Course Outline
(Duration 34 weeks \ 8 months 4 modules) |
| Acting Techniques 100 Introduction and overview of the seminal theories and practices of the art of acting; the foundation of the craft. |
| Acting Techniques 200 An examination of the "psychological" approach to acting, looking specifically at the techniques of Stanislavsky, Lee Strasberg and Sanford Meisner. |
| Acting Techniques 300 Consolidation of the psychological approaches, balancing these with more externally based approaches to acting."Creating a palette"; students will begin to make choices about the techniques which suit them, and will focus on working collaboratively with directors and other actors. will begin to understand all the factors influencing an audition for a film or TV role. They will develop techniques for an effective cold read.
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| Acting Techniques 400 How to understand and take advantage of the business side of the industry. Students will develop an understanding of the structure of the film and television world. They will create effective resumes and further develop their demo reel. |
| Movement 100 An introduction of the principles of the F.M. Alexander Technique. Through group and private work, students will gain a heightened awareness of general body use, breath, direction and conscious control. |
| Movement 200 An exploration of movement integrating the Alexander Technique and breath work. The elements of tempo, patterns, rhythm, gesture, energy direction and focus are addressed. |
| Movement 300 Focus on Physical action sequences. partner improvisations (physical) and contact improvisation. |
| Movement 400 Connecting movement and text - full body and voice expression and developing scenes and monologue for film. |
| Improvisation 100 An introduction to basic improvisation techniques; self and group awareness, flexibility and trust. |
| Improvisation 200 An exploration of characterization through improvisation; exercises in endowment, obstacles and status. |
| Improvisation 300 Development of the techniques needed to create character and story through improvisation. An exploration of Commedia dell'Arte and mask work. |
| Voice 100 Breathing techniques; exercises for rooting, freeing, energizing and resonance. Intonation with vowel sounds. Ear training exercises. |
| Voice 200 Applications of vocal principles to play and film script text. Articulation and resonance and its applications for film, radio and television. |
| Voice 300 Applying sense to text. Approaches to accents particularly North American and British, using phonetics, musicality, rhythm and inflection. |
| Voice 400 Consolidation of the full range of vocal techniques covered and preparation of a voice-over demo-tape for submission to agents and studios. |
| Working With Directors 100 In combination with students with the film program, an exploration of the relationship with the director from casting to rehearsal and shooting. |
| Working With Directors 200 As for Working With Directors 100, working on more complex material. |
| Working With Directors 300/400 A continuation and development of Working With Directors 100 and 200. |
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