Module Guide

2020/21

Performance Skills 2
BA (Hons) Dance & Commercial Dance

Institute of the Arts Barcelona

 The Module Guide is the key document in detailing for you the information relating to the teaching, learning and
assessment that will take place. The Module Guide describes what you will be doing and how you will be
assessed.
All communication with teaching staff on the Module must be done through your Liverpool John Moores
University (LJMU) email address.
It is YOUR responsibility to attend all classes associated with the Module and to undertake the assessment
and/or submit your work as described.
LJMU credit for the Module can only be released if you pass the assessments as detailed within the Module
Guide.

Module Information

Module Code 55641IAB

Module Academic Level Level 5

Module Credit Weighting 20

Module Leader Elena Cester

Module Indicative Content

The Module will be divided into two parts.

1. Acting
The acting techniques element builds on from the student’s studies at Level 4. Through actor
games and workshop exercises the students will be further supported in recognising their own
personal, creative approach to acting, communication and spoken performance. The module will
principally involve the students in scene studies. Through this they will undertake the exploration
and interrogation of a variety of texts from a variety of contexts and approaches. Students will be
asked to explore the dramatic nature of the pieces, and with support from staff, develop strategies
through which they can be realised and performed.

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 2. Singing and Music

In singing students will explore a range of technical vocal skills required for singing. Studies will
include an exploration of: Vocal Health, Breathing, Range, Pitch, Rhythm, Resonance, Projection,
Articulation, Harmony and Musicality.

Building on from the students' studies at level 4 they will be invited to work on more complex songs
requiring great technical skill and creative interpretation. In addition to this, students will be asked
to perform duets which require harmony and enhanced musicality. Through this the student will
be given access to a great understanding of music theory.

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Module Aims and Learning Outcomes

Module Aims

To further develop dancers secondary / supporting performance skills in acting and singing. More
specifically the module aims to:

·Support the students in the development of a sustainable and effective approach to acting
performance and to consolidate their own personal approach to acting.

·Support the student in the development of the skills of working with a range of differing
performance texts

·Support the students in the development of their singing voice and provide them with the skills
and ability to perform songs which require complexity and heighten musicality

Module Learning Outcomes

After completing the module, the student should be able to:

1 Demonstrate a sustainable and effective analytical approach to acting performance and a

described and explained consolidation of their own personal approach to acting.

2 Demonstrate the skills and ability to apply technique creatively and effectively with a range of
differing performance texts.

3 Demonstrate the skills and ability to perform songs which require complexity, harmony and
heighten musicality.

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Teaching Staff

Module Teaching Staff

• Jonathan Floyd Location: Acting Office Email: j.floyd@ljmu.ac.uk
• Bill Carney Location: Dance Office Email: b.carney@iabarcelona.es

Module Teaching and Learning Strategy

The Module will include technical and creative performance skills, with an expectation that
students will incorporate training from Level 4. The aim is to enhance the students’ practical,
personal and professional potential as well-rounded performers, skilled with acting, text,
communication skills and singing.

The style of delivery will vary and may include

• Workshops and classes both in whole group and sub-groups

• Independent and guided exercises

• In class/ institutional performances/ sharing

The continuing job of learning to find out who you really are, of learning
to pinpoint your responses—and even more important, the myriad,
consequent behaviourisms which result— will help you begin to fill your
warehouse with sources upon which to draw for the construction of a
character (the new you selected for your character on stage.

– Uta Hagen, Respect For Acting,

2008

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Syllabus

WEEK DATES TEACHING AND LEARNING ACTIVITY

NUMBER
Acting Signing
0 14h Sept Induction Week
Recap of Stanislavski The initial sessions will review the
1 21st Sept
basics, presented in Level 4, of the
Exploration Of Stanislavski
2 28th Sept three-part vocal mechanism: motor,
Technique through games and
vibrator, and resonator. The
exercises
students will be introduced to
exercises that 1) develop the
Relaxation
muscle groups that provide breath
support and breath management; 2)
Creative state
develop a coordinated, clear onset
Exploration Of Stanislavski
3 5th Oct that is neither breathy or glottal;
Technique through games and
and, 3) enhance the resonance,
exercises
color, and vibrancy of the voice. As
the students continue to build their
Objectives
basic skill set, they will be
Exploration Of Stanislavski
4 12th Oct introduced to exercises that
Technique through games and increase range and dynamic
exercises control.
Actions / Tactics
First scenes (Duologues) allocated
Exploration Of Stanislavski
5 19th Oct
Technique through games and
exercises

More on Actions / Tactics

Units, Beats and Objectives
6 26th Oct Directed Study Week
Practical application of Stanislavski Ensemble repertory in two or more
7 2nd Nov
Technique through rehearsal parts will be presented to build
8 9th Nov enhanced understanding of
9 16th Nov rhythmic accuracy, pitch, intonation,
harmony, and ensemble singing. In
10 23rd Nov addition, each student will prepare
11 30th Nov one or more duets, sung one on a
part, to perform in class.
12 7th Dec Presentation Of Scenes
Casting for next Scene Study
14th Dec - 10th Jan Christmas Break
13 11th Jan Character Biographies The development of ensemble
singing skills continues, and
14 18th Jan

Institute of the Arts Barcelona 2020-21

 students will gain confidence in their
15 25th Jan Practical application of Stanislavski
ability to sustain their own vocal line
Technique through rehearsal
16 1st Feb in combination with others. Each
17 8th Feb student will choose and prepare one
or more solo songs for class
presentation.

18 15th Feb Directed Study Week

19 22nd Feb
20 1st Mar
21 8th Mar
22 15th Mar
23 22nd Mar
29th Mar – 11th Apr Easter Break
25 12th Apr Practical application of Stanislavski In preparation for the assessment,
Technique through rehearsal students will prepare one duet (one
26 19th Apr
on a part) and one solo song, in
which they will demonstrate their
understanding of the basics of vocal
production, as well as intonation,
pitch, rhythmic accuracy, dynamic
range, and ensemble.

27 26th Apr Assessment 1 Scene Study Assessment 2

Presentation
28 3rd May
29 10th May
30 17th May
31 24th May Tutorials and Feedback Week
32 31st May Graduation

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 Timetable
There will be some tutor led weekly classes which will be supported by some independent study
sessions. Please refer to your timetable as this can vary between terms.

Please check your timetable on a regular basis as studio and class time is subject to change.

Additional information
Organisational Information

Acting Lessons:

- Wear loose, comfortable clothing. Dress in neutral colours. 
Bring a journal and a pen.

- No make-up. 


Singing Lessons: 


- Pencil and eraser 


- Dictaphone/recording device 


- Notebook 


- Folder for your music 


- Sellotape 


It’s crucial that you have something that you can record on as you will be regularly recording piano
accompaniment or melody line. A pencil and eraser is also important for keeping notes and
annotating your sheet music (avoid using a pen). A notebook is also required for your own
personal notes of classes, in particular for acting through song. You are encouraged to have two
copies of each song you are working on; a copy for you that you can annotate and keep notes on,
and a ‘clean’ copy for your tutor/accompanist to play. The sheet music you present to your
tutor/accompanist should be concertinaed, which means it is sellotaped together and folds like a
book. 
To ensure that you get the most out of the practical classes, you should arrive already
vocally warm, as well as regularly engaging in personal practice and independent research.

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 Formative Assessment
The students will undertake ongoing formative assessment during this module.

Formative assessment is an essential tool for the students and tutor to understand the quality and
level of learning and to identify areas for improvement. They also act as a guide for the final
assessment so that the student understands not only what the tutor is looking for, in terms of learning
outcomes, but also the level of attainment, in terms of Marking Criteria. Formative assessment also
allows the student to reflect upon their own practice and observe and recognise learning in their
peers.

The students will also receive continuous formative feedback during the module. This should be
recorded in the students’ workbooks and may be inspected as part of the final assessment.

Summative Assessment

Assessment 1

Assessment Title Scene Study

Learning Outcomes to be Assessed
1,2
Assessment Submission / Completion Date w/c 26th of April
Assessment Feedback Date 15 working days after the assessment
Assessment Weighting 50%
Submission Details for Written Assessments n/a

The Learning Outcomes indicate an evaluation of work during the classroom/ tutorial process, as
well as your final showing. Students will be assessed 50% process, 50% performance/
presentation. To gain the highest marks in this assessment you must have engaged fully in both
the classroom process and the performance/ presentation.

Part 1 (Process) This relates to your commitment to the exploration, awareness and evaluation of
your vocal processes as applies to practical voice, ear training, accents, character and text

Part 2 (Performance) How you apply these processes in front of an audience.

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 Description of the Assessment Task
The assessment will test your knowledge and technical competence against the Learning
Outcomes above.

The assessment task is:

• To perform a duologue with a partner. Your partner will be allocated at least 4 weeks
before the assessment date.
• Prepare a presentation that describes your process and methodology for researching and
developing your character. This should last no more than 6 minutes. Both partners should
have equal amounts of speaking time in the presentation.

Marking Criteria

PROCESS

Throughout the semester, you will be assessed on your ongoing commitment to the
development of your acting technique. You will be assessed on your ability to confidently and
creatively adapt and incorporate new techniques and styles as required, and to develop these
skills outside class. You will consistently demonstrate an open and receptive attitude to the work,
as well as the ability to collaborate in a sympathetic, supportive manner in pair and group
exercises. You’ll also be assessed on your ability to reflect on your learning in feedback
sessions, using key terms introduced during the semester. You will have specific requested
tasks completed as required. You will also be assessed on your punctuality and readiness for
class.

PERFORMANCE (The following criteria will be weighted equally)

Technical Skills

You will be assessed on your ability to be focused and in the moment. You will need to show
your ability to build and embody a character both physically and vocally as informed by your text
analysis in order to inhabit the given circumstances and the world of your character. You will
need to demonstrate confidence with your psychophysical choices and use of space. You should
demonstrate your ability to choose appropriate objectives, and play suitable actions to achieve
these. Vocally you should be clear and audible, and your voice should appropriately reflect the
emotional state / journey of your character. You should demonstrate that you have sensitivity to
the character´s language and speech patterns through your use of tonality, rhythm and pacing.

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 Creative State

You will be assessed on your imaginative and creative ability to make embodied character
choices that truthfully and convincingly communicate your character´s world and the world of the
play. You should be able to listen convincingly and respond truthully to your fellow actors on
stage. Your ownership and artistry of the material will be considered through your vocal ease,
clarity of thought and mood as conveyed through your tonality, use of phrasing and vocal
dynamics.

Understanding/ Research Skills

You will be assessed on your ability to demonstrate a reflective, analytical approach to the acting
process and what methods you used to create your performance. Here you should reference the
practitioners researched, and the creative and technical skills techniques you´ve applied in your
rehearsal process, and how these have influenced your practice. Your presentation should have
a clear and logical structure, and you should use key terminology where appropriate.

Assessment 2

Assessment Title Class-based singing presentation

Learning Outcomes to be Assessed
1,3
Assessment Submission / Completion Date w/c 26th of April
Assessment Feedback Date 15 working days after the assessment
Assessment Weighting 50%
Submission Details for Written Assessments n/a

Description of the Assessment Task

The assessment will test your knowledge and technical competence against the Learning
Outcomes above.
The assessment task is to perform a duet and a solo song, both performed with piano

Marking Criteria

You will be given a mark based upon the below criteria.

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 • Understanding/intellectual cognition: Use of dynamics, tone colour, interpretation of the
text, musicality
• Technique/technical skills: Accuracy of pitch and rhythm, tone production, breath
management, clarity of diction
• Performance skills: Stage presence, physicality, connection with audience

Marking Range
On a UK degree the marking range is from 0% to 100% and the full range of marks is used.

The marks are divided into the bands as below:

70 – 100% to achieve a mark in this band means that your work ranges from excellent in all areas
to completely exceptional. A mark in this band means your work is of 1st Class Honours standard.

60 – 69% to achieve a mark in this band means that your work ranges from very good in some
areas to very good in all areas. A mark in this band means your work is of 2.1 Class Honours
standard.

50 – 59% to achieve a mark in this band means that your work ranges from good in some areas to
good in all areas. A mark in this band means your work is of 2.2 Class Honours standard. To
achieve a mark in this band should not be seen as unusual or as an indicator of poor work. This is
good work.

40 – 49% to achieve a mark in this band means that your work ranges from satisfactory in some
areas to satisfactory in all areas. A mark in this band means your work is of 3rd Class Honours
standard.

39% and below is a fail and you will be offered the opportunity to take the assessment again. You
should actively seek feedback on exactly what you need to do to improve your level of work.

References/Book List
CALDARONE, M. AND LLOYD-WILLIAMS, M.

The Actors' Thesaurus

In-text: (Caldarone and Lloyd-Williams)
 Your Bibliography: Caldarone, Marina, and Maggie
Lloyd-Williams. The Actors' Thesaurus. London: Nick Hern, 2004. Print.

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 FRANKEL, H. AND HAGEN, U.

Respect For Acting

In-text: (Frankel and Hagen)
 Your Bibliography: Frankel, Haskel, and Uta Hagen. Respect For
Acting. Hoboken, N.J: John Wiley Sons, 2008. Print.

GILLET, JOHN

Acting Stanislavski A Practical Guide to Stanislavski´s approach and legacy

In-text (Gillet) Your Bibliography: Gillet, J, Acting Stanislavski A Practical Guide To

Stanislavski´S Approach And Legacy, London & New York, Bloomsbury Methuen Drama, 2014.
Print.

KAYES, G.

Singing And The Actor

In-text: (Kayes) 
Your Bibliography: Kayes, Gillyanne. Singing And The Actor. London:
Bloomsbury methuen drama, Bloomsbury Publishing Plc, 2013. Print.

MERLIN, B

Acting, The Basics

In-text: (Merlin), Your Bibliography Merlin, B, Acting, The Basics,. Routledge, Oxon & New York,
2010. Print.

MOORE, T. AND BERGMAN, A.

Acting The Song

In-text: (Moore and Bergman)
Your Bibliography: Moore, Tracey, and Allison Bergman. Acting
The Song. New York: Allworth Press 2012. Print.

RODENBERG, PATSY

The Need For Words

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 In-text: (Rodenberg) Your Bibliography: Rodenbergy, P, The Need For Words, Bloomsbury,
Methuen Drama, London & New York, 1993,

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