PROGRAMME QUALITY HANDBOOK 2016 17 FdA Actor Training … · Plymouth University Academic...

of 39 Last Saved: 30/01/2017 Plymouth University Academic Partnerships Programme Quality Handbook UK

PROGRAMME QUALITY

HANDBOOK 2016 – 17

FdA Actor Training for

Theatre & Media Performance


Contents 1. Welcome and Introduction to FdA Actor Training for Theatre & Media Performance. ........ 3

2. Programme Specification .................................................................................................... 4

3. Module Records .................................................................................................................. 6


1. Welcome and Introduction to FdA Actor Training for Theatre & Media Performance

Welcome to FdA Actor Training for Theatre & Media Performance delivered at Weymouth by Weymouth College. Welcome to the Foundation Degree in Actor Training for Theatre & Media Performance. We are delighted that you have chosen to study with us. We are sure you are going to have a great time here and will get a great deal from the programme. This course was designed to place focus on preparing Actors for industry without having to be based in London. This programme has been designed to equip you with the skills and knowledge base required to work in your chosen specialism or other graduate opportunities. It is also a platform from which you can undertake additional vocational and academic qualifications. The College has been delivering this programme since 1999 when it was then called HND in Performance Practice. Subsequently in 2002, in line with the regional challenge of nurturing new artists and practitioners in Dorset the HND was replaced with the Foundation Degree in Performance Practice. Foundation Degrees were introduced by the Department for Education and Skills (DfES) in 2000 to provide graduates who are needed within the labour market to address shortages in particular skills. Foundation Degrees also aim to contribute to widening participation and lifelong learning by encouraging participation by learners who may not previously have considered studying for a higher level qualification. In 2007 the course name was changed to FdA Actor Training for Theatre and Media performance in order to help explain the content of the course more clearly to prospective students and subsequent employers. This programme has been designed to equip you with the skills and knowledge base required to work in your chosen specialism or other graduate opportunities. It is also a platform from which you can undertake additional vocational and academic qualifications. This Programme Quality handbook contains important information including: The approved programme specification Module records Note: The information in this handbook should be read in conjunction with the current edition of: - Your Institution & University Student Handbook which contains student support based

information on issues such as finance and studying at HE o available on Moodle

- Your Teaching, Learning and Assessment Handbook o available on Moodle

- Plymouth University’s Student Handbook o available at:

https://www.plymouth.ac.uk/your-university/governance/student-handbook

https://www.plymouth.ac.uk/your-university/governance/student-handbook


2. Programme Specification

Awarding Institution: University of Plymouth Teaching Institution: Weymouth College Accrediting Body: N/A Final Award: FdA Intermediate Awards: N/A Programme Title: FdA Actor Training for Theatre & Media Performance UCAS Code: W410 JACS Code W410 Benchmarks Informed by QAA subject benchmark for Performing Arts. Date of Approval: March 2007

Progression Route(s) The Top Up progression route for this course is BA (Hons) Theatre & Performance at Plymouth University. The contribution of marks from prior levels of study to the progression award is governed by University regulations. If you are studying an undergraduate programme and progress to a Plymouth University honours degree programme, Plymouth University will calculate your final Honours Degree classification to include marks from each of your levels of study. • 10% from Level 4 – calculated from the highest achieved 80 credits. Where modules are arranged in such a way that the 80 credits of ‘highest module marks’ cannot be identified unequivocally, the average for the best 70 credits and 90 credits will be calculated and the student given the best advantage. • 30% from Level 5 • 60% from Level 6 If you progress onto Level 5 of a programme at Plymouth University, then 10% (of the highest achieved 80 credits or where modules are arranged in such a way that the 80 credits of ‘highest module marks’ cannot be identified unequivocally, the average for the best 70 credits and 90 credits will be calculated and the student given the best advantage) will come from your level 4 marks studied previously, 30% of your level 5 aggregate mark will be drawn from the level 5 modules studied at Plymouth University and then 60% from your level 6 aggregate mark at Plymouth University.


Programme Structure

Level 4 Level 5

Module Code

Module Title

No. of Credits

Core / Optional

Module Code

Module Title

No. of Credits

Core / Optional

FDPP116 Performance Workshop 1

20 Core FDPP210 Industry Practice 2

20 Core

FDPP119 Industry Practice 1

20 Core FDPP211 Production Project 1

30 Core


20 Core FDPP212 Performance Workshop 4

20 Core


20 Core FDPP213 Production Project 2

30 Core

FDPP124 Actor Training for Film & Television

20 Core FDPP214 Professional Practice

20 Core

FDPP125 The Production Team

20 Core


3. Module Records

MODULE CODE: FDPP116 MODULE TITLE: Performance Workshop 1

CREDITS: 20 FHEQ LEVEL: 4 JACS CODE: W410

PRE-REQUISITES: None CO-REQUISITES: None COMPENSATABLE: Yes

SHORT MODULE DESCRIPTOR This module will introduce students to the principles of acting. The focus will be on stimulating powers of observation and imagination, developing emotional response, recall and range. Students will develop research experience and realise Realistic/Naturalistic text in performance.

.

ELEMENTS OF ASSESSMENT [Use HESA KIS definitions}

WRITTEN EXAMINATION COURSEWORK PRACTICE

E1 (Formally scheduled)

0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P3 0%

T1 (in-class test) 0% A1 0%

SUBJECT ASSESSMENT PANEL Group to which module should be linked: FdA Actor Training for Theatre & Media Performance

Professional body minimum pass mark requirement: N/A

MODULE AIMS:

Establish principles of performance and stage action in relation to Naturalistic/Realistic text.

Develop research (and application of research) skills through the medium of essay and practical rehearsal.

Explore physical and vocal instruments of expression as part of an ensemble.

Gain an understanding of the role that Stanislavski played in developing Acting technique.

ASSESSED LEARNING OUTCOMES: At the end of the module the learner will be expected to be able to:

Demonstrate an ability to engage in research and convey research outcomes through written submission

Reflect upon process and performance in written submission

Select appropriate text(s) for development of skills learnt and apply techniques from ‘The System’ to their own rehearsal process

Demonstrate commitment to ensemble process

Create a Realistic / Naturalistic role on stage, using aspects of The System to realise the demands of the text

Demonstrate a range of vocal techniques


Demonstrate knowledge of the workings of the vocal and respiratory organs.

DATE OF APPROVAL: April 2007 FACULTY/OFFICE: Academic Partnerships

DATE OF IMPLEMENTATION: September 2007

SCHOOL/PARTNER: Weymouth College

DATE(S) OF APPROVED CHANGE: TERM: Autumn

Additional notes (for office use only):

Additional Guidance for Learning Outcomes:

To ensure that the module is pitched at the right level check your intended learning outcomes against the following nationally agreed standards

Framework for Higher Education Qualifications http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/FHEQ08.pdf

Subject benchmark statements http://www.qaa.ac.uk/ASSURINGSTANDARDSANDQUALITY/SUBJECT-GUIDANCE/Pages/Subject-benchmark-statements.aspx

SEEC level descriptors http://www.seec.org.uk/academic-credit/seec-credit-level-descriptors-2010 (scroll to pdf link at bottom of page)

Professional, regulatory and statutory (PSRB) accreditation requirements (where necessary e.g. health and social care, medicine, engineering, psychology, architecture, teaching, law)

QAA Quality Code http://www.qaa.ac.uk/AssuringStandardsAndQuality/quality-code/Pages/default.aspx

http://www.qaa.ac.uk/Publications/InformationAndGuidance/Documents/FHEQ08.pdf

http://www.qaa.ac.uk/ASSURINGSTANDARDSANDQUALITY/SUBJECT-GUIDANCE/Pages/Subject-benchmark-statements.aspx

http://www.qaa.ac.uk/ASSURINGSTANDARDSANDQUALITY/SUBJECT-GUIDANCE/Pages/Subject-benchmark-statements.aspx

http://www.seec.org.uk/academic-credit/seec-credit-level-descriptors-2010

http://www.seec.org.uk/academic-credit/seec-credit-level-descriptors-2010

http://www.qaa.ac.uk/AssuringStandardsAndQuality/quality-code/Pages/default.aspx

http://www.qaa.ac.uk/AssuringStandardsAndQuality/quality-code/Pages/default.aspx


ACADEMIC YEAR: 2016/17 NATIONAL COST CENTRE: 144

MODULE LEADER: Sarah Turner-Higgins OTHER MODULE STAFF:

Summary of Module Content The work of Constantin Stanislavski (research and practical application of research); The Plays of a selection of Realistic/Naturalistic writers; Development of acting and vocal skills in rehearsal; Essay writing; Performance. Recommended Texts & Sources: Constantin Stanislavski – ‘An Actor Prepares’. Methuen 1986 Constantin Stanislavski – ‘An Actors Handbook’. Methuen 1990 Jean Benedetti – ‘ Stanislavski - An Introduction’. Methuen 1997 Mel Gordon – ‘The Stanislavski Technique – A Workbook for Actors’. Applause 1988 J L Styan –‘Modern drama in theory and practice 1‘Realism and Naturalism Cambridge University Press 1997 Patsy Rodenburg ‘The Actor Speaks - Voice and the Performer’ – Methuen 1998 Cicely Berry ‘ Voice and the Actor’ - Virgin Books.1996 edition

SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions}

Scheduled Activities Hours Comments/Additional Information

Teaching & Learning 155 Practical Classes (45) & Rehearsals (100), Tutorials (10)

Guided Independent Study 45

Total 200

(NB: 1 credit = 10 hours of learning; 10 credits = 100 hours, etc)

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Coursework

C1

Performance

50%

An ability to interpret and realise a creditable character in an appropriate style, using appropriate vocal technique.

Rehearsal & Essay

50% Demonstrate an ability to research, interpret, analyse and apply aspects of the Stanislavski System to rehearsal process whilst working effectively with colleagues. The essay will document research findings, process of application of techniques and reflection upon performance outcomes.

Updated by: Sarah Turner-Higgins Date: Sept 2016

Approved by: Sarah Drew Date: Sept 2016


MODULE CODE: FDPP119 MODULE TITLE: Industry Practice 1



SHORT MODULE DESCRIPTOR: This module will provide students with a working knowledge of the structure and operation of the performing arts industry. The focus will be on training students in current administrative procedures and research methods resulting in an understanding and ability to apply the administrative operations of a practising performance company




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P3 0%




MODULE AIMS:

Provide students with knowledge of the structure, policies, management and operations of the performing arts industry, with particular focus on the subsidised sector.

Developing the students' knowledge and awareness of the functions of administration in the arts, enabling them to become articulate advocates/managers of their own work.

Equip students with the knowledge and skills to undertake research into professional models.

Enable students to constitute and administer a mock production company to service their production projects.

ASSESSED LEARNING OUTCOMES: (additional guidance below) At the end of the module the learner will be expected to be able to:

Demonstrate a working knowledge of the operations and management of the performing arts industry;

Profile practising performing arts organisations;

Demonstrate practical skills in the establishment, promotion and financial management of a mock production company.




DATE(S) OF APPROVED CHANGE: XX/XX/XXXX

TERM: Autumn/Spring/Summer/other (please specify)


SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENT

Items in this section must be considered annually and amended as appropriate, in conjunction with the Module Review Process. Some parts of this page may be used in the KIS return and published on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes.


MODULE LEADER: David Gray OTHER MODULE STAFF:

Summary of Module Content Students will be introduced to current policies and practices in the management of the performing arts industries in Britain. They will examine the place and purpose of management in the arts, and the role of administration in a range of organisations. They will learn when, how, and where to seek specialist information or advice, and develop skills of research. Students will examine professional performing arts models, undertaking case studies of performing arts organisations. They will consider the key elements in the production process and constitute and manage a simulated production company for the purpose of administering the presentation of your production work, taking into account the financial, personal, legal, and health and safety aspects of the production process as it operates in the profession.

Recommended Texts and Sources

Indicative sources:

Current Arts Council/R A B documentation

Independent research

Documented company material



Teaching & Learning 130 Weekly Classes & Seminars (45) Venue Profile (45) Production Report (30)


Total 200


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Coursework C1

Researched Written Profile

50%

an ability to conduct and present research in an appropriate style

Administrative Process Viva

50% an ability to discuss and evaluate the

working production process

Updated by: David Gray Date: Sept 2016

Approved by: Sarah Turner-Higgins Date: Sept 2016





SHORT MODULE DESCRIPTOR: This module will develop further awareness and practice of acting and moving expressively. The focus will be on creating a physical and vocal vocabulary for non-naturalistic performance; exploring improvisational approaches to character, situation form and action. Students will continue to develop research experience and realise expressionistic performance.

.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P2 0%

T1 (in-class test) 0% A1 0% P3 0%



MODULE AIMS:

Explore principles of performance and stage action beyond naturalism.

Develop research (and application of research) skills.

Develop further physical and vocal instruments of expression as part of an ensemble.

Practice the exploratory tool of improvisation in releasing the imagination and investigating stage image and ensemble form.

Enable students to give and take direction, and to evaluate their own performance processes


Create an effective role on stage, using observation, imagination and/or textual analysis to realise the demands of the piece.

Use vocal and physical instruments to effect transformation and employ improvisation as a means of expression.

Rehearse and perform assigned small ensemble (group) scene-work, gaining an understanding of the individual’s use of the body, voice, and emotion and their relationship to the discovery of various aspects of expressionistic performance skills.

The student will demonstrate that they can give and take direction, and can evaluate personal and group performance processes.

Demonstrate ability to engage in research and convey research outcomes through oral and electronic means.






TERM: Spring





MODULE LEADER: David Gray OTHER MODULE STAFF: Rebecca Howden

Summary of Module Content Students will explore stage action beyond naturalism, focusing on the physicalisation of ideas. Extend use of voice and body to realise expressionist pieces on stage. Students will use improvisation to explore the expressionistic stage image and ensemble form, which they will discuss at a Viva. Examine expressionistic textual style, form, intention and content. Continue the study of theatre practitioners’ methods of rehearsal/performance beyond naturalism. Students will be required to conduct research to an appropriate level and will prepare and deliver an oral and electronic presentation.


Jacques Le Coq, The Moving Body’– Methuen 2002 Laban, Rudolf, Mastery of Movement,- Macd. & E. 1980. Philip Auslander, From Acting to Performance - Routledge 1997 Christopher Innes, Avant-Garde Theatre - Routledge 1993 James Roose-Evans, Experimental Theatre - Routledge 1989 Thomas Leabhart - Modern and Post Modern Mime Macmillan Press 1989 Kay Hamblin, Mime: A Playbook of silent fantasy - 2nd Edition, Lutterworth Press 1978 Augusto Boal, Theatre of the Oppressed – Pluto Press 2000 Alek Sierz, In-Yer-Face-Theatre – Faber and Faber 2001 Graham Saunders,Love Me or Kill Me: Sarah Kane and the Theatre of Extremes – Manchester university press 2002 Declan Donnellan, The Actor and the Target – Nick Hern books 2005 Antonin Artaud, The Theatre and its Double – Calder Publications 2001 Robert Cross, Steven Berkoff – The Theatre of Self-Performance – Manchester University Press 2004 Robert LePage, Connecting Flights – Theatre Communications Group 1999 Jerzy Growtowski, Towards a Poor Theatre - Methuen 2002 Peter Brook, The Empty Space – Penguin Books 1990 Eugenio Barba, Dictionary of Theatre Anthropology: The Secret Art of the Performer - Routledge 1991



Teaching & Learning 100 Practical Classes 44, Rehearsals 46, Tutorials 10

Independent Guided Learning

100

Total 200 (NB: 1 credit = 10 hours of learning; 10 credits = 100 hours, etc)


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Coursework

C1

Presentation

25%

Demonstrate an ability to research, interpret and analyse aspects of the work of a selected expressionistic practitioner

Performance Process Viva

50% 25%

An ability to read, interpret and realise an appropriate performance role, working effectively with other members of the group

Discuss the process of application of techniques and reflection upon performance outcomes







SHORT MODULE DESCRIPTOR: This module will develop further awareness and practice of acting by introducing students to assigned classical dramatic texts. They will explore the challenges these texts offer to voice, movement and character work. Students will continue to develop research experience and realise classical performance.

.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 xx% P3 0%

T1 (in-class test) 0% A1 xx%


Professional body minimum pass mark requirement:

MODULE AIMS:

Explore principles of performance and stage action with reference to classical text.

Develop research (and application of research) skills.

Develop further physical and vocal instruments of expression as part of an ensemble.

Practice the exploratory tool of improvisation in releasing the imagination and investigating character, situation and image.

Explore and realise approaches to heightened classical text.

Enable you to give and take direction, and to evaluate your own performance processes.


Create an effective role on stage, using observation, imagination and/or textual analysis and heightened expression to realise the demands of the text.

Use vocal and physical instruments to effect transformation.

Analyse and interpret classical text.

Students will demonstrate that they can give and take direction, and can evaluate personal and group performance processes as a committed and effective member of an ensemble.

Demonstrate ability to engage in research and convey research outcomes through oral and electronic means.






TERM: Summer






Summary of Module Content Explore the principles of stage action related to classical text, and develop ways of playing. Extend use of voice and body to effect transformations and realise classical text on stage. Use improvisation to explore the context of the characters’ personal and social condition, appropriate stage conventions and style, and the making and meaning of stage image, which will be discussed at a Viva. Examine in theory and practice the demands made upon the actor by classical textual style, form, intention and content. Continue the study of the contemporary contextual framework. Students will be required to conduct research to an appropriate level and write an essay. Recommended Texts & Sources: Goldoni, Carlo, A Servant to Two Masters, Methuen, 1999. Sophocles, Oedipus Rex - Puffin Books 1984 Moliere, The Misanthrope and other plays - Penguin 2000. Moliere, The Miser and other plays - Penguin 2000.. Marlowe, Christopher, The Complete Plays - Penguin, 2003. Shakespeare, William, The Complete Works of William Shakespeare - Wordsworth Editions 1996. Webster, John, the Duchess of Malfi – 1987 Duchartre, Pierre Louis, The Italian Comedy - Dover, 1965. Hodge, A. (ed), Twentieth Century Actor Training - Routledge, 2000. Hornby, Richard, Script into Performance - Applause, 1995. Mitter, Shomit, Systems of Rehearsal - Routledge, 1992. Spolin, Viola, Improvisation for the Theatre - Northwestern University Press, 1998 John Barton, Playing Shakespeare – Methuen 1984 David Bradley, From Text to Performance in the Elizabethan Theatre - Cambridge UP 2000 Janet Suzman, Acting with Shakespeare The Comedies –Applause 1996 Philip Brockbank, Players of Shakespeare - Cambridge UP 1988 R. & H. Leacroft, Theatre & Playhouse – Metheun 1984 Michael Pennington, Twelfth Night: A User’s Guide - Nick Hern Books 2004 Michael Wood, In Search of Shakespeare – BBC 2005 http://athena.english.vt.edu/~jmooney/renmats/malfi.htm http://www.shakespearedc.org/pastprod/ducasi.html -Duchess of Malfi sites http://www.onlineshakespeare.com/index2.htm and http://absoluteshakespeare.com/guides/twelfth_night/twelfth_night.htm - Twelfth Night information Play scripts to be assigned at start of semester.

http://athena.english.vt.edu/~jmooney/renmats/malfi.htm

http://www.shakespearedc.org/pastprod/ducasi.html

http://www.onlineshakespeare.com/index2.htm

http://absoluteshakespeare.com/guides/twelfth_night/twelfth_night.htm




Teaching & Learning 126 Practical Classes 40, Rehearsals 40, Weekly Classes & Seminars 36, Tutorials 10


Total 200


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Coursework C1

Essay

25%

Demonstrate an ability to research, interpret and presents material in a cogently argued essay, showing a good insight to issues and text and employing recognised presentation conventions


50% 25%

An ability to read, interpret and realise an appropriate performance role, working effectively with other members of the group.

Discuss the process of application of techniques and reflection upon performance outcomes




MODULE CODE: FDPP124 MODULE TITLE: Actor Training for Film & Television



SHORT MODULE DESCRIPTOR: This module moves the focus from performance work to live audience performance on camera and to microphone. Students will be introduced to the principles of playing to camera & microphone. They will rehearse & record short scripts for video, involving studio work.

.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P3 0%




MODULE AIMS:

Introduce students to the production processes and performance demands associated with film, video, radio and voice-over work.

Enable performance students to contribute to a collaborative process in the creation of a media-driven product.

To provide students with an edited sample of their own creative film work on DVD and creative audio work in WAV file format for audition and Web-based promotional purposes

ASSESSED LEARNING OUTCOMES: (additional guidance below) At the end of the module the learner will be expected to be able to:

Understand the production processes and performance demands associated with film, video, radio and voice-over work in the studio.

Perform a collaborative role in the creation and realisation of a Recorded Media product in the studio.

Make personal use of their recorded creative work for audition and promotional purposes





TERM: Autumn






Summary of Module Content This module is delivered through weekly practical classes culminating in performance to camera and microphone. Use of the Stanislavskian rehearsal/process techniques that can be applied to character development (and also vocal techniques). The module will use body and voice to play to camera, and microphone. Students will investigate the primary use of the individual’s body and voice and their potential as expressive instruments of communication for recorded media and will explore the fundamental differences between this work and that for a live audience. You will record creative work on film and on audio media in the studio. Recommended Texts & Sources: Michael Caine, Acting in Film - A & C Black 2nd Edition 2000 Ian Bernard, Film & Television Acting - Focal Press 2nd Edition 1993 James Naremore, Acting in the Cinema - University of California Press 1990 Patrick Tucker, Secrets of Screen Acting – Routledge 2003 Alan Beck, Radio Acting – A & C Black 1997 Patsy Rodenburg, The Actor Speaks - Voice and the Performer – Methuen 1998



Teaching & Learning 100 Performance & Viva (45) Weekly Classes & Seminars (45) Tutorials (10)


Total 200 (NB: 1 credit = 10 hours of learning; 10 credits = 100 hours, etc)


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Coursework C1


50 % 50%

An ability to realise a script and performance effectively to camera, sustaining concentration and focus throughout the period of shooting Discuss the process of application of techniques in the studio and on location, analyse the location pre-production, production and postproduction process and reflect the upon performance outcomes




MODULE CODE: FDPP125 MODULE TITLE: The Production Team



SHORT MODULE DESCRIPTOR: This module will introduce students to stagecraft in close conjunction with and in the context of rehearsal, performance and production, focusing on technical production roles and responsibilities. Students will acquire the skills necessary to enable them to service their own production work in this area.

.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P3 0%




MODULE AIMS:

To introduce you to the roles and responsibilities the production team

To give you a working knowledge of the skills and procedures required to service a fully staged production

To enable you as performance students to experience the production perspective of non- performing members of the production team, in order to enhance your company awareness

To instruct you in the health and safety aspects of production equipment and processes


Identify and undertake roles and responsibilities within the production team

Demonstrate a working knowledge of the skills and procedures required to service a fully staged production at a basic level of competence

Identify and use a range production equipment to support a production

Ensure safe practice and observe health and safety regulations

DATE OF APPROVAL: November 2011 FACULTY/OFFICE: Academic Partnerships




TERM: Autumn/Spring





MODULE LEADER: Simon Gill OTHER MODULE STAFF: Lis Hadfield

Summary of Module Content

This module will be taught through practice-based classes, workshops and tutorials and in conjunction and/or association with the rehearsal and production process. The module will also comprise a series of seminar workshops. (In context of rehearsal processes, this may include elements of one to one practical guidance and guest lectures.)

You will be introduced to the functions of members of the production team, according to professional practice. Safety procedures for responsible production work will be emphasised. Learning will take place on industry standard equipment, enabling you to experience the production perspective of non-performing members of the production team and enhance your company awareness. Topics introduced may include: theatre and production terminology; the production process; health and safety procedures; roles and responsibilities of members of the production team; lighting and sound equipment and procedures; stage management and wardrobe equipment and procedures; make up application and procedures; effective production communication.

The recommended texts for the course are:

Palmer, S, Essential Guide to Stage Management, Lighting & Sound, Hodder & Stroughton, 2000.

Reid, F, The Stage Lighting Handbook, A & C Black, 2001.

Hawkins, T and Menear, P, Stage Management and Theatre Administration, Phaidon, 1988.

Ingham, R and Covey, L, The Costume Designer’s Handbook, Heinmann, 1992.

Holt, M, Costume and Make-up, Phaidon, 1988.

Conway, J. (2004) Make-Up Artistry for Professional Qualifications, Oxford: Heinemann Educational

Corson, R et al. (2009) Stage Makeup, USA: Allyn & Bacon

Delamar, P. (2003) The Complete Make-Up Artist, London: Thomson Learning

Swinfield, R. (1997) Period Make-Up for the Stage, London: A & C Black

Swinfield, R. (1995) Stage Make-Up: Step by Step, London: A & C Black



Teaching & Learning 180 Individual Contribution 75, Working Folder 50, Tutorials 10


Total 200



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Coursework

C1

Individual Contribution

50% an ability to undertake selected roles and of the production team and demonstrate practical awareness and competence in carrying out assigned tasks.

Working Folder

50% an ability to produce supporting documentation of research, design, and practical processes and evaluate outcomes.

Updated by: Simon Gill Date: Sept 2016



SECTION A: DEFINITIVE MODULE RECORD. Proposed changes must be submitted via Faculty Quality Procedures for approval and issue of new module code.

MODULE CODE: FDPP214 MODULE TITLE: Professional Practice


PRE-REQUISITES: None

CO-REQUISITES: None

COMPENSATABLE: Yes

SHORT MODULE DESCRIPTOR: This module is designed to enable students to demonstrate that they have all the qualities and transferable skills necessary to succeed in the Performance Industry. It will also enable them to work directly in a professional practitioner environment. Students will exercise responsibility and decision making, developing the ability to relate their professional practice to underlying theory and principles.

.




xx% C1 100% P1 xx% or Pass/Fail

E2 (OSCE) xx% C2 xx% P3 xx% or Pass/Fail

T1 (in-class test) xx% A1 xx%



MODULE AIMS:

To enable students to develop a comprehensive portfolio of evidence that supports their career development and practice

To enable students to demonstrate an approach to their practice that is informed by up to date and relevant theoretical and practical and professional perspectives

To support students in developing as autonomous learners at HE level


Demonstrate how relevant theoretical perspectives have informed and enhanced practice

Demonstrate the application of your personal and vocational skills to the demands of a professional working environment

Demonstrate an ability to identify, locate, critically evaluate and use information appropriate to the task in hand

Demonstrate the ability to work independently and in a team in a manner that meets professional requirements

Demonstrate the ability to communicate in styles appropriate for a variety of professional purposes and audiences


Evaluate own strengths and weaknesses, and areas requiring further development, as part of the continuing Personal Development Plan (PDP)




DATE(S) OF APPROVED CHANGE: September 2012

TERM: Spring/Summer







Through a series of tutorials, and specialist referral if necessary, students will be introduced to:

Academic literacy and research conventions in their chosen field;

The theoretical and practical requirements of professional practice;

Informed reflection, self-evaluation and personal action planning;

Relevant ICT competences to support academic and professional practice;

Information Literacy, including search strategies, identification and critical selection of quality, scholarly information.



Teaching & Learning 52 Weekly Classes & Seminars 42, Tutorial 10

Placement 120 Work Experience


Total 200


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Coursework

C1

Student Portfolio

100%

ability to: Demonstrate how relevant theoretical

perspectives have informed and enhanced practice

Demonstrate the application of your personal and vocational skills to the demands of a professional working environment

Demonstrate an ability to identify, locate, critically evaluate and use information appropriate to the task in hand

Demonstrate the ability to work independently and in a team in a manner that meets professional requirements


Demonstrate the ability to communicate in styles appropriate for a variety of professional purposes and audiences

Evaluate own strengths and weaknesses, and areas requiring further development, as part of the continuing Personal Development Plan (PDP)

Updated by: David Gray Date: July 2016

Approved by: Sarah Turner-Higgins Date: July 2016



MODULE CODE: FDPP210 MODULE TITLE: Industry Practice 2



CO-REQUISITES: None

COMPENSATABLE: Yes

SHORT MODULE DESCRIPTOR: This module will focus on giving students direct knowledge and experience of how to research job opportunities prepare application/audition material, approach appropriate agency representatives, build up a personal/business promotional portfolio and set up a performance business as either a sole trader or part of a larger organisation.

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0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P3 0%




MODULE AIMS: Practical knowledge of and resources for researching:

jobs and training in the Performing Arts.

setting up a management of a performance related business.

the application and audition process to gain jobs, agency representation and training in the performing arts.

a personal and business promotional portfolio.

ASSESSED LEARNING OUTCOMES: At the end of the module the learner will be expected to be able to demonstrate a working knowledge of:

Performing Arts employment and further training market.

how to set up and manage a performance related business.

how to apply/audition for Performing Arts employment opportunities, agency representation and further training.

how to promote themselves and/or their business


DATE OF IMPLEMENTATION: September 2007 SCHOOL/PARTNER: Weymouth College

DATE(S) OF APPROVED CHANGE: XX/XX/XXXX TERM: Summer






Summary of Module Content Students will be given knowledge of how to research job opportunities and set up a performance business. Gain practical knowledge of the Performing Arts employment and further training market. The focus will also be on giving direct knowledge and experience of how to research and prepare application/audition material, approach appropriate agency representatives and to build up a personal/business promotional portfolio. Produce a comprehensive personal and/or business promotional portfolio Recommended Texts & Sources:

An Actor's Guide to Getting Work (Third Edition) - Simon Dunmore - A & C Black ISBN: 0713657324 A Career Handbook for TV, Radio, Film Video & Interactive Media - Shiona LLewellyn & Sue Walker / A & C Black ISBN: 0713663200 Contacts 2007 (96th Edition) – Editor: Kate Poynton - The Spotlight British Performing Arts Yearbook (19th Edition) Editor: Louise Sheratt /Rhinegold http://www.equity.org.uk http://www.hmrc.gov.uk www.itc-arts.org www.ncdt.co.uk www.uktheatre.net General ‘Actor’s info’ site & jobs www.castweb.co.uk Casting www.pcrnewsletter.com/ - Jobs www.castnet.co.uk - Casting, but need experience www.spotlight.com www.castingcallpro.com- Casting, but need experience www.starnow.co.uk- Casting across the range http://www.heathertracy.co.uk/ - Good example of a working Actor’s website www.richardcambridge.co.uk- Another good example of a working Actor’s website http://www.johnclarkphotography.com - Photographer www.professionalheadshots.com - Photographer



Teaching & Learning 90 Weekly Classes & Seminars 45, Tutorials 45


Total 200


http://www.hmrc.gov.uk/

http://www.uktheatre.net/

http://www.castweb.co.uk/

http://www.pcrnewsletter.com/

http://www.castnet.co.uk/

http://www.spotlight.com/

http://www.castingcallpro.com/

http://www.starnow.co.uk/

http://www.heathertracy.co.uk/

http://www.richardcambridge.co.uk/

http://www.professionalheadshots.com/


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Coursework C1

Resource File

100% an ability to conduct carry out, evaluate and present independent research in an appropriate style, prepare clear and effective personal marketing/audition /interview material in a number of formats




MODULE CODE: FDPP211 MODULE TITLE: Production Project 1



SHORT MODULE DESCRIPTOR: This module is the integration of the students’ work to date. They will form a Production Company for the purpose of creating and promoting a fully-staged public production which may be taken on tour. Students will work under staff direction, but will utilise all their performance, production management skills in a fully integrated Company project

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0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P2




MODULE AIMS:

Form an ensemble Company who work effectively together to fully-stage a production

Develop further the student’s performance, production and management skills and synthesise them in the context of a fully realised production

Enable the student to evaluate the processes and final product, both individually and corporately culminating in an action plan for Production Project 2.

Provide a public showcase for student work, for the benefit of potential agents /employers / trainers


Contribute to the setting up and running of an ensemble company, working together for the purposes of mounting a fully-staged production;

Apply their performance, production and management skills in the integrated context of a public production;

Evaluate their contribution to the processes of production and performance, individually and corporately.


DATE OF IMPLEMENTATION: Sept 2007



TERM: Summer



MODULE LEADER: Sarah Turner-Higgins OTHER MODULE STAFF:

Summary of Module Content This module gives students the responsibility and opportunity to form a Production Company, which will then select, create, produce and perform a fully-staged public production. They will put into practice all their performance, production and management skills, and work under staff direction to create an appropriate showcase for their skills and talents in the latter stages of the course. The specific nature and structure of the Production Project remains open to student discussion and decision. Formative assessment will take place in 1:1 process meetings and reflection on practice. Following performance a formally assessed production meeting will enable students to evaluate process and performance. A company Action Plan will be formulated at the end of this meeting. The reading for this module is dependent upon the selection of the specific material used for production.



Teaching & Learning 200 Practical Classes/Rehearsals 180, Tutorial 20


Total 300


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Coursework C1

Performance Rehearsal Production Debrief Leading to Action Plan

50% 25% 25%

An ability to read, interpret and realise an appropriate performance role. Students will contribute actively and effectively to the rehearsal process, working in a professional manner alongside other members of the company. An ability to evaluate own contribution and also company strengths and weaknesses in rehearsal and performance. Participation in the creation of company Action Plan.

Updated by: Sarah Turner-Higgins Date: December 2016

Approved by: Sarah Drew Date: December 2016


SECTION A: DEFINITIVE MODULE RECORD. Proposed changes must be submitted via Faculty Quality Procedures for approval and issue of new module code




CO-REQUISITES: None

COMPENSATABLE: Yes

SHORT MODULE DESCRIPTOR: This module will develop further student’s awareness and practice of acting. The focus will be on developing approaches to contemporary theatre forms: new writing, experimental work, physical theatre and/or devised work; on the challenges these forms offer to the performer; and on realising such work in performance.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P2

T1 (in-class test) 0% A1 0% P3



MODULE AIMS:

Explore principles of performance and stage action with reference to contemporary theatre form

Practise the exploratory tool of improvisation in releasing the imagination and investigating character, image, style, meaning

Explore and realise approaches to contemporary and experimental theatre forms

Enable students to give and take direction, and to evaluate their own performance processes

Extend ability to employ research and study techniques, undertaking and presenting thoroughly independent outcomes.

ASSESSED LEARNING OUTCOMES At the end of the module the learner will be expected to be able to:

Use observation, imagination, textual analysis and/or devised structures and physical stylised techniques (where appropriate) to create an effective performance that realises the demands of the work;

Use vocal and physical instruments to effect transformation;

Analyse and interpret contemporary text, and/or performance source material and realise its dramatic potential;

Demonstrate ability to give and take direction and to evaluate personal and group performance processes within the context of the style/genre undertaken;

Present results of independent research in a seminar format.



DATE OF IMPLEMENTATION: September 2007 SCHOOL/PARTNER: Weymouth College

DATE(S) OF APPROVED CHANGE: XX/XX/XXXX TERM: Summer





MODULE LEADER: Lis Hadfield OTHER MODULE STAFF:


Study of suitable texts/performances as an example of chosen genre/form;

Development of improvisational and/or devising skills as part of rehearsal process within chosen genre/form;

Experimental performance; Independent research;

Seminar presentation to include performance evaluation.


Martin Esslin -The Theatre of the Absurd. Methuen 2001 Eugine Ionesco – Rhinoceros, The Chairs, The Lesson. Penguin 2000 Devising Theatre Alison Oddey. Routledge 1997.

Jean Paul Sartre – In Camera and Other Plays. Penguin 1989

J.L Styan – Modern Drama in Theory and Practice 2. Symbolism, Surrealism and the Absurd



Teaching & Learning 110 Practical Classes/Rehearsals 10, Tutorials 10


Total 200


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Coursework C1

Performance Rehearsal Process

25% 25%

An ability to perform in an experimental style showing awareness of particular technique required (according to Genre selected) Demonstrate an ability to experiment with ideas/improvise to develop character and actively participate in shaping of performance piece, participating in a reliable and open-minded way.


Seminar Presentation

50% Demonstrate results of research in a seminar ‘presentation’ displaying practical and theoretical understanding of genre explored. Ability to reflect upon group assessed performance.

Updated by: Lis Hadfield Date: September 2016




MODULE CODE: FDPP213 MODULE TITLE: Production Project 2



CO-REQUISITES: None

COMPENSATABLE: Yes

SHORT MODULE DESCRIPTOR: This module is the integration of the students’ work to date. Your Production Company [from Production Project 1] will mount a second fully-staged public production which may be taken on tour. Students will work under staff direction, but will utilise all their performance, production management skills in a fully integrated Company project.




0% C1 100% P1 0%

E2 (OSCE) 0% C2 0% P2 0%




MODULE AIMS:

Form an ensemble Company who work effectively together to mount a fully-stage a production

Develop further performance, production and management skills, and synthesise them in the context of a fully realised production

Enable the student to evaluate the processes and final product, both individually and corporately.

Provide a public showcase for the students work, for the benefit of potential agents /employers / trainers


Contribute to the setting up and running of an ensemble company, working together for the purposes of mounting a fully-staged production;

Apply performance, production and management skills in the integrated context of a public production;

Evaluate contribution to the processes of production and performance, individually and corporately.





TERM: Summer






Summary of Module Content This module gives students the responsibility and opportunity to continue working as a Production Company, which will then select, create, produce and perform a second fully-staged public production. Students will put into practice all their performance, production and management skills, and work under staff direction to create an appropriate showcase for their skills and talents in the latter stages of the course. The specific nature and structure of the Production Project remains open to student discussion and decision.

Following performance you will submit a production report, which will enable you to evaluate process and performance.

The reading for this module is dependent upon the selection of the specific material used for production.



Teaching & Learning 200 Practical Classes 70, Rehearsals 100, Seminars 20, Tutorials 10


Total 300


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Coursework C1

Production Report

25%

An ability to evaluate own contribution and also company strengths and weaknesses in rehearsal and performance

Performance

Rehearsal Process

50% 25%

An ability to read, interpret and realise an appropriate performance role

Students will contribute actively and effectively to the rehearsal process, working in a professional manner alongside other members of the company



PROGRAMME QUALITY HANDBOOK 2016 17 FdA Actor Training … · Plymouth University Academic...

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