UBARTACTI1314

BA in Acting
Programme and module

specifications and assessment
criteria for use in 2013/14
Contents
Page
BA (Hons) in Acting programme information

Part 1: BA in Acting programme specification
Part 2: BA module specifications
Acting Studies 1
Year 1
Voice and Speech Studies 1
Movement Studies 1
Rehearsal Projects 1
Acting Research
Acting Studies 2
Year 2
Movement Studies 2
Productions
Year 3
Voice & Movement
Independent Study
Career Preparation
Part 3: BA assessment criteria
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BA Acting Gold Copy 2013/14
Programme information for BA (Hons) in Acting

Part 1: Programme specification: overview of Programme
1
Awarding Institution
City University
Teaching Institution
Guildhall School of Music & Drama
Programme Accredited By
Drama UK (previously National Council for Drama

Training)
Final Award
BA (Hons) in Acting
QAA Benchmarking
Group(s)
Dance, Drama and Performance
Start of proposed new

validation period
September 2009
Admissions & APEL
7.1
Applicants for the BA and MA Acting programmes go through a similar admission process.
The Department takes applications from September of the year preceding entry and
processes them in the order in which they are received. Applicants attend a First Round
Audition, held between November and May. Applications for entry are closed when all
possible timeslots for First Round auditions have been filled, usually in January or February.
The Department currently processes over 2000 applications per annum. An appeals scheme
is in place which may be used if applicants believe they have not been treated fairly.
7.2
The First Round Auditions are conducted by a panel of two or three. It consists of a short
warm-up session, an audition, for which the applicant prepares three speeches, and an
interview. The criteria on which the panel make their decision are: believability,
connection and commitment, demonstrated in the audition, and focus, enthusiasm and
potential to benefit from the programme, demonstrated in the interview. Applicants who
are successful in the First Round Audition attend a Second Round Audition. Second Round
Auditions are conducted by a panel of three or four, at least two of whom are members of
the core staff in the Drama Department. The criteria are similar to, but more demanding
than the First Round Audition.
7.3
Applicants who are successful in the Second Round Audition are invited to return for the
Final Recall Auditions. The Final Recall Audition consists of voice, movement and
improvisation work, more detailed work on audition pieces and a short interview. The
Recall Auditions usually take place during May and are conducted by panels including the
Director of Acting, the Heads of Acting, Voice and Movement and other core members of
the Drama Department, with interviews conducted by the Head of Drama Administration.
The criteria are similar to, but more demanding than the Second Round Audition, and the
panels also look for the applicant's ability to shift' their work in response to working with
panel members. If an applicant cannot attend the Recall Auditions, they are not
considered for a place on the programme. Between 75 and 100 applicants attend the
Recall Auditions.
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7.4
All members of the Recall Audition Panels see all recalled applicants. At the end of the
Recall Auditions, the panel members meet to discuss every applicant's work and to select a
cohort of the students who have demonstrated the most potential to benefit from the
Acting Programme either at undergraduate or graduate level.
7.5
The Preliminary and Recall Auditions are stewarded by past and present students of the
Drama Department, offering applicants support, advice and information at every point in
the process.
7.6
Approximately 24 students are offered places each year to begin their three-year
programme the following September. There is also a Reserve list. On a date set by the
Conference of Drama Schools in July, the member schools circulate names of applicants
who have accepted places; there is an agreement not to poach' any applicants after this
date.
7.7
Students should normally be 18 years old when they begin, as the programme requires a
high level of maturity and life experience. The average age is 21/22 and some students are
older.
7.8
The Drama Department encourages applicants from disadvantaged and non-conventional

academic backgrounds. Normally students must meet City University's general entry
requirements for undergraduate programmes, which is two A-levels or the national or
international equivalent. Those who do not meet these requirements are asked to submit
a piece of written work testing their cognitive and reflective skills. They are then
considered under the procedures for Non-Standard Entries; a report and recommendation
endorsed by the Director of Acting is presented to the Drama Programme Board for
approval.
7.9
Overseas candidates must be completely fluent in English and have

comprehension. This will be tested by the audition/interview procedures.
excellent
7.10 The Department does not offer exemption from any part of the programme.
Educational aims
The aims of the programme are:
To provide a practical craft training that will be a lifelong foundation for a career in
professional acting.
To educate students to meet the varied demands of the acting profession in its current
state and also give them the flexibility, imagination and responsibility to reflect on,
contribute to and develop contemporary theatre, and drama in all media.
To promote each student's personal and artistic development, and their integration of
the physical, intellectual, emotional and spiritual aspects of acting, within a collaborative
context.
To meet the specific developmental needs of each group of students and the individuals
within it.
To encourage students to take responsibility for reaching their highest level of creative
engagement.
To ensure that students are aware of the transferable skills acquired during the
programme.
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Teaching, Learning & Assessment Strategies
9.1
The teaching and learning strategies are designed to match the programme aims and
learning outcomes. The emphasis is on the individual growth of students as actors in an
ensemble. This requires students to be engaged in a continuous developmental process
through which they acquire technical and cognitive skills and subject knowledge, apply
these creatively and imaginatively within a clearly defined framework of values and
attitudes and reflect on their progress and achievement.
9.2
Teaching and learning takes place through practical classes, tutorials, seminars, rehearsals,
performances, field trips and private study.
9.3
At the beginning of the programme, the emphasis is on class-work, providing students

with a firm foundation of technique in voice, movement and stagecraft, and an
introduction to repertoire. Within each day's timetable, students experience a wide range
of activities; for example, Voice and Speech, Acting Technique, Acting Research,
Movement, Singing. In each subject, students are taught through being set tasks and
exercises designed to develop specific skills and to offer opportunities to apply them
imaginatively. No subject is discrete, and students are encouraged to apply what they are
learning in one class to another. In particular, modules in Rehearsal Projects and
Productions are designed to draw together the different components of the programme.
9.4
Most of the classes are taught continuously through the year, so that students gain by
regular practice and exploration. Some class-work and rehearsal in the first and second
year is scheduled in week-long blocks, so that students also gain from more intensive
practice and exploration. The mixture of regular with intensive practice also reflects the
varied nature of professional work. There are opportunities for self-reflection at key points
in the programme.
9.5
In all classes, rehearsals and feedback, students are encouraged to develop the creative use
of their imaginations. Tutors seek to establish and sustain an environment of trust, and
working conditions that are physically and emotionally safe and healthy both for the
individual and the group.
9.6
By the end of the first year, students are expected to be secure in using the techniques of
their craft (for example, free and natural use of breath, voice and body; connection with
text and dramatic situation; awareness of individual and group space) to the extent that
these skills are fully assimilated and they no longer give them conscious thought when in
the acting space.
9.7
During the second year the emphasis changes, with more of the timetable devoted to
Rehearsal Projects, enabling students to apply and integrate their developing skills in a
wider and more demanding range of drama, to become more self-sufficient, individually
and within an ensemble, in preparing their minds and bodies for rehearsal.
9.8
In the final year of the programme, the acquisition of further skills and knowledge is fully
integrated in Productions. Students rehearse and perform in a range of public productions
which are open to prospective employers. They also undertake an independent study and
they prepare to begin their careers. The transition from the supportive environment of
the training to the varied demands of the profession is a challenge to many students. The
Department provides a range of information and guidance to ease their entry into the
profession and encourages a strengthening of their awareness of the knowledge, skills and
attitudes they have acquired.
9.9
Formative feedback to the students is an important feature of the programme. This occurs
organically within class-work and rehearsal, where experimentation and evaluation in the
performance of specific exercises is a key element in the learning/teaching strategy. As
well, there is a system of regular feedback after each Rehearsal Project in the first two
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years of the programme. There are also frequent opportunities for group feedback.
During the final year, emphasis is put on students actively seeking feedback, rather than
having scheduled times, in order to develop their self-motivation and independence.
9.10 The modules for each Year of the programme are taught concurrently throughout the year
with summative assessment points occurring at appropriate intervals. For modules taught
through classes, there are two summative assessments (mid-year and end-of-year) of each
component in Years 1 & 2 (previously there were 3 summative assessments for each
component in Year 2 amendment approved at December 2010 Course Board); for
modules taught through rehearsal and/or performance, there are summative assessments
at the end of each project or production.
9.11 The programme's assessment strategy places a strong emphasis on continuous assessment.
This approach reflects the nature of an actor's development within the extensive contact
hours that students experience in their timetable. Whether in classwork, rehearsal or in
performance, continuous assessment reinforces the ethos of rigorous ongoing critique.
Whilst acknowledging the significant dimension that the presence of an audience brings to
an actor's work, students are strongly encouraged to treat performances and showings as
further opportunities for exploration and development of their skills. Similarly in
classwork, exercises concentrate on craft and technique in the context of public
performance. This connection between process and performance is an important
educational and artistic principle of the programme and tutors frequently and consistently
engage students in a consideration of it. It is for this reason that performances and
showings are assessed using the same criteria as classwork and rehearsals.
9.12 Classwork, rehearsals, showings and performances increase in the level of demand
between years 1, 2 and 3. Students are required to demonstrate accomplishment in
response to more challenging texts and exercises. Similarly, written work also has a
growing level of demand over the three years as tutors set more difficult activities moving
from documenting research in Year 1, to analysing research in Year 2, to focusing and
communicating analysis in Year 3. Further details concerning the content of written work
are provided in the Student Handbook. This progressive increase in the complexity of the
tasks for classwork, rehearsals, showings, performances and written work corresponds to
QAA benchmarks for Levels 4, 5 and 6 as appropriate. These levels are identified in each
module's specifications.
9.13 There are two fundamental forms of assessment within the programme: assessment of
classwork, rehearsals, showings and performances; and assessment of written work. The
teaching, learning and assessment strategies promote a joinedup approach to these two
different types of activity by ensuring they share many of the same assessment criteria.
This enhances the students' understanding that all aspects of their studies are structured in
such a way that promote their development as an actor. The assessment strategy is
enshrined in the single set of assessment criteria which has varying criteria for written
work and performance/class work. This single document supports students and tutors of
diverse disciplines in assessment across all modules and articulates the core ethos of the
assessment strategy's values and principles. It should be noted that the programme's
assessment criteria have been developed in reference to the principles and values of the
Schoolwide assessment criteria.
9.14 Students are informed about the programme's learning and assessment strategy on a very
regular basis. Programme leaders and tutors ensure this happens at the beginning and end
of years, at the annual assessment induction session, at key assessment points and during
the regular feedback forums. In addition, when introducing a new learning activity and
subsequently during the timetable's extensive contact hours of rehearsals and classes,
tutors ensure that students have a clear appreciation of what is expected of them in order
to meet the higher levels of achievement. This ongoing dialogue with students clarifies
these levels of achievement in light of the assessment criteria and ensures students know
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what they need to do in order to improve. This is something which occurs both in a
oneonone context and in group settings.
9.15 Students with disabilities follow a Personal Learning Support Programme which outlines
additional support provided by the School and the Department.
10
Learning Outcomes
The programme provides opportunities for students to develop and demonstrate learning
outcomes which are generic to the Programme as a whole, as well as learning outcomes
which are specific to one or more modules.
The learning and teaching methods are: class, rehearsal, tutorials, private study, written
assignments; performance.
Assessment is through continuous monitoring of progress in class and rehearsal; assessment
of self-reflective tasks, presentation of ongoing practical work, public performances,
independent study.
A: Technique and knowledge

By the end of the programme students will be expected to have technique and knowledge
of the following:
A1 Methods of preparing and using breath, voice, speech, body and movement safely and
effectively for rehearsal and performance in a variety of acting spaces, including use of
microphone and camera.
A2 Range of acting techniques
A3 English language, its structure, codes and styles; poetry, prose and dramatic speech.
A4. Range of movement techniques, both pure and character-based.
.
A5 Theatrical repertoire in its social and historical background, including both an overview
of Western theatre and in depth knowledge of specific areas
A6 Resources for background research.
A7 The different elements that make up the collective art of theatre.
C2 Competence in vocal, physical and acting techniques.
D2 Be spatially and aurally aware.
D6 Analyse and interpret dramatic texts.
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B: Communication and artistic values

At the end of the programme, students should be able to:
B1 Work openly, confidently, safely and supportively in an ensemble.
B2 Work to a high standard of discipline and readiness.
B3 Accept constructive criticism and use it to develop further.
B4 Be self-aware and acknowledge their own strengths and weaknesses.
B5 Be prepared to fail, in order to succeed.
B6 Practise and promote trust and respect, generosity of spirit and social responsibility.
B7 Begin to take responsibility for their professional future, through having confidence in
their own acting ability, artistic curiosity and personal initiative and determination.
D1 Demonstrate emotional honesty in their work.
D4 Achieve a fruitful balance between subjective response and objective analysis, between
emotional involvement and critical detachment.
D5 Appreciate and utilise the conditions in which the creative imagination thrives.
C Skills Performance and/or creative output

At the end of the programme, students are expected to demonstrate:
C1 Positive and effective contribution to all dramatic endeavours in which they are
involved.
C3 Truth, expressiveness and passion in acting.

C4 Ability to imagine, structure and realize dramatic life in the stage space.
C5 Ability to engage effectively with an audience.
C6 Ability to sustain roles effectively in a wide range of genres and styles of drama.
C7 Stamina required to fulfil intensive rehearsal and performance schedules.
D3 Project imaginatively into a rich variety of human situations.
E Professional protocols
At the end of the programme, students are expected to:
E1 Demonstrate effective time-management, personal organisation skills and ability to
work under pressure.
E2 Have an open, alert, confident and responsive physical demeanour.
E3 Show emotional intelligence, ability to empathise with other people and to adapt
behaviour to suit different contexts.
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E4 Demonstrate effective communication skills in spoken and body language in a wide

variety of situations.
E5 Have self-awareness and skill in teamwork and group dynamics.
E6 Be able to undertake background research, including use of Internet, and analytical
tasks.
E7 Communicate effectively in writing in English in different contexts, utilising word
processing skills.
11
Overview of Programme Structure
11.1 Summary of the programme structure

The programme is a 3-year full-time course of study in Acting at undergraduate level. All
students follow one pathway, with no elective modules.
11.2 The modes of delivery
The programme is delivered through practical classes, rehearsals, showings, performances,
workshops, tutorials and independent study.
11.3 Number of Parts to the programme and their duration
There are three Parts to the programme, each of one year's duration.
11.4 Credit value of the programme and overall student learning hours
Year 1
Year 2
Year 3
150 credits
160 credits
170 credits
Total
4800 overall student learning hours
11.5 Programme structure

Year 1 is 35 weeks, spread over three terms: normally 11 weeks commencing in September
followed by a five-week break over Christmas, 12 weeks followed by a three-week break
over Easter; 11 weeks with a one-week break during the term.
Year 2 is 36 weeks, spread over three terms: normally 12 weeks commencing in September
followed by a four-week break; 12 weeks followed by a two- or three-week break over
Easter; 12 weeks.
Year 3 is 39 weeks, spread over three terms and, normally 13 weeks commencing in
September, followed by a four-week break over Christmas; 13 weeks followed by a twoweek break over Easter; 13 weeks.
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11.6 Core modules

Code
Year 1
GDACT1001
GDACT1002
GDACT1003
GDACT1004
GDACT1005
Year 2
GDACT2001
GDACT2002
GDACT2003
GDACT2004
Year 3
GDACT3006
GDACT3009
GDACT3010
Level
Title
Credit value
4
4
4
4
4
Acting Studies 1
Movement Studies 1
Acting Research
35
35
35
30
15
5
5
5
5
Acting Studies 2
Movement Studies 2
25
25
25
85
6
6
6
Productions
Voice and Movement
Career Preparation
145
5
5
11.7 Elective modules

Students take one of the following two modules:
Code
Year 3
GDACT3007
GDACT3008
Level
Title
Credit value
6
6
Independent Study (Solo Performance)

Independent Study (Research Project)
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11.8 List of outcomes developed in each Year

Outcomes developed in Year 1
A1 - A6; B1 B6; C1 C4; D1 D6; E1 E7
A1 A6; B1 B7; C1 - C6; D1 D6; E1- E7
A1 - A7; B1 B7; C1 C7; D1 D6; E1 E7
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11.9 Outline of programme

Year 1
Voice and
Speech
Studies 1
Acting
Studies 1
Rehearsal
Projects 1
Movement
Studies 1
Acting
Research
Year 2
Voice and
Speech
Studies 2
Acting
Studies 2
Movement
Studies 2
Rehearsal
Projects 2
Year 3
Independent
Study (Research
project)
Quotes.
Independent
Study (Solo
Performance)
Productions
Career
Preparation
Voice and
Movement
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12
Assessment Regulations
12.1 Requirements for progression, referral and re-sit procedures

Module regulations
In order to pass a module and acquire the associated credits, a student must meet any
attendance and participation requirements given in the Programme Handbook, complete
all the assessment components and achieve the required pass mark of 40% in aggregate
between components.
Progression regulations
To proceed to Project 3 in the Rehearsal Projects 1 module, the student must achieve 35%
in aggregate in Projects 1 and 2.
To proceed to Year 2, the student must have passed in each module in Year 1 and acquired
150 credits.
To proceed to Project 4 in the Rehearsal Projects 2 module, the student must achieve 35%
in aggregate in Projects 1, 2 and 3.
To proceed to Year 3, the student must have passed in each module in Year 2 and acquired
160 credits.
To pass Year 3, a student must have passed in each module in Year 3 and acquired 170
credits and passed in each module.
Compensation provisions
There are no modules where compensation may be applied across modules.
Re-sit after First Attempt
Where there has been a first valid attempt, re-sit provisions will apply to all failed modules.
The conditions for re-sit shall be prescribed by the Assessment Board:
If the Assessment Board permits a student to re-sit a module:
The failed assessment component must be redeemed before the beginning of the
following term
OR
The entire module assessment must be redeemed before the beginning of the
following term
OR
A specific assessment activity should be undertaken.
A student may re-sit a module or part of a module only once.
At the end of Project 2 in the Rehearsal Projects 1 module, students may re-sit the
first two projects as a single re-sit requirement only once. This re-sit must be
completed and the minimum qualifying mark of 35% achieved before progression to
Project 3 will be permitted.
At the end of Year 1, students may re-sit any module, provided that their average
over all modules is 40% or above.
At the end of Project 3 in the Rehearsal Projects 2 module, students may not re-sit
any of the first three projects.
At the end of Year 2, students may re-sit any Module except Rehearsal Projects 2
provided that their average over all modules is 40% or above.
At the end of Year 3, students may re-sit Independent Study, and/or Voice and
Movement, provided that their average over all Modules is 40% or above.
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A student who successfully completes a re-sit shall be awarded the credit for the module.
Where a successful resit has been undertaken, for the purposes of the award calculation,
the module mark will be capped at the pass mark (40%).
Failure in Part 3 and the Award of a Lower Level Qualification
Where a student fails to meet the requirements for Year 3, having exhausted all permitted
re-sit opportunities, but satisfies the requirements for Year 2, then the Assessment Board
shall recommend that the lower level qualification associated with Year 2, a Diploma in
Higher Education in Acting, will be awarded.
Fail Withdraw
Where a student fails to meet the requirements for a particular Year, and is not eligible for
the award of a lower level qualification, the Assessment Board shall require the student to
withdraw from the Programme.
12.2 Pass and Award Regulations:
Diploma in Higher Education in Acting
If a student wishes to cease their studies at the end of Year 2 and has passed all of the
modules associated with Years 1 and 2, the Assessment Board shall recommend that they
be awarded a Diploma in Higher Education in Acting.
The mark for the award is based on the assessment of modules taken in Year 2 of the
Programme with the following weighting:
%
15
15
15
55
100
The classification of the Diploma Award shall normally be:
Acting Studies 2
Voice & Speech Studies 2
Movement Studies 2
Distinction
Merit
Pass
minimum 70%
minimum 60%
minimum 40%
Pass and Award Regulations: BA (Hons) in Acting

To qualify for the BA (Hons) in Acting, the student must satisfy the pass requirements for
Years 1, 2 and 3. The Overall Aggregate Mark for the Degree shall be calculated using the
following percentage marks achieved in Parts 2 and 3:
Voice and Movement
Independent Study
Productions
%
20
10
15
55
100
The classification of the Degree Award shall normally be:

Class I
Class II Upper Division
Class II Lower Division
Class III
minimum 70%
minimum 60%
minimum 50%
minimum 40%
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12.3 Regulations for attendance and engagement in classes, rehearsals, showings and
performances, and for submission of written work
Students are expected to attend and fully engage, and will be assessed in all classes, all
rehearsals for which they are called, and all showings and performances in which they are
participating or have been cast. Deadlines for written work are announced well in
advance, taking rehearsal and performance schedules into account.
Adequate reasons for missing class, rehearsal, showing, performance or submission
deadline for written work include serious illness and death or serious illness of close family
member. Poor time management on the part of the student or problems with computers
would not normally warrant an extension.
If a student is seriously unwell and cannot come in to School, the student must contact
Drama Administration, preferably before their first scheduled class is due to start, but no
later than 9.30am and will need to phone in on subsequent days unless formally signed-off
sick.
If a student wants to be excused in advance from class, rehearsal, a showing or
performance, the student must ask the Director of Acting for permission, and if it is
granted, explain to the relevant tutor(s) or director(s).
If a student wants to request an extension for submission of written work, the student
must ask the Head of Academic Studies in advance for a new deadline, and if it is granted,
must meet all the submission requirements. Penalties for late submission are set out in the
School's General assessment regulations for taught programmes'.
Absence due to ill health effecting a key assessment point must be covered by adequate
medical certification (as defined in the School's policy Attendance at examinations &
submission of coursework' in General assessment regulations for taught programmes').
The requirement to provide adequate medical certification as defined in this School policy
may also be invoked in the case of persistent problems with attendance or engagement
due to ill health.
Whilst acknowledging that unforeseen circumstances do sometimes occur that prevent a
student from attending or engaging fully, nonetheless the programme requires a very high
level of attendance and engagement in order that a student can meet the learning
outcomes, fulfil the requirements of continual assessment and achieve a pass. Additionally,
a high level of attendance and engagement is required in order that a student does not
adversely affect the learning experience of other students as they study and collaborate in
an ensemble. Whilst acknowledging there may not be 100% attendance for good reason,
this does not imply that a small amount of inexcusable absence is acceptable.
When assessing a student's work, the quality of the work is a key factor, however excused
absence both generally and/or at specific assessment points may result in a reduction of
marks and possible failure of a module if the learning outcomes have not been met. Inexcused non-participation in a Rehearsal Project Showing, Performance or other key
assessment point results in a zero mark for that project/production/component.
In case of persistent problems with attendance, punctuality or engagement, students face
action under the School's Course Participation Regulations as well as jeopardising the
result of their module.
12.4 Leave of Absence
A student may request leave of absence during Year 3 to undertake appropriate
professional work. If, in the opinion of the Director of Acting and senior staff in the
Drama Department, the proposed work is of sufficient educational value, permission will
be granted, and the following arrangements may be made to enable the student to
complete the requirements for the degree.
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If the student has not completed the SIX productions required to pass the Productions
module, the student may substitute professional work for a maximum of TWO as
assessment of the required productions, provided that the professional work will lead to a
performance which can readily be assessed by the internal and external examiners (eg a
live performance within reach of London, a film exhibited within reach of London, a
video). Additionally, a student may substitute professional work for a further TWO
productions as participation and thus be exempted for assessment in these productions.
On a case-by-case basis, the Director of Acting and senior staff in the Drama Department
will determine the equivalency of the volume of work and educational experience for each
professional engagement; double assessment weighting and/or participation will be
applied as appropriate. These decisions will be reported to the Drama Programme Board.
After submitting the performance(s) for assessment, the student must attend a viva voce
with the Director of Acting and one other senior member of the Drama Department.
The mark for the viva will substitute for the director's mark in a production and may
contribute to a Pass in Voice and Movement.
An extension may be given, at the discretion of the Director of Acting and the Head of
Academic Studies, to allow the student to complete the Independent Study (Solo
Performance or Dissertation).
12.5 Submission and consideration of Extenuating Circumstances
In reaching an assessment decision, the Assessment Board will consider any extenuating
circumstances previously supplied in writing to the Registrar (Assessment) and the
recommendation of the Extenuating Circumstances Panel. Where the circumstances are
sufficiently serious (because of eg illness, injury or bereavement) and have affected the
student's performance, then it will have the discretion to take this into consideration when
making the assessment decision.
12.6 Procedures for the internal double assessment of work
In Years 1 and 2 of the programme, Rehearsal Projects 1 and Rehearsal Projects 2, which
draw on the work done in other Modules, each project is assessed by four tutors (the
director, one acting tutor, one voice tutor and one movement tutor) after discussion with
other staff; the self-reflective writing is assessed by the Head of Academic Studies and, in
Year 2, moderated by the Director of Acting.
In Year 3 of the programme, Productions are assessed by the director of the production
and by two internal examiners. The Independent Study is marked by at least two internal
examiners.
12.7 The role of the External Examiner
The External Examiner shall be a person of seniority and experience in the professional
theatre and/or actor-training. He or she will normally be the External Examiner for the MA
in Acting.
The External Examiner normally attends all the final year public Productions (normally
eight or nine) and moderates the marks. He or she samples the Independent Studies, both
Solo Performances and Research Projects. He or she attends and moderates the marks for
six or more Rehearsal Projects in Year 2. There are normally between ten and twelve
Projects, with each student participating in six; the External Examiner sees each student
perform at least three times during the year. He or she is normally invited to meet students
on an informal basis to discuss the programme.
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12.8 Assessment Boards

At the end of the academic year, the internal Drama Programme Assessment Board meets
to evaluate each student's achievement in the academic year and to make
recommendations to the School Assessment Board on all matters of progression, fail and
referral, extenuating circumstances and awarding of Degrees and classifications.
The School Assessment Board operates in accordance with the City University's Assessment
Regulations including its composition, quorum and decision procedures. The main
meeting of the School Assessment Board in each academic year is held in July following the
Drama Programme Assessment Board, normally after the completion of all relevant
assessments. The School Assessment Board considers the recommendations and makes
final decisions on awards and classification; it is also responsible for agreeing the
conditions of re-sits.
In September, the Drama Programme Assessment Board meets to consider the situation
with regard to students referred in July and to make recommendations to the School
Assessment Board, which normally meets on that day.
12.9 Arrangements for feedback to students on their assessed work
After each Rehearsal Project, normally on the same or following day, students are given
oral feedback about their progress.
Students are expected to seek feedback on
Productions in Year 3. They are given written reports on their written assignments, which
are returned within two weeks of submission.
Marks are not normally disclosed to students as this is unhelpful to the natural
development of their acting, which has its peaks, troughs, plateaux and occasional
breakthroughs, as well as steady progress. Students are informed that they have the right
to ask to see their marks.
If a student's lack of progress is such that he or she is deemed likely to fail at the end of
the year, he or she is informed and notified in writing (with a copy to the Registry) that
their work will be under close review by the staff for whatever period is necessary.
At the end of the academic year, students are informed of their results by letter.
12.10 Detailed Assessment Criteria
Detailed Assessment Criteria are included at the end of this volume.
13
Appeals Procedure (City University's regulations) & OIA
REGULATION 20b STUDENT APPEALS TAUGHT PROGRAMMES AT VALIDATED INSTITUTIONS1

The University validates programmes offered at other institutions leading to awards of the
University. Assessment Boards for validated programmes are subcommittees of the University
Senate and so appeals fall under Senate.
The University defines an appeal as a request from a student for a review of a decision made by
an Assessment Board regarding his/her assessment, progression, or award. These internal
regulations of the University will be operated in accordance with its Equal Opportunities and
Equality and Diversity Policies. The Equal Opportunities and Equality and Diversity Policies of the
Validated Institution will also be followed.
Students on research programmes at Validated Institutions should refer to Regulation 21b. City University
students should refer to Regulation 20 (taught programmes) or Regulation 21 (research programmes).
16/62
Appeal claims can be made after an Assessment Board. A student who submits an appeal claim
against one decision may submit an appeal claim against another decision at a later date, as long
as the appeal is submitted within the appropriate timescales.
The Regulations refer at various points to Officers' and members of staff'; (see Appendix A of
Regulation 20b for outlines who should fulfil these roles).
A. Stage 1: Validated Institution-level appeal
1. Grounds for appeal
a) An appeal may only be made on one or both of the following grounds:
that there was a material error, either in the conduct of the assessment itself, or in the
proceedings of the Assessment Board, which affected the Assessment Board's decision;
AND/OR
that the student was subject to previously undisclosed extenuating circumstances at the
time of the assessment which:
o
meet the definition of extenuating circumstances as set out in the Assessment

Regulations, and
were unknown to the Assessment Board, and were not made known to the
Assessment Board via the Extenuating Circumstances provisions in the Assessment
Regulations for a demonstrated, valid and over-riding reason outside the student's
control2.
Dissatisfaction with the decision or academic judgement of the Assessment Board is not
alone a valid ground for an appeal.
b) An appeal, with appropriate evidence, should be submitted to the University Officer within
28 calendar days of the release of results following the Assessment Board.
2. Initial scrutiny
a) The student will receive an acknowledgement of receipt.
b) The appeal will be scrutinised by two members of University staff.
c)
The possible outcomes of initial scrutiny are:
upheld (in full or part) with a recommendation for immediate corrective action by the
Chair of the Assessment Board (material error' cases only);
upheld (in full or part) with recommendations being made to the Assessment Board
(normally for an opportunity for re-assessment) (material error' cases only);
Extenuating Circumstances form submitted for consideration by the Extenuating

Circumstances Panel in accordance with section 12 of the Assessment Regulations
(undisclosed extenuating circumstances' only);
returned with an opportunity for the student to resubmit the appeal within 14 calendar
days;
rejected because the form was incomplete, incorrect, not accompanied by supporting
evidence, or did not demonstrate grounds for appeal;
referred for consideration by Validated Institution Appeal Panel because a hearing with
the option for representation by the student is warranted.
d) The student will be informed of the outcome of the initial scrutiny, normally within 28
calendar days of receipt. The notification will include the reasons for the decision.
2
The following will not normally be considered as acceptable reasons for delay: that the student says that
s/he was unaware of the extenuating circumstances arrangements at the time; or that the student made an
assumption at the time of the assessment that his/her performance would not be affected by an event
which s/he has since decided has resulted in extenuating circumstances.
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e) A student whose appeal has been rejected may be entitled to request a review of that
decision under section B of these Regulations.
f)
The process and outcomes of the initial scrutiny will be documented and a record retained
for report to the Course Board and Senate.
3. Validated Institution Appeal Panel

a) A Validated Institution Appeal Panel will normally be convened within 28 calendar days of
the outcome of the initial scrutiny being notified to the student. The panel will have three
members and the Principal of the Institution or his/her nominee will be the Chair.
A senior member of University administrative staff, who will not be part of the Validated
Institution Appeal Panel, will attend the hearing to ensure that the conduct of the panel is in
accordance with the University's requirements.
b) The student will be invited to attend the Validated Institution Appeal Panel hearing and can
choose to be accompanied by one other person. If the student chooses to be accompanied
s/he must provide information about that person to the Secretary of the panel at least 7
calendar days in advance. The information will include the person's relationship to the
student and the reason for the person's attendance. A student should note that s/he may
only be represented in his/her absence in exceptional circumstances. Any request for this
requires the agreement of the Chair of the Panel. If a student chooses not to attend, or fails
to attend without submitting written notification of valid reasons for postponement, the
panel may meet in the student's absence.
c)
The Programme Director may attend the hearing but does not form part of the panel and
will not be present during the panel's deliberations. The Programme Director's role is to
provide information and/or clarification to the panel.
d) The possible outcomes of the hearing are:
upheld (in full or part) with a recommendation to the Assessment Board to permit the
student to resit some/all failed assessments as a first or additional attempt, reinstating
him/her on the programme if necessary;
upheld (in full or part) with referral of the case back to the Assessment Board with
commentary (the panel may not recommend any alteration to the original marks);
rejected as the grounds for appeal have not been demonstrated.
e) The outcome of the Validated Institution Appeal Panel hearing will be provided to the
student in writing by the Validated Institution, normally within 14 calendar days of the
hearing.
f)
A record of the outcome of the Validated Institution Appeal Panel hearing will be retained
for report to the Course Board and Senate.
B. Stage 2 University-level review

1. Grounds for review
a) A student may request a review of the Validated Institution decision on one or both of the
following grounds:
that there was a material error in the proceedings associated with the Validated
Institution decision, which affected that decision; AND/OR
that new information has become available, which is material to the original appeal, and
which could not have been made known to the Validated Institution for a demonstrated,
valid and over-riding reason.
This is not a reopening of the original appeal. Dissatisfaction with the decision of the
Validated Institution is not alone a valid ground for a review.
b) A review request, with appropriate evidence, should be submitted to the University Officer
or his/ her nominee within 21 calendar days of confirmation of the Validated Institution
decision.
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2. Initial scrutiny
a) The student will be sent a receipt of their review request.

b) Two members of University staff will scrutinise the review submission.
The possible outcomes of initial scrutiny are:
upheld (in full or part) with a recommendation for immediate corrective action by the
Officer responsible for the Validated Institution decision or his/ her nominee (material
error' cases only);
upheld (in full or part) and referred back to the appropriate body responsible for the
Validated Institution decision for consideration. Following this consideration, a student
may then only request a review of the decision on the ground of a material error
('material error' cases only);
returned with an opportunity for the student to resubmit the request for review within
14 calendar days;
rejected because the form was incomplete, incorrect, not accompanied by supporting
evidence, or did not demonstrate grounds for appeal;
referred for consideration by University Review Panel because a hearing with the option
for representation by the student is warranted.
c) The student will be informed of the outcome of the initial scrutiny, normally within 28
calendar days of receipt. The notification will include the reasons for the decision.
d) The process and outcomes of the initial scrutiny will be documented and a record retained
for report to Senate.
3. University review panel
a) A University review panel will normally be convened on behalf of Senate within 28 calendar
days of the outcome of the initial scrutiny. The panel will have three members and the Chair
will be the University Officer or his/ her nominee. The University Appeals Administrator or
his/her nominee will attend the hearing to ensure the conduct of the panel is in accordance
with the University's requirements (the Administrator will not be part of the Appeal Panel).
b) The student will be invited to attend the University review panel hearing and may choose to
be accompanied by one other person. If the student chooses to be accompanied s/he must
provide information about that person to the Secretary of the panel at least 7 calendar days
in advance. The information will include the person's relationship to the student and the
reason for the person's attendance. A student should note that s/he may only be
represented in his/her absence in exceptional circumstances. Any request for this requires
the agreement of the Chair of the Panel. If a student chooses not to attend, or fails to
attend without submitting, in writing, valid reasons for a postponement, the panel may
meet in the student's absence.
c) A representative from the Validated Institution with authority to comment on the Validated
Institution decision at the first stage will be invited to attend the panel. The representative
does not form part of the panel and will not be present during the panel's deliberations.
e) The possible outcomes of the University appeal are:
upheld (in full or part), normally resulting in permission for the student to resit some/all
failed assessments as a first or additional attempt, reinstating him/her on the programme
if necessary;
upheld (in full or part) with referral of the case back to the Assessment Board with
commentary (the panel may not recommend any alteration to the original marks);
rejected as the grounds for appeal have not been demonstrated.
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d) The outcome of the University review panel hearing will be provided to the student in
writing, normally within 14 calendar days of the hearing. The notification will include the
reasons for the decision.
e) The outcome of the University review panel hearing will be reported to Senate and a record
will be retained.
C. Office of the Independent Adjudicator
When the University's internal procedures have been concluded, a student will be issued with a
Completion of Procedures (CoP) letter. Following this, a student who is dissatisfied with the final
decision on his/her case may be able to apply to the Office of the Independent Adjudicator (OIA)
for Higher Education. Information and eligibility rules are available at: www.oiahe.org.uk
Reapproved as a regulation: Senate 26.06.13
* Note the Guildhall School of Music & Drama is registered with the OIA.
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Year 3
Year 2
Year 1
14
Curriculum Map
Codes
A
1
A
2
Acting Studies 1
GDACT1001
GDACT1002
Movement Studies 1
GDACT1003
GDACT1004
Acting Research
GDACT1005
Acting Studies 2
GDACT2001
GDACT2002
Movement Studies 2
GDACT2003
GDACT2004
Productions
Independent Study (Solo Perf,
Dissertation, Research
Portfolio)
Voice and Movement
GDACT3006
GDACT3007
GDACT3008
GDACTXXX
GDACT3009
Career Preparation
GDACT3010
A
3
A
4
A
5
A
6
A
7
B
1
B
2
B
3
B
4
B
5
B
6
B
7
C
1
C
2
C
3
C
4
C
5
C
6
C
7
D
1
D
2
D
3
D
4
D
5
Technique and knowledge
Performance and or creative output
A1 Methods of preparing safely and effectively.

A3 English language, structure, codes; poetry, prose, dramatic speech
A4 Range of movement techniques, pure and character-based
A5 Theatrical repertoire
A6 Resources for background research
A7 Elements that make up collective art of theatre.
C1 Positive and effective contribution to dramatic endeavours.

C4 Imagine, structure and realize dramatic life in the stage space.
C5 Engage effectively with an audience.
C6 Sustain roles effectively in wide range of genres of drama.
C7 Stamina to fulfil intensive rehearsal and performance schedules.
Communication and artistic value

B1 Work openly, confidently, safely and supportively in ensemble.
B4 Be self-aware, acknowledge own strengths and weaknesses.
B5 Be prepared to fail in order to succeed.
B6 Practise and promote trust, respect, generosity of spirit, social responsibility.
B7 Begin to take responsibility for professional future.
D4 Achieve a fruitful balance between subjective response and objective analysis, between
emotional involvement and critical detachment.
D
6
E
1
E
2
E
3
E
4
E
5
E
6
E
7
Professional Protocols
E1 Effective time-management, personal organisation skills and ability to work under pressure
E3 Emotional intelligence, ability to empathise and adapt behaviour to suit different contexts
E4 Effective communication skills in spoken and body language
E5 Self-awareness, skill in teamwork and group dynamics.
E6 Undertake research, including using of Internet.
E7 Communicate effectively in written English, utilising word processing
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Part 2: Module Specifications

Year 1
1.
Module Title
Acting Studies 1
2.
Module Code
GDACT1001
3.
HE Level
4.
Credit Value of Module
35
5.
Location of Delivery
Guildhall School
6.
Module Type (eg project, placement,

taught)
Taught
7.
Module Tutor
Wendy Allnutt, Martin Connor, Peter Cregeen,

Wyn Jones, Kenneth Rea
8.
Indicative Content
The content is drawn from exercises developed by 20th century acting teachers and further
developed by Guildhall School staff, past and present. Much of the work consists of
improvisation and storytelling, with some text work.
Acting Exercises I is a series of imaginative exercises undertaken in Term 1, developed from
work devised by Chattie Salaman.
Acting Exercises II is a series of technical exercises undertaken in Term 1, developed from
work devised by Peter Barkworth, Wyn Jones and others.
Acting Exercises III is a series of classes in which students develop their sense of self.
Acting Technique is a series of classes addressing some of the principles and terminology
devised by Konstantin Stanislavski and followers such as Michael Chekhov and Uta Hagen
and applying them in practice.
Improvisation is a series of classes exploring group and spatial awareness, introductory
mime techniques, physical improvisations and storytelling.
Towards the end of the module there is also a foundation course in Television, introducing
the special requirements of working front of a camera, and the ways in which the
technical processes of television can accommodate the acting techniques already studied.
9.
10.
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Aims of the Module

This module aims to:
Begin a craft training in acting techniques that will lay a broad foundation for further
development.
Address some of the fundamental questions of acting and some of the different means
of actors' expression.
Develop awareness of individual and group identity and responsibility, encouraging
students to work openly within an ensemble.
Show the connection between voice, movement and acting.
Introduce methods of integrating experience and imagination to achieve truth in
acting.
Learning Outcomes
Students begin working towards the following outcomes, which are continuously assessed:
A: Knowledge and understanding
B: Values and attitudes
C: Subject Specific/Professional Skills

involved.
D: Cognitive and intellectual skills

D4 Achieve a fruitful balance between subjective response and objective analysis,
between emotional involvement and critical detachment.
E: Transferable Skills
11.
Module Pattern
a) Teaching Component
Tutor
Contact Hours
Acting Exercises I
Acting Exercises II
Acting Exercises III
Acting Technique
Improvisation
Intro to TV acting
Wendy Allnutt
Wyn Jones
Wyn Jones
Martin Connor
Kenneth Rea
Peter Cregeen
50
50
50
60
65
25
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b) Assessment Component
Weighting %
within module
Pass Mark
Notional Hours
Acting Exercises II
30%
40%
Continuous
aggregated
assessment
Acting Technique
35%
Improvisation
35%
Acting Exercises I
0%
Pass/fail*
Acting Exercises III
0%
Television
0%
*Students must achieve a pass in these components in order to pass the module. A pass is
achieved through satisfactory participation.
c) Additional student Input
Notional Hours
Preparation
50
d) Total notional hours for module
12.
350
Reading and Resources

Prescribed texts where applicable; myths and legends selected by students; observation
exercises; TV documentaries and drama.
Books about acting are not recommended for this module.
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1.
Module Title
2.
Module Code
GDACT1002`
3.
HE Level
4.
35
5.
Guildhall School
6.

taught)
Taught
7.
Module Tutors
Kate Godfrey, George Hall, Charmian Hoare,

Patsy Rodenburg, Annemette Verspeak
8.
Indicative Content
The content is drawn from the approach to voice and speech developed over the last 30
years by Patsy Rodenburg.
Voice and Speech provides the foundation work in relaxation, breath and freeing the
voice, leading on to more intensive work on range, resonance, support and articulation.
Different uses of sound and language are explored, including the use of elaborated and
restricted codes of language. Phonetics are introduced, with some work on Received
Pronunciation.
Poetry introduces styles of language and verse structure from Anglo-Saxon to the 20th and
21st century, including students' own writing, and includes regular poetry workshops when
each student speaks by heart a poem of a specific period.
Text introduces styles of language in prose, and includes practice of sight-reading.
Singing increases the vocal range and is linked with the speaking voice. This class is linked
with Music, consisting of classes in musical notation and culminates in a group
presentation of Music Hall songs.
9.
Aims of the Module

Lay the foundation for the development of a healthy, flexible, strong, natural and
expressive voice.
Raise awareness of the range and significance of English speech.
Explore the interdependence of breath, voice and movement.
Develop connections between voice, speech and the expression of thought, emotion
and imagination.
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10.
Learning Outcomes
Students begin to work towards the following outcomes which are continuously assessed:

involved.

11.
Module Pattern
Tutors
Contact Hours
Voice and Speech
Kate Godfrey, Patsy Rodenburg, Annemette

Verspeak
Patsy Rodenburg
Kate Godfrey
Annemette Verspeak
George Hall
180
Poetry
Text
Singing
Music
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35
35
35
25
Weighting %
within module
Pass Mark
Notional Hours
Voice and Speech

Poetry
Text
Singing
Music
50%
15%
15%
10%
10%
40%
aggregated
Continuous
assessment
Notional Hours
Preparation
40
12.
350

Selection of poetry, prose and vocal music.
Books about voice and speech are not recommended for this module.
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1.
Module Title
Movement Studies 1
2.
Module Code
GDACT1003
3.
HE Level
4.
35
5.
Guildhall School
6.

taught)
Taught
7.
Module Tutors
Wendy Allnutt; Sue Lefton, Danny McGrath,

Jonathan Waller
8.
Indicative Content
Classes cover a range of movement skills, introducing systemic and exploratory exercises.
Pure Movement introduces the practice of natural, functional movement appropriate to
actors; it lays the foundation of physical work, teaching how to release the spine and
breath, and develop flexibility, demonstrating how breath and voice cannot be divorced
from movement. Laban work is included, with the introduction of some of the related
terminology, together with work based on Litz Pisk and Moshe Feldenkreis.
A
comprehensive movement sequence based on Grotowski's The Cat is introduced, which
stretches and frees the body physically. Preliminary work on tumbling focuses on physical
accuracy, strength and safe falling, and develops partnership coordination and trust.
Classes also explore the use of space. There are supplementary classes in Corrective
Movement to help students achieve balanced posture and alignment with weight
distributed evenly.
Historical Dance introduces a wide range of social dances from the Middle Ages, Italian
Renaissance and 19th and 20th centuries, helping to create an awareness of period style and
behaviour. The work develops walking in parallel, balance, spatial awareness, partner
work and some understanding of period styles.
Movement Improvisation covers a series of exercises developing observation and
imagination and the application of movement skills to transform the body. It begins with
Animal Studies, studying the physical behaviour and rhythms of different animals, helping
a move away from personal rhythms and thought patterns towards an understanding of
instinctive behaviour and its relationship to human behaviour. This forms the basis for
further work on physical characterisation. Later work includes imaginative study of the
qualities of movement associated with materials, energies, the elements and
physicalisation of the Seven Deadly Sins.
Stage Combat develops practical skills in rehearsing onstage fights, beginning with
Elizabethan weaponry and supplementing work on period style ethos. It encourages
centring of body weight, co-ordination, focus of physical energy and develops partnership
co-ordination and trust.
9.
Aims of the Module

Lay the foundation for safe and expressive use of the body.
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Enable the release of breath and spine to increase mobility, co-ordination and
relaxation.
10.
Explore the interdependence of breath, movement and voice.

Develop students' strength, co-ordination, posture and walk.
Develop students' precision in movement, and their ability to repeat with freshness.
Develop awareness of personal and shared space.
Develop awareness of a wide range of physical behaviour and rhythms as a basis for a
vocabulary of imaginative movement.
Develop an environment of trust.
Learning Outcomes
Students begin working towards the following outcomes which are continuously assessed:

involved.
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11.
Module Pattern
Tutor
Contact Hours
Pure Movement
Movement Improvisation
Historical Dance
Corrective Movement
Stage Combat
Wendy Allnutt, Danny McGrath

Wendy Allnutt
Wendy Allnutt, Sue Lefton
Jonathan Waller
150
50
50
35
30
Weighting %
within module
Pass Mark
Notional Hours
Pure Movement
Movement Tumbling
Movement Improvisation
Historical Dance
Stage Combat
25%
20%
25%
20%
10%
40%
aggregated
Continuous
assessment
Notional Hours
Preparation and observation
35
12.
350

Observation including zoo visits, DVDs.
Books about movement are not recommended for this module.
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1.
Module Title
2.
Module Code
GDACT1004
3.
HE Level
4.
30
5.
Guildhall School
6.

taught)
Rehearsals
7.
Module Tutors
Staff and visiting directors
8.
Indicative Content
The content of Rehearsal Projects may vary to suit the needs of the group and of the
individuals within it. Normally there are three Projects.
1) The first project (usually seven weeks long) is based on a selection from the English
Medieval Mystery Plays, which offer clear, yet three-dimensional characters and
conflicts. Language is heightened, but the verse lines do not make excessive demands
on students' technical capabilities. The following principles of acting are applied:
the importance of researching the world of the play, both academically and
imaginatively
the necessity of an accurate examination of the text to find clues to situation and
character
the need for speech and movement to be a consequence of thought and feeling
the need to justify moves and instructions that the director gives in rehearsal
the process of adapting to the space and the other actors in it.
The approach to the content is non-denominational, but the material may awaken
students to the spiritual value of theatre as well as its emotional and intellectual
aspects.
2) The second Project (usually five weeks long) is normally based on a modern play where
the application of process and research still applies, whether or not the play appears
more accessible' at first glance. The same principles are applied and reinforced.
3) The third Project (usually ten weeks long) is normally based on a Russian naturalistic
play by Anton Chekhov or one of his contemporaries, such as Ivan Turgenev or Maxim
Gorki, offering the opportunity to work on developing an understanding of subtext
and of how thought motivates language and movement. The teachings of Konstantin
Stanislavski are a major reference point.
9.
Aims of the Module

Develop response to a range of theatrical repertoire and directorial approaches.
Encourage application and integration of knowledge, understanding and skills
acquired in voice, movement, acting and acting research.
Promote each student's work within a collaborative framework.
Encourage students to begin to take responsibility in preparing and rehearsing a role.
Encourage self-reflection.
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10.
Learning Outcomes
Students begin working towards the following outcomes, applying the knowledge,
understanding and skills acquired in Acting Studies 1, Voice and Speech Studies 1 and
Movement Studies 1:
A5 Theatrical repertoire in its social and historical background, including both an
overview of Western theatre and in depth knowledge of specific areas

C Subject Specific/Professional Skills

involved.
D Cognitive and intellectual skills

E Transferable Skills
tasks.
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11.
Module Pattern
Tutor
Contact Hours
Project 1
Project 2
Project 3
Oral notes/tutorials
Staff or visiting director
55
55
110
10
Weighting %
within module
Pass Mark
Notional Hours
Project 1*
Project 2*
Project 3
Overall achievement
22%
22%
44%
12%
40%
aggregated
Continuous
assessment
*Students must achieve an aggregate mark of 35% or more (based on a 50%/50% weighting for
Project 1 and 2) in order to progress to Project 3. After Project 1, a student whose marks are a
cause for concern will be informed and given guidance about how best to address their
situation. After Project 2, marks that fall below this threshold will be confirmed by a midyear
Assessment Board who, where appropriate, will set the terms of a resit. A fail at resit will result
in recommendation to the School Assessment Board that the student be made Fail/Withdraw at
the midyear point.
Notional Hours
Research, preparation, field visits, private study and rehearsal, self-reflection
70
12.
300

Prescribed playtexts; background studies; field visits, visiting speakers as appropriate.
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1.
Module Title
Acting Research
2.
Module Code
GDACT1005
3.
HE Level
4.
15
5.
Guildhall School
6.

taught)
Taught
7.
Module Tutor
Eliot Shrimpton
8.
Indicative Content
The module covers study of selected plays representative of major periods of Western
theatre, from Ancient Greek to modern, in their cultural context, through reading
assignments, research and reports, practical exercises, lectures and seminars. Short pieces
of written work include self-reflection and character study.
9.
Aims of the Module

Place theatre and drama in a broad historical context.
Introduce and encourage exploration of a wide range of dramatic genres.
Develop critical awareness of the challenges and opportunities presented to actors.
Introduce and develop methods of researching background and making a presentation.
10.
Learning Outcomes
Students begin working towards the following outcomes:
B Values and attitudes

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involved.
tasks.
processing skills.
11.
Module Pattern
Tutor
Contact Hours
Acting Research class

Tutorials
Eliot Shrimpton
90
3
Weighting %
within module
Pass Mark
Notional Hours
Class work
Acting Research Portfolio
70%
30%
40%
aggregated
Continuous
Notional Hours
Preparation, private study and research, written assignments
57
150
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12. Reading and Resources

Prescribed plays and readings selected from the following:
Title
Author
The Oresteia
Aeschylus/Ted Hughes
Everyman and Medieval
Ed A C Cawley
Miracle Plays
English Moral Interludes
Ed Glynne Wickham
Dr Faustus
Christopher Marlowe
Selection of Shakespeare plays in various editions
The Alchemist
Ben Jonson
Restoration & 18th Century
Ed Scott McMillen
Comedy
Peer Gynt
Henrik Ibsen/Frank
McGuiness
Ibsen Plays 1 and Plays 2`
Trans Michael Meyer
Strindberg Plays 1
Trans Michael Meyer
The Seagull
Anton Chekhov
Spring Awakening
Frank Wedekind/Ted
Hughes
Major Barbara
Bernard Shaw
The Playboy of the Western John
Millington
World
Synge
Six Characters in Search of an Luigi Pirandello/
Author
Stephen Mulrine
Changing Stages: A View of Richard
Eyre
and
British Theatre in the 20th Nicholas Wright
Century
Selection of 20th and 21st century playtexts
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Publisher
Year
Faber and Faber

Everyman J M Dent
1999
1974
onwards
1976
2003
Everyman J M Dent
Methuen Drama
Methuen Drama
W Norton & Co
Faber and Faber
2004
1973
onwards
1990
Methuen Drama
Methuen Drama
Range of translations
Faber and Faber
1980
1976
Penguin Classics
Nick Hern Books
2005
1997
Nick Hern Books
2003
BBC Videos and

Bloomsbury
2000
1995
Year 2
1.
Module Title
Acting Studies 2
2.
Module Code
GDACT2001
3.
HE Level
4.
25
5.
Guildhall School
6.

taught)
Taught; projects
7.
Module Tutors
David Bannerman, Martin Connor, Peter

Cregeen, Jane Morgan, Kenneth Rea
8.
Indicative Content
Improvisation work draws on practitioners such as Keith Johnstone, on approaches to
physical and experimental theatre, including circus, developing towards heightened
imagination and individuality. An introduction to Ki awareness is included as an approach
to the playing of tragedy. Acting Technique prepares students for some of the acting
challenges of performing to an audience in a fully-staged production. It includes the
specific requirements of various lit stages, backstage areas and auditoria, such as playing
within a proscenium arch, playing comedy. Radio work includes classes and a radio project,
often including outside locations. In television, students work on a short project using
more demanding material. Students also begin work on preparing for auditions.
9.
Aims of the Module

10.
Extend craft training in acting techniques, including radio and television, to bring
students towards a professional standard.
Address further fundamental questions of acting and increase actors' range and means
of expression, placing Western methodology in the context of global traditions.
Strengthen the connection between voice, movement and acting.
Develop further awareness of individual and group identity and responsibility, and
additionally develop awareness of actor/audience relationship.
Learning Outcomes
Students reinforce their work towards achieving the following outcomes, extending their
range and approaching a professional standard:
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involved.

11.
Module Pattern
Tutor
Contact Hours
Acting Technique
Improvisation
Radio
Television
Audition preparation
Martin Connor
Kenneth Rea
David Bannerman, Jane Morgan
Peter Cregeen
Martin Connor
15
50
35
20
10
Weighting %
within module
Pass Mark
Notional Hours
Acting Technique
Improvisation
Radio
Television
20%
40%
20%
20%
40%
aggregated
Continuous
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Notional Hours
Preparation, private rehearsals, private study
120
12.
250

Students are encouraged to select from the following:
Title
Author
Publisher
Year
Different Every Night

About Acting
To the Actor
Acting is Believing 10th ed
Mike Alfreds
Peter Barkworth
Michael Chekhov
Larry Clark, Charles
McGaw
Declan Donnellan
Uta Hagen
Terry Johnson
Nick Hern Books

Methuen Drama
Routledge
Wadsworth Pub
2007
1991
2002
2008
Nick Hern Books

John Wiley & Sons
Nick Hern Books
2005
2008
2004
Keith Johnstone
Robert Lewis
David Mamet
Dennis Longwell
Constantin Stanislavski
Constantin Stanislavski
Methuen Drama
Samuel French Inc
Faber and Faber
Vintage
Methuen Drama
Methuen Drama
2007
1958
1998
1987
2008
2008
The Actor and the Target

Respect for Acting
Actions: The Actors
Thesaurus
Impro
Method or Madness
True and False
Sanford Meisner on Acting
An Actor Prepares
Building a Character
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1.
Module Title
2.
Module Code
GDACT2002
3.
HE Level
4.
25
5.
Guildhall School
6.

taught)
Taught
7.
Module Tutors
Kate Godfrey, Charmian Hoare, George Hall,

James Michalos, Annemette Verspeak
8.
Indicative Content
Voice work developing towards students becoming self-sufficient in warming up their
voices safely and effectively. Speech work exploring codes of language, circles of
concentration, methods of working in accents and dialects, continued work on Received
Pronunciation. Intensive work on Shakespearean text, beginning with sonnets and
continuing into monologues and scenes. Individual and ensemble singing lessons,
extending vocal and expressive range.
9.
Aims of the Module

Extend the flexibility, strength and expressiveness of the voice, so as to adapt to a
range of texts and of spaces.
10.
Strengthen the integration of voice, movement and acting.
Develop expressive skills in heightened texts such as Shakespeare.
Extend awareness of speech in its cultural context.
Learning Outcomes

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involved.
11.
Module Pattern
Tutor
Contact Hours
Voice and Speech
Kate Godfrey, Patsy Rodenburg, Annemette

Verspeak
Patsy Rodenburg
Charmian Hoare
James Michalos, George Hall
65
Shakespeare
Dialects
Singing
40
25
30
Weighting %
within module
Pass Mark
Notional Hours
Voice and Speech

Shakespeare
Dialects
Singing
40%
30%
15%
15%
40%
aggregated
Continuous
Notional Hours
Preparation and private practice
85
250
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12.
Students are encouraged to select from the following:
Title
Author
Publisher
Year
Sonnets, speeches and scenes

William Shakespeare
Various
Dialect tapes, selected song repertoire, observation exercises
Shakespeares Words: A
David and Ben Crystal Penguin
Glossary and Language
Companion
Shakespeare Glossary
C T Onions
OUP
The Right to Speak
Patsy Rodenburg
Methuen Drama
The Need for Words
Methuen Drama
The Actor Speaks
Methuen Drama
Speaking Shakespeare
Palgrave Macmillan
Presence
Penguin
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2004
1992
1994
1998
2004
2007
1.
Module Title
Movement Studies 2
2.
Module Code
GDACT
3.
HE Level
4.
25
5.
Guildhall School
6.

taught)
Taught
7.
Module Tutors
Wendy Allnutt, Edwina Cox, Danny McGrath,

Jonathan Waller, Amy Wellbourn
8.
Indicative Content
The content extends the principles and methods of Movement Studies taught in Year 1.
Pure Movement develops students' ability to warm up their own bodies safely and
effectively, increases their strength, stamina and flexibility and extends their physical
expressive vocabulary. Historical Dance and Stage Combat continue, developing more
complex technical and applied movement skills and partner work.
Acrobatics is
introduced, extending physical accuracy, strength, safe falling and partner co-ordination.
Maskwork is introduced, using both neutral and character masks as tools for exploration
of physicality and transformation on stage. Show Dance is introduced to increase
flexibility, agility, sense of rhythm and movement repertoire.
9.
10.
Aims of the Module

Extend the flexibility, strength and expressiveness of the body, so as to transform

physically.
Strengthen the integration of voice, movement and acting.
Develop ways of physicalising a range of characters and dramatic situations, through

stillness, movement and transformation.
Extend awareness of the social and psychological context of movement and posture.
Sustain an environment of trust.
Learning Outcomes
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involved.

11. Module Pattern

Tutor
Contact Hours
Pure Movement
Mask Work
Historical Dance
Stage Combat
Acrobatics
Show Dance

Wendy Allnutt
Sue Lefton
Jonathan Waller
Amy Wellbourn
Edwina Cox
40
35
25
35
35
30
Weighting %
within module
Pass Mark
Notional Hours
Pure Movement
Mask Work
Historical Dance
Stage Combat
Acrobatics
Show Dance
30%
15%
15%
15%
15%
10%
40%
aggregated
5
Continuous
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Notional Hours
Preparation and private practice
45
250
12. Reading and Resources

For students who wish to underpin their training by reading books on movement for actors.
Title
Author
Publisher
Year
The Potent Self

The Moving Body
The Body Speaks
Laban for All
The Actor and his Body
Moshe Feldenkreis
Jacques Lecoq
Lorna Marshall
Jean Newlove
Litz Pisk
North Atlantic US
Methuen Drama
Methuen Drama
Routledge
Harrap
2003
2000
2001
2004
1995
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1.
Module Title
2.
Module Code
GDACT2004
3.
HE Level
4.
85
5.
Guildhall School
6.

taught)
Rehearsal
7.
Module Tutors
Staff and visiting directors, voice and

movement tutors, visiting choreographers and
music directors.
8.
Indicative Content
This module extends the work done in Rehearsal Projects 1 in terms of content and
development. Each project culminates in one or two showings to tutors and students in
the Drama Department, with outside guests invited on occasion. While still offered as
work-in-progress, these showings require students to address the actor/audience
relationship and to put into practice lessons learnt in the first showing into the second.
The content and order of projects undertaken varies to suit the needs of each year group.
Typically, there are six projects, two in each term, offering the following acting challenges:
1)
A 20th/21st century play-text or a devised project of substantial socio-political content,

requiring students to extend their dramatic awareness and expressiveness beyond the
personal and domestic situation of the characters to a wider social sphere eg plays by Caryl
Churchill, David Edgar, David Hare, Harold Pinter.
2)
A heightened comedy, from the period 1660 to 1730, requiring students to explore
complex, heightened language, elaborate manners and direct relationship with the
audience, while connecting with the truth of character and situation.
3)
A Greek tragedy, requiring students to extend their vocal and emotional range.
4)
A musical, exploring the emotional need that moves a character into song and dance,
requiring a high level of vocal and physical energy and technical accuracy, while
connecting with the truth of character and situation.
5)
A project designed to address the particular needs of a year group, offering new
challenges in terms of dramatic language eg Shaw, Wilde, Ayckbourn, Coward, Pinter,
Orton.
6)
A Shakespeare play, requiring emotional, vocal and physical energy and power, and a
mature understanding of text, dramatic situation and human dilemma.
9.
Aims of the Module

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Develop response to a varied and demanding theatrical repertoire.

Extend awareness of directorial approaches.
10.
Encourage application and integration of further knowledge, understanding and skills

in voice, movement and acting.
Promote each student's continuing developing of acting within a collaborative
framework which includes the audience.
Encourage self-reflection on the acting process.
Encourage students to take responsibility for preparing and rehearsing a role.
Learning Outcomes
A4 Range of movement techniques, both pure and character-based.
A5 Theatrical repertoire in its social and historical background, including both an overview
of Western theatre and in depth knowledge of specific areas


involved.

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tasks.
11.
Module Pattern
a)
Teaching
Component
Tutor
Contact Hours
Project 1
Project 2
Project 3
Project 4
Project 5
Project 6
Oral notes/tutorials
Director, voice tutor, movement tutor

Director, musical director, choreographer
Director and tutors
80
80
80
80
80
80
35
Weighting %
within module
Pass Mark
Notional Hours
Project 1*
Project 2*
Project 3*
Project 4
Project 5
Project 6
Acting Research Portfolio
Overall achievement
14%
14%
14%
14%
14%
14%
8%
8%
40%
aggregated
35
(showings)
*Students must achieve an aggregate mark of 35% or more (based on 33.33%/33.33%/33.34%

weighting for Project 1, 2 and 3) in order to progress to Project 4. After Project 2, a student
whose marks are a cause for concern will be informed and given guidance about
how best to address this situation. After Project 3, marks that fall below this threshold will
result in a recommendation to the School Assessment Board that the student be made
Fail/Withdraw at the midyear point.
Notional Hours
Preparation, research, private rehearsal, self-reflection
300
12.
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850

Prescribed texts. Appropriate background research, including DVDs, Internet, field work,
visiting speakers.
Year 3
1.
Module Title
Productions
2.
Module Code
GDACT3006
3.
HE Level
4.
145
5.
Guildhall School
6.

taught)
Rehearsal and performance
7.
Module Tutors
Co-ordinator: Christian Burgess .

Staff and visiting directors, voice and
movement tutors; technical theatre staff;
music directors, fight directors,
choreographers, make-up consultant, hair and
wig consultant etc as required.
8.
Indicative Content
This module offers a balance between training and showcasing. Each student is cast in
roles of varying size, scope, character and genre in five productions. Each production is
professionally directed and designed, rehearsed for four to five weeks and given six or
more performances, with full support from the Technical Theatre Department and support
from the Music Department if appropriate. Agents, casting directors and other potential
employers are invited to each production, which are also attended by the general public.
The plays are selected and cast by the Director of Drama and the Director of Acting, in
consultation with Heads of Voice, Movement and Drama Studies. They also appoint the
directors. The designers are appointed in collaboration with the Director and Deputy
Director of Technical Theatre. Normally there are eight public productions in the School's
Silk Street Theatre, at the Bridewell Theatre or at other venues, such as The Pit at the
Barbican. Typically, four productions include all or most of the final year company and
four are rehearsed and performed back-to-back with another production.
The repertoire varies to suit the needs of the individuals within each year group, offering
as many challenging opportunities as possible to as many of the year as possible. It
normally includes Shakespeare and/or his contemporaries and a musical production,
together with a range of both modern and period plays.
When casting, the Director of Acting and the Director of Drama take into account
students' level of achievement by the end of the second year and also consider their
progress during the year. Students are mainly cast to their strengths in a range of roles
which will best serve their current capabilities; they are given opportunities during the
year to develop their range and skills and their ability to sustain, and to exceed their
former grasp. Where a student's progress justifies it in the view of senior staff, they are
cast in a role central to the development of the play, but a student will not be cast in a
protagonist role that staff do no believe he/she is ready to play and where there might be
a risk to the viability of the production as a whole or to the progress of other students.
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9.
Aims of the Module

10.
Provide students with a variety of opportunities to develop their craft to professional

level and perform to the public.
Extend knowledge of repertoire and awareness of directorial approaches.
Showcase students' work to prospective employers and agents.
Set a standard of excellence in ensemble theatre.
Encourage students to take responsibility for their artistic and professional
development.
Learning Outcomes
Students are expected to achieve a professional standard in the following outcomes:
involved.
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tasks.
11.
Module Pattern
a) Rehearsal &performance
Contact
and
Notional Hours
c) Additional student input
Production 1
Director and other staff
300
Production 2
300
Production 3
300
Production 4
300
Production 5
250
The balance between Contact Hours and Additional Student Input depends on the directorial
approach and the rehearsal schedule for each production; the number of hours per
production may also vary according the role undertaken by each student. Other scheduled
hours include coaching, wardrobe calls, hair and make-up calls.
1450
Weighting %
within module
Qualifying
mark
Pass Mark
Notional
Hours
Production 1
Production 2
Production 3
Production 4
Production 5
Production 6
25%
25%
25%
25%
N/A
N/A
35%
40%
aggregate.
Continuous
Pass/Fail*
Pass/Fail*
Credit for the module depends on participation in six productions. Students' work in each production is
marked; the lowest production mark does not contribute to the assessment. Students who opt for
Independent Study (Dissertation or Solo Performance) will normally be required to opt out of a block
period of a minimum of four weeks of the Productions Module and may be excused participation in one
production. Non-participation in a production without prior approval will be investigated under the
School's Course participation policy and procedure and may result in the student being classed as selfwithdrawn.
*Students must achieve a pass in these components in order to pass the module.
12.

Required play texts. Background research as required by director or other staff.
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1.
Module Title
Voice and Movement
2.
Module Code
GDACT3009
3.
HE Level
4.
5.
Guildhall School
6.

taught)
7.
Module Tutors
Taught plus coaching

Kate Godfrey, Danny McGrath, Annemette
Verspeak and other tutors
8.
Indicative Content
Regular classes in Voice, Speech and Movement, introducing some new techniques,
especially those appropriate to the repertoire for Productions, and reinforcing practices
developed at Levels 4 and 5. Singing coaching is included, to extend repertoire. Voice and
movement coaching is also included in Production work.
9.
Aims of the Module

10.
Consolidate a practical craft training that will be a lifelong foundation for a career in
professional acting.
Encourage students to take responsibility for reaching their highest level of creative
engagement.
Learning Outcomes
Students are expected to achieve a professional standard in the following outcomes:


involved.
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11.
Module Pattern
Tutor
Contact Hours
Voice and speech

Singing coaching
Kate Godfrey, Annemette Verspeak

Helen Ireland, Barbara Gellhorn, Marcus
Savage
Danny McGrath
20
5
Movement
25
Weighting %
within module
Pass Mark
Notional Hours
Voice and speech (including application of

vocal skills in Productions)
Movement (including application of
movement skills in Production)
50%
40%
aggregated
Continuous
50%
Notional Hours
Included in private practice for Productions

12.
50

Song repertoire.
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1.
Module Title
Independent Study
2.
Module Code
GDACT3011
3.
HE Level
4.
15
5.
Guildhall School
6.

taught)
Independent study with tutorial support
7.
Module Tutors
Tutors in Drama Department
8.
Indicative Content
Towards the end of the second year, students select an option as detailed below:
Option 1: Dissertation
Students select an area of study in consultation with the Head of Academic Studies
(Drama), and undertake independent research. The topic is selected on the basis of the
student's personal line of inquiry and of its general relevance to theatre, drama or acting.
Topics have included: study of the work of a specific theatre company, theatre or film
director, actor or dramatic genre; study of a particular method of vocal, physical or acting
technique; the semiotics of theatre; aspects of the acting profession; application of
theatre, drama and acting to other fields of life; application of other fields of study to
theatre, drama and acting. They are expected to relate the topic to their own
development. Between October and May each student normally has one block period of a
minimum of four weeks when they are not working on the Productions module. During
this block students then submit a progress report, outlining the topic and their approach,
and indicating the sources used. This is discussed in a tutorial. Further tutorials refine the
student's approach to the topic (which is expected to include an element of selfreflection), and the structure of their dissertation. They submit a first draft, which is
discussed in a tutorial. At the end of the block, they submit a final draft of 6000 7500
words, plus a list of bibliographical and other sources.
Option 2: Acting Research Portfolio

Towards the end of the second year, students attend a tutorial outlining the requirements
in creating a portfolio in the forthcoming year. Between September and May of Year 3
each student undertakes appropriate research for each production and character in which
they have been cast (i.e. each component of the Productions Module). This may involve
interviews, further reading or extended exploration and application of approaches to
performance explored in the programme in order to prepare for the world of the play and
their character. Whilst compiling their research, students also write self-reflectively about
their journey in preparation. Each component of the Portfolio may contain images, selfreflective journal and other research materials (including DVD's and website references)
plus a list of bibliographical and other sources. During the summer term, students submit a
complete Portfolio (6000 7500 words).
Option 3: Solo Performance
Students select, in consultation with the Head of Academic Studies (Drama), an area of
performance explored in the programme to extend into a devised solo piece. On the basis
of the consultation, the Head of Academic Studies (Drama) assigns a tutor from the Drama
Department. At the beginning of Term 1 of Year 3, students submit preliminary work on
the devised piece to the tutor. Between October and May each student normally has one
block period of a minimum of four weeks when they are not working on the Productions
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module. During this block they develop and rehearse the piece. Tutorials may take the
form of discussion and/or the tutor attending a rehearsal and discussing the work-inprogress. At the end of the block, they perform a solo piece of devised theatre lasting
between 10 and 15 minutes. One week after the performance they submit a complete
script and Acting Research Journal.
9.
Aims of the Module

Develop a spirit of independent inquiry.
Encourage further exploration of the art and language of acting.
Extend knowledge and understanding of historical or contemporary theatre and
drama.
Encourage research, appropriate to the field of acting.
10.
Learning Outcomes
Students are expected to demonstrate independent achievement in:
involved.
55/62
tasks.
processing skills.
11.
Module Pattern
Tutor
Contact Hours
Tutorials
Tutors in Drama Department

3
Weighting %
Pass Mark
Notional Hours
within module
Option 1: Dissertation
100%
40%
Option 2: Acting Research Portfolio
100%
40%
Option 3:
Rehearsals Process
25%
40%
Solo Performance: (tutor)
aggregate
Script
25%
Final Presentation
50%
1
Acting Research
0%
Pass/Fail*
Journal
*Students must achieve a pass in this component in order to pass the module.
A pass is achieved through satisfactory participation.
Dissertation and Research Portfolio: Research and writing, OR
Solo Performance: Devising, rehearsing, writing up.
12.
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Notional Hours
147
146
150

As appropriate to Independent Study.
1.
Module Title
Career Preparation
2.
Module Code
GDACT3010
3.
HE Level
4.
5.
Guildhall School
6.

taught)
7.
Module Tutors
8.
Talks, workshops, showcases, projects, tutorials

Christian Burgess; visiting speakers, workshop
leaders, tutors and directors
Indicative Content
Students rehearse and perform monologues and duologues in audition showcases, usually
one classical and one modern, presented to agents and prospective employers. Visiting
professional tutors advise. Students audition for the Carleton Hobbs Radio Competition,
may opt to enter the Michael Bryant Shakespeare Competition and may be invited to
participate in other outside events such as the Sam Wanamaker Festival at Shakespeare's
Globe.
There are talks preparing students for the professional life of an actor. Topics include:
membership of British Actors' Equity; the role of agents and casting directors; Spotlight
casting directory; National Insurance, Social Security and income tax for freelance actors;
setting up a professional company; starting out without an agent; photographs and C/Vs.
Workshops include an intensive television project by a professional director; interview
techniques and self-presentation; voice-overs and other commercial work.
9.
Aims of the Module

This module aims to educate students to meet the varied demands of the acting
profession.
10.
Learning Outcomes
Students should reach a professional standard in the following outcomes:

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involved.
processing skills.
11. Module Pattern

Tutor
Contact Hours
Audition showcases
Workshops and projects
Talks
Tutorials
Staff directors, visiting tutors

Visiting tutors and directors
Visiting speakers
Visiting tutors
25
30
15
10
Weighting %
within module
Pass Mark
Notional Hours
PARTICIPATION
Notional Hours
Preparation and private rehearsal
20
12.
100

Appropriate audition material. Scripts as required.
Title
Author
Entering the Third Year

Starting Out
An Actors Guide to Getting
Work 4th Ed
Audition
Contacts 2009: Stage,
Television, Film and Radio
Booklets prepared by Drama Department, revised annually
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Publisher
Year
Simon Dunmore
A & C Black
2004
Michael Shurtleff
Kate Poynton
Bantam
The Spotlight
1998
2009
Part 3: Detailed Assessment Criteria

1.1
Assessment of module components

Assessors award marks according to the criteria descriptors given below. Assessors award
one mark bearing in mind the criteria and benchmarks as detailed below. Marks are
expressed as a percentage with assessors awarding a mark out of a hundred.
1.2
Assessment criteria and percentage benchmarks (see over page)
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Undergraduate assessment criteria (Levels 4, 5 and 6)

%
Technique and knowledge
Performance and/or creative output
Communication and artistic values
Professional protocols
- Command of vocal and physical skills,

and acting and stagecraft techniques
- Accuracy of skills
- Breadth, depth and appropriateness
of understanding and reference points
- Imagination and insight to connect with and

reveal a dramatic situation
- Integration of believability and technique in
order to reduce the distance between actor
and audience
- Level of truth and expressiveness in acting
comparable with that of a professional actor
playing a role in a first-class company
- Commitment to artistic exploration through

technical, intellectual, creative and
emotional processes that progress the work
of the ensemble and the individual
- Resilience and courage to take risks,
improvise and problem solve
- Self-motivation and inventiveness in
preparing and rehearsing a role
- Openness and empathy in working with
others
- Contribution to the ensemble
- Maturity of self-discipline including:

preparation, readiness, time-management,
punctuality, attendance, engagement and
personal organisation skills in comparison
with that of a professional actor
- Health, well-being and safety of self and
group
- Attention to communication styles including
performance and rehearsal etiquette, and
academic conventions
85+
An exceptionally compelling level
70-85
An excellent level
An excellent level
An excellent level
An excellent level
60-69
A good level
A good level
A good level
A good level
50-59
A satisfactory level
40-49
Most aspects at a satisfactory level
( showing some grasp of integrating

physical/vocal/acting techniques with
inner life, appropriate to the world of the
play or exercise.)
( showing some ability to reveal oneself to an

audience whilst transforming within a dramatic
situation.)
( showing some ability to open oneself

generously to the ensemble/creative task in
order to make an enabling and creative
workplace.)
( demonstrating understanding and

commitment to professional codes of conduct
and standards.)
A generally unreliable level
( showing little grasp of integrating

physical/vocal/acting techniques with
inner life, appropriate to the world of the
play or exercise.)
( showing little ability to reveal oneself to an

audience whilst transforming within a dramatic
situation.)
( showing little ability to open oneself

generously to the ensemble/creative task in
order to make an enabling and creative
workplace.)
( demonstrating little understanding and

commitment to professional codes of conduct
and standards.)
An unsatisfactory level
30-39
0-29
Classwork, rehearsals, presentations, showings and performances are assessed using all the above criteria. Written work is assessed using the criteria in
grey only.
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2.
Assessment in Years 1 and 2
2.1
Assessment of Acting Studies 1 & 2, Voice & Speech Studies 1 & 2 and Movement Studies 1
&2
Assessment marks are given in each component of each module at the midyear and
endofyear points, or at the end of a block of teaching. These marks record the
continuous assessment of that period of study. Each component is marked by the tutor.
The final mark for the module is calculated according to the weighting for each
component within the module. To pass the module, students must achieve at least 40% in
aggregate and obtain a pass in all Pass/Fail components.
2.2
Assessment of Rehearsal Projects 1 and 2

Assessment marks are given at the end of each project. Each project is marked by the
Director taking into account rehearsals and showings. Each project is also marked by staff
tutors taking into account showings. The total mark for each project is composed of
Directors' marks (50%) and staff tutors' marks (50%). Staff tutors' marks are composed of
Acting skills (40%), Vocal skills (30%) and Movement skills (30%).
2.2.1 Rehearsal Projects 1

To progress to Project 3, students must achieve 35% overall in Project 1 and 2 based on a
50%/50% weighting. The final mark for the module is calculated according to the
weighting for each component within the module. There is an additional mark at the
endof year point for overall achievement which is awarded by the Director of Acting. To
pass the module, students must achieve at least 40% in aggregate and obtain a pass in all
Pass/Fail components.
2.2.2 Rehearsal Projects 2
To progress to Project 4, students must achieve 35% overall in Project 1, 2 and 3 based on
a 33.33%/33.33%/33.34% weighting. The final mark for the module is calculated
according to the weighting for each component within the module. There are additional
marks usually at the midyear point for the Acting Research Portfolio which is awarded by
the Head of Academic Studies (Drama), and at the endofyear point for overall
achievement which is awarded by the Director of Acting. To pass the module, students
must achieve at least 40% in aggregate and obtain a pass in all Pass/Fail components.
2.3
Assessment of Acting Research

Assessment marks are given for classwork are given at the midyear and endofyear
points. This is marked by the tutor. These marks record the continuous assessment of that
period of study.
The Acting Research Portfolio is marked by the tutor usually at the end of the spring term.
3.
Assessment in Year 3
3.1
Assessment of Voice and Movement

Assessment marks are given in each component at the endofyear point. Each component
is marked by a tutor and is composed of a mark for classwork (50%); and a mark for
application of skills in Productions (50%). The final mark for the module is calculated
according to the weighting for each component within the module. To pass the module,
students must achieve at least 40% in aggregate and obtain a pass in all Pass/Fail
components.
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3.2
Assessment of Productions
Assessment marks are given at the end of each production. Each production is marked by
the Director who awards a mark assessing against a standard appropriate to entry to the
profession taking into account rehearsals and performances. Each production is also
marked by staff tutors (internal examiners) each of who award a mark assessing the
actor's work in performance. The total mark for each production is composed of Directors'
marks (36%) and two internal examiners' marks (32% and 32%). If a student has been
granted Leave of Absence to undertake professional work in place of a Production, a viva
replaces the director's mark. To pass the module, a student must achieve a qualifying mark
for each production by obtaining at least 35% in each production, and at least 40%
aggregated over the top four production marks. The final mark for the module is
calculated on the four highest production marks, with each mark being equally weighted
at 25%. Nonparticipation in a production without prior approval will be investigated
under the School's Course participation policy and procedure and may result in the
student being classed as self-withdrawn. Nonparticipation is considered to be full and
complete attendance and engagement in the rehearsal and performance schedule.
3.3
Assessment of Independent Study

3.3.1 Solo Performance

Assessment marks are given at the end of the period of study/block out. The Rehearsal
Process is assessed by the tutor. The Script is assessed by the Head of Academic Studies
(Drama) and moderated by the External Examiner. The Final Presentation is assessed by
two tutors (Internal Examiners). The Acting Research Journal is assessed by the Head of
Academic Studies (Drama) and moderated by the External Examiner.
3.3.2 Dissertation
Assessment marks are given at the end of the period of study/block out. The final
submission is assessed by two internal examiners and moderated by the External Examiner.
3.3.3 Acting Research Portfolio
Assessment marks are given at the end of Production 5. The final submission is assessed by
two internal examiners and moderated by the External Examiner.
3.4.
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Assessment of Career Preparation

Assessment is awarded as Pass/Fail based on satisfactory participation and is awarded at
the endofyear point.

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BA in Acting

Programme and module

BA (Hons) in Acting programme information

BA Acting Gold Copy 2013/14

Programme information for BA (Hons) in Acting

Guildhall School of Music & Drama

Drama UK (previously National Council for Drama

Dance, Drama and Performance

Start of proposed new

Admissions & APEL

BA Acting Gold Copy 2013/14

The Drama Department encourages applicants from disadvantaged and non-conventional

Overseas candidates must be completely fluent in English and have

BA Acting Gold Copy 2013/14

Teaching, Learning & Assessment Strategies

At the beginning of the programme, the emphasis is on class-work, providing students

BA Acting Gold Copy 2013/14

BA Acting Gold Copy 2013/14

A: Technique and knowledge

BA Acting Gold Copy 2013/14

B: Communication and artistic values

C Skills Performance and/or creative output

C3 Truth, expressiveness and passion in acting.

BA Acting Gold Copy 2013/14

E4 Demonstrate effective communication skills in spoken and body language in a wide

Overview of Programme Structure

11.1 Summary of the programme structure

4800 overall student learning hours

11.5 Programme structure

BA Acting Gold Copy 2013/14

11.6 Core modules

11.7 Elective modules

Independent Study (Solo Performance)

11.8 List of outcomes developed in each Year

BA Acting Gold Copy 2013/14

11.9 Outline of programme

BA Acting Gold Copy 2013/14

12.1 Requirements for progression, referral and re-sit procedures

A specific assessment activity should be undertaken.

A student may re-sit a module or part of a module only once.

BA Acting Gold Copy 2013/14

Pass and Award Regulations: BA (Hons) in Acting

The classification of the Degree Award shall normally be:

BA Acting Gold Copy 2013/14

BA Acting Gold Copy 2013/14

BA Acting Gold Copy 2013/14

12.8 Assessment Boards

Appeals Procedure (City University's regulations) & OIA

REGULATION 20b STUDENT APPEALS TAUGHT PROGRAMMES AT VALIDATED INSTITUTIONS1

BA Acting Gold Copy 2013/14

meet the definition of extenuating circumstances as set out in the Assessment

The possible outcomes of initial scrutiny are:

Extenuating Circumstances form submitted for consideration by the Extenuating

BA Acting Gold Copy 2013/14

3. Validated Institution Appeal Panel

d) The possible outcomes of the hearing are:

rejected as the grounds for appeal have not been demonstrated.

B. Stage 2 University-level review

BA Acting Gold Copy 2013/14

a) The student will be sent a receipt of their review request.

e) The possible outcomes of the University appeal are:

rejected as the grounds for appeal have not been demonstrated.

BA Acting Gold Copy 2013/14