EA223-5-FY-LO:
Voice II
2024/25
East 15 Acting School
East15 (Loughton) Campus
Full Year
Undergraduate: Level 5
Current
Thursday 03 October 2024
Friday 27 June 2025
15
08 January 2025
Requisites for this module
(none)
(none)
(none)
(none)
(none)
BA W441 Acting and Contemporary Theatre
In the second year, the rigorous foundation work of first year is developed and the individual range of vocal choices is explored in association with the work EA221 and EA222 modules.
You will work on developing vocal skills for devised and improvised work, for the vocal expression of original creative writings such as poetry and for performance in a range of contemporary theatre styles and forms. By the end of this three-term module you will have the vocal flexibility (breath, pace, resonance, pitch and articulation) to meet the specific demands of self-created projects.
The aims of this module are:
- To begin to explore vocal choices to create character
- To adapt breath and articulation to a range of styles and forms
- To use full pitch and resonant range
- To develop vocal flexibility, sensitivity and subtlety
- To apply voice skills to devised and self-created performance
By the end of this module, students will be expected to be able to:
- Physical awareness and breath
- Breathing and Voice
- Resonance and Range
- Technical Application
- Warming Up
- Articulation
- Standard English Accent/Other Dialects
- Openness to Process
- Emotional Connection
No additional information available.
This module will be delivered via:
- Students work with voice tutors in small group practical classes.
- Normally 4 hours of voice classes per week except during acting priority weeks.
- Learning also takes place in workshops and presentations.
- One to one remedial tutorials on specific voice issues.
- Independent study.
- Students receive written formative feedback and tutor comments at the end of each term.
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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 |
Practical Voice |
|
60% |
| Practical |
Articulation - Continuous Assessment |
|
40% |
| Practical |
Term One: Practical Voice - Expressionist Monologue and Devised Vocal Performance |
04/12/2024 |
|
Additional coursework information
- Continuous assessment through observation of contribution to class work and the application of voice skills to warm-ups and performance.
- Practical warm-up and technique class tests are held at the end of each term.
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
Ms Christina Gutekunst, email: cgutek@essex.ac.uk.
East 15 Teaching Staff
No
No
No
Ms Isobel Beatrice Pemberton
Available via Moodle
No lecture recording information available for this module.
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