University of Essex

EA228-5-SU-LO:
Site Specific Classics

The details

Year: 2024/25

Department: East 15 Acting School

Campus: East15 (Loughton) Campus

Term: Summer

Level: Undergraduate: Level 5

Status: Current

Start date: Tuesday 22 April 2025

End date: Friday 27 June 2025

Credits: 15

Last updated: 08 January 2025

Requisites for this module

Pre-requisites: (none)

Co-requisites: (none)

Pre and / or co-requisites: (none)

Prohibited modules: (none)

Key module (requisite for): (none)

Key module for

BA W441 Acting and Contemporary Theatre

Module description

Students will learn to investigate heightened text in unconventional adaptations or in challenging performance spaces. Students will explore the text and experiment with the creative opportunities and demands of a range of potential performance venues.

Students will be encouraged to put their performance and creative skills into practice under a variety of different styles and approaches.

Students are assessed on their contribution and participation during the rehearsal process and performance of projects. The focus is less on processes and preparation and more on students’ creative achievement in performance.

Module aims

The aims of this module are:

To develop the ability to communicate with a range of audiences

To apply advanced interpretation techniques to create performance

To experiment with a range of performance styles and forms

To work creatively in a range of demands and opportunities.

Module learning outcomes

By the end of this module, students will be expected to be able to aquire:

Textual comprehension (understanding and interpreting language, plot and characters)

Skills integration (ability to utilise all disciplines within the context of the play/project)

Ensemble acting (generous participation in and contribution to all stages of work and an awareness of the relationship between them)

Flexibility and sensitivity to change (strengths/weaknesses) in relation to advanced performance techniques

Achievement of the aims of the projects.

Professional potential (creative realisation, discipline, extending range, application, focus, presence and personal confidence)

Module information

No additional information available.

Learning and teaching methods

This module will be delivered via:

Students work in small group practical classes
Learning also takes place in presentations, workshops and supervised and unsupervised rehearsals, studio-based and large-scale performances
Independent study and research
Oral formative assessment and tutor feedback is given in group session.

Bibliography

Berger, J. (2009) About looking. London: Bloomsbury. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2673604.
Brook, P. (1996) The empty space. New York: Simon & Schuster. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=2254576.
Bettelheim, B. (1991) The uses of enchantment: the meaning and importance of fairy tales. Harmondsworth: Penguin.
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.
Mamet, D. (1998) True and false: heresy and common sense for the actor. London: Faber & Faber.
McKee, R. (1997) Story: substance, structure, style and the principles of screenwriting. New York: ReganBooks.
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.
Pinker, S. (1995) The language instinct: the new science of language and mind. London: Penguin.
Fromm, E. (1951) The forgotten language: an introduction to the understanding of dreams, fairy tales, and myths. New York: Grove Press.
Harari, Y.N., Purcell, J. and Watzman, H. (2015) Sapiens: a brief history of mankind. London: Vintage Books.
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.
Furse, A. (2024) Performance Making. London: Taylor & Francis Ltd.
Wright, J. (2006) Why is that so funny?: a practical exploration of physical comedy. London: Nick Hern Books.
Chekhov, M. and Gordon, M. (1991) On the technique of acting. New York, NY: Harper Perennial.
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.
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.
Calais-Germain, B. (1993) Anatomy of movement. Seattle: Eastland Press.
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.
Newlove, J. (1993) Laban for actors and dancers: putting Laban's movement theory into practice?: a step-by-step guide. New York: Routledge.
Newlove, J. and Dalby, J. (2004) Laban for all. London: Nick Hern.
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.
Clayman, C.B. (1995) The human body: an illustrated guide to its structure, function, and disorders. London: Dorling Kindersley Pub.
Richards, T. (1995) At work with Grotowski on physical actions. London: Routledge. Available at: http://www.taylorfrancis.com/books/9780203360231.
Wolford, L. and Schechner, R. (2001) The Grotowski sourcebook. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=1539237.
Grotowski, J. and Barba, E. (1991) Towards a poor theatre. London: Methuen Drama. Available at: http://www.taylorfrancis.com/books/9780203819814.
Gutekunst, C. and Gillet, J. (2014) Voice into acting: integrating voice and the Stanislavski approach. London: Bloomsbury Methuen Drama.
Crystal, D. (2004) The stories of English. London: Allen Lane.
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.
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.
Sharpe, E. and Haydn Rowles, J. (2009) How to do accents. 2nd ed. (rev.). London: Oberon Books. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/614737.
Sharpe, E. and Haydn Rowles, J. (2011) How to do standard English accents. London: Oberon.
Rodenburg, P. (2005) Speaking Shakespeare. London: Methuen.
Berry, C. (1992) The actor and the text. New and rev. [ed.]. New York: Applause Books. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/93084.
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.
Houseman, B. (2002) Finding your voice: a step-by-step guide for actors. London: Nick Hern. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=4779727.
Linklater, K. (1976) Freeing the natural voice. New York: Drama Publishers.
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.
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
Coursework	Continuous Assessment

Additional coursework information

Students receive a written report of formative assessment and tutor comments at the end of term
A summative mark is given as the result of continuous assessment through observation of contribution to rehearsal and performance

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

Coursework	Exam
100%	0%

Reassessment

Coursework	Exam
100%	0%

Module supervisor and teaching staff

Supervisor: Mr Uri Roodner, email: uroodn@essex.ac.uk.

Teaching staff: East 15 Teaching Staff

Contact details:

Availability

Available to incoming Essex Abroad / Exchange students: No

Available to Outside Option: No

Available to Audit: No

External examiner

Name: Ms Isobel Beatrice Pemberton

Resources

Teaching materials: Available via Moodle

Lecture recording: No lecture recording information available for this module.

Further information

Department website: East 15 Acting School

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Module Directory

EA228-5-SU-LO:Site Specific Classics