Module Acting Camera

MODULE HANDBOOK
2013/2014
Module Title Introduction to Television Module Code
Credits 20 Level 4
Paul Broughton
Module Leader Nicholls Campus
Contact Details Hyde Road
Ardwick
Manchester M12 6BA
pbroughton@themanchestercollege.ac.uk
Programme Title/s ALARM 1
2013-14
Academic Year
Semester 1
Module start date 23rd September 2013
Module end date 24TH January 2014

UNIVERSITY OF SALFORD FORM MS (2012/13)
MODULE SPECIFICATION
Module Title: CRN:
Introduction to TV
University module code: HESA/JACS subject area codei:
W410
Levelii: Credit Valueiii: ECTS Valueiv: Length (in Semester(s) in which to

4 20 Semesters)v be offered:
10
1 1
Existing module Title of Module being replaced (if any): With effect fromvi:
September 2013
New module N/A
Originating School: Module Co-ordinator(s)

School of Media, Music and
Paul Broughton
Performance
Marie Mair
Programme(s) in which to be offered:
BA (Hons) Acting for Live and Recorded Media
Pre-requisites (between levels): Co-requisites (within a level):
None None
Indicative learning hours: Percentage taught by School(s) other than originating Schoolvii :
200 including contact hours,
None
visits and private study
Aims of Module:
In order to further develop and strengthen subject knowledge, this module aims:
To introduce students to the medium of television and the current working practise of the television
industry.
Intended Learning Outcomes
Upon successful completion of this module, students will be able to:
Knowledge and Understanding
1. Demonstrate camera acting skills, techniques and methods in order to perform to camera
2. Show a development of camera acting technique

3. Apply vocal and movement techniques appropriate for acting to camera
4. Evaluate recorded work and key moments of development throughout the introductory
process
Transferable/Key Skills and other attributes
 Reflect on personal value systems, development and practices.

Module mark calculation: Method A
Assessment components (in chronological order of submission/examination date)
Denote final assessment component in box marked final assessment component (99)
Duration
Word count (if Component pass
Type of assessmentviii Weighting% (if exam) essay/dissertation): requiredix
Final assessment
component (99)
Mediatised Recording
80%
(LO’s 1,3,4) 15 minutes No
Reflective Log &

Research Diary
750 word
20%
(LO 2) equivalent
Learning and teaching strategies x:
Lecture: used to deliver core information to the whole group
Seminar: used to generate peer feedback and discussion on the practical aspects of techniques and
tools for actor’s work to camera; preproduction and planning process, workflow and production
processes.
Workshops: used particularly for the practical and technical development of skills including TV
production planning; roles and teamwork;
Tutorials: One to One advisory sessions as required.
The students will take part in practical exercises, work to camera, group discussions, directed reading,
peer assessment and self-evaluation. The module will be based primarily around the workshop where
students will identify and explore both the acting techniques and technical demands made on the actor
when performing for camera. Students can expect to observe and participate in the workshops, which
will be based around the rehearsal and performance of a scene to camera. Pre-production planning will
form part of teamwork and peer discussion and students will be expected to respond creatively to need
to problem solving. Observation by tutor and peer will be introduced and individuals will be required
to maintain a log of planning including evaluation and analysis of techniques, demands as well as
personal development.
Assessment methods:
Assessment for this module is based on practical preproduction planning and development and review
of production and performance. This will include evidence of reflective practice and planning. This
includes the following elements.
 Planning documentation including: pre-production; annotated texts; performance

record/diary reviewing workshops; peer discussion and review; personal research, review of
application of theoretical approaches and practical tools and techniques;
 Performances in rehearsal including self and peer review. Students will expect to evidence
evaluation of own development work, developing practical skills; working with others; use of
different tools and techniques.
 Observation is a major part of this scenario, as students will watch both their own work and
that of their peers through video playback.
 Evidence log including reflection and review e.g. teamwork, production planning, constraints
and problem solving/creativity; personal performance.
Syllabus outline:
 Introduction to acting for TV and Film Production

 Introduction to techniques and demands of acting to camera
 Introduction to technical constraints for acting to camera: movement; voice continuity;
teamwork and craft processes
 Introduction to preproduction techniques to prepare for acting to camera
 Planning requirements for acting to camera
 Identification of acting techniques and demands through rehearsal and development of a scene
performance to camera
 Scene performance to camera
 Review and evaluation of both acting process and outcome through video playback
The structure and content of this module will provide students with the opportunity to be introduced
to relevant acting skills and techniques for performing to camera. Through the workshop scenario
students will explore and rehearse a given text culminating in a recorded performance to camera.
Students will be encouraged to analyse performance through observation of their own work and that of
their peers.
This module will be based primarily around the workshop where students will identify and explore
both the acting techniques and technical demands made on the actor when performing for camera.
Students can expect to observe and participate in the workshops, which will be based around the
rehearsal and performance of a scene to camera. The importance of pre production preparation will be
stressed and students will be encouraged to work independently in creative decision making in line
with professional expectations. Both the research and process should be documented in the reflective
log and used as part of the assessment.
Observation is a major part of this scenario, as students will watch both their own work and that of
their peers through video playback.
Indicative texts and/or other learning materials/resources xi;
Barr, T (1998) Acting for the Camera, London: Applause
Blum, R (1989) Working Actors: Craft of Television, London: Focal Press
Caine, M (1997) Acting in Film: An Actor's Take on Moviemaking, London: Applause Books
Churcher, M (2004) Acting for Film, London: Routledge
Esper, W & Dimarco, D (2008) The Actors Art and Crafts, New York: Anchor Books
Guskin, H (2004) How to Stop Acting, London: Methuen

Tucker, P (1994) Secrets of Screen Acting, London: Routledge
Taylor, M (1994) The Actor and the Camera, London: A & C Black
Silverberg, L (1995) The Sanford Meisner Approach: An Actors Workbook 4, New York: Smith & Kraus
Journals:
Film & Television Literature Index
ETHICAL CONSIDERATIONS:
 The Manchester College aims to be professional and ethical in all academic activities and
requires that students engaged in academic activities are aware of the ethical implications
of such activities and are committed to undertaking these in an ethical manner and
demonstrating good practice which meets a high professional standard of conduct. That
commitment to this ethical practice is supportive and not to act as a barrier to any academic
activity.
 The Manchester College has a responsibility to maintain suitable standards of propriety
whilst carrying out academic and other activities in a respectful and ethical manner without
compromising welfare or morality of staff, students and the wider public.
 A Research Ethics Approval Request Form is available to download on The Manchester
College website in the University Level/University of Salford section.
 This should be completed and submitted by email to the Module Tutor. No activity must
commence until an approval decision has been granted. Projects that would be deemed
eligible for ethical consideration include:
o Major independent research projects
o Any projects involving human subjects
o Any projects which raise any questions of legality
o Any projects analysing sensitive data
Scheme of Work
23/09/2013 1:1 Introduction to the module
Storytelling to camera
Casting
30/09/2013 1:2 Peer review of storytelling to camera
Casting
07/10/2013 1:3 Meisner Technique 1 – A basic introduction to Meisner

exercises in workshop environment
Voice
14/10/2013 1:4 Meisner Technique 2 – Continuation of Meisner exercises

in workshop environment
Voice
21/10/2013 1:5 Researching a role
Investigation of character
The method
28/10/2013 Reading Week
04/11/2013 1:6 Preparation for taking on a scripted scene, including

actions, intentions, objectives and super objectives within
it.
Stanislavski
Introduction to basic call times and scheduling
11/11/2013 1:7 Workshop with Ben Mottershead (Independent Film

Director: Show reel Director) exploring camera
techniques for basic two-shot and clean single shots
18/11/2013 1:8 One to One Tutorials
25/11/2013 1:9 Rehearsing scripted scenes on camera with review on

playback by Director and peers. On calls



23/12/2013 Christmas Holidays
30/12/2013 Christmas Holidays
06/01/2014 1:13 Final rehearsals on camera for assessment week.
On calls
13/01/2014 1:14 Assessment week
20/01/2014 1:15 One to One Tutorials

ASSIGNMENT BRIEF
Module Title Introduction to Television Level 4
Title of Assignment Mediatised Recording
Programmes Acting for Live and Recorded Media

undertaking the
assignment
Hand-out date 23/09/2013
Hand-in date n/a

Performance to camera to be assessed:
Submission details W/C 13/01/14
Feedback date 07/02/14
Weighting within the 80%

module
Word 15 minute performance to camera

limit/presentation
criteria
Learning Outcomes to 1. Demonstrate camera acting skills, techniques and methods in

be assessed order to perform to camera
2. Show a development of camera acting technique
(from module spec.) 3. Apply vocal and movement techniques appropriate for acting
to camera
Transferable key skills  Reflect on personal value systems, development and

(from module spec.) practices.
The practical element to the Module will consist of a

performance to camera through two shot and single of a
Details of the task chosen scripted scene
Level 4 Assessment Criteria
Assessment criteria Outstanding 90 – 100%

Students will
Show outstanding application of theoretical approaches and

techniques required for the medium
Show outstanding ability to interpret and transform material worked

upon.
Show outstanding level of creativity.
Show outstanding grasp of technical requirements of the medium
Excellent 80-90%
Students will
Show excellent application of theoretical approaches and techniques

required for the medium
Show excellent ability to interpret and transform material worked upon.
Show Excellent level of creativity.
Show excellent grasp of technical requirements of the medium
Very Good 70-80%

Students will
Show very good application of theoretical approaches and techniques

Show very good ability to interpret and transform material worked

upon.
Show very good level of creativity.
Show very good grasp of technical requirements of the medium
Good 60-70%
Students will
Show good application of theoretical approaches and techniques

Show good ability to interpret and transform material worked upon.
Show good level of creativity.

Show good grasp of technical requirements of the medium
Fair 50-60%
Students will
Show fair application of theoretical approaches and techniques

Show fair ability to interpret and transform material worked upon.
Show fair level of creativity.
Show fair grasp of technical requirements of the medium
Satisfactory 40-49%
Students will
Show satisfactory application of theoretical approaches and

Show satisfactory ability to interpret and transform material worked

upon.
Show satisfactory level of creativity.
Show satisfactory grasp of technical requirements of the medium
Unsatisfactory 30-39%
Students will
Show unsatisfactory application of theoretical approaches and

Show unsatisfactory ability to interpret and transform material worked

upon.
Show unsatisfactory level of creativity.
Show unsatisfactory grasp of technical requirements of the medium
Poor 20-29%
Students will
Show poor application of theoretical approaches and techniques

Show poor ability to interpret and transform material worked upon.
Show poor level of creativity.
Show poor grasp of technical requirements of the medium
Very Poor 10-19%

Students will
Show very poor application of theoretical approaches and techniques

Show very poor ability to interpret and transform material worked

upon.
Show very poor level of creativity.
Show very poor grasp of technical requirements of the medium
Extremely Poor 0-9%

Students will
Show extremely poor application of theoretical approaches and

Show extremely poor ability to interpret and transform material worked

upon.
Show extremely poor level of creativity.
Show extremely poor grasp of technical requirements of the medium
ASSIGNMENT BRIEF
Module Title Introduction to Television Level 4
Title of Assignment Component 2 - written
Programmes ALARM 1
undertaking the
assignment
Hand-in date 24/01/2014
Reflective Log & Research Diary
Submission details

module
Word 750 Word count (10% either side)

limit/presentation
criteria
Learning Outcomes to 4. Evaluate recorded work and key moments of development

be assessed throughout the introductory process
(from module spec.)
Reflect on personal value systems, development and

Transferable key skills practices.
(from module spec.)
Evidence Log
Details of the task

Have an outstanding depth and use of research, without the need for
development, to support and propel critical thinking, using theory and
third party support consistently to engage in debate.
Excellent 80 – 89%
Have an excellent depth and use of research to support and propel
critical thinking, using theory and third party support to engage in
debate
Very Good 70 – 79%
Have a very good depth and use of research from a wide range of
sources used directly to support the through line of enquiry, with an
interpretation of theory made relevant to independent thinking.
Good 60 – 60%
Have a good depth and use of research from a range of sources used
to support the through line of enquiry, with an attempt at making an
interpretation of theory relevant to independent thinking.
Fair 50 – 59%
Have a fair depth and use of research from several sources although
there is a lack of relation to theory in order to support the through line
of enquiry.
Adequate – 40 – 49%
Have an adequate depth and use of research although a subjective
approach is used with some support from personal opinion and too
much reliance on reviews and internet-based resources
Unsatisfactory 30 – 39%
Have an unsatisfactory depth and use of research with partial use of
sources and inconsistent referencing and no exploration of critical
theory.
Poor 20 – 29%
Have a poor depth and use of research that relies heavily on notes
from sessions without evidence of adequate reading.
Very poor – 10 – 19%

Have a very poor depth and use of research that consistently uses
personal opinion to support the through line of enquiry without
evidence of any reading.
Extremely poor – 0 – 9%
Have an extremely poor depth and use of research, with no evidence

of any reading, and wholly reliant on personal opinion with no
understanding of why this should be supported.
Academic Policies and Procedures
The link to the University of Salford Academic Handbook and the associated
documentation is below:
http://www.salford.ac.uk/university/governance/policies-and-procedures/browse-by-
theme/2
Late Submission of Assessed work

This document provides the principles and regulations governing the deadlines for the
submission of assessed work, the penalties applied for the late submission of assessed
work and the mitigation of such penalties.
1 DAY LATE 2 DAYS LATE 3 DAYS LATE 4 DAYS LATE

5 (OR MORE) DAYS LATE –
ASSESSMENT CANNOT BE
ACCEPTED AND WILL BE
(5 mark (10 mark (15 mark (20 mark RECORDED AS A NON-
penalty) penalty) penalty) penalty) SUBMISSION
All deadlines are set at 4pm (UK time) on the date given. Work submitted after 4pm (UK time) on the date
of the deadline should be recorded as 1 day late with penalties rising after 4pm on each subsequent day until
th
4pm (UK time) on the 4 day. After this time assessment cannot be accepted.
REGULATIONS (PENALTIES FOR LATE SUBMISSION)
Where coursework is submitted late the following penalties for late work shall be applied to
the mark or grade for that work (except for students on the final 60 credit stage of a
Masters Degree):
(a) if the work is no more than four working days late and marked then five marks shall be
deducted for each working day (or part thereof), but if the work would otherwise pass then
the mark for the work shall be reduced to no lower than the pass mark for the component;
(b) if the work is no more than four working days late and marked and the mark is lower
than the pass mark, then no penalty shall be applied;
(c) if the work is no more than four working days late and graded either Pass or Fail then
no penalty shall be applied;
(d) if the work is more than four working days late then it cannot be submitted and shall be
recorded as a non-submission (NS)
(Academic Regulations for Taught Programmes ARTP 2012/13: section 8.2.5)

http://www.themanchestercollege.ac.uk/university-degree-level/salford
Personal Mitigating Circumstances (PMCs)
The Personal Mitigating Circumstances policy sets out the principles and regulations
governing the procedure for the submission of PMCs by students registered on
programmes relating to their assessment and sets out how such circumstances will be
considered by The Manchester College and Boards of Examiners.
Students who wish to submit personal mitigating circumstances for review must complete
and email the PMC form to PMC@TheManchesterCollege.ac.uk within 10 working days of
the assessment submission date or of the date of the assessment. Your email will act as
your receipt.
PMCs can be considered for:

- Late submission of assessed work – if accepted, late submission penalties will be
removed;
- Absence/non-submission – if accepted, the student will be permitted a replacement
attempt at the assessment at
the next available assessment opportunity.
The PMC form can be accesses through the link below:

http://www.themanchestercollege.ac.uk/university-degree-level
Note: Staff cannot initiate PMCs on behalf of students.

Assessment and Feedback
Assessment is the generic term used in this document to cover all forms of formative and
summative assessed activity, e.g. coursework assignment, presentation, test, portfolio,
written examination. The Quality Assurance Agency defines formative and summative
assessment as follows:
 Formative assessment has a developmental purpose and is designed to help

learners learn more effectively by giving them feedback on their performance and
on how it can be improved and/or maintained. Reflective practice by students
sometimes contributes to formative assessment.
 Summative assessment is used to indicate the extent of a learner's success in

meeting the assessment criteria used to gauge the intended learning outcomes of a
module or programme.
QAA, Code of Practice on Assessment (2006, pp. 35 and 36)
Feedback on all forms of assessment should be provided to students within 15 working

days of the published submission deadline. The University Assessment Handbook gives
guidance on the provision of feedback.
Procedure for Submission of work

A Statement of Academic Honesty must accompany all work submitted, detailing name,
student number, date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If
you are required to produce a handout, one copy of this must be submitted to your first
assessor before your performance on the final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in
question and the penalties for late submission will be applied based on this. You can find
Turnitin by using the following link: http://submit.ac.uk/en_gb/home. If you do not submit
your work to Turnitin then you will be awarded a fail for that piece of coursework. No work
will be accepted via email, fax or hard copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected
in assessed pieces of work by students following undergraduate and postgraduate
programmes of study. It provides information on the processes which must be followed in
dealing with such cases and penalties applied in the event of a finding of guilt. It provides
guidance on preventative measures which may be employed by Colleges and Schools in
order to minimise the possibility of unfair means. Information is also provided on the
appeals process.
The Academic Misconduct Procedure can be accessed via the link below:
theme/2
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were
your own. The source of the original material is hidden from the marker by not referencing
it properly or by paraphrasing it without acknowledgement or by not mentioning it at all.
Work includes, but is not restricted to, written work, ideas, musical compositions, computer
programs, laboratory or survey results, diagrams, graphs, drawings, designs. Plagiarism
may occur in all forms of assessment, including written examinations.
Self plagiarism (or double submission )

Self plagiarism (or double submission) is resubmitting previously submitted work on one or
more occasions (without proper acknowledgement). This may take the form of copying
either the whole piece of work or part of it. Normally credit will already have been given for
this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects),
two or more students consciously collaborate in the preparation and production of work
which is ultimately submitted by each in an identical, or substantially similar, form and/or is
represented by each to be the product of his or her individual efforts. Collusion also occurs
where there is unauthorised co-operation between a student and another person in the
preparation and production of work which is presented as the student’s own.
Academic Appeals Procedure
An academic appeal is a request for a review of a decision made by the Board of

Examiners (this includes decisions made by a Module or Programme Board) or the
Postgraduate Research Award Board charged with making decisions on student
progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will
be followed and the normal timescales for each stage of the process.
The Academic Appeals Procedure can be accessed via the link below:
http://www.salford.ac.uk/university/governance/policies-and-procedures
i
see UoS guidance notes on selecting JACS codes (http://www.planning.salford.ac.uk/jacs_codes/)
see HESA JACS Codes webpage http://www.hesa.ac.uk/index.php/content/view/356/233/
ii
indicate level 3,4,5,6,7
iii
permissible credit values are set out in Academic Regulations 3.1.3 to 3.1.5
iv
European Credit Transfer System: 2 Salford Credits = 1 ECTS credit
v
indicate 0.5, 1, 1.5 or 2, subject to permissible module shapes in Academic Regulations 3.1.8/9
vi
insert month and year of first/next delivery of module
vii
identify all participating Schools other than Originating School
viii
please indicate, in chronological order of submission date, each assessment component by type, e.g. examination,
oral, coursework, project, dissertation; denote final assessment component in box marked Final assessment
component (99)
ix
if Method B is used for module mark calculation, indicate Yes to specify the assessment component(s) to be passed
in order to pass the module
x
refers to the choice and range of teaching activities which are most appropriate in creating learning experiences which
help students to achieve the module’s learning outcomes and develop transferable skills; issues of equality, diversity
and accessibility must also be given full consideration
xiii the “Indicative texts and/or learning materials/resources” box should include a maximum of 5 items for new modules;
for existing modules the box should include a link for CPPARC reviewers and readers to the comprehensive reading
list at http://lasu.salford.ac.uk
MODULE HANDBOOK
2013/2014
Module Title Module Code 33683

Preparing for TV
Credits 20 Level 4
Marie Mair
Contact Details Hyde Road Ardwick
Manchester M12 6BA
mmair@themanchestercollege.ac.uk
Programme Title/s ALARM
2013-14
Academic Year
Semester 2
Module start date 27th January 2014
Module end date 10th June 2014

Module Title: CRN:

33683
Preparing for TV
i
University module code: HESA/JACS subject area code :
W410 10008 W410
ii iii iv
Level : Credit Value : ECTS Value : Length (in Semester(s) in which to
v
4 20 10 Semesters) : be offered:
1 1
Existing module vii
vi
Title of Module being replaced (if any): With effect from :
New module None September 2012

School of Media, Music and Marie Mair
Performance Paul Broughton
BA (Hons) Acting For Live and Recorded Media

None None
viii
Indicative learning hours: Percentage taught by School(s) other than originating School :
200 including contact hours, 100% at The Manchester College
Aims of Module:
In order to further develop and strengthen subject knowledge, this module aims to introduce
students to the fundamental methodologies and principles involved when preparing for
contemporary television drama. It also transfers and embeds creative skills from other modules
within the creative medium of television and the current working practice of the television industry.
1. Interpret camera acting skills and Illustrate techniques and methods in order to confidently
perform to camera.
2. Apply appropriate acting techniques to the creation of a character and realising a script to
camera.
3. Evaluate recorded work and key moments of development throughout the preparation
process.
4. Develop technical control of voice and movement through linking it to the demands of a text
and the needs of the director and medium.
 Question concepts and theories encountered in their studies.

Duration Word count (if Component pass
ix
Type of assessment Weighting% (if exam) essay/dissertation): requiredx
Mediatised recording 10 minutes
80%
(LO’s 1,2,4) (equivalent) Yes No
Final assessment
component (99)
Yes No
20% 750 word
Reflective Log
equivalent
(LO 3)
xi
Learning and teaching strategies :
Lecture: used to deliver core information to the whole group.
Seminar: used to generate peer feedback and discussion on the practical aspects of techniques
and tools for actor’s work to camera; preproduction and planning process, workflow and production
processes.
Workshops: used particularly for the practical and technical development of skills including TV
production planning; roles and teamwork.
Tutorials: 1:1 advisory sessions as required.
The students will take part in practical exercises, work to camera, group discussions, directed
reading, peer assessment and self-evaluation. Practical exercises will provide students with the
opportunity to develop an understanding of relevant acting skills and techniques for performing to
camera. Through the workshop scenario students will explore and rehearse a given text culminating
in a recorded performance to camera. Students will be encouraged to analyse performance through
observation of their own work and that of their peers. An emphasis on production preparation will be
stressed and students will be encouraged to work independently in creative decision making in line
with professional expectations. Both the research and process should be documented in the
reflective log and used as part of the assessment.
Assessment methods:
Assessment for this module is based on student research and practical performance development
including evidence of reflective practice, This includes the following elements.
 Planning documentation including: annotated texts; performance record/diary reviewing

workshops; research, review of application of theoretical approaches and practical tools
and techniques; evidence of application of personal experience and contexts. This will
include a short written summary of personal experiential development in response to
research and performance.
 Performances in workshops including self and peer review. Students will expect to
evidence evaluation of own development work, work development with others; use of
 Final short performance piece.
Syllabus outline:
 Development of competence in acting for TV and Film Production.
 Development of Acting to camera techniques.
 Managing constraints and demand for acting to camera: movement; voice continuity;
teamwork and craft processes.
 Development of pre-production techniques to prepare for acting to camera.
 Planning for acting to camera.
 Exploration of acting techniques and demands through rehearsal and development of a

scene performance to camera.
 Scene performance to camera.
Review and evaluation of both acting process and outcome through video playback.
xii
Indicative texts and/or other learning materials/resources ;
Abbott, J (2012) The Acting Book, London: Nick Hern
Alexander, F M (2001), The Use of the Self, London: Orion
Benedetti, J (1982), Stanislavsky, K: An Introduction, London: Methuen
Hagen, U (1973) Respect for Acting, New York: Wiley Publishing Inc.
Johnson, K (2007) Impro (Performance Books): Improvisation and the Theatre, London: Methuen
Merlin, B (2010) Acting, the Basics, London: Routledge
Silverberg, L (1995) The Sanford Meisner Approach: An Actors Workbook 4, New York: Smith &
Kraus
Scheme of Work
27/01/2014 2.1 Analysing the script

 Who is who? Technicians and their roles explained.
 The different Shots and the requirements for the actor
 Scenarios distributed for following week
3/02/2014 2.2  Hitting marks
 Eyeline and finding the camera
10/02/2014 Assessment Week
24/02/2014 2.4  Continuity
03/03/2014 2.5  Emotional preparation for scenes

 Show back.
10/03/2014 2.6  How to learn a script for camera

 Considerations of the actor in preparing for performance
 Rehearsal of scenes
17/03/2014 2.7  Improvisation.

 Group viewing of scenes to camera
24/03/2014 2.8 Final Rehearsals
31/03/2013 Assessment
07/04/2014 Easter Holidays
14/04/2014
21/04/2014 2.10  How to learn a script for audition
28/04/2014 2.11  Rehearsal of a script for audition
05/05/2014 2.12  Recording of script for audition
12/05/2014 2.13  Mock auditions
09/06/14 Feedback Week

ASSIGNMENT BRIEF/RE-SIT ASSIGNMENT BRIEF
Module Title Preparing For Television Level 4
Title of Assignment Interpreting the script
Programmes ALARM 1
undertaking the
assignment
Hand-out date 27th January 2014
Performance Date W/B 31st March 2014
Submission details
W/B21st April 2014
Feedback date

module
Timing 5 Minutes
1. Interpret camera acting skills and Illustrate techniques and

methods in order to confidently perform to camera.
Learning Outcomes to
2. Apply appropriate acting techniques to the creation of a
be assessed
character and realising a script to camera.
(from module spec.)
4 Develop technical control of voice and movement through

linking it to the demands of a text and the needs of the
director and medium.
Transferable key skills  Reflect on personal value systems, development and
(from module spec.) practices.
Details of the task 1 Perform a monologue to camera Approximately 5 mins)
Assessment criteria Outstanding 90-100%

Students will
Show outstanding ability to interpret and transform

material worked upon.
Show outstanding level of creativity.
Show outstanding development of character for

performance
Show outstanding grasp of technical requirements of the

medium
Excellent 80-90%
Students will
Show excellent ability to interpret and transform material

worked upon.
Show Excellent level of creativity.
Show excellent development of character for performance
Show excellent grasp of technical requirements of the

medium
Very Good 70-80%

Students will
Show very good ability to interpret and transform material

worked upon.
Show very good level of creativity.
Show very good development of character for performance
Show very good grasp of technical requirements of the

medium
Good 60-70%
Students will
Show good ability to interpret and transform material

worked upon.
Show good level of creativity.
Show good development of character for performance
Show good grasp of technical requirements of the medium
Fair 50-60%
Students will
Show fair ability to interpret and transform material worked

upon.
Show fair level of creativity.
Show fair development of character for performance
Show fair grasp of technical requirements of the medium
Satisfactory 40-49%
Students will
Show satisfactory ability to interpret and transform material

worked upon.
Show satisfactory level of creativity.
Show satisfactory development of character for

performance
Show satisfactory grasp of technical requirements of the

medium
Students will
Show unsatisfactory ability to interpret and transform

Show unsatisfactory level of creativity.
Show unstaisfactory development of character for

performance
Show unsatisfactory grasp of technical requirements of the
medium
Poor 20-29%
Students will
Show poor ability to interpret and transform material

worked upon.
Show poor level of creativity.
Show poor development of character for performance
Show poor grasp of technical requirements of the medium
Very Poor 10-19%

Students will
Show very poor ability to interpret and transform material

worked upon.
Show very poor level of creativity.
Show very poor development of character for performance
Show very poor grasp of technical requirements of the

medium
Extremely Poor 0-9%

Students will show
Show extremely poor ability to interpret and transform

Show extremely poor level of creativity.
Show extremely poor development of character for

performance
Show extremely poor grasp of technical requirements of

the medium
ASSIGNMENT BRIEF
Module Title Preparing For Television Level 4
Programmes ALARM 1
undertaking the
assignment
Hand-in date 2//06/14
Reflective Essay
Submission details
10/06/14
Feedback date

module

limit/presentation
criteria
Learning Outcomes to 3 Evaluate recorded work and key moments of

be assessed development throughout the preparation process.
(from module spec.)
Reflect on personal value systems, development and

Transferable key skills practices.
(from module spec.)
A reflective essay
Details of the task

Have an outstanding depth and use of research, without the
need for development, to support and propel critical thinking,
using theory and third party support consistently to engage in
debate.
Have an excellent depth and use of research to support and
propel critical thinking, using theory and third party support to
engage in debate
Have a very good depth and use of research from a wide range
of sources used directly to support the through line of enquiry,
with an interpretation of theory made relevant to independent
thinking.
Good 60 – 60%
Have a good depth and use of research from a range of sources
used to support the through line of enquiry, with an attempt at
making an interpretation of theory relevant to independent
thinking.
Fair 50 – 59%
Have a fair depth and use of research from several sources
although there is a lack of relation to theory in order to support
the through line of enquiry.
Have an adequate depth and use of research although a
subjective approach is used with some support from personal
opinion and too much reliance on reviews and internet-based
resources
Have an unsatisfactory depth and use of research with partial
use of sources and inconsistent referencing and no exploration
of critical theory.
Poor 20 – 29%
Have a poor depth and use of research that relies heavily on

notes from sessions without evidence of adequate reading.

Have a very poor depth and use of research that consistently
uses personal opinion to support the through line of enquiry
without evidence of any reading.
Have an extremely poor depth and use of research, with no

evidence of any reading, and wholly reliant on personal opinion
with no understanding of why this should be supported.
theme/2


(5 mark (10 mark (15 mark (20 mark RECORDED AS A NON-
penalty) penalty) penalty) penalty) SUBMISSION
th
Masters Degree):

The Personal Mitigating Circumstances policy sets out the principles and regulations governing the
procedure for the submission of PMCs by students registered on programmes relating to their
assessment and sets out how such circumstances will be considered by The Manchester College
and Boards of Examiners.
Students who wish to submit personal mitigating circumstances for review must complete and
email the PMC form to PMC@TheManchesterCollege.ac.uk within 10 working days of the
assessment submission date or of the date of the assessment. Your email will act as your receipt.

- Late submission of assessed work – if accepted, late submission penalties will be removed;
- Absence/non-submission – if accepted, the student will be permitted a replacement attempt at the
assessment at


summative assessed activity, e.g. coursework assignment, presentation, test, portfolio, written
examination. The Quality Assurance Agency defines formative and summative assessment as
follows:
 Formative assessment has a developmental purpose and is designed to help learners learn
more effectively by giving them feedback on their performance and on how it can be
improved and/or maintained. Reflective practice by students sometimes contributes to
formative assessment.
 Summative assessment is used to indicate the extent of a learner's success in meeting the
assessment criteria used to gauge the intended learning outcomes of a module or
programme.
Feedback on all forms of assessment should be provided to students within 15 working days of the
published submission deadline. The University Assessment Handbook gives guidance on the
provision of feedback.

A Statement of Academic Honesty must accompany all work submitted, detailing name, student
number, date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If you are
required to produce a handout, one copy of this must be submitted to your first assessor before
your performance on the final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in question and
the penalties for late submission will be applied based on this. You can find Turnitin by using the
following link: http://submit.ac.uk/en_gb/home. If you do not submit your work to Turnitin then you
will be awarded a fail for that piece of coursework. No work will be accepted via email, fax or hard
copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected in
assessed pieces of work by students following undergraduate and postgraduate programmes of
study. It provides information on the processes which must be followed in dealing with such cases
and penalties applied in the event of a finding of guilt. It provides guidance on preventative
measures which may be employed by Colleges and Schools in order to minimise the possibility of
unfair means. Information is also provided on the appeals process.
http://www.salford.ac.uk/university/governance/policies-and-procedures/browse-by-theme/2
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were your own.
The source of the original material is hidden from the marker by not referencing it properly or by
paraphrasing it without acknowledgement or by not mentioning it at all. Work includes, but is not
restricted to, written work, ideas, musical compositions, computer programs, laboratory or survey
results, diagrams, graphs, drawings, designs. Plagiarism may occur in all forms of assessment,
including written examinations.

Self plagiarism (or double submission) is resubmitting previously submitted work on one or more
occasions (without proper acknowledgement). This may take the form of copying either the whole
piece of work or part of it. Normally credit will already have been given for this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects), two or
more students consciously collaborate in the preparation and production of work which is ultimately
submitted by each in an identical, or substantially similar, form and/or is represented by each to be
the product of his or her individual efforts. Collusion also occurs where there is unauthorised co-
operation between a student and another person in the preparation and production of work which
is presented as the student’s own.

An academic appeal is a request for a review of a decision made by the Board of Examiners (this
includes decisions made by a Module or Programme Board) or the Postgraduate Research Award
Board charged with making decisions on student progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will be
followed and the normal timescales for each stage of the process.
i
ii
iii
iv
v
vi
check one box as applicable
vii
viii
ix
please indicate, in chronological order of submission date, each assessment component by type, e.g. examination, oral, coursework,
project, dissertation; denote final assessment component in box marked Final assessment component (99)
x
if Method B is used for module mark calculation, indicate Yes to specify the assessment component(s) to be passed in order to pass
the module
xi
refers to the choice and range of teaching activities which are most appropriate in creating learning experiences which help students
to achieve the module’s learning outcomes and develop transferable skills; issues of equality, diversity and accessibility must also
be given full consideration
xiii the “Indicative texts and/or learning materials/resources” box should include a maximum of 5 items for new modules; for existing
modules the box should include a link for CPPARC reviewers and readers to the comprehensive reading list at
http://lasu.salford.ac.uk
MODULE HANDBOOK
2013/2014
Module Title Skills for the actor Module Code 33668
Credits 20 Level 4
Klare Rufo
Module Leader
Contact Details Nicholls Campus
Hyde Road Ardwick
Manchester M12 6BA
KRufo@themanchestercollege.ac.uk
Programme Title/s Skills for the Actor
2013-14
Academic Year
Semester 1 and 2
Module end date 26th May 2013

Module Title: Skills for the actor CRN:
University module code: HESA/JACS subject area code: W410
Level: 4 Credit Value: ECTS Value: Length of module in Month(s) in which to be

20 10 semesters: 2 offered:
Sept - May
Existing module x Title of Module being replaced (if any): With effect from
(academic year):
New module None
September 2013
Originating School: Module tutor(s)

Performance Klare Rufo; Olivia Owens; Ed Jones and Anne Whitehead
Pre-requisites (between levels): None Co-requisites (within a level): None
Indicative learning hours (breakdown of hours required)

Lecture 60 Fieldwork
Seminar 10 External visits
Tutorial 10 Work based learning
Project supervision Guided independent study
Demonstration Practical classes and Placement

workshops
Supervised time in studio/workshop Year abroad
Other – please specify: Independent Study 120
Percentage of module taught by School(s) other than originating School:100% The Manchester College
Aims of Module: (maximum of 5)
In order to further develop and strengthen subject knowledge, this module aims to equip students
with the necessary vocal and physical understanding, discipline and technique to develop the skills
required by the actor.
‘Skills for the Actor’ is a core module to ensure all students have a solid foundation from which they
grow as an actor. Within this module students will explore movement with additional focus on stage
craft and non-naturalistic theatre, voice, Alexander technique, singing and Stand Up comedy.
1. Use the body in a free, safe and flexible manner while taking care of physical resources.
2. Engage in regular practice in voice in order to show improved clarity, fluency and expressivity when
delivering a variety of text.
3. Develop an understanding of practice across a range of movement disciplines.
4. Apply the sounds and symbols of phonetics of Received Pronunciation to a piece of text.
Component pass
Type of assessment Weighting% Duration Word count required
(identify which ILO is
met by number)
Presentations of skills
Presentations
(Movement & Voice
(2 x 10 mins
presentations: e.g. sight
80% each) Yes No
reading; phonetic text;
text in RP; animal
study) (LO’s 1, 2, 4)
Final assessment
component (99) 750 word
equivalent
Reflective skills log and 20% Yes No
and phonetic
self development plan test.
(LO’s 2, 3)
Is ethical approval required? Yes No x
i
Seminar: used to generate peer feedback and discussion on the practical aspects of learners work and skills
development and aspects of integration and impact on actor’s work.
Workshops: used particularly for the practical and technical development of skills as part of actor portfolio
including; movement; text reading; voice.
The student will take part in tutor led workshops & seminars, practical exercises, group discussions, directed
reading, peer assessment and self-evaluation. Practical exercises will encourage an active experimental
approach in the development of character to broaden knowledge and understanding.
Students will be directed to read and research a wide range of material and also use the Internet, set
resources both written and visual in order to broaden knowledge and understanding of skills portfolio to
support core acting process and practice.
Assessment methods:
Assessment for this module is based on practical performance development including evidence of reflective
practice. This includes the following elements.
 Planning documentation including: annotated texts; performance record/diary reviewing workshops;

peer discussion and review; tutor critiques; personal research, review of application of theoretical
approaches and practical tools and techniques; evidence of application of personal experience and
contexts.
Performances in workshops including self and peer review. Students will expect to evidence evaluation of
own development work, developing practical skills; self identification of strengths, weaknesses including
abilities and potential areas of further skills development; working with others; use of different tools and
techniques.
Syllabus outline:
Through lectures and practical skills workshops, students will be able to identify and develop key principles
and concepts for wider practical skills for actors.
 Introduction to anatomy and physiology.
 Introduction to mask work, physical efforts and animal studies.
 Introduction to skills in alignment, release, connection with breath, breath into sound and shaping the
breath into speech and speaking text.
 Introduction to phonetics symbols and sounds and their application in acquiring accents.
 Introduction to sight reading techniques and practice.
 Development of actor’s skills through voice, accent and dialect.
 Development of understanding of movement through techniques such as Laban Le Coq and
Grotowski.
 Self evaluation and planning for development and practice of physical and vocal strength, flexibility
and stamina.
ii
VOICE
Berry, C (1998) The Actor and the Text, London: Harrap
Houseman, B (2002) Finding Your Voice, London: Nick Hern Books
Rodenburg, P (1998) The Actor Speaks: Voice and the Performer, London: Methuen Drama
Linklater, K. (2006) Freeing the Natural Voice, London: Nick Hern
Dayme, MB. (2005) The Performer’s Voice, London: Norton&Company
Haydn Rowles/Sharpe (2007) How to do Accents, London: Oberon
MOVEMENT
Chamberlain, F & Yarrow R (2001) Jacques Lecoq and the British Theatre, London: Routledge
Murray, S (2007) Physical Theatres: A Critical Introduction, London: Routledge
Wright, John. (2006) Why Is That So Funny? Nick Herne Books.
Murray, Simon. (2003) Jaques LeCoq. Routledge.

th
Date of completion of this version of Module Specification: 29 May 2013
Date of approval by the CPPARC:

 The Manchester College aims to be professional and ethical in all academic activities and requires
that students engaged in academic activities are aware of the ethical implications of such activities
and are committed to undertaking these in an ethical manner and demonstrating good practice which
meets a high professional standard of conduct. That commitment to this ethical practice is supportive
and not to act as a barrier to any academic activity.
 The Manchester College has a responsibility to maintain suitable standards of propriety whilst
carrying out academic and other activities in a respectful and ethical manner without compromising
welfare or morality of staff, students and the wider public.
 A Research Ethics Approval Request Form is available to download on The Manchester College
website in the University Level/University of Salford section.
 This should be completed and submitted by email to the Module Tutor. No activity must commence
until an approval decision has been granted. Projects that would be deemed eligible for ethical
consideration include:
 see UoS guidance notes on selecting JACS codes (http://www.planning.salford.ac.uk/jacs_codes/)

 see HESA JACS Codes webpage http://www.hesa.ac.uk/index.php/content/view/356/233/
 indicate level 3,4,5,6,7
 permissible credit values are set out in Academic Regulations 3.1.3 to 3.1.5
 European Credit Transfer System: 2 Salford Credits = 1 ECTS credit
 indicate 0.5, 1, 1.5 or 2, subject to permissible module shapes in Academic Regulations 3.1.8/9
 check one box as applicable
 insert month and year of first/next delivery of module
 identify all participating Schools other than Originating School
 please indicate, in chronological order of submission date, each assessment component by type,
e.g. examination, oral, coursework, project, dissertation; denote final assessment component in box
marked Final assessment component (99)
 if Method B is used for module mark calculation, indicate Yes to specify the assessment
component(s) to be passed in order to pass the module
 refers to the choice and range of teaching activities which are most appropriate in creating learning
experiences which help students to achieve the module’s learning outcomes and develop
transferable skills; issues of equality, diversity and accessibility must also be given full consideration
 xiii the “Indicative texts and/or learning materials/resources” box should include a maximum of 5
items for new modules; for existing modules the box should include a link for CPPARC reviewers
and readers to the comprehensive reading list at http://lasu.salford.ac.uk
Scheme of Work
Date Week Voice Movement
Theory/Phonetics Practical
23/09/2013 1:1 Care of the Voice Discussing what Fitness and Co-ordination: Circus skills 1.
is the voice & Intro to Juggling.
Questionnaire on understanding
learning, Label practical voice Intro to movement. Theory. Le Coq school.
Skeleton work
Intro to: Communicating through movement.
Blank masks. Basic exercises. Stillness and
slow motion.
30/09/2013 1:2 Care of the voice Diagnostics Fitness and Co-ordination: Circus skills 2.
quiz Juggling, Diablo.
Open invite
Introduction to from to other Mask 1. Communicating through movement
Phonetics teachers 1: Telling the story.
07/10/2013 1:3 The spine Linklater 1 Fitness and Co-ordination: Circus skills 3.
Juggling, Club Swinging, Poi.
The oral
tract/tongue Mask 2. Communicating through movement 2.
Consonants Showing the emotion. Embodiment.
14/10/2013 1:4 Breathing Linklater 2 Fitness and Co-ordination: Circus skills 4.

Slack rope.
Places of
articulation Mask 3. Communicating through movement 3.
Consonants Responsiveness. Introduction to “checking”
21/10/2013 1:5 Teach H/W, Linklater 3 Fitness.

breathing
muscles, Analysis of and research into: Communicating
Categories of through movement – The Written Work.
Manner,
Consonants
04/11/2013 1:6 Presentations Linklater 4 Fitness and Co-ordination. Circus skills:

Stilts.
Recap on all Discuss quotes
consonants and found on Physical Presentation of Character and
how they are breathing Stagecraft 1.
made
Stock characters.
11/11/2013 1:7 Process of Linklater 5 Fitness and Co-ordination. Physical

phonation 1, Presentation of Character and Stagecraft 2.
Consonant test
Phonetic chart Character and embodiment.
18/11/2013 1:8 Process of Linklater 6 Fitness and Co-ordination.

phonation 2,
Physical Presentation of Character and
Vowels: The Stagecraft 3. Stillness and responsiveness.
Vowel chart
25/11/2013 1:9 Vowels Linklater 7 Fitness and Co-ordination.
Monophthongs Physical Presentation of Character and

Stagecraft 4. Story and responsiveness.
02/12/2013 1:10 Consonants and Linklater 8 Fitness and Co-ordination.

monophthongs
Physical Presentation of Character and
Stagecraft 4. Tell the story.
09/12/2013 1:11 Formative: Linklater 9 Reflective practice. Analysis of and research

Diphthong test into: Physical presentation of character and
stagecraft – The written work.
23/12/2013 Christmas
30/12/2013 Holiday
06/01/2014 1:13 Presentations on Linklater 10 Fitness and Co-ordination. Atmosphere and

vocal practitioners Imagination. Physical Theatre 1.
Phonetics Recap
13/01/2014 1:14 Phonetictranscription Linklater 11 Fitness and Co-ordination. Atmosphere and

Imagination. Physical Theatre 2.
20/01/2014 1:15 Phonetics booklet Linklater 12 Fitness and Co-ordination. Atmosphere and
Imagination. Physical Theatre 3
27/01/2014 2:1 Phonetics booklet Linklater 13 Stand Up Comedy Introduction: why we

laugh, am I funny, investigating my comedy
persona
03/02/2014 2:2 Formative Phonetics Linklater 14 Stand Up Comedy Starting to write your
test material
24/02/2014 2:4 Phonetics to Linklater 15 Stand Up Comedy Microphone handling,

accents
dealing with hecklers, establish self-
confidence
03/03/2014 2:5 RP Linklater 16 Stand Up Comedy
Performance
10/03/2014 2:6 RP Prep Assessment Prep

31/03/2014 Assessment Week Phonetics test (10%) Movement Assessment
07/04/2014 Easter
14/04/2014 Holidays
21/04/2014 2:10 Phonetic Recap Voice Assessment Political theatre and film 1
28/04/2014 2:11 Voice Workshop Learners teach learners Political theatre and film 2
05/05/2014 2:12 Voice Workshop Prep for Year 2: Political theatre and film 3
(guest)
Shakespeare
12/05/2014 2:13 Preparing for Sonnet-Work Political theatre and film 4

Year 2: Accents
19/05/2014 2:14 Find recordings Leading voice warm ups Political theatre and film 5
26/05/2014 2:15 Voice Quiz Sonnet to work on over summer. Political theatre and film 6
02/06/2014 Assessment Week: Log Book
09/06/2014 Feedback Week

ASSIGNMENT BRIEF (1)
Module Title Skills for the Actor Level 4
Title of Component 1 – practical presentations

Assignment
Programmes Skills for the Actor: voice and movement

undertaking the
assignment
Task 1 – Semester 2 Week 1
Hand-out date Task 2 – Semester 1 Week 1
Task 3 - Semester 1 Week 1
Task 1 (comedy) – Semester 2 Week 5
Hand-in date Task 2 (movement) – Semester 2 Week 9
Task 3 (voice) – Semester 2 Week 10
Task 1 Date Room Time
Submission Task 2 Date Room Time

details
Task 3 Date room time
Task 1: Semester 2 Week 8
Feedback date Task 2: Semester 2 Week 12
Task 3: Semester 2 Week 13
Weighting 80%
within the
module
Word 5 - 10 Minutes
limit/presentatio
n criteria
1. Use the body in a free, safe and flexible manner while taking care of
physical resources.
Learning 2. Engage in regular practice in voice in order to show improved clarity,
Outcomes to be fluency and expressivity when delivering a variety of text.
assessed 3. Develop an understanding of practice across a range of movement
(from module disciplines.
spec.) 4. Apply the sounds and symbols of phonetics of Received Pronunciation to
a piece of text.
Transferable key  Reflect on personal value systems, development and practices.

skills (from
module spec.)
 Task 1: Stand up performance: to individually write and perform five

Details of the minutes Stand Up comedy. (20%)
task
 Task 2: To devise and perform a five minute group performance piece
from provided stimulus. (40%)
 Task 3: To vocally present three practical tasks: a poem in your own

accent and sight reading in the speakers’ natural accent, and a prepared
reading in RP. (40%)
Assessment Outstanding 90 – 100%

criteria The student will
 Demonstrate an outstanding understanding of anatomy, physiology and

alignment in relation to the vocal process.
 Demonstrate an outstanding ability to release unnecessary mental and
physical tensions and use the breath efficiently to support smooth note
on-set and release of voice, with very clear articulation.
 Show an outstanding knowledge of phonetics and an impeccable
embodiment and ownership of RP.
 Demonstrate outstanding movement technique to communicate
character, narrative and emotion.
 Demonstrate outstanding application of ‘stillness’, ‘embodiment’, and
‘responsiveness’ in the movement assessment task.
 Demonstrate outstanding application of comedy writing and performance
techniques to establish a comedy persona.
The student will
 Demonstrate an excellent understanding of anatomy, physiology and

 Demonstrate an excellent ability to release unnecessary mental and
 Show an excellent knowledge of phonetics and an impeccable
 Demonstrate excellent movement technique to communicate character,
narrative and emotion.
 Demonstrate excellent application of ‘stillness’, ‘embodiment’, and
 Demonstrate excellent application of comedy writing and performance

The student will
 Demonstrate a very good understanding of anatomy, physiology and

 Demonstrate a very good ability to release unnecessary mental and
 Show very good knowledge of phonetics and an impeccable embodiment
and ownership of RP.
 Demonstrate very good movement technique to communicate character,
 Demonstrate very good application of ‘stillness’, ‘embodiment’, and
 Demonstrate very good application of comedy writing and performance
Good 60 – 60%
The student will
 Demonstrate an good understanding of anatomy, physiology and

 Demonstrate an good ability to release unnecessary mental and physical
tensions and use the breath efficiently to support smooth note on-set and
release of voice, with very clear articulation.
 Show an good knowledge of phonetics and an impeccable embodiment
 Demonstrate good movement technique to communicate character,
 Demonstrate good application of ‘stillness’, ‘embodiment’, and
 Demonstrate good application of comedy writing and performance
Fair 50 – 59%
The student will
 Demonstrate an fair understanding of anatomy, physiology and alignment

in relation to the vocal process.
 Demonstrate an fair ability to release unnecessary mental and physical
 Show an fair knowledge of phonetics and an impeccable embodiment and
ownership of RP.
 Demonstrate fair movement technique to communicate character,
 Demonstrate fair application of ‘stillness’, ‘embodiment’, and
 Demonstrate fair application of comedy writing and performance
The student will
 Demonstrate an adequate understanding of anatomy, physiology and

 Demonstrate an adequate ability to release unnecessary mental and
 Show an adequate knowledge of phonetics and an impeccable
 Demonstrate adequate movement technique to communicate character,
 Demonstrate adequate application of ‘stillness’, ‘embodiment’, and
 Demonstrate adequate application of comedy writing and performance
The student will
 Demonstrate an unsatisfactory understanding of anatomy, physiology and

 Demonstrate an unsatisfactory ability to release unnecessary mental and
 Show an unsatisfactory knowledge of phonetics and an impeccable
 Demonstrate unsatisfactory movement technique to communicate
 Demonstrate unsatisfactory application of ‘stillness’, ‘embodiment’, and
 Demonstrate unsatisfactory application of comedy writing and
performance techniques to establish a comedy persona.
Poor 20 – 29%
The student will
 Demonstrate a poor understanding of anatomy, physiology and alignment

in relation to the vocal process.
 Demonstrate a poor ability to release unnecessary mental and physical
 Show a poor knowledge of phonetics and an impeccable embodiment
 Demonstrate poor movement technique to communicate character,
 Demonstrate poor application of ‘stillness’, ‘embodiment’, and
 Demonstrate poor application of comedy writing and performance

The student will
 Demonstrate a very poor understanding of anatomy, physiology and

 Demonstrate a very poor ability to release unnecessary mental and
 Show a very poor knowledge of phonetics and an impeccable
 Demonstrate very poor movement technique to communicate character,
 Demonstrate very poor application of ‘stillness’, ‘embodiment’, and
 Demonstrate very poor application of comedy writing and performance
The student will
 Demonstrate an extremely poor understanding of anatomy, physiology

and alignment in relation to the vocal process.
 Demonstrate an extremely poor ability to release unnecessary mental and
 Show an extremely poor knowledge of phonetics and an impeccable
 Demonstrate an extremely poor movement technique to communicate
 Demonstrate an extremely poor application of ‘stillness’, ‘embodiment’,
and ‘responsiveness’ in the movement assessment task.
 Demonstrate an extremely poor application of comedy writing and
performance techniques to establish a comedy persona.
Module Title Skills for the Actor Level 4
Title of Component 2 – Written Reflective Skills Log & Phonetic Exam

Assignment
Programmes Skills for the Actor: voice and movement

undertaking the
assignment
th
Hand-in date Reflective skills log and self-development plan: Semester 2: Friday 6 June
Phonetics Exam: Semester 2 Week 9
Reflective skills log and self-development plan: Turnitin
Submission Phonetics exam: Class test (LO’s 2, 3)

details
th
Semester 2 Friday 27 June
Feedback date Semester 2 Week 12
Weighting 20%
within the
module
Word Reflective log: 750 Word count (10% either side)

limit/presentatio
n criteria Phonetics exam: 20 Minutes
 Use the body in a free, safe and flexible manner while taking care of
physical resources.
Learning  Engage in regular practice in voice in order to show improved clarity,
Outcomes to be fluency and expressivity when delivering a variety of text.
assessed  Develop an understanding of practice across a range of movement
(from module disciplines.
spec.)  Apply the sounds and symbols of phonetics of Received Pronunciation to
a piece of text.
Transferable key  Reflect on personal value systems, development and practices.

skills (from
module spec.)
A reflective skills log: (50%)

Details of the
task A written phonetics test. (50%)
Assessment Outstanding 90 – 100%

criteria The student will
 Demonstrate outstanding research, reflection and analysis in the
reflective skills log.
 Demonstrate outstanding knowledge and application of phonetics.
The student will
 Demonstrate excellent research, reflection and analysis in the reflective
skills log.
 Demonstrate excellent knowledge and application of phonetics.

The student will
 Demonstrate very good research, reflection and analysis in the reflective
skills log.
 Demonstrate very good knowledge and application of phonetics.
Good 60 – 60%
The student will
 Demonstrate good research, reflection and analysis in the reflective skills
log.
 Demonstrate good knowledge and application of phonetics.
Fair 50 – 59%
The student will
 Demonstrate fair research, reflection and analysis in the reflective skills

log.
 Demonstrate fair knowledge and application of phonetics.
The student will
 Demonstrate adequate research, reflection and analysis in the reflective

skills log.
 Demonstrate adequate knowledge and application of phonetics.
The student will
 Demonstrate unsatisfactory research, reflection and analysis in the

 Demonstrate unsatisfactory knowledge and application of phonetics.
Poor 20 – 29%
The student will
 Demonstrate poor research, reflection and analysis in the reflective skills

log.
 Demonstrate poor knowledge and application of phonetics.

The student will
 Demonstrate very poor research, reflection and analysis in the reflective

skills log.
 Demonstrate very poor knowledge and application of phonetics.
The student will
 Demonstrate extremely poor research, reflection and analysis in the

 Demonstrate extremely poor knowledge and application of phonetics.
The link to the University of Salford Academic Handbook and the associated documentation is below:

This document provides the principles and regulations governing the deadlines for the submission of
assessed work, the penalties applied for the late submission of assessed work and the mitigation of such
penalties.

(10 mark (15 mark RECORDED AS A NON-
(5 mark penalty) (20 markpenalty) SUBMISSION
penalty) penalty)
th
Where coursework is submitted late the following penalties for late work shall be applied to the mark or grade
for that work (except for students on the final 60 credit stage of a Masters Degree):
(a) if the work is no more than four working days late and marked then five marks shall be deducted for each
working day (or part thereof), but if the work would otherwise pass then the mark for the work shall be
reduced to no lower than the pass mark for the component;
(b) if the work is no more than four working days late and marked and the mark is lower than the pass mark,
then no penalty shall be applied;
(c) if the work is no more than four working days late and graded either Pass or Fail then no penalty shall be
applied;
(d) if the work is more than four working days late then it cannot be submitted and shall be recorded as a
non-submission (NS)

procedure for the submission of PMCs by students registered on programmes relating to their assessment
and sets out how such circumstances will be considered by The Manchester College and Boards of
Examiners.
Students who wish to submit personal mitigating circumstances for review must complete and email the PMC
form to PMC@TheManchesterCollege.ac.uk within 10 working days of the assessment submission date or of
the date of the assessment. Your email will act as your receipt.

assessment at

Assessment is the generic term used in this document to cover all forms of formative and summative
assessed activity, e.g. coursework assignment, presentation, test, portfolio, written examination. The Quality
Assurance Agency defines formative and summative assessment as follows:
 Formative assessment has a developmental purpose and is designed to help learners learn more
effectively by giving them feedback on their performance and on how it can be improved and/or
maintained. Reflective practice by students sometimes contributes to formative assessment.
assessment criteria used to gauge the intended learning outcomes of a module or programme.
Feedback on all forms of assessment should be provided to students within 15 working days of the published
submission deadline. The University Assessment Handbook gives guidance on the provision of feedback.
A Statement of Academic Honesty must accompany all work submitted, detailing name, student number,
date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If you are required to
produce a handout, one copy of this must be submitted to your first assessor before your performance on the
final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in question and the
penalties for late submission will be applied based on this. You can find Turnitin by using the following link:
http://submit.ac.uk/en_gb/home. If you do not submit your work to Turnitin then you will be awarded a fail for
that piece of coursework. No work will be accepted via email, fax or hard copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected in assessed
pieces of work by students following undergraduate and postgraduate programmes of study. It provides
information on the processes which must be followed in dealing with such cases and penalties applied in the
event of a finding of guilt. It provides guidance on preventative measures which may be employed by
Colleges and Schools in order to minimise the possibility of unfair means. Information is also provided on the
appeals process.
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were your own. The
source of the original material is hidden from the marker by not referencing it properly or by paraphrasing it
without acknowledgement or by not mentioning it at all. Work includes, but is not restricted to, written work,
ideas, musical compositions, computer programs, laboratory or survey results, diagrams, graphs, drawings,
designs. Plagiarism may occur in all forms of assessment, including written examinations.

Self plagiarism (or double submission) is resubmitting previously submitted work on one or more occasions
(without proper acknowledgement). This may take the form of copying either the whole piece of work or part
of it. Normally credit will already have been given for this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects), two or more students
consciously collaborate in the preparation and production of work which is ultimately submitted by each in an
identical, or substantially similar, form and/or is represented by each to be the product of his or her individual
efforts. Collusion also occurs where there is unauthorised co-operation between a student and another
person in the preparation and production of work which is presented as the student’s own.
An academic appeal is a request for a review of a decision made by the Board of Examiners (this includes
decisions made by a Module or Programme Board) or the Postgraduate Research Award Board charged
with making decisions on student progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will be followed and
the normal timescales for each stage of the process.
MODULE HANDBOOK
2013/2014
Module Title Tools Of The Trade 1 Module Code 33683
Credits 20 Level 4
Marie Mair
Contact Details Hyde Road Ardwick
Manchester M12 6BA
mmair@themanchestercollege.ac.uk
Programme Title/s ALARM
2013-14
Academic Year
Semester 1
Module end date XXX

Date of completion of this version of Module Specification 03/07/2012
Date of approval by the Accredited Programme Approval and Review Panel: 03/07/2012
Module Title: CRN:

33683
Tools Of The Trade 1: The Naturalistic Actor
i
University module code: HESA/JACS subject area code :
W410 10011 W410
ii iii iv
Level : Credit Value : ECTS Value : Length (in Semester(s) in which to
v
4 20 10 Semesters) : be offered:
1 1
Existing module vii
vi
Title of Module being replaced (if any): With effect from :
New module None September 2012

School of Media, Music and Marie Mair
Performance Paul Mitchell
BA (Hons) Acting For Live and Recorded Media

None None
viii
200 including contact hours, 100% at The Manchester College
Aims of Module:
In order to further develop and strengthen subject knowledge, this module aims to identify the
common principles of acting as established by practitioners such as Stanislavski, Uta Hagan, Mike
Leigh and Sanford Meisner introducing technique and skills in the development of an acting
process.
1. Identify and demonstrate techniques in the development of an acting process.
2. Employ the use of acting tools used such as given circumstances, action and objectives.
3. Draw upon and make use of personal experience and observation to inform practice.
4. Work effectively as part of a creative team.
 Question concepts and theories encountered in their studies.

Duration Word count (if Component pass
ix
Type of assessment Weighting% (if exam) essay/dissertation): requiredx
Class exercise 10 minutes
80%
(LO’s 1,2,4) (equivalent) Yes No
Final assessment
component (99)
Yes No
20% 750 word
Self-evaluation
equivalent
(LO 3)
xi

Seminar: used to generate peer feedback and discussion on the practical aspects of learners work.
Workshops: used particularly for the practical and technical development of acting process. These
are learner centred.
The student will take part in tutor led workshops & seminars, practical exercises, group discussions,
directed reading, peer assessment and self-evaluation. Practical exercises will encourage an active
experimental approach in the development of character to broaden knowledge and understanding.
Evidence of process is through assessment of student self evaluation of application of tools and
techniques within the acting process.
Students will be directed to read and research a wide range of material and also use the Internet,
set resources both written and visual in order to broaden knowledge and understanding of acting
techniques, tools and processes.
Assessment methods:
Assessment for this module is based on student research and practical performance development
including evidence of reflective practice, This includes the following elements.

workshops; research, review of application of theoretical approaches and practical tools
and techniques; evidence of application of personal experience and contexts. This will
include a short written summary of personal experiential development in response to
research and performance.
 Performances in workshops including self and peer review. Students will expect to
evidence evaluation of own development work, work development with others; use of
 Final short performance piece.

Syllabus outline:
Through lectures and workshops, students will be able to identify and develop key theoretical
concepts. Using practical stimuli from which they will begin to build and develop a three dimensional
character.
 Introduction to acting process techniques such as improvisation, given circumstances,

action and objective.
 Development of understanding of key principles of acting process techniques of
Stanislavski, Uta Hagan, Mike Leigh and Sanford Meisner.
 programme of improvisation based practical classes based individual research and social
observation.
xii
Abbott, J (2012) The Acting Book, London: Nick Hern
Alexander, F M (2001), The Use of the Self, London: Orion
Benedetti, J (1982), Stanislavsky, K: An Introduction, London: Methuen
Hagen, U (1973) Respect for Acting, New York: Wiley Publishing Inc.
Johnson, K (2007) Impro (Performance Books): Improvisation and the Theatre, London: Methuen
Merlin, B (2010) Acting, the Basics, London: Routledge
Silverberg, L (1995) The Sanford Meisner Approach: An Actors Workbook 4, New York: Smith &
Kraus
 The Manchester College aims to be professional and ethical in all academic activities and requires
that students engaged in academic activities are aware of the ethical implications of such activities
and are committed to undertaking these in an ethical manner and demonstrating good practice which
meets a high professional standard of conduct. That commitment to this ethical practice is supportive
and not to act as a barrier to any academic activity.
 The Manchester College has a responsibility to maintain suitable standards of propriety whilst
carrying out academic and other activities in a respectful and ethical manner without compromising
welfare or morality of staff, students and the wider public.
 A Research Ethics Approval Request Form is available to download on The Manchester College
website in the University Level/University of Salford section.
 This should be completed and submitted by email to the Module Tutor. No activity must commence
until an approval decision has been granted. Projects that would be deemed eligible for ethical
consideration include:
Scheme of Work
23/09/2013 1:1 Workshops and team building
30/09/2013 1:2 Workshops and team building and introduction to Meisner
07/10/2013 1:3 Repetition exercises
14/10/2013 1:4 Repetition exercises intro to given circumstances
21/10/2013 1:5 Repetition and given circumstances.
04/11/2013 1:6 Private Moment/exercises
11/11/2013 1:7 Private Moment- Formative assessment
18/11/2013 1:8 Private Moment
25/11/2013 1:9 Private Moment
02/12/2013 1:10 Script action and objectives
16/12/2013 Acting Tutorials
23/12/2013 Christmas holiday
30/12/2013
13/01/2014 1:14 Show back and summative assessment
20/01/2014 1:15 Feedback

ASSIGNMENT BRIEF
Module Title Tools Of The Trade 1 Level 4
Title of Assignment Rehearsal Practices
Programmes ALARM 1
undertaking the
assignment
Performance Date 13/01/14
Submission details

module
Timing 10 Minutes
1 Identify and demonstrate techniques in the development of an

acting process.
2 Employ the use of acting tools used such as given
be assessed circumstances, action and objectives.
(from module spec.)
3 Draw upon and make use of personal experience and
observation to inform practice.
4 Work effectively as part of a creative team.

1. Improving own learning and performance
Transferable key skills 2. Problem solving

(from module spec.)
1 Create and show back a personal moment
Details of the task 2 Perform a short scene
Assessment criteria Outstanding 90-100%

Students will
 Make an outstanding contributions within the

group.
 Make an outstanding use of acting tools within the
process and the final exercises.
 Show an outstanding level of creativity in activities
and final exercises.
Excellent 80-90%
Students will
 Make an excellent contribution within the group.

 Make an excellent use of acting tools within the
 Show an excellent level of creativity in activities
Very good 70-80%

Students will
 Make very good contributions within the group.

 Make very good use of acting tools within the
 Show a very good level of creativity in activities
Good 60-70%
Students will
 Make good contributions within the group.

 Make good use of acting tools within the process
and the final exercises.
 Show a good level of creativity in activities and final
exercises.
Fair 50-60%
Students will
 Make fair contributions within the group.

 Make fair use of acting tools within the process and
the final exercises.
 Show a fair level of creativity in activities and final
exercises.
Satisfactory 40-49%
Students will
 Make satisfactory contributions within the group

 Make satisfactory use of acting tools within the
process and the final exercises
 Show a satisfactory level of creativity in activities
Students will
 Make unsatisfactory contributions within the group

 Make unsatisfactory use of acting tools within the
 Show an unsatisfactory level of creativity in
activities and final exercises
Poor 20-29%
Students will
 Make poor contributions within the group

 Make poor use of acting tools within the process
and the final exercises
 Show a poor level of creativity in activities and final
exercises
Very poor 10-19%

Students will
 Make a very poor contributions within the group

 Make a very poor use of acting tools within the
 Show a very poor level of creativity in activities and
final exercises
Extremely poor 0-9%

Students will
 Make an extremely poor contributions within the

group
 Make an extremely poor use of acting tools within
the process and the final exercises
 Show an extremely poor level of creativity in
activities and final exercises
Programmes ALARM 1
undertaking the
assignment
Reflective Essay
Submission details
19/01/14
Feedback date

module

limit/presentation
criteria
1 Identify and demonstrate techniques in the
development of an acting process
be assessed
(from module spec.)
 Reflect on personal value systems, development
and practices.
Transferable key skills
(from module spec.)
A reflective essay
Details of the task

The student will
 Demonstrate outstanding research, reflection and
analysis in the reflective essay.
The student will
 Demonstrate excellent research, reflection and


The student will
 Demonstrate very good research, reflection and

Good 60 – 60%
The student will
 Demonstrate good research, reflection and analysis

in the reflective essay.
Fair 50 – 59%
The student will
 Demonstrate fair research, reflection and analysis in

the reflective essay.
The student will
 Demonstrate adequate research, reflection and

analysis in the reflective skills essay.
The student will
 Demonstrate unsatisfactory research, reflection and

Poor 20 – 29%
The student will
 Demonstrate poor research, reflection and analysis

in the reflective essay.

The student will
 Demonstrate very poor research, reflection and
The student will
 Demonstrate extremely poor research, reflection
and analysis in the reflective essay.
The link to the University of Salford Academic Handbook and the associated documentation is below:

This document provides the principles and regulations governing the deadlines for the submission of
assessed work, the penalties applied for the late submission of assessed work and the mitigation of such
penalties.

(10 mark (15 mark RECORDED AS A NON-
(5 mark penalty) (20 markpenalty) SUBMISSION
penalty) penalty)
th
Where coursework is submitted late the following penalties for late work shall be applied to the mark or grade
for that work (except for students on the final 60 credit stage of a Masters Degree):
(a) if the work is no more than four working days late and marked then five marks shall be deducted for each
working day (or part thereof), but if the work would otherwise pass then the mark for the work shall be
reduced to no lower than the pass mark for the component;
(b) if the work is no more than four working days late and marked and the mark is lower than the pass mark,
then no penalty shall be applied;
(c) if the work is no more than four working days late and graded either Pass or Fail then no penalty shall be
applied;
(d) if the work is more than four working days late then it cannot be submitted and shall be recorded as a
non-submission (NS)

procedure for the submission of PMCs by students registered on programmes relating to their assessment
and sets out how such circumstances will be considered by The Manchester College and Boards of
Examiners.
Students who wish to submit personal mitigating circumstances for review must complete and email the PMC
form to PMC@TheManchesterCollege.ac.uk within 10 working days of the assessment submission date or of
the date of the assessment. Your email will act as your receipt.

assessment at

Assessment is the generic term used in this document to cover all forms of formative and summative
assessed activity, e.g. coursework assignment, presentation, test, portfolio, written examination. The Quality
Assurance Agency defines formative and summative assessment as follows:
 Formative assessment has a developmental purpose and is designed to help learners learn more
effectively by giving them feedback on their performance and on how it can be improved and/or
maintained. Reflective practice by students sometimes contributes to formative assessment.
assessment criteria used to gauge the intended learning outcomes of a module or programme.
Feedback on all forms of assessment should be provided to students within 15 working days of the published
submission deadline. The University Assessment Handbook gives guidance on the provision of feedback.

A Statement of Academic Honesty must accompany all work submitted, detailing name, student number,
date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If you are required to
produce a handout, one copy of this must be submitted to your first assessor before your performance on the
final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in question and the
penalties for late submission will be applied based on this. You can find Turnitin by using the following link:
http://submit.ac.uk/en_gb/home. If you do not submit your work to Turnitin then you will be awarded a fail for
that piece of coursework. No work will be accepted via email, fax or hard copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected in assessed
pieces of work by students following undergraduate and postgraduate programmes of study. It provides
information on the processes which must be followed in dealing with such cases and penalties applied in the
event of a finding of guilt. It provides guidance on preventative measures which may be employed by
Colleges and Schools in order to minimise the possibility of unfair means. Information is also provided on the
appeals process.
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were your own. The
source of the original material is hidden from the marker by not referencing it properly or by paraphrasing it
without acknowledgement or by not mentioning it at all. Work includes, but is not restricted to, written work,
ideas, musical compositions, computer programs, laboratory or survey results, diagrams, graphs, drawings,
designs. Plagiarism may occur in all forms of assessment, including written examinations.

Self plagiarism (or double submission) is resubmitting previously submitted work on one or more occasions
(without proper acknowledgement). This may take the form of copying either the whole piece of work or part
of it. Normally credit will already have been given for this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects), two or more students
consciously collaborate in the preparation and production of work which is ultimately submitted by each in an
identical, or substantially similar, form and/or is represented by each to be the product of his or her individual
efforts. Collusion also occurs where there is unauthorised co-operation between a student and another
person in the preparation and production of work which is presented as the student’s own.
An academic appeal is a request for a review of a decision made by the Board of Examiners (this includes
decisions made by a Module or Programme Board) or the Postgraduate Research Award Board charged
with making decisions on student progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will be followed and
the normal timescales for each stage of the process.
MODULE HANDBOOK
2013/2014
Module Title Context and Guidance Module Code
Credits 20 Level 4
Module Leader
Contact Details Hannah Butterfield
Programme Title/s Acting for Live and Recorded Media
2013-14
Academic Year
Semester 1
Module end date 30th May 2014

Date of completion of this version of Module Specification 03/07/2012
Date of approval by the Accredited Programme Approval and Review Panel: 03/07/2012
Module Title: CRN:
Context and Guidance 33586
University module code: HESA/JACS subject area codei:
W410 10003 W410
Levelii: Credit Valueiii: ECTS Valueiv: Length (in Semester(s) in which to

4 20 Semesters)v be offered:
10
2 1&2
Title of Module being replaced (if any): With effect fromvii:

September 2012
Existing module None
New module vi

Hannah Butterfield
Performance
None None
Indicative learning hours: Percentage taught by School(s) other than originating Schoolviii :
100% at The Manchester College
Aims of Module:
In order to further develop and strengthen subject knowledge, this module aims to encourage students
to identify and examine their own practice in the wider context of the history of Acting in a variety of
contexts and mediums.
Intended Learning Outcomes:

1. Present an understanding of Theatre history as well as the development of mediatised

performance.
2. Identify the role and importance of research and present research from a wide range of
sources.
3. Evaluate researched information and evidence a development of individual critical thinking.
4. Clearly express and present arguments and ideas of the development of live and recorded
media.
 Communication of ideas.
 Question concepts and theories encountered in studies.
 Reflect on personal value systems, development and practice.
Duration
Word count (if Component pass
Type of assessmentix Weighting% (if exam) essay/dissertation): requiredx
Group Presentation
40% 5-10 minutes Yes No
(LO1,2,4)
Final assessment
component (99)
Essay 60% 1,500 words Yes No
(LO’s 1,2,3,4)
Learning and teaching strategies xi:
Seminar: used to generate peer feedback and discussion on the practical aspects of learners work;
focus on practical impact of area of research.
Workshops: used particularly for the development of learner peer review and discussion.
Students will take part in tutor led Lectures and seminars, presentations, question and answer, one to
one tutorials, group work, directed reading and independent study including written work. Practical
exercises and discussion, including use of guests, will encourage an active experimental approach in the
development of research skills; impact on personal development and understanding.
Students will demonstrate knowledge, understanding and skills learnt through individual and group
research, seminar discussions and written work. Students will be directed to read and research a wide
range of material and also use the Internet, set resources both written and visual in order to broaden
knowledge and understanding.
Assessment methods:
Assessment for this module is based on research, discussion and analysis including evidence of
reflection. This includes the following elements:
 Research on range of topics and annotation of texts from a variety of sources.
 Planning for presentation and working within a group based on group research and discussion,
and where appropriate practical, visual and verbal components.
 Written essay and supporting portfolio of research.
Syllabus outline:
 Introduction to history of theatre, film and television.

 Introduction to key movements and theories of film and performance e.g. Naturalism.
 Review of key acting movements and impact and scope.
 Artistic contexts of film and TV.
 Development of 20th and 21st Century contemporary practices in film and TV.
 Impact in the form and content of a particular theatre, film and TV movement including
influences of key political, social, historical and scientific actions.
Indicative texts and/or other learning materials/resources xii;
Brown, J (2001) The Oxford Illustrated History of Theatre, Oxford: Oup
Fiske, J (1987) Television Culture (Studies in Communication Series) London: Routledge
Hagan, U (1991) A Challenge For The Actor, London: Simon & Schuster
Hagen, U (1973) Respect for Acting, New York: Wiley Publishing inc.
Innes, C (2000) A Sourcebook on Naturalist Theatre, London: Routledge
Longwell, D (1990) Sanford Meisner on Acting, London: Vintage Books
Marlowe, C (2003) The Complete Plays, London: Penguin Classics
Parkinson, D (2012) History of Film (World of Art) London: Thames & Hudson
Raphael, A (2008) Mike Leigh on Mike Leigh (Directors on Directors) London: Faber & Faber
Schumacher, C (2009) Naturalism and Symbolism in European Theatre, Cambridge: Cambridge

University Press
Styan, J (1983) Modern Drama in Theory and Practice 1: Realism and Naturalism, Cambridge: Cambridge
University Press
Taylor, M (2001) Shakespeare Criticism in the Twentieth Century, Oxford: Oxford University Press
Wiles, D (2000) Greek Theatre Performance, Cambridge: Cambridge University Press

Journals:
Drama: The Quarterly Theatre Review, British Drama League
Modern Drama, The University of Toronto Press
New Theatre Quarterly, Cambridge University Press
Studies in Theatre & Performance, Intellect Journals
www.thestage.co.uk
TDR The Drama Review: www.mitpressjournals.org/loi/dram
 The Manchester College aims to be professional and ethical in all academic

activities and requires that students engaged in academic activities are aware of the
ethical implications of such activities and are committed to undertaking these in an
ethical manner and demonstrating good practice which meets a high professional
standard of conduct. That commitment to this ethical practice is supportive and not
to act as a barrier to any academic activity.
 The Manchester College has a responsibility to maintain suitable standards of
propriety whilst carrying out academic and other activities in a respectful and ethical
manner without compromising welfare or morality of staff, students and the wider
public.
 A Research Ethics Approval Request Form is available to download on The
Manchester College website in the University Level/University of Salford section.
 This should be completed and submitted by email to the Module Tutor. No activity
must commence until an approval decision has been granted. Projects that would
be deemed eligible for ethical consideration include:
Scheme of Work
23/09/2013 Introduction to the Course
30/09/2013 Social, Cultural and Political
07/10/2013 The Naturalistic Revolt
14/10/2013 The Playwright and the Text – John Osbourne

21/10/2013 The Symbolic in Drama – Theatre of the Absurd
04/11/2013 The Playwright and the Text – Harold Pinter
11/11/2013 Mediated Performance in Films
18/11/2013 Debate 1
25/11/2013 Debate 2
02/12/2013 Group Meetings and Presentation Preparation
09/12/2013 Assessment 1 Deadline: Group Presentations
23/12/2013 Christmas Holiday
30/12/2013 Christmas Holiday
06/01/2014 Recap Quiz and Presentation Feedback
13/01/2014 The 20th Century
20/01/2014 1930s
27/01/2014 1940s
03/02/2014 1950s
24/02/2014 1960s
03/03/2014 1970s
10/03/2014 Ibsen
17/03/2014 When We Dead Awaken
24/03/2014 A Doll’s House
07/04/2014 Easter Holiday

21/04/2014 Checkov
28/04/2014 Three Sisters
05/05/2014 The Seagull
12/05/2014 Assessment 2 Deadline: Essay
19/05/2014 Debate 3
26/05/2014 Big End of Year Quiz

Module Title Context and Guidance Level 4
Title of Assignment Group Presentation

undertaking the
assignment
Hand-out date 23rd September 2013
Hand-in date 9th December 2013
Group Presentation
Submission details
6th January 2014

Feedback date

module
10 minutes
Word
limit/presentation
criteria
1. Present an understanding of Theatre history as well as
the development of mediatised performance.
be assessed
(from module spec.) 2. Identify the role and importance of research and
present research from a wide range of sources.
4. Clearly express and present arguments and ideas of

the development of live and recorded media.
 Communication of ideas.
 Question concepts and theories encountered
Transferable key skills in studies.
(from module spec.)  Reflect on personal value systems,
development and practice.
Using either Harold Pinter’s ‘Homecoming’ or John Osborne’s

‘Look Back In Anger’ present how the issues of sex and
Details of the task violence are portrayed and how it relates to the theme of
power.
Questions you may wish to consider:
1. Why are the above issues and theme explored by the

playwright?
2. To what extent are the issues of sex and violence
portrayed in a highly realistic yet aesthetically stylized
manner?
3. How is the theme of power presented?
Include in your presentation specific examples from the text,

knowledge of the chosen subject area, as well as wider
research to support your ideas.
Strive to demonstrate your ideas creatively through your

response. Prepare a handout and reference list per group.
There will be a short viva at the end of the presentation.
You will be assessed as a group in relation to the learning

outcomes listed above. Your mark will then be individually
moderated according to your input.
Outstanding 90 – 100%
Assessment criteria
The student will
 Demonstrate an outstanding application of

knowledge and understanding of relevant issues
and theories, showing a capacity to explain
interrelationships between concepts and apply them
to practice.
 Evidence an outstanding level of knowledge gained

from a range of literature and other sources.
 Highlight an outstanding ability to accurately use

referencing to support arguments.
 Show an outstanding oral communication, which is

extremely clear and coherent.
 Illustrate an outstanding creative and innovate

approach to academic presentations.
The student will
 Demonstrate an excellent application of knowledge

and understanding of relevant issues and theories,
showing an ability to explain interrelationships
between concepts and apply them to practice.
 Evidence an excellent level of knowledge gained

 Highlight an excellent ability to accurately use

 Show an excellent level of oral communication,

which is very clear and coherent.
 Illustrate an excellent creative and innovate

.

The student will
 Demonstrate a very good application of knowledge

showing an understanding between concepts and
applying them to practice.
 Evidence a very good level of knowledge gained

 Highlight a very good ability to accurately use

 Show a very good level of oral communication,

which is clear and coherent.
 Illustrate a very good creative and innovate

Good 60 – 69%
The student will
 Demonstrate an outstanding application of

and theories, showing some understanding
between concepts and applying them to practice.
 Evidence a good level of knowledge gained from a
range of literature and other sources.
 Highlight a good outstanding ability to accurately

use referencing to support arguments.
 Show a good level of oral communication, which is

clear and coherent.
 Illustrate a good creative and innovate approach to

academic presentations.
Fair 50 – 59%
The Student will
 Demonstrate a fair application of knowledge and

understanding of relevant issues and theories, with
an attempt at exploring similarities between
concepts and trying applying them to practice.
 Evidence a fair level of knowledge gained from a

 Highlight a fair ability to accurately use referencing

to support arguments.
 Show a fair level of oral communication, which

attempts to be clear and coherent.
 Illustrate a fair creative and innovate approach to

The Student will
 Demonstrate an adequate application of knowledge

with an attempt of exploration of concepts and an
attempt at applying them to practice.
 Evidence an adequate level of knowledge gained

 Highlight an adequate ability to accurately use

 Show an adequate level of oral communication, with

some clarity and coherence.
 Illustrate a fair creative and innovate approach to
The student will
 Demonstrate an unsatisfactory application of

and theories, with some exploration of concepts and
no evidence of applying them to practice.
 Evidence an unsatisfactory level of knowledge

gained from a range of literature and other sources.
 Highlight an unsatisfactory ability to accurately use

 Show an unsatisfactory level of oral communication,

which little clarity and coherence.
 Illustrate an unsatisfactory creative and innovate

approach to academic presentations
Poor 20 – 29%
The Student will
 Demonstrate a poor application of knowledge and

understanding of relevant issues and theories, with
very limited exploration of concepts no evidence of
applying them to practice.
 Evidence a poor level of knowledge gained from a

 Highlight a poor ability to accurately use referencing

to support arguments.
 Show a poor level of oral communication, which has

poor clarity and coherence.
 Illustrate a poor creative and innovate approach to

academic presentations

The Student will
 Demonstrate a very poor application of knowledge

with no clear exploration of concepts or any
evidence of an attempt at applying them to practice.
 Evidence a very poor level of knowledge gained

 Highlight a very poor ability to accurately use

 Show a very poor level of oral communication, with

a lack of clarity and coherence.
 Illustrate a very poor creative and innovate

approach to academic presentations
The Student will
 Demonstrate an extremely poor application of

knowledge and theories, with no attempt at an
exploration of concepts or an application to practice.
 Evidence an extremely poor level of knowledge

gained from a range of literature and other sources.
 Highlight an extremely poor ability to accurately use

 Show an extremely poor level of oral

communication with no clarity or coherence.
 Illustrate an extremely poor creative and innovate

Module Title Context and Guidance Level 4
Title of Assignment Essay

undertaking the
assignment
Submission details Submit via Turnitin
Weighting within 60%

the module
Word 1500 Words

limit/presentation
criteria
1. Present an understanding of Theatre history as well as
the development of mediatised performance.
Learning Outcomes
to be assessed
(from module spec.) 2. Identify the role and importance of research and
present research from a wide range of sources.
3. Evaluate researched information and evidence a

development of individual critical thinking.
4. Clearly express and present arguments and ideas of

the development of live and recorded media.
Transferable key  Communication of ideas.

skills (from module  Question concepts and theories encountered in
spec.) studies.
 Reflect on personal value systems,
development and practice.
You will explore the movement of Modernism – specifically

Details of the task Realism/Naturalism and Symbolism. You will study two texts by
Chekhov: Three Sisters and The Seagull, as well as two Ibsen
texts: When we Dead Awaken and Doll’s House. During this
period you will be expected to read and analyse the texts in
relation to the topics discussed in lectures/seminars. Your
progress will be assessed via a 1500 Word Essay.
Essay Question
Using ONE Chekhov (Three Sisters or The Seagull) and ONE Ibsen
text (When We Dead Awaken or Doll’s House), answer ONE of the
following questions.
Provide specific examples from the text to support your answer,

as well as wider critical research to underpin your work:
1. Identify the conventions of Naturalism and how they came to

be challenged by Symbolism.
2. Identify the political and personal concerns of the playwrights.
Outstanding 90 – 100%
Assessment criteria The work will
 Have an outstanding level of communication with a
judicious use of academic conventions and
impeccable presentation that is appropriate for
professional publication.
 Have an outstanding depth and use of research,

without the need for development, to support and
propel critical thinking, using theory and third party
support consistently to engage in debate.
 Have an outstanding structure that develops with

exceptional clarity in the relation to the progression of
a through line of enquiry and the conclusion expresses
individual judgement in a mature way.
 Have an outstanding depth of analysis and a creative

approach that is conducive to analytical investigation,
with a sophisticated exploration of concepts and
theories.
The work will
 Have an excellent level of communication with

judicious use of academic conventions and excellent
presentation that, with minor amendments, is
appropriate for professional publication.
 Have an excellent depth and use of research to

support and propel critical thinking, using theory and
third party support to engage in debate.
 Have an excellent structure that develops with clarity

in the relation to the progression of a through line of
enquiry and the conclusion expresses individual
judgement.
 Have an excellent depth of analysis and a creative

approach to the academic writing with high levels of
knowledge that is made apparent through the use of a
clear independent voice.

The work will
 Have a very good level of communication that is

efficiently and lucidly written without complication
or conversation and a virtually impeccable standard
of English using strict academic conventions.
 Have a very good depth and use of research from
a wide range of sources used directly to support
the through line of enquiry, with an interpretation of
theory made relevant to independent thinking.
 Have a very good structure that unfolds the through

line of enquiry lucidly, proposes the intention
clearly and articulately, and develops it
systematically throughout the writing.
 Have a very good depth of analysis that highlights

an independent approach to the issues raised with
original connections made across the material and
a use of creative and artistic elements.
Good 60 – 69%
The work will
 Have a good level of communication with minimal

amounts of conversational tone and terminology
present and an acute grasp of academic
conventions.
 Have a good depth and use of research from a

range of sources used to support the through line
of enquiry, with an attempt at making an
interpretation of theory relevant to independent
thinking.
 Have a good structure that presents the through

line of enquiry clearly, developed by making the
points that are raised of relevance and a
conclusion that analyses the issues discussed.
 Have a good depth of analysis that highlights

detailed knowledge and understanding of the
implications of the issues raised, with observations
highlighted through some critical thinking.
Fair 50 – 59%
The work will
 Have a fair level of communication with the use of

academic conventions, though there is room for
improvement in matters of stylistic expression,
grammar and punctuation.
 Have a fair depth and use of research from several

sources although there is a lack of relation to
theory in order to support the through line of
enquiry.
 Have a fair structure that clearly attempts a through
line of enquiry even if it does not always flow
smoothly, however the conclusion just reiterates
the points previously made.
 Have a fair depth of analysis that shows general

knowledge and understanding with some good
points made but not developed.
The work will
 Have an adequate level of communication that,

whilst using conversational elements, has some
indication of academic understanding.
 Have an adequate depth and use of research

although a subjective approach is used with some
support from personal opinion and too much
reliance on reviews and internet-based resources.
 Have an adequate structure that discusses relevant

points in some order and, at times, attempts a
through line of enquiry with some form of
conclusion.
 Have an adequate depth of analysis which is

working in the right area although there is too much
focus on description and assumptions are made
without further development.
The work will
 Have an unsatisfactory level of communication with

writing that is insufficiently developed using
conversational, journalistic or biographical tones
throughout.
 Have an unsatisfactory depth and use of research

with partial use of sources and inconsistent
referencing and no exploration of critical theory.
 Have an unsatisfactory structure that assembles a

number of relevant points without direction or
attempt at a through line of enquiry.
 Have an unsatisfactory depth of analysis which

only reiterates what has been said and there are
some key issues and concepts that have not been
identified.
Poor 20 – 29%
The work will
 Have a poor level of communication that needs to

be improved in most respects and a consistently
incorrect use of conventions.
 Have a poor depth and use of research that relies

heavily on notes from sessions without evidence of
adequate reading.
 Have a poor structure with little attempt at making

the issues raised of any relevance to the question
at hand.
 Have a poor depth of analysis that shows little sign

of critical thinking and some material has been
handled inaccurately.

The work will
 Have a very poor level of communication with

inappropriate application of written English and
academic formatting.
 Have a very poor depth and use of research that

consistently uses personal opinion to support the
through line of enquiry without evidence of any
reading.
 Have a very poor structure that is an assortment of

points without apparent structure or direction.
 Have a very poor depth of analysis that shows no

sign of critical thinking; the majority of material has
been misunderstood and concepts have been
mishandled.
The work will
 Have an extremely poor level of communication

with an unacceptable style and command of written
English and no attempt at academic formatting.
 Have an extremely poor depth and use of research,
with no evidence of any reading, and wholly reliant
on personal opinion with no understanding of why
this should be supported.
 Have an extremely poor structure that is

detrimental to the through line of enquiry and
confuses the whole point of the writing.
 Have an extremely poor depth of analysis with no

attempt at exemplifying the points made and
misses the point of the question completely.
theme/2

1 DAY LATE 2 DAYS LATE 3 DAYS LATE 4 DAYS LATE 5 (OR MORE) DAYS LATE –
RECORDED AS A NON-
(5 mark (10 mark (15 mark (20 mark SUBMISSION
penalty) penalty) penalty) penalty)
th
Masters Degree):

The Personal Mitigating Circumstances policy sets out the principles and regulations
governing the procedure for the submission of PMCs by students registered on
programmes relating to their assessment and sets out how such circumstances will be
considered by The Manchester College and Boards of Examiners.
Students who wish to submit personal mitigating circumstances for review must complete
and email the PMC form to PMC@TheManchesterCollege.ac.uk within 10 working days of
the assessment submission date or of the date of the assessment. Your email will act as
your receipt.

- Late submission of assessed work – if accepted, late submission penalties will be
removed;
- Absence/non-submission – if accepted, the student will be permitted a replacement
attempt at the assessment at


summative assessed activity, e.g. coursework assignment, presentation, test, portfolio,
written examination. The Quality Assurance Agency defines formative and summative
assessment as follows:
 Formative assessment has a developmental purpose and is designed to help

learners learn more effectively by giving them feedback on their performance and
on how it can be improved and/or maintained. Reflective practice by students
sometimes contributes to formative assessment.
 Summative assessment is used to indicate the extent of a learner's success in

meeting the assessment criteria used to gauge the intended learning outcomes of a
module or programme.
Feedback on all forms of assessment should be provided to students within 15 working

days of the published submission deadline. The University Assessment Handbook gives
guidance on the provision of feedback.
A Statement of Academic Honesty must accompany all work submitted, detailing name,
student number, date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If
you are required to produce a handout, one copy of this must be submitted to your first
assessor before your performance on the final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in
question and the penalties for late submission will be applied based on this. You can find
Turnitin by using the following link: http://submit.ac.uk/en_gb/home. If you do not submit
your work to Turnitin then you will be awarded a fail for that piece of coursework. No work
will be accepted via email, fax or hard copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected
in assessed pieces of work by students following undergraduate and postgraduate
programmes of study. It provides information on the processes which must be followed in
dealing with such cases and penalties applied in the event of a finding of guilt. It provides
guidance on preventative measures which may be employed by Colleges and Schools in
order to minimise the possibility of unfair means. Information is also provided on the
appeals process.
theme/2
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were
your own. The source of the original material is hidden from the marker by not referencing
it properly or by paraphrasing it without acknowledgement or by not mentioning it at all.
Work includes, but is not restricted to, written work, ideas, musical compositions, computer
programs, laboratory or survey results, diagrams, graphs, drawings, designs. Plagiarism
may occur in all forms of assessment, including written examinations.

Self plagiarism (or double submission) is resubmitting previously submitted work on one or
more occasions (without proper acknowledgement). This may take the form of copying
either the whole piece of work or part of it. Normally credit will already have been given for
this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects),
two or more students consciously collaborate in the preparation and production of work
which is ultimately submitted by each in an identical, or substantially similar, form and/or is
represented by each to be the product of his or her individual efforts. Collusion also occurs
where there is unauthorised co-operation between a student and another person in the
preparation and production of work which is presented as the student’s own.
An academic appeal is a request for a review of a decision made by the Board of

Examiners (this includes decisions made by a Module or Programme Board) or the
Postgraduate Research Award Board charged with making decisions on student
progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will
be followed and the normal timescales for each stage of the process.
Assessment Feedback
Course Title:
Module Name:
Assignment Weighting
Component
Name/Number:
Student Name:
Module Tutor:
Overall Grade
Indicative Assessment Grade:
Weighted Component Mark:
*All marks are provisional and subject to moderation and confirmation by examination boards
Not / Part / Fully

Assessment Learning Outcomes
Met
1.
6.
9.
Marks Awarded
FAIL
PASS
(Please refer to grade
Pass / Fail (Please refer to grade descriptors for
descriptors for further
further guidance)
guidance)
Extremel
Excellen
Adequat
Unsatisf
Outstan
89 – 80
79 – 70
69 – 60
59 – 50
49 – 40
39 – 30
29 – 20
– 10
100-90
Out of
y Poor
actory
Good
Good
Assessment Criteria
Mark
9–0
Poor
Poor
Very
Very
ding
Fair
19
e
t
Overall
Tutor Feedback
Strengths
Areas for Improvement
Tutor signature Tutor name:

Date:
IV/second marker signature IV/second marker name:

Date:
External Examiners signature External Examiner name:

Date:
i
ii
iii
iv
v
vi
check one box as applicable
vii
viii
ix
please indicate, in chronological order of submission date, each assessment component by type, e.g. examination,
oral, coursework, project, dissertation; denote final assessment component in box marked Final assessment
component (99)
x
if Method B is used for module mark calculation, indicate Yes to specify the assessment component(s) to be passed in
order to pass the module
xi
refers to the choice and range of teaching activities which are most appropriate in creating learning experiences which
help students to achieve the module’s learning outcomes and develop transferable skills; issues of equality, diversity
and accessibility must also be given full consideration
xiii the “Indicative texts and/or learning materials/resources” box should include a maximum of 5 items for new modules;
for existing modules the box should include a link for CPPARC reviewers and readers to the comprehensive reading
list at http://lasu.salford.ac.uk
MODULE HANDBOOK
2013/2014
Tools of the trade 2:

Module Title Module Code
Characterisation and Text
Credits 20 Level 4
Paul Mitchell
Module Leader Nicholls Campus Hyde Road,
Contact Details Ardwick Manchester M12 6BA
pmitchell@themanchestercollege.ac.uk

Programme Title/s
2013-14
Academic Year
Semester 2
Module start date 27/01/2014
Module end date 28/04/2014

UNIVERSITY OF SALFORD
Module Title:
Tools of The Trade 2: Characterisation and Text
i
University module code: HESA/JACS subject area code : W410
ii iii iv v
Level : Credit Value : ECTS Value : Length (in Semesters) :
4 20 20 1
New module Title of Module being replaced (if any): None
School of Media, Music and Paul Mitchell

Performance Marie Mair
College of Arts and Social
Sciences
Programme(s) in which to be offered: BA (Hons) Acting for Live and Recorded Media
Pre-requisites (between levels): None Co-requisites (within a level): None
vi
100% at The Manchester College

Aims of Module:
This module aims to develop the fundamental approaches and principles involved when building a
complex character through dramatic action and will enable the student to employ textual analysis,
research and observation in the development of roles in selected texts.

Upon successful completion of the module the student will be able to:
1. Identify and outline the investigative approaches to the creation of a character from a text.
2. Apply an understanding of structured research to inform and contextualise selected texts.
3. Create characters evidently grounded in the given circumstances of the selected text.
4. Collaborate creatively with other student actors in both rehearsal and presentation,
demonstrating imagination, concentration and energy.
 Working with others (e.g. in developing characters and interactions).

 Problem solving (e.g.in considering impact of change of contexts; use of creativity).
 Reasoning and work process.
Duration
vii
Type of assessment Weighting% (if exam) Word count (if essay/dissertation):
Final assessment
component (99)
Performance 80% 15 minutes

(LO’s 1,3,4)
Annotated text 20%

(LO 2) 750 word equivalent
viii

Seminar: used to generate peer feedback and discussion on the practical aspects of learners work.
Workshops: used particularly for the practical and technical development of character and
responses. These are learner centred.
The student will take part in tutor led workshops & seminars, practical exercises, group discussions,
directed reading, peer assessment and self-evaluation. Practical exercises will encourage an active
experimental approach in the development of character to broaden knowledge and understanding.
Evidence of process is through assessment of annotated texts to support student performance
outcomes.
Students will be directed to read and research a wide range of material and also use the Internet,
set resources both written and visual in order to broaden knowledge and understanding of character
and character development in different texts and contexts.
Assessment methods:
Assessment for this module is by character development project, including the following elements.

workshops; possible character responses; research and application of principles to
character development.
 Performances including self and peer review. Students will expect to evidence evaluation of
own development work, interaction with other characters.
 Final performance pieces.
Syllabus outline:
Through lectures and workshops, students will be able to identify and develop key concepts in their
area of particular interest. This will be examined through further research and experimentation in
workshops and short performances both individual and within a group.
In order to further develop and strengthen subject knowledge, this module provides:
 Introduction to exploration of techniques such as the through line, super objective, scene
objectives, units and playing characteristics and actions.
 Investigation into the practice and process of the creation of a sophisticated fictional
character.
 Workshops to explore character development.
 Investigation of characters’ response to the physical, emotional and linguistic challenges
associated with a specific text.
 Development and creation of a character in a specific context.
ix
Alfreds, M (2007) Different Every Night: Freeing the Actor, London: Nick Hern Books
Berry, C (1998) The Actor and the Text, London: Harrap
Caldarone, M & Lloyd-Williams, M (2004) Actions: The Actors Thesaurus, London: Nick Hern Books
Hagen, U (1991) A Challenge For The Actor, New York: Simon & Schuster
Mamet, D (1998) True and False: Heresy and Common Sense For The Actor, London: Faber and
Faber
Meisner, S (1990) Sanford Meisner On Acting London: Vintage Books
Merlin, B (2007) The Complete Stanislavsky Toolkit, London: Nick Hern Books
Merlin, B & Stafford Clark, M (2004) Beyond Stanislavsky, London: Nick Hern Books
 The Manchester College aims to be professional and ethical in all academic

activities and requires that students engaged in academic activities are aware of the
ethical implications of such activities and are committed to undertaking these in an
ethical manner and demonstrating good practice which meets a high professional
standard of conduct. That commitment to this ethical practice is supportive and not
to act as a barrier to any academic activity.
 The Manchester College has a responsibility to maintain suitable standards of
propriety whilst carrying out academic and other activities in a respectful and ethical
manner without compromising welfare or morality of staff, students and the wider
public.
 A Research Ethics Approval Request Form is available to download on The
Manchester College website in the University Level/University of Salford section.
 This should be completed and submitted by email to the Module Tutor. No activity
must commence until an approval decision has been granted. Projects that would
be deemed eligible for ethical consideration include:
Scheme of Work: Autumn Term
Date Week Content
27/01/2014 2:1 Warm-up, exercises’ games

Intro to Chekhov and Ibsen
03/02/2014 2:2 Text exercises to investigate objective, super objectives and early character
development.
10/02/2014
24/02/2014 2:3 Presentation of research for the rehearsal room
03/03/2014 2:4 Read through of a play and discussion
10/03/2014 2:5 Allocation of parts and scenes
17/03/2014 2:6 Blocking of scenes
24/03/2014 2:7 Intense rehearsal analysis

21/04/2014 2:10 Showback presentation
28/04/2014 2:11 Peer/tutor Review

ASSIGNMENT BRIEF
Module Title Tools of the Trade 2; Level 4
Title of Assignment Characterisation and Text – Practical Presentation
Programmes BA (Hons) Acting for Live and Recorded Media

undertaking the
assignment
Submission details 28/04/2014 Assessment will be in lesson time in the room that I am
timetabled in
16/05/2014
Feedback date

module
The Presentation criteria will be a 10/15 minute presentation.
Word
limit/presentation
criteria
1. Identify and outline the investigative approaches to the
creation of a character from a text.
Learning Outcomes
to be assessed 2. Apply an understanding of structured research to inform and
(from module spec.) contextualise selected texts.
3. Create characters evidently grounded in the given

circumstances of the selected text.
4. Collaborate creatively with other student actors in both

rehearsal and presentation, demonstrating imagination,
concentration and energy
Transferable key  Working with others (e.g. in developing characters
skills (from module and interactions).
spec.)  Problem solving (e.g.in considering impact of change
of contexts; use of creativity).
Details of the task A 10 minute presentation of character work through selected

scenes

The student will
 Demonstrate an outstanding ability to create a character

through approaches to a text.
 Demonstrate an outstanding understanding of the use of

structured research to inform and contextualise text.
 Show outstanding character work grounded in the given

circumstances of the text
 Demonstrate outstanding collaboration with other

students
that is highly imaginative, concentrated and energised in
rehearsal and presentation.
Excellent 80-89%
The student will
 Demonstrate an excellent ability to create a character

through approaches to a text
 Demonstrate an excellent understanding of the use of

 Show excellent character work grounded in the given

 Demonstrate excellent collaboration with other

students that is highly imaginative, concentrated and
energised in rehearsal and presentation
Very Good 70- 79%

The student will
 Demonstrate a very good ability to create a character

 Demonstrate a very good understanding of the use of
 Show very good character work grounded in the given

 Demonstrate very good collaboration with other
energised in rehearsal and presentation.
Good 60-69%
The student will
 Demonstrate a good ability to create a character through

approaches to a text
 Demonstrate a good understanding of the use of

structured research to inform and contextualise text
 Show good character work grounded in the given

 Demonstrate good collaboration with other students

rehearsal and presentation
Fair 50-59%
The student will
 Demonstrate fair ability to create a character through

 Demonstrate a fair understanding of the use of

 Show fair character work grounded in the given

 Demonstrate fair collaboration with other students that

is highly imaginative, concentrated and energised in
Adequate 40-49%
The student will
 Demonstrate adequate ability to create a character through

 Demonstrate adequate understanding of the use of

 Show adequate character work grounded in the given

 Demonstrate adequate collaboration with other students

The student will
 Demonstrate unsatisfactory ability to create a character

 Demonstrate unsatisfactory understanding of the use

of structured research to inform and contextualise text
 Show unsatisfactory character work grounded in the

given circumstances of the text.
 Demonstrate unsatisfactory collaboration with other

Poor 20-29%
The student will
 Demonstrate poor ability to create a character

 Demonstrate poor understanding of the use of

 Show poor character work grounded in the given

 Demonstrate poor collaboration with other students

Very Poor 10-19%

The student will
 Demonstrate very poor ability to create a character

 Demonstrate very poor ability to create a character
 Show very poor character work grounded in the given

 Demonstrate very poor collaboration with other

Extremely Poor 0-9%

The student will
 Demonstrate extremely poor ability to create a character

 Demonstrate extremely poor ability to create a character
 Show extremely poor character work grounded in the

given circumstances of the text
 Demonstrate extremely poor collaboration with other

ASSIGNMENT BRIEF
Title of Assignment Component 2 – Annotated Text
Programmes ALARM 1
undertaking the
assignment
28/03/2014
Hand-in date
Annotated Text
Submission details
21/04/2014
Feedback date

module
Word limit/presentation 750 Word count (10% either side)

criteria
Learning Outcomes to Identify and outline the investigative approaches to the creation
be assessed of a character from a text
(from module spec.)
 Working with others (e.g. in developing characters and

Transferable key skills interactions).
(from module spec.)  Problem solving (e.g.in considering impact of change of
contexts; use of creativity).
A 750 word piece of annotated text that will reference super-

Details of the task objectives, through line, given circumstances, action and the
impact of research on character development.
Level 4 Assessment

The work will
 Have an outstanding level of communication with a

judicious use of academic conventions and impeccable
presentation that is appropriate for professional
publication.
 Have an outstanding depth and use of research, without

the need for development, to support and propel critical
thinking, using theory and third party support
consistently to engage in debate.
 Have an outstanding structure that develops with

exceptional clarity in the relation to the progression of a
through line of enquiry and the conclusion expresses
individual judgement in a mature way.
 Have an outstanding depth of analysis and a creative

approach that is conducive to analytical investigation,
with a sophisticated exploration of concepts and
theories.
The work will
 Have an excellent level of communication with judicious

use of academic conventions and excellent presentation
that, with minor amendments, is appropriate for
professional publication.
 Have an excellent depth and use of research to support

and propel critical thinking, using theory and third party
support to engage in debate.
 Have an excellent structure that develops with clarity in

the relation to the progression of a through line of
enquiry and the conclusion expresses individual
judgement.
 Have an excellent depth of analysis and a creative

approach to the academic writing with high levels of
knowledge that is made apparent through the use of a
clear independent voice.

The work will
 Have a very good level of communication that is

efficiently and lucidly written without complication or
conversation and a virtually impeccable standard of
English using strict academic conventions.
 Have a very good depth and use of research from a

wide range of sources used directly to support the
through line of enquiry, with an interpretation of
theory made relevant to independent thinking.
 Have a very good structure that unfolds the through

line of enquiry lucidly, proposes the intention clearly
and articulately, and develops it systematically
throughout the writing.
 Have a very good depth of analysis that highlights an

independent approach to the issues raised with
original connections made across the material and a
use of creative and artistic elements.
Good 60 – 69%
The work will
 Have a good level of communication with minimal

amounts of conversational tone and terminology
present and an acute grasp of academic
conventions.
 Have a good depth and use of research from a range
of sources used to support the through line of
enquiry, with an attempt at making an interpretation
of theory relevant to independent thinking.
 Have a good structure that presents the through line

of enquiry clearly, developed by making the points
that are raised of relevance and a conclusion that
analyses the issues discussed.
 Have a good depth of analysis that highlights
detailed knowledge and understanding of the
implications of the issues raised, with observations
highlighted through some critical thinking.
Fair 50 – 59%
The work will
 Have a fair level of communication with the use of

academic conventions, though there is room for
improvement in matters of stylistic expression,
grammar and punctuation.
 Have a fair depth and use of research from several

sources although there is a lack of relation to theory
in order to support the through line of enquiry.
 Have a fair structure that clearly attempts a through

line of enquiry even if it does not always flow
smoothly, however the conclusion just reiterates the
points previously made.
 Have a fair depth of analysis that shows general

knowledge and understanding with some good points
made but not developed.
The work will
 Have an adequate level of communication that,

whilst using conversational elements, has some
indication of academic understanding.
 Have an adequate depth and use of research

although a subjective approach is used with some
support from personal opinion and too much reliance
on reviews and internet-based resources.
 Have an adequate structure that discusses relevant

points in some order and, at times, attempts a
through line of enquiry with some form of conclusion.
 Have an adequate depth of analysis which is working

in the right area although there is too much focus on
description and assumptions are made without
further development.
The work will
 Have an unsatisfactory level of communication with

writing that is insufficiently developed using
conversational, journalistic or biographical tones
throughout.
 Have an unsatisfactory depth and use of research

with partial use of sources and inconsistent
referencing and no exploration of critical theory.
 Have an unsatisfactory structure that assembles a

number of relevant points without direction or attempt
at a through line of enquiry.
 Have an unsatisfactory depth of analysis which only

reiterates what has been said and there are some
key issues and concepts that have not been
identified.
Poor 20 – 29%
The work will
 Have a poor level of communication that needs to be

improved in most respects and a consistently
incorrect use of conventions.
 Have a poor depth and use of research that relies

heavily on notes from sessions without evidence of
adequate reading.
 Have a poor structure with little attempt at making

the issues raised of any relevance to the question at
hand.
 Have a poor depth of analysis that shows little sign of

critical thinking and some material has been handled
inaccurately.

The work will
 Have a very poor level of communication with

inappropriate application of written English and
academic formatting.
 Have a very poor depth and use of research that

consistently uses personal opinion to support the
through line of enquiry without evidence of any
reading.
 Have a very poor structure that is an assortment of

points without apparent structure or direction.
 Have a very poor depth of analysis that shows no
sign of critical thinking; the majority of material has
been misunderstood and concepts have been
mishandled.
The work will
 Have an extremely poor level of communication with

an unacceptable style and command of written
English and no attempt at academic formatting.
 Have an extremely poor depth and use of research,

with no evidence of any reading, and wholly reliant
on personal opinion with no understanding of why
this should be supported.
 Have an extremely poor structure that is detrimental

to the through line of enquiry and confuses the whole
point of the writing.
 Have an extremely poor depth of analysis with no

attempt at exemplifying the points made and misses
the point of the question completely.
The link to the University of Salford Academic Handbook and the associated documentation is
below:
This document provides the principles and regulations governing the deadlines for the submission
of assessed work, the penalties applied for the late submission of assessed work and the
mitigation of such penalties.
2 DAYS 3 DAYS
1 DAY LATE 4 DAYS LATE 5 (OR MORE) DAYS
LATE LATE
LATE – ASSESSMENT
CANNOT BE
ACCEPTED AND WILL
(5 mark (10 mark (15 mark (20 mark BE RECORDED AS A
penalty) penalty) penalty) penalty) NON-SUBMISSION
th
Where coursework is submitted late the following penalties for late work shall be applied to the
mark or grade for that work (except for students on the final 60 credit stage of a Masters Degree):
deducted for each working day (or part thereof), but if the work would otherwise pass then the
mark for the work shall be reduced to no lower than the pass mark for the component;
(b) if the work is no more than four working days late and marked and the mark is lower than the
pass mark, then no penalty shall be applied;
(c) if the work is no more than four working days late and graded either Pass or Fail then no
penalty shall be applied;


procedure for the submission of PMCs by students registered on programmes relating to their
assessment and sets out how such circumstances will be considered by The Manchester College
and Boards of Examiners.
Students who wish to submit personal mitigating circumstances for review must complete and
email the PMC form to PMC@TheManchesterCollege.ac.uk within 10 working days of the
assessment submission date or of the date of the assessment. Your email will act as your receipt.

assessment at


summative assessed activity, e.g. coursework assignment, presentation, test, portfolio, written
examination. The Quality Assurance Agency defines formative and summative assessment as
follows:
 Formative assessment has a developmental purpose and is designed to help learners learn
more effectively by giving them feedback on their performance and on how it can be
improved and/or maintained. Reflective practice by students sometimes contributes to
formative assessment.
assessment criteria used to gauge the intended learning outcomes of a module or
programme.
Feedback on all forms of assessment should be provided to students within 15 working days of the
published submission deadline. The University Assessment Handbook gives guidance on the
provision of feedback.

A Statement of Academic Honesty must accompany all work submitted, detailing name, student
number, date, course, module and the module leader.
All performance work must be submitted on the specified date at the specified location. If you are
required to produce a handout, one copy of this must be submitted to your first assessor before
your performance on the final submission date.
All written work must be submitted electronically via TurnitinUK by 4pm on the day in question and
the penalties for late submission will be applied based on this. You can find Turnitin by using the
following link: http://submit.ac.uk/en_gb/home. If you do not submit your work to Turnitin then you
will be awarded a fail for that piece of coursework. No work will be accepted via email, fax or hard
copy.
Academic Misconduct
The Academic Misconduct Procedure relates to all types of academic misconduct detected in
assessed pieces of work by students following undergraduate and postgraduate programmes of
study. It provides information on the processes which must be followed in dealing with such cases
and penalties applied in the event of a finding of guilt. It provides guidance on preventative
measures which may be employed by Colleges and Schools in order to minimise the possibility of
unfair means. Information is also provided on the appeals process.
Plagiarism
Plagiarism involves taking the work of another person or source and using it as if it were your own.
The source of the original material is hidden from the marker by not referencing it properly or by
paraphrasing it without acknowledgement or by not mentioning it at all. Work includes, but is not
restricted to, written work, ideas, musical compositions, computer programs, laboratory or survey
results, diagrams, graphs, drawings, designs. Plagiarism may occur in all forms of assessment,
including written examinations.

Self plagiarism (or double submission) is resubmitting previously submitted work on one or more
occasions (without proper acknowledgement). This may take the form of copying either the whole
piece of work or part of it. Normally credit will already have been given for this work.
Collusion
Collusion occurs when, unless with official approval (e.g. in the case of group projects), two or
more students consciously collaborate in the preparation and production of work which is ultimately
submitted by each in an identical, or substantially similar, form and/or is represented by each to be
the product of his or her individual efforts. Collusion also occurs where there is unauthorised co-
operation between a student and another person in the preparation and production of work which
is presented as the student’s own.
An academic appeal is a request for a review of a decision made by the Board of Examiners (this
includes decisions made by a Module or Programme Board) or the Postgraduate Research Award
Board charged with making decisions on student progression, assessment or award.
This Procedure explains the valid grounds for an academic appeal, the procedure that will be
followed and the normal timescales for each stage of the process.
i
ii
iii
iv
v
vi
vii
please indicate, in chronological order of submission date, each assessment component by type, e.g. examination, oral, coursework,
project, dissertation; denote final assessment component in box marked Final assessment component (99)
viii
refers to the choice and range of teaching activities which are most appropriate in creating learning experiences which help students
to achieve the module’s learning outcomes and develop transferable skills; issues of equality, diversity and accessibility must also
be given full consideration
xiii the “Indicative texts and/or learning materials/resources” box should include a maximum of 5 items for new modules; for existing
modules the box should include a link for CPPARC reviewers and readers to the comprehensive reading list at
http://lasu.salford.ac.uk

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MODULE HANDBOOK

Module Title Introduction to Television Module Code

Programme Title/s ALARM 1

Module start date 23rd September 2013

Module end date 24TH January 2014

Module Title: CRN:

University module code: HESA/JACS subject area codei:

Levelii: Credit Valueiii: ECTS Valueiv: Length (in Semester(s) in which to

Originating School: Module Co-ordinator(s)

Programme(s) in which to be offered:

BA (Hons) Acting for Live and Recorded Media

Pre-requisites (between levels): Co-requisites (within a level):

Intended Learning Outcomes

Upon successful completion of this module, students will be able to:

Knowledge and Understanding

2. Show a development of camera acting technique

 Reflect on personal value systems, development and practices.

Assessment components (in chronological order of submission/examination date)

Reflective Log &

Learning and teaching strategies x:

Lecture: used to deliver core information to the whole group

Tutorials: One to One advisory sessions as required.

 Planning documentation including: pre-production; annotated texts; performance

 Introduction to acting for TV and Film Production

Indicative texts and/or other learning materials/resources xi;

Barr, T (1998) Acting for the Camera, London: Applause

Blum, R (1989) Working Actors: Craft of Television, London: Focal Press

Churcher, M (2004) Acting for Film, London: Routledge

Guskin, H (2004) How to Stop Acting, London: Methuen

Film & Television Literature Index

23/09/2013 1:1 Introduction to the module

30/09/2013 1:2 Peer review of storytelling to camera

07/10/2013 1:3 Meisner Technique 1 – A basic introduction to Meisner

14/10/2013 1:4 Meisner Technique 2 – Continuation of Meisner exercises

28/10/2013 Reading Week

04/11/2013 1:6 Preparation for taking on a scripted scene, including

Introduction to basic call times and scheduling

11/11/2013 1:7 Workshop with Ben Mottershead (Independent Film

18/11/2013 1:8 One to One Tutorials

25/11/2013 1:9 Rehearsing scripted scenes on camera with review on

02/12/2013 1:10 Rehearsing scripted scenes on camera with review on

09/12/2013 1:11 Rehearsing scripted scenes on camera with review on

16/12/2013 1:12 Rehearsing scripted scenes on camera with review on

23/12/2013 Christmas Holidays

30/12/2013 Christmas Holidays

06/01/2014 1:13 Final rehearsals on camera for assessment week.

13/01/2014 1:14 Assessment week

20/01/2014 1:15 One to One Tutorials

Module Title Introduction to Television Level 4

Title of Assignment Mediatised Recording

Programmes Acting for Live and Recorded Media

Hand-out date 23/09/2013

Hand-in date n/a

Submission details W/C 13/01/14

Feedback date 07/02/14

Weighting within the 80%

Word 15 minute performance to camera

Learning Outcomes to 1. Demonstrate camera acting skills, techniques and methods in

Transferable key skills  Reflect on personal value systems, development and

The practical element to the Module will consist of a

Level 4 Assessment Criteria

Assessment criteria Outstanding 90 – 100%

Show outstanding application of theoretical approaches and