. The student responds creatively to the director’s notes or tutor’s feedback, and is always open to receiving constructive criticism. The student’s contribution to the ensemble is consistently generous, open and sensitive. 60% – 69% Marks awarded in this band will reflect a high standard of work for the current level of the degree programme, which may be excellent in some areas, but without the all-round consistency of the band above. The student clearly demonstrates the ability to sustain concentration and is committed to developing their technical skills, creativity and knowledge. Understanding of character, musicality and style, and connection to the material is very good, as is the application of technical skills in each discipline. Attendance, punctuality and professional courtesy are notably good. The student prepares very well for class both in terms of rehearsal of practical techniques and exercises and private study. The student responds well to the tutor’s notes, corrections and feedback, and the ability to accept constructive criticism is very good. Generosity, co-operation and commitment to the ensemble is very good. 50% – 59% Marks awarded in this band will reflect a good standard of work for the current level of the degree programme, with no outstanding features and few very good features. The student’s commitment and attainment of technical skills and knowledge is good in some areas. The student displays a good standard of professional behaviour. The student’s preparation for class both in terms of rehearsal of practical techniques and exercises and private study is good. The student’s contribution to the group process is generally good, but can sometimes be unsupportive and inconsistent. The student can occasionally block or argue with constructive criticism and is inconsistent in their taking on of tutor’s notes
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or feedback. The student’s application of technical skills, creativity and imagination is diligent but shows only a small degree of definition or flair. 40% - 49% Marks awarded in this band will reflect a satisfactory standard of work which fulfils the basic requirements of the current level of the degree programme. The student displays satisfactory commitment and attainment of technical skills and knowledge. Professional behaviour is adequate but may be unpredictable. The tutor often has to repeat the same notes or feedback, and the student is defensive when receiving constructive criticism. Understanding of character, musicality and style is perfunctory, with few moments of creativity and little connection to the material. Application of technical skills, creativity and imagination is basic, characterized by generality and a lack of imagination. The student is unable to focus for long periods in class, rehearsal or assessments. The contribution to the ensemble is at best basic, and the student can demonstrate a lack of sensitivity in their work with others. FAIL 30-39% Students may fail to meet the standard required for a number of reasons, the most common of which are likely to be: The student does not appear to understand the need for a professional attitude. Concentration in class, rehearsal and performance is poor and the student is easily distracted. Evidence suggests that the work lacks planning and research. The student does not implement tutor’s notes or feedback, and tends to block or argue with constructive criticism. The student fails to display a basic application of technical skills, creativity or imagination. The work demonstrates little or no understanding of character, musicality or style, and is unconnected to the material. The student shows no interest in working with or supporting other members of the group. FAIL under 30% Marks awarded in this band will reflect an unacceptable standard of work. The student fails to display a proper understanding of the need for research, and concentration and preparation are both consistently poor. The student ignores tutor’s feedback, and reacts badly to constructive criticism. The student fails to display a basic application of technical skills, creativity or imagination and has no flair, focus or expressiveness in their work. Character, musicality and style are lacking, and there is no discernible connection to the material. The student is insensitive to the needs of other members of the group, and their attitude and behaviour is well below the expected standard.
Rehearsal and Performance Year 1 and 2 Projects Students in Years 1 and 2 must achieve a pass grade in each of the projects to be allowed to continue into the next year. In the first year 80% of the mark is awarded for the rehearsal process and 20% for the performance. In the 2nd
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Year 50% of the mark is awarded for the rehearsal process and 50% for the performance. Final Year Productions In Year 3 students must achieve a pass grade in each of the public productions in order to qualify for the degree. The fully staged musicals are marked 100% on performance. In the Showreel 80% is awarded for rehearsal process and 20% for performance. Assessment Criteria Assessment is made with reference to the component-specific learning outcomes described in the relevant module and the following criteria based on the requirements of professional rehearsal and performance: In rehearsal: • commitment, preparedness for work; self-directed study • concentration; application; personal motivation • receptiveness to the process • ability to accept, and act upon, notes and corrections • ability to work within the group (listening; sensitivity; responsiveness; generosity; co-operation). • development of flexibility and spontaneity • capacity to experiment and take risks • awareness of the working process In performance: • spontaneity, openness, bold choices • ensemble skills: listening, responsiveness, co-operation and focus • connection to the material, indicated by: emotional connection, concentration and truth • understanding of character, context, musicality and style • application and accuracy of technical skills GRADE DESCRIPTORS Rehearsal and Performance (Projects and Productions) 85-100% A mark in this range is indicative of outstanding and exceptional rehearsal and performance in all respects. Exceptional rehearsal skills, professional behaviour and commitment to the ensemble, and a highly focused respect for the working process. The student responds quickly and with creativity and imagination to notes from the creatives. An effortlessly spontaneous, natural and fluent performance demonstrating an extraordinary commitment and connection to the material and a stunning ability to take bold risks in rehearsals and performance. Understanding of character, musicality and style, and the application of technical skills in all three disciplines is equally outstanding. The student demonstrates outstanding charisma, and fully engages the audience’s attention
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throughout the performance. Ensemble skills are highly developed, and the student works generously with other actors to keep the performance fresh, alive and truthful. 70% - 84% Marks awarded in this band will reflect an excellent standard of performance for the current level of the degree programme. Exceptional rehearsal skills, professional behaviour and commitment to the ensemble, and a highly focused respect for the working process. The student responds creatively to notes from the creatives. An effortlessly spontaneous, natural and fluent performance demonstrating an extraordinary connection to the material and a stunning ability to take bold risks in rehearsals and performance. Understanding of character, musicality and style, and the application of technical skills in all three disciplines is equally excellent. Character and text work are highly refined, demonstrating imagination and detail, choices are interesting and engaging. The student responds creatively to the other actors and to the audience. 60% – 69% Marks awarded in this band will reflect a very high standard of performance for the current level of the degree programme, which may be excellent in some areas, but without the all-round consistency of the bands above. Rehearsal skills are very good, the student always prepares well and commitment to the rehearsal process is evident. Ensemble skills are well developed, and the student’s work with other actors is creative and imaginative. The student responds well to notes. The standard of performance is very high, demonstrating confidence, imagination and spontaneity and a clear connection to the material, with the ability to take creative risks and make interesting choices in rehearsal and performance. Understanding of character, musicality and style, and the application of technical skills in each discipline is very good. The performance demonstrates flair and is engaging to watch. 50% – 59% Marks awarded in this band will reflect a good standard of performance for the current level of the degree programme, with no outstanding and few very good features. Rehearsal skills, preparation and commitment to the process are good. The student can occasionally block or argue with creatives and is inconsistent in taking on notes. The performance is diligent and is in keeping with the style of the project or production, but shows only a small degree of definition or flair. Connection to the material is good, although there is little evidence of risktaking in rehearsal or performance and choices are safe. Understanding of character, musicality and style, and the application of technical skills is good, although may be less strong in one or two of the disciplines. The student works well with other actors and their contribution to the overall performance is good.
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40 – 49% Marks awarded in this band will reflect a satisfactory standard of rehearsal and performance for the current level of the degree programme. Rehearsal skills, preparation and commitment to the process are acceptable. The student may be defensive when receiving constructive criticism or may block and argue. The creatives often have to repeat the same notes or feedback. The performance fulfils the basic requirements of the production but is characterised by generality and competence rather than by originality, commitment or creativity. Connection to the material is fairly basic and any risks taken are likely to be unsuccessful. Understanding of character, musicality and style is satisfactory. Technical work is adequate, and may be inconsistently applied. There is some evidence of commitment to the process and responsiveness to other actors is satisfactory. FAIL 30 – 39% Students may fail to meet the performance standard required for a number of reasons, the most common of which are likely to be: The student does not appear to engage with other actors and shows little interest in supporting other members of the group or contributing to the rehearsal process. The student does not implement notes or feedback, and tends to block or argue with the creatives. Performance is superficial, and lacking in focus and imagination. There is hardly any evidence of connection to the material and no creative daring, and the performance demonstrates little sense of character, musicality or style. Application of technical skills is limited and inconsistent. FAIL under 30% FAIL under 30% Marks awarded in this band will reflect an unacceptable standard of performance. The student is unresponsive to other members of the group and shows no interest in supporting others or contributing to the rehearsal process. The student ignores notes from the creatives, and reacts badly to constructive criticism. Performance is very poor, wooden, bland and unfocused. There is no evidence of connection to the material, and there is little or no understanding of character or the style of the project or production. Application of technical skills is well below the standard required.
Assessment Criteria for Written Work Assessment of written work is pass/fail. Indicative grades are awarded with reference to the component-specific learning outcomes described in the relevant module and the following general criteria: A The work is thoughtful and fascinating to read, with a clear, articulate writing style. Clear links are made between rehearsal process and other aspects of the training, and reflection on directors’, tutors’ and fellow students’ work is
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generous and insightful. Challenges faced in rehearsal or performance are analysed positively, and solutions identified for improvements in the future. Research is relevant and interesting, drawn from a variety of sources, such as audio, visual and books as well as the internet. The work is beautifully presented. Referencing and reading and resources are formatted correctly throughout. As well as the required appendices, any additional material is relevant and detailed. B The work contains some interesting insights. Some links are made between discoveries made in rehearsal and other aspects of the training, and the journal reflects a good understanding of the contribution of tutors and fellow students. Challenges are clearly identified and attempts are made to find positive solutions. The writing may be uneven, with some good sections and flashes of insight and others in need of further editing or clarification. There is evidence of research but this may either be fairly generalised or focused in only one area. Work is simply presented. The majority of references and reading and resources are formatted correctly. Additional material mainly consists of pages copied from the internet. C The work meets the minimum requirements but is fairly basic in its execution. In the journal, few if any links are found between work covered in the project or production and other aspects of the training. There is acknowledgement of the input of creatives and fellow students but there may be a tendency to blame others for difficulties, and few solutions are put forward for improvements in the future. The writing may be naïve and muddled in places, or just a bit dull. Research is adequate but sketchy, drawn mainly or even entirely from the internet. Presentation is basic. Attempts have been made to format references and reading and resources correctly, although there may be a few mistakes. Appendices meet the minimum requirements, with no additional material. D – Fail The work is lazily written, appears to have been written in a rush and does not engage the reader. There is little reflection or analysis, and what there is may be negative, for example blaming others for difficulties in rehearsal or performance. Little or no attempt is made to link the work with other aspects of the training. There is little evidence of research. Presentation is scrappy. If any references are included, no attempt has been made to format them correctly. Appendices appear to have been created at the last minute.
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Participation Grades The participation grades are an assessment of work ethic, engagement and effort. They are indicative, i.e. they are not part of the degree marking
system. •
Participation grades are given twice a year, in February and June, alongside the marking scheme • They only apply to 1st and 2nd year classwork (not projects) • Grades will be given from A (outstanding) to E (unsatisfactory) What are we looking at? Engagement Effort Attendance and punctuality Preparation Homework Contribution PARTICIPATION GRADE DESCRIPTORS
Note: any grade awarded below a C will lead to a meeting with your Head of Year and may trigger a warning A - Outstanding Participation in this band shows excellent engagement with all aspects of the work. Whatever their baseline attainment level, the student makes outstanding efforts to overcome challenges and further their skills. Attendance and punctuality are faultless, and the student is always thoroughly prepared for each class. If there has been absence due to illness, the student has worked hard and succeeded in catching up on all aspects of the work missed. Homework assignments are always completed on time, with excellent attention to detail. Contribution to discussions and peer work (if applicable) is insightful, supportive and creative and often provides other students with a new perspective. B – Very good The student’s engagement with all aspects of the work is very good. Whatever their baseline attainment level, the student makes a very good effort to overcome challenges and further their skills. Attendance and punctuality are very good, and the student prepares very well for each class. If there has been absence due to illness, the student has made sustained efforts to catch up on the work missed. Homework assignments are normally completed on time and with some attention to detail. The student contributes to class discussions and collaborative work at a high level. C – Good Participation in this band shows good engagement with most aspects of the work, although it may not demonstrate the consistency of approach of the higher participation bands. The student makes some effort to overcome challenges and further their skills, although there is room for improvement.
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Attendance and punctuality are fairly good, and the student is usually well prepared for each class. Homework assignments are usually completed on time but may lack a thoroughness of approach. Contribution to class discussion and collaborative work is fair. D – Satisfactory Participation in this band shows satisfactory engagement with most if not all aspects of the work. The student tends to coast rather than make great effort to overcome challenges and further their skills. Attendance is satisfactory, but often only just makes it to the start of the class on time, and preparation for class is at a basic level. If there has been absence due to illness, the student makes only perfunctory effort to catch up on the work missed. It is difficult to find evidence that the student is engaging with the work outside of class. The student either makes few contributions to class discussions and collaborative work or talks too much, making it difficult for other quieter voices to be heard. E - Unsatisfactory The student does not engage with the work in any meaningful way, they skate through class and make little or no effort to push themselves or further their skills. Attendance is patchy and the student may often be late, and it is clear the student is unprepared for class. Due to illness or injury the student has missed too many classes to be able to progress to the next level of training. It is clear that the student does no homework or any practice outside class. The student blocks the work and tries to impose their ideas on others in collaborative work and discussions.
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CRITICAL REFLECTION REQUIREMENTS The primary purpose of critical reflections is to help you learn and develop as an actor, but in order for your work to pass and for you to be eligible for the degree, you must make sure you fulfil the following requirements: Rehearsal diaries The primary purpose of the diary is to help you learn and develop by engaging in transformative reflection (thinking about your work so that you change your method and do even better next time.) In Year 1 you are required to keep a personal diary during rehearsals of your Acting project. In Year 2 you are required to keep a diary during the rehearsals for your Dance – Jazz (Swing) classes. In Year 3 you are required to keep a diary during the rehearsals for one of the productions in which you appear in the course of Year 3. Critical reflection
In addition to your rehearsal diary you must write an essay (critical reflection) summarising your learning and development in the project, with an appendix (see ‘what to include in the Appendix’ below). WORD COUNTS YEAR 1: YEAR 2: YEAR 3:
1,000 WORDS (plus or minus 10%) 2,000 WORDS (plus or minus 10%) 3,000 WORDS (plus or minus 10%)
CRITICAL REFLECTION CONTENT Research and Preparation:
Please note you must complete your own research even if not set by the creative
All research material must be referenced – see ‘referencing’ below Years 1 to 3 • Your initial reaction to the material (brief) • Research into the world of the piece (not a synopsis) • Research into your own character and objectives Year 3 • Research into the subject matter, themes and style of the production Rehearsal Process: Years 1 to 3 • An identification of the Director’s concept and methods • How you coped with the technical, emotional and physical demands of the piece and the process as led by the creative/s • Personal challenges you faced or breakthroughs you made in rehearsal • How you implemented specific notes given during rehearsals
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Years 2 to 3 • Reflections on how you supported (or led) voice/dance captain rehearsals Production week (year 3): Issues you faced moving from the rehearsal space to performance space and how you managed these, including the challenges presented by: • working with the stage management and technical team • working with props, costume, microphones (as appropriate) • the tech • the dress rehearsals Performance: Years 1 to 3 • How well did you meet the demands of the piece? • How well did you apply learnt technical skills to the performance? • How did the presence of an audience affect the piece as a whole and your performance within it? Year 3 • How did you develop throughout the run? • How did you warm up and prepare for each performance? Evaluation: Years 1 to 3 What did you learn about yourself as a performer from this project? • Summarise what you learnt from the process including research, rehearsal, performance and feedback • Summarise learning targets for future work • How will you achieve these learning targets in the future? • How useful was the project in your development as an actor? All Critical Reflections must also contain the following (these are not included in the word count): Bibliography: This should be laid out as advised by the ArtsEd style guide**. It should include all reading and resources you engaged with for the project, not just those mentioned in the reflective essay, such as: • Books • Journal & Newspapers • Internet Resources • CDs • DVDs • Live Performances • Rehearsal diary extracts The list of reading and resources in your bibliography should be in alphabetical order and presented in the following way:
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•
For Books: Author, title. (place of printing: publisher, publication date) e.g. Gottfried, Martin All His Jazz – The Life & Death of Bob Fosse, (New York: Bantam, 1990) (this would include citing yourself in your rehearsal diary).
•
For Films: Title, Director(s), Star(s), Studio, original release date e.g. The Pajama Game, Stanley Donen & George Abbott, Doris Day, (Warner Bros., 1957) [on DVD]
•
For Recordings: Title, Composers/Lyricists, date of recording On The Town, Leonard Bernstein, Betty Comden & Adolph Green, (Decca Broadway, 1953) [on CD]
•
For Live Performances e.g. Title, Composers/Lyricists/Librettist, Theatre, Creative Team, date e.g. Passion, Stephen Sondheim, Donmar Warehouse, Jamie Lloyd/Scott Ambler/Alan Williams, 5 October 2010
REFERENCING Any mention of a musical, book, CD etc. during your essay or diary must be referenced in a footnote, and the title should be formatted in italics. So: After reading Passion2 I realised I needed to listen to more of Sondheim’s work to give me a better overall understanding… To get an idea of other Bernstein works I watched the film of On The
Town3…
Footnotes Look at the bottom of this page for how to set out your footnotes. When referring to the same item in a later footnote, use a shortened but easily identifiable form. (See footnote4 below) What To Include in the APPENDIX You must include all those on the ‘required’ list. The ‘supplementary’ list suggests ideas of other items you may wish to include. Required: • 50 Character questions • Photocopies of referenced rehearsal diary pages • Sample of photocopied pages of annotated text/scores (where appropriate) • Creatives’ CVs
2
3 4
Sondheim/Lapine, Passion. (Theatre Communications Group Inc., U.S. 1994)
On The Town, Gene Kelly and Stanley Donen, Gene Kelly, Frank Sinatra, (MGM, 1949) On The Town
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Supplementary: • Research notes on the history of the source material • Notes on other relevant work by composer/author • Additional research materials: notes/pictures/photographs • Bullet point notes given during rehearsal PRESENTATION • The reflections must be typewritten on A4 paper so they can be kept in your Professional Practice Portfolio (PPP). • The reflection should be double spaced so that tutors can make comments under each line if necessary • Use Size 12 Font • Use a margin of at least 2.5cm all around • Number your pages • Word count must be within 10% of the limit (not including references, appendices, reading or resources) • Create a cover page with your name, year group, the title of the project and your total word count (see above) • Create a header so that your name and the title of the project appears on every page • Use a slide/spine bar to bind all your pages together, including the cover page and your appendices. No bulky ring binders or hard covers please • Use your checklist to ensure the reflection meets the minimum requirements. • Hand in your Critical Reflection by 12 noon on the submission date to the Admin office. • Make sure that you get a receipt for the work handed in.