THE INTEGRATED BODY 1 - 2017/8
Module code: ACTM016
Guildford School of Acting
CHAMBERS-COE J Mrs (GSA)
Number of Credits
FHEQ Level 7
Module cap (Maximum number of students)
Overall student workload
|Assessment type||Unit of assessment||Weighting|
|Practical based assessment||LABAN CLASSROOM EXERCISES||50%|
|Practical based assessment||SPOKEN MONOLOGUE PRESENTATION||50%|
In the event of a student being unable to complete any specific component of the module a practical resit opportunity will be arranged where the student will be required to present a new piece for a panel of staff for assessment. To be determined by the unit/module that is incomplete.
Prerequisites / Co-requisites
Enrolment on all other Semester 1 modules in Programme: Contextual Practice 1, Acting 1, Industry Practice 1
This module is designed to appreciate and explore the vocal and physical demands placed on the performer in any given space. It is founded upon a commitment to the integration of the vocal physical techniques necessary for work in the theatre and for recorded media.
The movement classes range from general warm-up classes designed to increase strength and flexibility, to technique classes in social and historical dance. The Movement for Actor’s class is designed to centre and ground the body, to enhance the understanding of neutrality and expressivity and to consider the body as an expressive instrument of the mind.
The work in voice is founded upon a commitment to the integration of the physical and vocal techniques necessary for work in the theatre and for recorded media. Designated texts (sonnets, poetry, political speeches and accent monologue other than own) will be explored and performed. The classes are practical and are heavily biased towards learning and training through ‘doing, reflecting, understanding and adapting’. Relevant vocal anatomy and physiology, as well as phonetics, communication psychology and the use of the whole body, underscore the work.
Laban classes provide the opportunity to integrate vocal and physical work with efforts, and are designed to complement the work explored on rehearsal projects for Contextual Practice 1.
To heighten awareness of vocal and somatic elements of expression
To develop the capability for sophisticated vocal and physical expression
To examine the factors indicative of and conducive to effective vocal and physical practice
To develop students' awareness of the demands placed on the voice and body by a variety of texts
|An ability to occupy space with a fully energised vocal presence and body confidence||PT|
|An ability to adapt and take on other forms and qualities of movement, styles and rhythms||KP|
|A secure and systematic personal technique in voice and movement||KCPT|
|The ability to imprint the voice and body safely and and effectively in a range of performance spaces and performance conditions||KCPT|
C - Cognitive/analytical
K - Subject knowledge
T - Transferable skills
P - Professional/Practical skills
Dedicated classes in movement begin from the premise that nothing happens in the body that has not first arisen in the mind. At the start of the year each part of the anatomy is visited by an exercise entailing extension and release, each instruction having its rationale explained and discussed. Classes in Laban technique explore (but are not limited to) practical experiments with the Efforts applied to movement in the first instance, progressing to a consideration of the same in vocal work, using these elements in combination as the basis for vocal and physical characterisation with reference to the work in ongoing rehearsal projects.
Voice work is delivered via three separate classes; Primitive Voice, Voice and Text, and Speech and Accent.
Primitive Voice explores, develops and brings together all elements of the voice, including posture and breathing, resonance, range, expression, and articulation.
Speech and Accent sets out to explore, awareness of speech, speech sound and speech physicality, via practical exercises, recordings, written materials and analysis of one’s own and other people’s voices. Students learn about phonetics and the relationships between phonetic notation, speech sounds and speech physicality.
Voice and Text classes require students to select, learn, experience and speak texts such as satirical prose from letters or essay, or sonnets, for training and assessment purposes. Developing the ability to respond flexibility and expressively to varying text forms is a key requirement of the module.
Methods of Teaching / Learning
Group workshops and seminars
Lectures and masterclasses
The assessment strategy is designed to provide students with the opportunity to demonstrate
An ability to occupy space with a fully energised vocal presence and body confidence (T,P)
An ability to adapt and take on other forms and qualities of vocal and somatic styles and rhythms (K,P)
A secure and systematic personal technique in voice and movement (C,K,T,P)
The ability to imprint the voice and body safely and and effectively in a range of performance spaces and performance conditions (C, K,T,P)
Thus, the summative assessment for this module consists of:
Unit 1: Movement classroom exercises (Practical) : this addresses 1, 2,3 and 4, above (50% - assessed in Week 11)
Unit 2:Spoken Monologue Presentation (Practical): this addresses 1, 2, 3 and 4, above (50% - assessed in Week 13)
Formative assessment and feedback is provided in Week 7, and on a continuous basis in response to classroom exercises
Reading list for THE INTEGRATED BODY 1 : http://aspire.surrey.ac.uk/modules/actm016
Please note that the information detailed within this record is accurate at the time of publishing and may be subject to change. This record contains information for the most up to date version of the programme / module for the 2017/8 academic year.