EA327-6-FY-LO:
Contextual Studies III
2024/25
East 15 Acting School
East15 (Loughton) Campus
Full Year
Undergraduate: Level 6
Current
Thursday 03 October 2024
Friday 27 June 2025
15
31 March 2021
Requisites for this module
(none)
(none)
(none)
(none)
(none)
BA W441 Acting and Contemporary Theatre
The work of this final year module for the BA Acting and Contemporary Theatre course supports the content and practical project work of the practice-led modules in final year. During the second year of your Contextual Studies
you were exposed to the work of a variety of different practitioners, acting methodologies, conceptual approaches to theatre, philosophical and artistic movements etc, that expanded both your understanding of theatre and the role of theatre, and art in general, in the world. In the third year curriculum you will work with a single text focusing on the art of Dialogue or the unlimited sphere in which Dialogue operates. The word Dialogue here does not merely mean "conversation" but is used in its original ancient Greek definition where the word "Dia-logos" has more philosophical connotations referring to both Dialectics and Logic.
There will still be links with various practitioners, companies and artistic movements but the focus will be the detailed interrogation of a text using both a theoretical and practical framework. You will use your examination of the text as a springboard for a more general exploration of ideas, rehearsal techniques, methods of analysis, practical exercises which you can apply to your practical project work throughout final year. This process will culminate in the third term when you will present your Personal Record of Analysis and Reflection ('the Red
Book').
- To provide students with analytical skills necessary to contextualise their practical project work in final year
- To provide opportunities for students to apply theoretical analyses to their practice
- To support the professional preparation of final year students by providing them with ideas, rehearsal techniques, methods of analysis and relevant practical exercises.
Ability to:
- analyse complex theories and ideas in depth
- apply ideas analysed to practice-based projects
- perform in-depth research
- communicate complex ideas and analyses in written or practice-based work
No additional information available.
- Normally 2 hours of Contextual Studies classes per week except during acting priority weeks, some of which will be theoretical, some practical and some a combination of both
- Students are expected to use independent study for research, class preparation and for producing/preparing for assignments, both written and practical
- Weekly concrete tasks will be set from both a theoretical and a practical perspective
- Written assignments are returned with written reports containing tutors' comments for formative assessment and feedback
- Verbal feedback and formative assessment for practical work is integral to the class work.
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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 |
Coursework |
Critical Evaluation |
|
20% |
Practical |
Personal Record 'The Red Book' |
|
40% |
Practical |
Practical or Theoretical Demonstration/Presentation |
|
40% |
Additional coursework information
- Practical or Theoretical Demonstration/Presentation (35 – 45 mins). Students work in groups to prepare demonstrations to a brief provided by the tutor. Students are individually assessed on their contribution to the group demonstration. Weighted 40%
- Critical Evaluation (2,000 words) To accompany the demonstrations students will submit a written critical evaluation of their work in essay format. Weighted 20%
- Personal Record of Analysis and Reflection (‘the Red Book’). Method of assessment and learning outcomes are published in Personal Record booklet given to students at the start of the year. Weighted 40%
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
Mr Zois Pigadas, email: zpigadas@essex.ac.uk.
Zois Pigadas and Eirini Kartsaki
No
No
No
Ms Isobel Beatrice Pemberton
Available via Moodle
No lecture recording information available for this module.
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