EA113-4-SU-LO:
Actor and Text
2024/25
East 15 Acting School
East15 (Loughton) Campus
Summer
Undergraduate: Level 4
Current
Tuesday 22 April 2025
Friday 27 June 2025
15
05 December 2024
Requisites for this module
(none)
(none)
(none)
(none)
(none)
BA W411 Acting,
BA W411MV Acting,
BA W83A Acting (International),
BA W441 Acting and Contemporary Theatre
This first year acting module provides opportunities for students to apply the introductory learning of EA111 Introduction to Acting Theory, Method & Practice to more demanding textual and acting challenges. You will continue to advance your actor training through a focussed approach to the theatre of a particular period. Work on this course will be informed by your learning on EA118-4-FY Contextual Studies. The work of this module will progress into second year when it will inform and support the Acting/Voice project in EA213 Acting Techniques and Styles. This first year acting module provides opportunities for students to apply the introductory learning of EA111 Introduction to Acting Theory, Method & Practice to more demanding textual and acting challenges. You will continue to advance your actor training through a focussed approach to the theatre of a particular period. Work on this course will be informed by your learning on EA118-4-FY Contextual Studies. The work of this module will progress into second year when it will inform and support the Acting/Voice project in EA213 Acting Techniques and Styles. In this module students will explore modern classics, which explore a depth of human psychology, in order to consolidate their detailed understanding of another person's existence and how to portray it convincingly. Scenes are chosen that will assist the development of your ability to find the means in your methodology to 'live in the moment' and to react spontaneously within the course of action pre-determined by the text.
Through practice-based learning and research you will develop the courage to take risks in your character creations, and expression of emotional life.
1. Introduction to sustaining connection & relationships in the communication of complex ideas through structured text.
2. Introduction to making use of both directorial advice and skills to enhance performance.
The aims of this module are:
- To use research, textual analysis and integrated skills to create truthful characters
- To use their creative imaginations with spontaneity and discipline
- To demonstrate well- developed and truthfully expressed relationships and emotions
- To work effectively in an ensemble.
- To show a willingness to become involved in all aspects of production work.
- To relate form and style with the content of a play
- To develop and sustain a believable character
- To understand and accurately interpret language, plot and style
- To sustain improvisation with discipline, spontaneity and creative imagination
By the end of this module, students will be expected to be able to:
- Find and communicate connection between text, character & situation.
- Creative Inventiveness: Sustain creativity through fresh responses to material & fellow actors.
- Transform into character through rehearsal choices.
- Take and build on Director’s notes: Accept, understand & act on criticism.
- Exercise flexibility & sensitivity to change within the process.
- Show commitment, positive attitude, discipline, contribution and focus.
- Communicate character through voice, speech, physicality & movement.
- Show breadth & relevance of research material from a variety of sources.
- Integrate research into the work.
- Accomplish individual & personal goals.
- Extend range, confidence & realisation of professional potential.
- Ensemble Acting: adaptability, generosity, awareness of relationships
- Objective self-assessment: awareness of own strengths and weaknesses as an actor, ability to accept criticism and act upon it
No additional information available.
This module will be delivered via:
- Students work with tutors in group practical classes.
- Learning also takes place in workshops, supervised and unsupervised rehearsals and performances.
- Key improvisation exercises are set throughout the course with feedback from tutors and peers
- At the end of the module students will show scenes to staff and peers. Formative feedback is given by the tutor.
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Bettelheim, B. (1991) The uses of enchantment: the meaning and importance of fairy tales. Harmondsworth: Penguin.
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Lecoq, J.
et al. (2002)
The moving body: teaching creative theatre. London: Methuen. Available at:
http://dx.doi.org/10.5040/9781474244800?locatt=label:secondary_bloomsburyCollections.
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Mamet, D. (1998) True and false: heresy and common sense for the actor. London: Faber & Faber.
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McKee, R. (1997) Story: substance, structure, style and the principles of screenwriting. New York: ReganBooks.
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MacDonald, I. (2008)
Revolution in the head: the Beatles’ records and the sixties. 2nd rev. ed. London: Vintage. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=683850.
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Pinker, S. (1995) The language instinct: the new science of language and mind. London: Penguin.
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Fromm, E. (1951) The forgotten language: an introduction to the understanding of dreams, fairy tales, and myths. New York: Grove Press.
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Harari, Y.N., Purcell, J. and Watzman, H. (2015) Sapiens: a brief history of mankind. London: Vintage Books.
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Pullman, P. (2017)
Dæmon voices: essays on storytelling. Edited by S. Mason. Oxford, UK: David Fickling Books. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=5116586.
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Furse, A. (2024) Performance Making. London: Taylor & Francis Ltd.
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Wright, J. (2006) Why is that so funny?: a practical exploration of physical comedy. London: Nick Hern Books.
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Chekhov, M. and Gordon, M. (1991) On the technique of acting. New York, NY: Harper Perennial.
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Goleman, D. (1996)
Emotional intelligence: why it can matter more than IQ. London: Bloomsbury. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=5291911.
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Cohen, B.B., Nelson, L. and Smith, N.S. (1993) Sensing, feeling, and action: the experiential anatomy of body-mind centering. Northampton, Ma: Contact Editions.
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Calais-Germain, B. (1993) Anatomy of movement. Seattle: Eastland Press.
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Hackney, P. (1999)
Making connections: total body integration through Bartenieff fundamentals. New York: Routledge. Available at:
https://www-taylorfrancis-com.uniessexlib.idm.oclc.org/books/9780203214299.
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Newlove, J. (1993) Laban for actors and dancers: putting Laban’s movement theory into practice?: a step-by-step guide. New York: Routledge.
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Newlove, J. and Dalby, J. (2004) Laban for all. London: Nick Hern.
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Olsen, A. and McHose, C. (2004)
Bodystories: a guide to experiential anatomy. Hanover, NH: University Press of New England. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=6359575.
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Clayman, C.B. (1995) The human body: an illustrated guide to its structure, function, and disorders. London: Dorling Kindersley Pub.
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Richards, T. (1995)
At work with Grotowski on physical actions. London: Routledge. Available at:
http://www.taylorfrancis.com/books/9780203360231.
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Wolford, L. and Schechner, R. (2001)
The Grotowski sourcebook. London: Routledge. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=1539237.
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Grotowski, J. and Barba, E. (1991)
Towards a poor theatre. London: Methuen Drama. Available at:
http://www.taylorfrancis.com/books/9780203819814.
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Gutekunst, C. and Gillet, J. (2014) Voice into acting: integrating voice and the Stanislavski approach. London: Bloomsbury Methuen Drama.
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Crystal, D. (2004) The stories of English. London: Allen Lane.
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Crystal, D. (2019)
Pronouncing Shakespeare: the Globe experiment. 2nd edn. Cambridge: Cambridge University Press. Available at:
https://doi-org.uniessexlib.idm.oclc.org/10.1017/9781108566759.
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Dimon, T. (2018)
Anatomy Of The Voice: An Illustrated Guide for Singers, Vocal Coaches, and Speech Therapists. North Atlantic Books, U.S. Available at:
https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1571344.
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Sharpe, E. and Haydn Rowles, J. (2011) How to do standard English accents. London: Oberon.
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Rodenburg, P. (2005) Speaking Shakespeare. London: Methuen.
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Carey, D., Carey, R.C., and Royal Academy of Dramatic Art (Great Britain) (2022)
The vocal arts workbook: a practical course for developing the expressive actor’s voice. 2nd edition. London: Methuen Drama. Available at:
https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/1072581.
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Linklater, K. (1976) Freeing the natural voice. New York: Drama Publishers.
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Linklater, K. (2009)
Freeing Shakespeare’s voice: the actor’s guide to talking the text. London: Nick Hern Books. Available at:
https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=896778.
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Carey, D. and Carey, R.C. (2015)
The Shakespeare workbook and video: a practical course for actors. London: Bloomsbury Methuen Drama. Available at:
https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/580357.
The above list is indicative of the essential reading for the course.
The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students.
Further reading can be obtained from this module's
reading list.
Assessment items, weightings and deadlines
Coursework / exam |
Description |
Deadline |
Coursework weighting |
Practical |
Continuous Assessment |
|
|
Exam format definitions
- Remote, open book: Your exam will take place remotely via an online learning platform. You may refer to any physical or electronic materials during the exam.
- In-person, open book: Your exam will take place on campus under invigilation. You may refer to any physical materials such as paper study notes or a textbook during the exam. Electronic devices may not be used in the exam.
- In-person, open book (restricted): The exam will take place on campus under invigilation. You may refer only to specific physical materials such as a named textbook during the exam. Permitted materials will be specified by your department. Electronic devices may not be used in the exam.
- In-person, closed book: The exam will take place on campus under invigilation. You may not refer to any physical materials or electronic devices during the exam. There may be times when a paper dictionary,
for example, may be permitted in an otherwise closed book exam. Any exceptions will be specified by your department.
Your department will provide further guidance before your exams.
Overall assessment
Reassessment
Module supervisor and teaching staff
Philip Weaver, Zois Pigadas, Uri Roodner
East 15 Acting School
Hatfields Campus
Rectory Lane
Loughton, IG10 3RY
No
No
No
Ms Lucy Skilbeck
Mr Michael Andrew Hayden
Ms Isobel Beatrice Pemberton
Available via Moodle
No lecture recording information available for this module.
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