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Syllabus Requirements
Syllabus Requirements
Approaches to Acting
Approaches to Acting
This topic explores approaches to actor training in the 20th century and its realisation in
This topic explores approaches to actor training in the 20th century and its realisation in
theatre production or other forms of drama performance. The study involves the theoretical and experiential exploration of the philosophical and practical approaches to two practitioners' works and the manifestation of their techniques, process and specific exercises, for performance. Students must consider the aesthetics and expression of the actor's presence and its relationship to audience engagement. Specific examples from the practitioners' theatre works, contemporary theatre practice and the student's own experiential learning should be used to explore the topic.
theatre production or other forms of drama performance. The study involves the theoretical and experiential exploration of the philosophical and practical approaches to two practitioners' works and the manifestation of their techniques, process and specific exercises, for performance. Students must consider the aesthetics and expression of the actor's presence and its relationship to audience engagement. Specific examples from the practitioners' theatre works, contemporary theatre practice and the student's own experiential learning should be used to explore the topic.
The following practitioners and texts must be studied:
The following practitioners and texts must be studied:
Click the book cover to read the text!
Augusto Boal: Boal, Augusto 2002, Games for Actors and Non Actors, 2nd edn, Routledge, London.
Augusto Boal: Boal, Augusto 2002, Games for Actors and Non Actors, 2nd edn, Routledge, London.
Lecoq, Jacques, The Moving Body, Methuen Drama, Bloomsbury Publishing PLC, UK. ISBN 978-140811-146-8
Lecoq, Jacques, The Moving Body, Methuen Drama, Bloomsbury Publishing PLC, UK. ISBN 978-140811-146-8
The following texts may be used in conjunction with, or as a supplement to, the texts above:
The following texts may be used in conjunction with, or as a supplement to, the texts above:
Babbage, Frances 2003, Augusto Boal, Routledge Performance Practitioners, Routledge, London. ISBN 9780415273268
Babbage, Frances 2003, Augusto Boal, Routledge Performance Practitioners, Routledge, London. ISBN 9780415273268
Jacques Lecoq: Murray, Simon 2003, Jacques Lecoq, Routledge Performance Practitioners, Routledge, London. ISBN 978-041525-882-l
Jacques Lecoq: Murray, Simon 2003, Jacques Lecoq, Routledge Performance Practitioners, Routledge, London. ISBN 978-041525-882-l
Breaking down the syllabus
Breaking down the syllabus
The big picture or the essence of Approaches to Acting is to examine how the actor’s skill and art create a dynamic relationship with the audience in theatrical performance it is called “engagement”. Everything in the Topic Area from philosophical underpinnings to the practice of actor training and performance ultimately leads to the audience. It is then crucial to consider not only what an audience may think, but to explore the impact of the acting and the act of performance on what the audience may feel.
The big picture or the essence of Approaches to Acting is to examine how the actor’s skill and art create a dynamic relationship with the audience in theatrical performance it is called “engagement”. Everything in the Topic Area from philosophical underpinnings to the practice of actor training and performance ultimately leads to the audience. It is then crucial to consider not only what an audience may think, but to explore the impact of the acting and the act of performance on what the audience may feel.
Theatre is a living breathing organism; we are not visitors to a museum of the theatrical arts. You need to be self-reflexive in “being both the actor and the audience” in experiencing theatre in the classroom. It is not enough to “do”; you must be aware of and able to dismantle the mechanics at work in the “doing”.
Theatre is a living breathing organism; we are not visitors to a museum of the theatrical arts. You need to be self-reflexive in “being both the actor and the audience” in experiencing theatre in the classroom. It is not enough to “do”; you must be aware of and able to dismantle the mechanics at work in the “doing”.
Consider the following diagram:
Consider the following diagram:
This aims to illustrate how the social context shapes the practitioner’s thinking and objectives. The philosophical political psychological and theatrical understandings are the time and place or given circumstances if you like for the practitioner’s ideas. These then give rise to their “intent” and “actions” in theatre making, manifested in actor training and theatrical direction. The practitioner’s approach to acting and theatrical expression leads to the realisation of their ideas and techniques in performance and an intended “communication” between actor and spectator.
This aims to illustrate how the social context shapes the practitioner’s thinking and objectives. The philosophical political psychological and theatrical understandings are the time and place or given circumstances if you like for the practitioner’s ideas. These then give rise to their “intent” and “actions” in theatre making, manifested in actor training and theatrical direction. The practitioner’s approach to acting and theatrical expression leads to the realisation of their ideas and techniques in performance and an intended “communication” between actor and spectator.
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