Units

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Sample subject outline - Semester 1 2013

Note: Subject outlines often change before the semester begins. Below is a sample outline.

Rationale

For an actor voice and body are totally interdependent. They form the basis for all forms of dramatic expression. This unit approaches the work organically, encouraging the students to become aware of their familiar patterns, natural resources and personal challenges. The content of this unit work in parallel with the content of Acting 1 and requires the work to achieve the same level of believability.
Enrolment in this unit is only available to students enrolled in KK34 (Acting Major).

Aims

This unit aims to provide you with an introduction to integrated body and voice work. You will also be introduced to the concept that in dealing with the human instrument, physically and vocally, there is a difference between what is habitual and what is natural. It will also offer you a studio based performance outcomes to test your growing skill base and offer you strategies which will benefit you throughout your professional career. Emphasis is placed on work that challenges the capabilities of your instrument, emotionally, physically and vocally.

Objectives

On completion of this unit you should be able to:

1. Demonstrate the believabilityrequired of an actor through the techniques learned in your voice and movement classes.

2. Integrate voice, body and emotional expression in responding to external and internal stimuli.

3. Apply meaning, shape, narrative line, and physical and verbal skills to your work.

Content

This unit addresses content such as:

• The Classic Voice Progression

Addressing idiosyncratic habits which maky inhibit the speaking actor.

• Singing


• relaxation, alignment, breathing, pitch and resonance, tone, pace, range and articulation skills
and an introduction to phonetics

• integration of voice and movement techniques with acting processes with a variety of texts (Believability)


• basic movement dynamics, centering, alignment, co-ordination, balance, yoga, stage combat, Alexander, and stage Improvisation

Approaches to Teaching and Learning

Studio Practice.

The studio work on the voice/body connection begins with the classic Progression as set out in Freeing the Natural Voice by Kristin Linklater. As the semester progresses the work will introduce you to the approaches to other ways of approaching the work.

Assessment

LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.

Faculty Assessment Information
To access the Creative Industries Faculty Assessment Information see the Blackboard site for this unit.FORMATIVE ASSESSMENT
Because of the nature of studio-based teaching, formative assessment is an inherent part of the process. You will receive regular feedback from your tutors, indicating your progression in the unit.

Assessment name: Reflective Journal
Description: (Formative): Your Journal will be a reflective record of all the class activities, listed by the week, your reaction to these experiences and your considered and thoughtful reflection on your progress and reactions to the work.
Relates to objectives: 3
Internal or external: Internal
Group or individual: Individual
Due date: Ongoing

Assessment name: Performance
Description: (Summative) Studio-based practical test of vocal and physical skills in performance of self-written text.
Relates to objectives: 1,2
Weight: 40%
Internal or external: Internal
Group or individual: Individual
Due date: Mid-semester

Assessment name: Performance
Description: (Summative): Practical Exam: Monologue - Performance of vocal and physical skills as per advice on Blackboard site for this unit.
Relates to objectives: 1,2,3
Weight: 60%
Internal or external: Internal
Group or individual: Individual
Due date: End of semester

Academic Honesty

QUT is committed to maintaining high academic standards to protect the value of its qualifications. To assist you in assuring the academic integrity of your assessment you are encouraged to make use of the support materials and services available to help you consider and check your assessment items. Important information about the university's approach to academic integrity of assessment is on your unit Blackboard site.

A breach of academic integrity is regarded as Student Misconduct and can lead to the imposition of penalties.

Resource materials

Required Texts

Linklater, K. (2006) Freeing the Natural Voice: imagery and art in the practice of voice and language, Nick Hern, London. (revised edition)

Berry, C. (1991) Voice and the Actor , John Wiley & Sons, New York.

Recommended Reading

Barlow, W. (2001) The Alexander Principle, Orion, London.

Bogart, A and Landau,T (2005) The Viewpoints Book:a practical guide to viewpoints and composition Theatre Communications Group, New York.

Feldenkrais, M. (1990) Awareness through Movement, Arkana, London.

Houseman, B. (2002) Finding Your Voice:a complete voice training manual for actors, Nick Hern, London, Routledge.

Karpf, Anne (2006) The Human Voice, Bloomsbury Publishing, London.

Melton, J and Tom, Kenneth (2003), One Voice, Heinemann, Portsmouth.

Rodenburg, P. (2000) The Right to Speak, Methuen, London.

Rubin, L. (1980) Movement for the Actor, Drama Book Specialists, New York.

Yakim, M (1993) Creating a Character: a physical approach to acting, Applause, New York.

Lorna Marshall,The Body Speaks Methuen Drama, London, Revised Edition 2008

Risk assessment statement

Physical challenges are an inherent part of actor training. As a health and safety precaution, you are required to inform the Unit Coordinator of any physical condition and supply appropriate medical certification.

Disclaimer - Offer of some units is subject to viability, and information in these Unit Outlines is subject to change prior to commencement of semester.

Last modified: 27-Sep-2012