BA World Performance 2016-17

BA World Performance
Undergraduate student coursebook

2016-2017
Introduction
Welcome
Welcome to East 15 Acting School and thank you for choosing to study with us.
Congratulations to all new students on gaining your place at East 15. We are delighted to welcome you to our
Southend and Loughton campuses. And to all returning students welcome back!
East 15 offers an extraordinary dynamic portfolio of degrees that span many areas of training and study of
performance for actors, directors and technical theatre specialists. East 15 draws on its long and successful
traditions and combines this with a keen sense of the changing world of theatre today. We train and educate
students who will go and work successfully when they graduate, whether it be in the UK or overseas. Training is
by professionals for professionals.
Professor Leon Rubin
Director of East 15 Acting School
Coursebook and School Handbook

This coursebook and our Student Handbook are essential guides for students at East 15 Acting School. It is
essential that you read both books thoroughly during your first week at school. The books outline the various
things youll need to know as you start your studies with us and for returning students, they are also useful
reference books, so make sure you have them to hand throughout your period of study. Other sources of
information are available to help you too, including Your Campus Guide. Make sure you bookmark the East 15
website and the central Essex Universitys student webpages at: www.essex.ac.uk/students.
Dont forget, our helpful and friendly staff are here to help you, further contact details are outlined in the
Departmental Handbook.
All information in this guide was correct at the time of printing. For updates please refer to the East 15 Moodle
pages.
Term dates, timetable and campus locations

Term dates
Term dates comprise of teaching, research, rehearsal and reading weeks. You should check with you Head of
Course to ensure you know when you should be at school and when your teaching weeks start and end.
Timetable
The teaching timetable at East 15 is very intensive. You should expect to be working more or less from 9.00 am
to 6.10 pm (includes some scheduled independent study periods). Classes are usually scheduled in 1- 2 hour
timetable slots with half-hour mid-morning breaks and 20 minute mid-afternoon breaks and an hour for lunch.
Class timetables and room allocations are posted on the digital noticeboards and course noticeboards on the 3rd
& 5th floors of the Gateway Building (Southend). Timetables are also sent to Southend students via Moodle.
Please make sure you know where you are supposed to be and when - failure to read the timetable is not an
acceptable reason for lateness.
During Priority Weeks, i.e. during periods of intensive rehearsal or preparation for practical performance
projects, the normal teaching timetable may be partially suspended. Please make sure you know what you are
called for and where you are supposed to be check your year noticeboard regularly during Priority Weeks.
Our locations
Loughton Campus
East 15 Acting School

Hatfields, Rectory Lane
Loughton
Essex
IG10 3RY
Telephone: 0208 508 5983
General email enquiries: east15@essex.ac.uk
Website: www.east15.ac.uk
Unit 4 (for the technical department) and Roding House

Oakwood Hill Industrial Estate, Oakwood Hill, Loughton, Essex IG10 3TZ
Southend Campus
East 15 Acting School

5th Floor, The Gateway Building
Elmer Approach
Southend-on-Sea
Essex
SS1 1LW
Telephone: 01702 328 200
General email enquiries: east15@essex.ac.uk
Website: www.east15.ac.uk
Clifftown Theatre & Studios

Nelson Street, Southend-on-Sea
Essex
SS1 1EF
Telephone: 01702 328 335
Website: www.clifftowntheatre.co.uk
About your course

Course Leaders
Dr Ramiro Silveira
Head of BA World Performance
Ramiro Silveira is a director, lecturer, actor trainer and researcher. He holds a PhD in Theatre Pedagogy
Theatre Artist Training from University of So Paulo (Brazil) and an MFA in Theatre Directing from University of
Middlesex. He also trained with Eugenio Barba, Philippe Gaulier and Genadi Bogdanov. He is known for his
innovative theatre rehearsal process called Theatre Playground, a study of presence and relation based on
rhythm, movement and multicultural references in order to inspire creative live theatre.
Since 2001 he has been using his technique to direct plays and run acting and directing workshops all over the
world. He works with a wide range of global performance styles, many drawn from African and Brazilian Drums,
Music and Rituals
Contact email: ramiro.silveira@essex.ac.uk
Dr Margaret Coldiron
Deputy Head of BA World Performance
Margaret Coldiron is a specialist in Asian performance and masks. She is a member of the Directors Guild of
Great Britain and a Fellow of the Royal Asiatic Society and is widely published. After taking a degree in English
and Comparative Literature she trained as an actress at the Drama Centre. She holds an MA in Text and
Performance Studies from Kings College and RADA and a PhD in Drama from Royal Holloway. She has studied
Topeng masked dance drama and mask carving in Bali and has worked with Japanese Noh masters Matsui
Akira (Kita school), Umewaka Naohiko (Kanze school) and Michishige Udaka (Kongoh school). Since 1997 she
has been Associate Director of Thiasos, a theatre company specialising in intercultural productions of ancient
Greek plays. She has also undertaken extensive fieldwork on masked performance in India, Sri Lanka and
Thailand.
Contact email: mcoldi@essex.ac.uk
Your personal tutor

The conservatoire training offered at the School can be demanding so all students have a personal tutor
assigned to them. Personal tutors are normally permanent members of staff who do not teach you on an
academic level. Youll meet soon after youve arrived, and youll meet regularly throughout your course. Your
personal tutor is there to help you and is someone you can talk to if you have questions about your course or
encounter any difficulties which affect your studies. Your personal tutor may also recommend other support
services on campus that might be able to help. Check the lists on your course noticeboard to find out who your
personal tutor is or please ask your course leader.
You can contact the personal tutor by:
Southend campus - by email or by way of the Administration Office, 5th floor, Gateway Building or
leave a note in the tutors post box outside the East 15 Staff Office, 3rd floor, Gateway Building. Your
personal tutor will contact you via student pigeon holes, email or telephone.
Peer Mentoring
All first-year students are allocated a buddy at the beginning of the year. Your buddy is an existing East 15
student there to offer help if you feel you need any guidance on acclimatising to University life. Check the lists on
your course noticeboard to find out the name of your buddy. You can contact your buddy via the student pigeon
holes.
Correspondence and communication

myEssex https://www.essex.ac.uk/myessex/
myEssex is your online student portal. You may have used it during your application process. Once youre a
registered student, you can use myEssex to update your personal details and as a quick reference guide to other
student webpages. You can access this from your own PC or device, on or off campus (if you have internet at
home) and from any PC on campus.
@essex.ac.uk email account
Your user name for your University email account appears on your Registration Card. Your email address will be
your username@essex.ac.uk. It is important that you use your email account regularly as your tutors, the
School and the University will use this email to send you important information. It is essential you check your
University email regularly and empty your inbox or you may miss vital messages.
Staff
There are a number of permanent academic and administrative staff at the school. You will also be taught by
various visiting teaching staff and theatre practitioners. The contact details of all permanent staff can be found in
the appendix at the back of the School Handbook.
Contacting academic staff
You will normally have access to your tutors on a daily basis during your classes and you are encouraged to
speak to them at that time, rather than outside of class hours. Our staff are happy for you to email them using
their @essex email addresses. However, please take into account that staff are not likely to respond to emails or
phone calls outside of school hours or term-time.
Your telephone number
Where you provide a mobile telephone number, we may use this number to call you or contact you by text
message with relevant information. Please ensure we are informed if you change your telephone number.
Your term-time address
Your term-time address will not be disclosed to anyone outside of the University unless it is required by law. You
must inform family and friends yourself of your term-time address. You should also keep the School informed of
you change your address to ensure that the University is able to contact you during your period of study
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Digital signage and noticeboards

Timetables and room changes are displayed on course noticeboards and the digital signage around campus.
Timetables are also sent to Southend students via the online Moodle system. Other course specific information
and cast lists can be found on the course noticeboards. Please make sure you check them regularly as changes
will occur. A change of class location is not sufficient excuse for being late. Noticeboards are normally located
the 3rd and 5th floor of the Gateway building (Southend Campus).
Student pigeon holes
Student pigeon holes are located on the 5th floor of the Gateway Building (Southend campus). We will use your
pigeon holes frequently to communicate important information so please check yours regularly. Mail that has
been sent to students by external post will be placed in the pigeon holes for collection. Any mail left in pigeon
holes at the end of every term will be cleared and binned.
Using mobile phones, smartphones, laptops and tablets
Students are not allowed to make or receive calls or messages using their mobile phones during a class,
rehearsal or performance unless prior permission has been granted by the course leader, director or tutor.
Course leaders and tutors will tell you what electronic devices are acceptable to use during their class. A student
who regularly disregards class etiquette with regards to the use of mobile phones or electronic devices will be
considered to be in breach of the Professional Code of Conduct.
What to wear
We strongly advise first year students to wear plain black clothing for all classes unless directed otherwise by the
tutor. Inappropriately dressed students may be asked to leave the class.
Specific dress requirements are:
NO LOGOs
Black socks and dark underwear
Underwear should not be on show
Trousers should be waist and not hip height
Mid-riffs and stomachs covered.
Care of studios and public areas

It is an important part of your professional training that you become accustomed to treating your own and others
working environment with respect. You are required to clean up studios after your classes and rehearsals and to
leave them in a fit state for the next user. This discipline should also apply to the public areas of the building.
Please be considerate of other students and staff working in adjacent areas when you are entering and leaving
classrooms and studios and using the public areas of the buildings.
Health and Safety
The School seeks to create a supportive, healthy and safe environment, which encourages students to learn and
apply skills to a professional level of achievement. All students will at some time during their training be working
on tasks and skills that are physically demanding and it is important that the highest standards of safe behaviour
are maintained at all times.
Do not leave props, costumes or equipment lying around for people to trip over. All rooms are intensively
used throughout the day by large numbers of students. It is essential that you leave every room you use
in a safe condition at the end of the class/rehearsal.
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Do not leave personal items (i.e. shoes) props, costumes or equipment outside rooms, in corridors, by
exits and under stairwells. To do so contravenes Fire Safety Regulations and may prevent people from
evacuating the building during an emergency.
If you need to leave props and equipment in a room whilst preparing for a production ensure they are
stored away to leave sufficient room for other groups to work safely in the space when you are not there
Use the proper equipment as specified by your tutors, including footwear, crash mats and protective
clothing, at all times, including during periods of unsupervised rehearsal.
Do not light candles or put paper over the lights in any of the rooms.
Guidelines for rehearsals and performance preparation

Students in training at East 15 are personally responsible for rehearsal space and performance preparation.
This is an essential part of your training and must be taken seriously. Use the following guidelines as a checklist
of what you need to do.
1. Rehearsal space to be kept clean and tidy and set up ready for use. At the end of the project the rehearsal
space must be cleared of all items.
2. If you are Acting Stage Manager for a project:
(i) Create a contact sheet of all involved in the project and distribute it as necessary. You should have
the Director and all cast members mobile phone numbers.
(ii) Call for the next day get the details from your tutor/Director and make sure you notify all the
required people.
(iii) Give your contact details to the Campus Supervisor (Loughton) or tutor so that messages can be
forwarded to you swiftly.
(iv) Introduce yourself to the Technical Department to establish clear lines of communication.
(v) Establish with the Technical Department the level of technical support to which your project is
entitled. THIS IS VERY IMPORTANT. Do not assume that you can have as much support as you want.
(vi) List all props, music, sound, furniture, set, costume and other requirements needed for your project
before you make an appointment and check the list with your Tutor/Director before passing it to the
Technical Department.
(vii) Control the budget for any purchases your group may need to make.
(viii) Ensure props, costumes etc. are ready for the technical and dress rehearsals as well as for all
performances.
(ix) If your project is being performed to an audience you must inform the Campus Supervisor (Loughton)
or Dr Chris Main (Southend) well in advance so that Health & Safety issues can be resolved in advance.
You cannot perform to an audience without clearance from the Campus Supervisor or Dr Main.
4. Arrange appointments to see Technical staff in advance as necessary, particularly for Wardrobe and Props,
both to collect and return items. You may not get the help you need if you turn up without an appointment.
5. Make sure everything you borrow is returned to its rightful owner/storage place as soon as it is no longer
needed. Please report all breakages or damages to the Campus Supervisor (Loughton) or Clifftown Theatre
Administrator (Southend) immediately.
6. Make sure that valuable equipment and weapons are securely stored when not in use, particularly overnight
and at weekends.
7. The use of candles, flames, knives, flammable materials or other potentially dangerous items must be agreed
with the Technical Department in advance.
8. Any activities happening outside must be agreed in advance with the Technical Department and Campus
Supervisor (Loughton) / Dr Chris Main (Southend) to ensure safety and also to ensure that other work
proceeding in adjacent areas is not disrupted.
Course structure
Year One
Core
modules
Code
Title
Core
Core
Core
Core
EA171-4-FY
EA172-4-FY
EA173-4-FY
EA174-4-FY
Western Theatre in Context

Performance Skills
World Theatre Studies
Music and World Performance
Full Course
Code
EA271-5-AU
EA277-5-AU
EA273-5-AP
EA274-5-SP
EA276-5-SP
EA272-5-SU
EA275-5-SU
Full Course
Code
EA371-6-AU
EA374-6-AP
EA372-6-SU
EA373-6-AP
Level
Credits
4
4
4
4
30
30
30
30
Course
Title
Ritual and Religious Performance
Media & Theatre Production Skills
Mask
Storytelling
Non-Western Character Acting
Visiting Artist
Comedy
Level
Course
Credits
15
15
15
15
15
30
15
Course
Title
Applied and Political Theatres
Devised Project
Intercultural Performance Project
Professional Preparation
Level
Year Two
Core
Core
Core
Core
Core
Core
Core
5
5
5
5
5
5
5
Year Three
Core
Core
Core
Core
6
6
6
6
Course
Credits
30
30
30
30
Your course
The BA Hons World Performance offers students opportunities to acquire a wide knowledge base in performance
and theatre-making skills, alongside the study of major forms of performance from diverse times, places, and
cultures.
The emphasis in Year One is on foundational skills for study, performance, and the key academic tasks of
assimilating and recording information. There is a study of the role of music in World Performance, allowing
students to engage from the outset with a range of cultural influences, to experiment with their own performance
interests and abilities, and to broaden their knowledge of different cultural contexts of performance.
In Year Two, work is centred on a set of case studies which allow students to gain and demonstrate a broad
base of knowledge of different traditions, approaches, and issues in World Performance, while at the same time
developing and applying a significant level of performance skill. There is an opportunity to work intensively with a
visiting artist, resident at East 15 in Southend, in a non-Western or Intercultural performance form; this work
culminates in a major performance. During this year students also increase their competence and confidence as
independent researchers, conducting independent study and presenting the results orally and in written form.
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In Year Three, students continue their study of context and analysis through research projects, while
performance skills work continues and is focussed on a series of major independent group performance projects,
in which students have increasing autonomy and freedom to pursue their own aesthetic, intellectual, and
professional priorities. The emphasis is on collaborative working and on evolving a professional practice,
supported by teaching in organisational and entrepreneurial skills and by substantial independent research tasks.
You should expect to receive approximately 18-20 hours of teaching contact hours a week and to spend a similar
same amount of time in lectures, seminars, classes and independent study widening your knowledge of
approaches to World Performance and acquiring additional research, organisational and entrepreneurial skills.
Aims of the World Performance course
1. To produce graduates with a broad understanding of the range of world performance, and the relationships
between different cultural forms
2. To produce graduates with the ability to write, devise and create work independently
3. To equip students with an understanding of key theoretical and critical approaches to analysing performance
in the world context
4. To enable students to place and evaluate performance in its historical, geographical, and cultural context and
to compare work arising from different contexts
5. To enable students to develop and apply performance and creative skills in their own work
6. To equip students with skills in research and the communication of ideas through the use of written,
presentation, and performance approaches and materials
7. To prepare students for the world of work with a range of tools for planning, organising, and promoting their
creative projects.
Reading list
The reading list for this course can be found towards the back of this book.
Referencing
Please see full details in the Student Handbook.
Programme Specifications
Programme Specifications provide key information, such as the structure and aims of your course, as well as the
knowledge and skills you will develop. The relevant Programme Specification for your course and stage of study
will be available to you when you log into either myEssex or eNROL. A module map showing how your course
learning outcomes are connected to the modules can be obtained from the Academic Administrator based at the
Loughton Campus.
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Learning outcomes
Your courses learning outcomes are set out in the Programme Specifications. They are categorised into
knowledge, intellectual, practical and key skills, and are linked to the aims, learning outcomes and assessment
on the modules you take. You can measure your progress against the outcomes, for example, by reviewing
feedback, and they can be used to guide you when undertaking independent study. Module outlines and learning
outcomes are contained within this book.
Credits
You will be awarded credit for the modules you have studied. The number of credits you achieve helps the Board
of Examiners decided whether you have done enough to move on to the next stage of your course, whether you
have done enough to pass your course, and what classification you will receive. Modules within this course are
valued at either 15 or 30 credits and you must pass 120 credits in each stage (each year) and 360 credits in total
to pass the course. The classification you receive at the end of the degree depends upon the marks you receive
in the second and third years of study.
Learning and Teaching
East 15 Acting School and the University of Essex are both committed to providing equal opportunities for all
students regardless of how you study. Our diverse student population is taken into account when developing the
resources, services and facilities on and off campus, when we create our courses, write publications and course
materials, and set our policies and regulations. Where appropriate, reasonable adjustments will be put in place
for individual students to support them through their studies.
Teaching methods
Progression through the course levels
In a practice-based degree such as this course, progression through the levels of the degree can be broadly
summarised as follows:
Year One - students will:
Know and begin to use the ground rules of performance

Appreciate the importance and value of an ensemble
Begin to work independently
Relate to an audience
Employ a variety of methods of rehearsal and exploration
Demonstrate self-discipline, flexibility and adaptability
Year Two - Students will develop:
Creative responsibility for their own work

A clearly defined process of work
Awareness of communication with an audience
Reasonable consistency of technical skills in performance
Appreciation of different styles and genres of performance
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Year Three - The work of the Final Year requires students to address the demands they will meet in the
professional theatre. They must be able to:
Cope with and respond to a variety of audiences

Express and develop their performance skills for public presentation
Sustain performance within the demands of a technical production
Be aware of the needs and limitations of a range of performance aspects
Take responsibility for their own creative development
Determine their own needs and patterns of preparation for performance
Demonstrate the level of professionalism necessary to equip them for their career.
Group practical classes

In class, you will work in groups. These are practice-based sessions in which students receive instruction and
are given opportunities to put into practice what they have learned and to test techniques, theories and methods.
Classes are tutor-led and are normally 2- 4 hours long.
Workshops
Workshops are also practical sessions but the tutors role is more that of facilitator than teacher. Workshops
enable students to experiment in a safe and supported environment. Ensemble workshops tend to be student
led, though guided and supervised by the tutor. Some workshops will conclude with studio performances
followed by formative feedback from tutors and student peers. Workshops range from 2 hour sessions to whole
day events.
Lectures
Lectures are directed mainly towards contextual studies and professional preparation. Lectures will typically be 1
2 hours long.
Seminars and master classes
Work in seminars and master classes may be related either to lecture material or may be given by guest tutors
on specific genres or skills such as commedia dellarte. Students may be asked to prepare presentations for
seminars. Tutor-led discussions encourage critical thinking and analysis as well as developing students oral
communication. Seminars are normally 2 hours long.
Presentations
East 15 presentations may be either practice-led or lecture-style. Students may be asked to work in groups to
devise a presentation on a topic set by the tutor. Students may be assigned particular research aspects for the
presentation preparation and will be individually marked on their contributions.
Tutorials
One-to-one tutorials are sometimes used to provide individual coaching for students on specific aspects of their
performance preparation e.g. dialect or accent coaching. Tutorials are also used to assist students with the
preparation of professional audition and showcase pieces.
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Independent study
Students are expected to undertake background reading, contextual research, unsupervised rehearsal (including
memorising parts and lines) and skills practice (voice, movement, music and singing) in independent study time,
as well as preparing for seminars and tutorials.
Supervised rehearsals
Tutors and guest directors lead students through the process of preparing for performance in a variety of genres
and using a range of working methods. During supervised rehearsal periods (Priority Weeks) other classes are
suspended to allow students to concentrate on their production work.
Reflective Essays
In the World Performance course the reflective essay requires you to reflect on your own training by reviewing
your work on certain modules throughout the year. You will be required to reflect honestly on the progress that
was achieved, the preparation you carried out, the difficulties you encountered and how you dealt with them, and
the areas of your training that require increased focus. By observing and critically evaluating you will develop
your capacity to express your educated and supported arguments in writing.
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Modules First Year (Stage 1)

Year One course work summary
Term One
Term Two
Term Three
EA171 Western Theatre

in Context
Research paper 1 (25003000 words)
Weighted 0.2
Contact Hours: 4 per week

in Context
Research paper 2 (25003000 words)
Weighted 0.4

in Context
Group performance project
Weighted 0.4
EA172 Performance
Skills Continuous
assessment
Contact Hours:
2 per week Voice
2 per week Articulation
2 per week Movement
2 per week Acting
EA172 Performance
Skills Continuous
assessment
Contact Hours: as Term
One
EA172 Performance
Skills Continuous
assessment
Acting 0.25
Voice 0.25
Movement 0.25
Performance Project 0.25
Contact Hours:
4 per week Performance
Project
EA173 World Theatre

Studies
Continuous assessment
EA173 World Theatre

Studies
Presentation and adapted
scene 0.4
EA173 World Theatre

Studies
0.3
Reflective Essay (2000
words) 0.3
EA174 Music and World

Performance

Performance
Group Performance 0.4
Contact hours: 6 per week

Performance
0.6
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EA171-4-FY
This module provides students with a grounding in the development of Western Theatre, and approaches to
studying and analysing theatre movements and events in their specific cultural contexts. It includes a survey of
Western Theatre practice from Ancient Greece to the present day, and an introduction to key concepts in
Interculturalism (Patrice Pavis) and Theatre Anthropology (Eugenio Barba). The module also develops research,
reading, writing, time-management and organisation skills. It introduces the use of relevant IT and Library
resources and provides specific learning on study skills including the form and use of citations (references),
footnotes and bibliographies. The module will also provide guidance on avoiding plagiarism and other academic
offences.
Students will deepen their knowledge through critical and analytical research papers prepared in the first and
second terms, and a research project presented in Term Three.
Module Outline
1. Ancient Greek and Roman Theatres
An examination of the rise and development of the theatre in the context of religious, social and political life in
Ancient Greece; the development of the Ancient Roman theatre from Greek practices.
2. Medieval Religious Theatre
An examination of British and Continental theatres focussing on the influence of the Church, for example the
Miracle Plays, the Mystery Plays, and early Allegorical works.
3. Commedia dellArte
A study of the key features and the development of the Commedia tradition.
4. Renaissance Theatre: Playhouses
A study of key practitioners (e.g. Shakespeare, Molire, Calderon de la Barca, Corneille, Lope de Vega), in the
period 1570 1700, focussing on the development of dedicated public and private theatre-spaces in England,
France, and Spain, and the operahouses of Italy.
5. 18th- and 19th-Century European Theatres: Manners and Models
A study of the developing theatres of England, France, Italy, and Germany, which catered to polite society and a
cultural elite. Includes a study of the development of Opera and Ballet, of the Well-Made Play, and of the rapidly
changing relationship between performance space, playwright, and spectator.
6. 18th- and 19th-Century European Theatres: Popular Forms
A study of the broad range of performance forms accessible to audiences of working people in the period, with
an emphasis on travelling shows, puppetry, circus, Music Hall and Vaudeville.
7. Realism
An examination of the blossoming of Theatrical Realism in the late 19th Century, with particular attention to Ibsen,
Chekhov, Shaw, and Strindberg; and the returns to Realism in theatre practice throughout the 20th Century (e.g.
John Osborne, Arthur Miller, Langston Hughes).
8. Avant-Garde Theatres of the 20th Century
A study of key practitioners working outside Realist traditions, for example, Artaud, Cocteau, Wedekind, Kaiser,
Pirandello, Beckett, Ionesco, Weiss, etc.
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9. Post-war Theatre 1: The Director

An examination of key directors from the period 1950 present (e.g. Bertolt Brecht, Peter Brook, Ariane
Mnouchkine, Jerzy Grotowski, Jacques Le Coq, Peter Hall, Peter Sellars, etc) to understand the role of the
director in shaping the contemporary theatre.
10. Post-war Theatre 2: the Performer
An examination of key performers and performance-led companies from the period 1950 present (e.g. Olivier
and Barrault, Complicit, DV8 Physical Theatre, Joint Stock, Pina Bausch, etc) to understand the role of the
performer in shaping the contemporary theatre.
The module will also cover the following essential study skills:
1. Research Methods
Introduces students to different approaches to research, including the use of traditional print and archive
resources as well as electronic databases and internet searching; issues explored include refining and framing
research questions, note-taking, managing information collected, and evaluating the sources of information.
2. Analysis and Reading
This unit develops the students' skills in understanding, interpreting, and analysing material, whether performed,
written, or visual. The emphasis is on students' ability to arrive at a secure understanding of complex material in
order to be confident in evaluating and commenting upon it.
3. Writing and Presentation
An opportunity for students to look critically at their own writing and to improve clarity, concision and structure.
The unit also examines the development of material for oral presentation, and the conventions of referencing and
bibliographies.
4. Self-management
Develops students' skills in planning projects, setting priorities, and managing workloads and deadlines; also
considers strategies for using time effectively in group collaborative work.
Module Aims
To develop a knowledge of the history of the Western Theatre
To introduce anthropological and intercultural approaches to understanding theatre and its relationship to
its wider context
To identify patterns of development and divergence across geographical and cultural boundaries, and
over time
To develop students analytical abilities.
To improve students' practice in managing their time and workloads.
To allow students to reflect on, and improve, their writing and oral presentation skills.
Learning Outcomes
Students will be able to demonstrate:
Knowledge and understanding of key movements and practices in Western Theatre history
Knowledge of a range of research resources and how best to access them.
Ability to assimilate complex material, to summarize it clearly verbally and in writing, and to comment
upon it critically.
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Ability to construct and present a clear argument, verbally and in writing, relevant to the module content
Knowledge and understanding of the roles of communities and theatre professionals in determining and
influencing the development of theatre forms
Ability to conduct factual research into historical movements in the theatre
Teaching Methods
Lectures and seminars, independent research. Normally 4 contact hours per week.
Assessment 2 research papers and 1 group performance project
Term One
Research Paper 1 (2500 3000 words)
Analysis of one play or performance in its original historical/cultural context (list of suggested topics to be
provided by course tutor).
Term Two
Research Paper 2 (2500 3000 words)
Comparative analysis of two plays or performances arising from different historical/cultural contexts (list of
suggested topics to be provided by course tutor).
Term Three
Group project in a chosen topic relating to one movement, practitioner, period or style studied on the module,
presented as a seminar presentation (15 minutes) followed by an open Q&A session. Topic to be negotiated by
students with the tutor.
Weighting
Research Paper 1: 0.2; Research Paper 2: 0.4; Group Performance Project: 0.4
Students must also comply with the Professional Code of Conduct.
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EA172-4-FY
Performance Skills
Module Outline
This module includes some basic training and preparation in Western Acting, Voice, and Movement. Students
are introduced to the safe and healthy development and use of the voice and body in performance; to the
creative and interpretative applications of different techniques and capacities of the voice and body; and to
vocabularies relevant to vocal and movement work.
The Skills module offers students the opportunity to encounter and master basic performance skills which will
underpin their work as performers and creators of work in the rest of the degree. Together with the Study Skills
module, it is a foundation, preparing students for the final two years of the course.
(Note that these units are taught in parallel, not in sequence, throughout the module)
1. Warm-up and preparation techniques
This unit teaches and practises a range of sound techniques for preparing the body and voice for performance or
class work.
2. Anatomy and Physiology for the performer
Offers an overview of the basic science underlying movement and vocal production.
3. Vocal skills
The development of the students vocal capability, with attention to fitness, breathing, and clarity; and a study of
the ways in which the speaking voice may be used creatively in performance.
4. Movement
Development of the students fitness, balance, and body-awareness, and a study of the creative use of
movement in performance.
5. Western Acting Techniques
Students explore the theatrical techniques of Stanislavski and his protg Michael Chekov, as well as the
reaction-based training of Sanford Meisner, and other modern practitioners. This training explores truth,
improvisational skills, text work, imagination based characterization, and scene work.
6. Term Three Performance Projects
Students rehearse and perform in small groups uniting the various skills trained in this and other modules.
Outside directors and World Performance tutors direct each of these productions. The performances span a
wide range of theatre forms and devising processes, offering the students fuel for their own creative process in
the final two years of the degree.
Module Aims
To enable the student to understand and maximise his or her own vocal and physical potential
To develop a repertoire of warm-up and preparation techniques, and an understanding of how to select
and apply them
To gain an understanding of safe working methods and strategies for avoiding and managing injury and
recovery
To introduce a range of approaches to the creative use of the voice and movement in performance
19
To gain a strong grasp of truth, improvisation, observation, and character work in order to convey
dramatic acting to an audience.
Learning Outcomes
Knowledge and understanding of safe and healthy practice for preparing and using the voice in
performance
Knowledge and understanding of safe and healthy practice in movement work
Knowledge of, and the ability to apply, a range of vocal methods in performance
Knowledge of, and the ability to apply, a range of movement approaches in performance
Knowledge of varied acting methodologies and techniques for conveying character and situation truthfully
and dramatically to a live audience.
Teaching Methods
Practical classes. Students will receive both verbal and written formative feedback.
Assessment
Continuous assessment of practical work in classes.

Term Three Performance Project.
Movement will be summatively assessed at the end of the module and a single mark awarded.
Voice will be summatively assessed at the end of the module and a single mark awarded.
Weighting
Acting 0.25
Movement 0.25
Voice 0.25
Term Three Performance Project 0.25
20
EA173-4-FY
Module Outline
This module introduces students to a wide range of theatre forms from around the world and equips the students
with all the skills necessary to document, research, recreate and probe the cultural context of these diverse
theatre traditions In addition to approaching topics in intercultural theatre and the study of world theatre in
general, this module equips students at the outset of the degree with essential techniques and knowledge which
they will be able to draw on and develop further in the final two years of study.
(Note that at least some of these units are taught in parallel, rather than in sequence, throughout the module)
1. Intercultural Studies
Introduces students to various approaches to the study of theatre across cultural barriers and the various ethical,
moral, and artistic considerations of fusion theatre and cross-cultural contact. Research of literature on
interculturalism and cross-cultural theatre fuels debates, discussions and refines the students' approach to world
theatre research.
2. Comparative Performance Theory
Introduces students to theories and systems of performance from both Western and World theatre traditions, and
provides students with varied perspectives on the nature of theatre and comparative theatre studies. Students
gain a comprehensive understanding of Stanislavski's theories on performance, the artistic theories of Zeami
Motokiyo, the classical interpretations of Aristotle, and Bharta's Natyasastra, as well as contemporary theories on
fusion theatre.
3. Practical Case Studies
Offers students opportunities to engage in short term practical case studies of world theatre forms, relating their
work back to that undertaken in other modules, and comparing these forms and mediums of expression to
Western theatre.
Module Aims
To develop skills in working across cultural barriers and dealing with unfamiliar theatre forms.
To develop students analytical abilities.
To allow students to reflect on, and improve, their writing and oral presentation skills.
To improve students' practice in managing their time and workloads.
To enable students to understand and reflect constructively on their own learning processes.
Learning Outcomes
A working contextual knowledge of numerous world theatre forms and their performance theories.
Understanding of major topics in cross-cultural and intercultural theatre.
Ability to meet deadlines both in individual and group work.
Self-awareness as autonomous learners with a knowledge of own strengths and areas for development.
Teaching Methods
Workshops, seminars, lectures. Normally 6 contact hours per week.
21
Assessment
World Performance presentation (10 minutes plus 5 minutes Q&A) and 5-6 minute adapted scene (Term
Two).
Reflective Essay (2000 words) on the student's learning throughout the year, focussing on his or her
development of skills and knowledge to support further study. (Term Three)
Continuous assessment of practical work
Weighting:
Presentation and adapted scene 0.4
Reflective Essay 0.3
Continuous assessment of practical work 0.3
22
EA174-4-FY
Music and World Performance
This module includes an overview of some of the uses of music in Western and non-Western performance forms;
workshops in music-making and use of the singing voice as part of performance in two or three selected forms;
and a staff-led group practical performance assessment in a chosen musical form. The emphasis is on the
development and deployment of students own musical skills, rather than on collaboration with musicians.
Module Outline
1. Western Musical performance
May include an examination of Opera, Music Hall, Choral Performance, the Broadway Musical, etc. Study is
through both lectures and workshop sessions.
2. Asian Musical performance
May include study of, for example, Gamelan, Kabuki, Noh, Kathakali, Chinese Opera, etc. Study is through both
lectures and workshop sessions.
3. African or South American Musical Performance
May include the study of, for example, African drumming, Samba, Calypso, etc. Study is through both lectures
and workshop sessions.
4. Performance Project
A group practical project, led by a tutor, which allows students to develop, select, and apply musical elements in
a specific performance form.
Module Aims
To introduce a range of performance forms which integrate music into the theatre
To offer an introduction to the differences and similarities between cultures in musical technique (for
example, differences in tuning and scales, harmony, and use of rhythm)
To allow students to explore, experiment with and develop their own capacity for making and using
music (whether vocal or instrumental) in a range of World Performance forms
To allow students, working collaboratively under the guidance of a tutor, to create a piece of music-based
performance
Learning Outcomes
Knowledge and understanding of a range of performance forms which incorporate music
Ability accurately to identify the musical style and instruments associated with particular forms of
performance
Ability to research into at least one World Performance form with a significant musical element, and to
present that research clearly and concisely either orally or in writing
Ability to learn basic musical scores and to use them creatively in performance
Teaching Methods
Lectures, practical classes and workshops
23
Assessment
Continuous assessment of participation and progress in practical workshops. Work will be summatively
assessed at the end of the module and a single mark awarded.
Term Two: Group Practical Performance (5-7 minutes each)
Weighting:
Continuous assessment 0.6
Group practical performance 0.4
24
Modules Second Year (Stage 2)

Year Two coursework summary
Term One
EA271 Ritual and
Religious
Research Paper (2000-2500
words) 0.4
Presentation 0.6
Contact Hours: 2 hours of
lectures and 6 hours of
practical work per week
EA277 Media and Theatre
Production Skills
Video presentation (3-5
mins) 0.4
Written script 0. 2
Production Analysis (2000
words)
EA273 Mask
Contact Hours: 2 hours of
lectures and 2 hours of
practical work per week
Term Two
EA274 Storytelling
Devising Project 0.7
Script Project 0.3
Term Three
EA275 Comedy
Process and Performance
0.6
Comedic Writing Project 0.4
EA276 Non-Western
Character Acting
Research Paper (2000
words) 0.4
Process and performance
0.6
EA272 Visiting Artist

Performance project 0.5
Reflective Essay (1500
words) 0.2
per group
EA273 Mask
Seminar presentation 0.3
Mask creation project 0.2
Contact Hours: as Term
One
25
EA271-5-AU
Module Outline
This second year BA World Performance module uses phenomenological and anthropological approaches to
defining and analysing Ritual and its relationship to performance in a range of world contexts, including
performance practices from a variety of cultural and historical backgrounds which arise from or form part of
religious observance.
As well as an overview of key instances of ritual and/or religious performance, the module offers students the
chance to explore in depth one or two such forms of performance, with specific attention to the interaction of
performer and audience, and the issues of performer training and community participation. The module includes
workshops and classes to develop students performance skills as relevant to the specific case studies.
1. Defining ritual in and as performance
Building on Year One work in Theatre Anthropology, and introducing the work of Richard Schechner, a
consideration of the ritual roots of much World Performance and the interpretative implications of this complex
interrelation.
2. Case Study One: Sacred Performance
An examination and practical exploration of one or two performance forms situated within or arising from an
explicitly sacred context (e.g. Balinese Temple Dance, Ancient Greek tragedy, African spirit-dance, Native
American hunting dance, etc).
3. Case Study Two: Ritualised Performance
A study, including particular attention to training methods, of one or two performance forms in which recognisable
ritual is a major element of both the creation and the spectation of the work (e.g. Noh Theatre, Chinese Opera,
Carnival, Javanese Shadow Puppetry, etc).
4. Group Practical Project
Working under the guidance of tutors and in groups, students will create short ritual or religion based
presentations, demonstrating understanding and skills derived from the case studies.
Module Aims
To offer an overview of theoretical approaches to the study of ritual in World Performance

To study one or two forms of ritual or religious performance, engaging with cultural context, ideas, history
and the relevant skills for each form
To allow students to conduct independent research into an area of their own choosing related to ritual
and performance
To engage students in a collaborative presentation project allowing experimentation and practice in the
field of ritual performance
Learning Outcomes
Knowledge and understanding of a range of ritual and religious performances, including their relationship
to cultural and historical context
Knowledge and understanding of the relationship between ritualised performance, its practitioners, and
their community
Skills appropriate to performance in at least one major form of ritual or religious performance
26
The ability to collaborate creatively with others to produce an original piece of practical work
The ability to reflect on, critically evaluate, and articulate their own aims and achievements in practical
project work
Teaching Methods
Normally 2 hours of lectures and 2 hours of case study practicals per week.
Assessment
Writing exercise (2000-2500 words) on a negotiated topic studying an aspect of ritual or religious
performance, including substantial illustrative material.
Assessed group creation of a short ritual-influenced presentation.
Weighting
Research essay 0.4
Presentation 0.4
continuous assessment of practical work 0.2
27
EA277-5-AU
Media & Theatre Production Skills
Module Outline
This core module for BA World Performance introduces hands-on skills in camera use and editing as well as
writing for the camera. In addition, students will receive an introduction to stage management and production
skills and an introduction to the basic principles of lighting for performances. Students learn in workshop and
studio settings. The module emphasises an understanding of the technical processes underlying the students
own practical work.
Module Aims
To introduce students to the essential skills of camera use, digital editing, writing for the screen and to the
role of the director.
To gain skills in documentary and narrative filming of World Performance theatre forms.
To enable students to create and shoot a short script.
To allow students to develop their knowledge and understanding of camera use and performance for the
camera.
To introduce students to stage management and production skills for the theatre
To introduce basic principles of stage lighting for performance.
To enable students to critically analyse technical aspect of theatrical performance.
Module Content
The module will include the development and production of a short film (3 5 min.) from conception, to
completion of script, shooting of the script and post-production (editing) of the film for final screening. It will also
include workshops in stage management and lighting leading to a technical analysis of a theatrical production.
The Production Analysis is a form of essay focusing on the critical analysis of the technical aspects of a theatrical
performance.
Learning Outcomes
Knowledge and understanding of the different roles necessary to execute a simple film project.
Ability to use basic camera equipment safely and effectively.
Knowledge of, and basic facility with, one digital editing package.
Competence in the creation of a short screenplay.
Understanding of the processes of stage management.
Fundamental production skills for theatrical lighting for performances
Teaching Methods: workshops and seminars. Normally 8 contact hours per week.
Assessment:
Short (3 - 5 minutes) video presentation. Weighted 0.4
Written script for screen (3 5 minutes long). Weighted 0.2
Production Analysis (ca. 2000 words): Weighted 0.4
28
EA273-5-AP Mask
Module Outline
The module engages students in a study of two or three mask-based performance forms, with an overview of
interpretative and performative issues in mask work.
1. Overview: Masked performance
A brief survey of key examples of the Mask in performance from a variety of cultural and historical backgrounds,
including professional and community forms.
2. Case studies
In-depth examination and exploration of various forms of masked performance (e.g. Ancient Greek theatre,
Commedia dellArte, Shamanic performance, Noh theatre, etc), including techniques for adapting, making or
developing the mask; movement and (where relevant) vocal skills in each chosen form of masked performance.
3. Mask Workshops: Practical sessions of mask work in various traditions beginning in the first term with
Neutral and Character mask work for developing physical expressiveness and creativity. In the second term
workshops will continue with in-depth work on two or three significant mask performance forms (e.g. GraecoRoman masks, Balinese Bondres, Commedia dellArte, Japanese Noh, etc.)
4. Creating Masks: In group mask-making workshops, students will be introduced to simple techniques for
creating masks. Drawing on case studies of various mask traditions, each student will create a functional mask
and describe both the product and process in a seminar presentation which may include performance.
Aims
To introduce the distinctive performance concerns attaching to the use of mask in a range of World
contexts
To explore the creation of a mask and to experiment with its deployment in performance
To engage critically with the meaning and significance of the mask in different cultures
Learning Outcomes
Knowledge and understanding of the distinctive uses of the mask in a range of performance forms
Ability to engage with performance skills for various masked performance forms or traditions
Creativity and critical awareness in selecting and preparing material for performance and seminar
presentation.
The ability to collaborate and negotiate with peers in practical work
The ability to articulate and interrogate their own and others practice with respect to mask-making and
masked performance
Teaching Methods Lectures and workshops. Normally 2 hours of lectures and 2 hours practical class per week.
Assessment
Term One and Two: Continuous assessment of practical work
Term Two: Individual seminar presentation (10 minutes, followed by open 5-minute Q&A session) on the
choice and development of the specific mask submission of mask for assessment
Weighting
Continuous assessment of practical work 0.5
Seminar presentation 0.3
Mask creation project: 0.2
29
EA274-5-SP
Storytelling
This second year BA World Performance core module delivers an overview of the historical relationship of
storytelling to contemporary performance, a study of two or three storytelling performance forms and study of the
relationship of the storyteller to character and audience. The module also develops students understanding of
narrative and the transmission of stories through theatrical presentation. In addition, students will develop writing
and devising skills, culminating in a collaborative devised presentation and a scriptwriting project.
Module Outline
1. Storytelling and Oral Traditions
An overview of the history of storytelling and its place at the origins of human performance.
2. Case Studies
In-depth examination and exploration of two or three forms of contemporary storytelling performance, including
specific attention to the relationship between storyteller and audience, and the wider cultural context of the
performance.
3. Vocal skills for storytelling
Specialist skills workshops extending students vocal range and control.
4. Live Storytelling
Individual development and live presentation of story-telling. Students will develop their own short (8-10 minutes)
live storytelling presentations.
5. Devising
Training and independent work in devising stories for presentation to an invited internal audience of peers and
tutors. Presentations should not require technical support in terms of costume, props, lighting etc.
Module Aims
To introduce the history, practice, and widespread influence of storytelling as a performance form
To engage in a comparative study of a variety of storytelling forms from different cultural backgrounds
To generate and develop original storytelling performances for both live and remote audiences
To increase students confidence and competence in writing and in devising their own work for
presentation
Learning Outcomes - Students will be able to demonstrate:
A broad knowledge and understanding of the role Storytelling has played in the development of live
performance throughout human history
The ability to generate, select, edit and rehearse independently a complete storytelling performance for a
specific audience
The ability to critically evaluate their own and others storytelling performances, placing them in the
context of world storytelling traditions
Skills in devising a live storytelling presentation
Skills in construction of narrative scripts for performance.
Teaching Methods
Workshops and rehearsals. Normally 8 contact hours per week including 2 hour writing workshop.
30
Assessment
Storytelling Project: a short presentation transmitting a story to an internal audience in which students
collaborate on aspects of the process.
Script Project: A short narrative script for solo or small-group performance created through work in the writing
workshops
Weighting
Storytelling Project 0.7
Script Project 0.3
31
EA276-5-SP
Non-Western Character Acting
Module Outline
This module offers a theoretically-informed study of manifestations of character role types in performance,
exploring cultural prescriptions and attitudes in relation to character and performance in a variety of social and
historical contexts, and case studies of two or three performance forms where character role types are
highlighted (e.g. Kabuki, Chinese opera). There is specific attention to performance skills appropriate to the
case-studies.
1. Gender, Performance, and Performativity
An examination of role types and training relating to the performers and characters gender/age/status from a
range of non-Western and historical contexts.
2. Case Studies
In-depth examination and exploration of forms of performance where role types are the focus of actor training
and performance transmission, with specific attention to the performance skills characteristic of each form.
3. Skills workshops
Workshops in movement and vocal techniques for the chosen case-studies.
4. Costume Manipulation
Examination of costuming, make-up, and the use of mask in creating the role type in performance.
Module Aims
To introduce cultural perspectives of characters and role types in performance

To compare social attitudes to role types across cultures, and to reflect on the relationship of their own
identity to their performance work
To develop specific skills for performing in one or more forms of World Performance
Learning Outcomes
Knowledge of, and an ability to analyse and compare, culture-specific approaches to role types in
performance
Knowledge of and an ability to apply a theoretical understanding of the performative construction of role
types
Performance skills in one or more role type of a World Performance form
An ability to locate their own creative practice in terms of role types and identity, and to manipulate this
identity in performance
Teaching Methods
Lectures, seminars and workshops; normally 8 hours per week contact teaching.
Assessment
Research paper on a topic related to lectures and/or practical work.(2000 - 2500 words)
32
Short individual (5-minute) or small-group (12-15 minute performances developed through the practical
classes.
Weighting
Research paper 0.4
Process and Performance 0.6
33
EA272-5-SU
Visiting Artist
Module Outline
This module offers students a unique opportunity to undertake an intensive case-study, working with a visiting
practitioner in workshops, research, and performance. The content naturally varies according to the visiting
artist(s) but will typically be either a non-Western or an Intercultural approach or performance form.
(Note that at least some of these units are taught in parallel, not in sequence, throughout the module and that the
timespan of the work varies with the residency of the visiting artist.)
1. Context
Seminar and workshop sessions, supported by students own independent research, to introduce the specific
context of the visiting artists work.
2. Workshops
Practical workshops with visiting artist(s), supported by East 15 tutors where appropriate, to develop students
performance skills and to create the assessed performance.
Module Aims
To offer students knowledge and practical skills gained through working with professional performers in a
specific World Performance field
To explore and experiment with a performance form in a professional context
To support students, through their independent research, in gaining insight into the chosen performance
form
Learning Outcomes
Knowledge and understanding of the cultural context and significance of the chosen performance form
The ability to identify, select, and deploy appropriate performance skills for the chosen performance form
The ability to conduct independent research
The ability to work collaboratively with peers and with professional practitioners, respecting the working
methods of the visiting artist(s)
The ability to reflect critically on, and to articulate, their own personal and professional response to the
work with the visiting artist(s)
Teaching Methods Normally 16 workshop hours per week per group
Assessment
Continuous assessment of participation and preparation in workshops
Group practical performance project in collaboration with visiting artist/s
Essay (1500 words) in which students will be required to reflect critically on and analyse the work they have
done in workshops and performance with the visiting artist/s.
Weighting
Continuous assessment: 0.3
Group practical project: 0.5
Reflective Essay (1500 words): 0.2
34
EA275-5-SU
Comedy
This module offers students an exploration of different manifestations of Comedy, through case-studies of two or
three comic performance forms, including verbal and physical comedy, from a range of cultural backgrounds.
Students gain an understanding of the universality of comedy across multiple cultures through one or two case
studies. The emphasis is on the understanding, development, selection, and application of performance skills.
Module Outline
1. Definitions of Comedy
An introduction (drawing on key theories in the anthropology and psychology of comic performance) to the genre
of comedy and its cultural function in performance
2. Case Studies
In-depth examination and exploration of one or two forms incorporating comic performance (drawn from, for
example, Satyr plays, Commedia dellArte, Stand-up comedy, clowning, Feasts of Misrule, Peking Opera, Thai
Likay performance, Kyogen etc.), with specific attention to the performance skills characteristic of each form.
3. Skills workshops
Workshops in physical and vocal techniques, and the use of music where appropriate, for the chosen casestudies.
Module Aims
To develop awareness of the different cultural approaches to comedy and comic performance, and their
ability to compare different forms
To extend and refine students skills for comic performance, typically clowning, verbal and physical
timing, and manipulation of audience
To extend students confidence and competence in applying complex theoretical ideas to their own and
others performance work
Learning Outcomes - Students will be able to demonstrate:
Knowledge of, and an ability to describe and compare, the complex definitions and cultural manifestations
of the comic in performance
A broad range of skills to manipulate timing, energy and complicite on stage
Advanced skills (vocal and physical) for one form of comic performance
The ability to reflect critically on their own performance work and to contextualise it culturally and
theoretically
Teaching Methods
Seminars and workshops. Normally 8 contact hours per group per week.
Assessment
Individual (5-minute) or small-group (12 - 15-minute) comic performance, based on pre-existing material
(written or scored)
Comedic Writing Project (2000 words)
35
Brief: To generate useable comedic material in either the form of comic monologues, stand-up routine material,
sketch comedy, comic scenes, a comedic essay, a satirical article, or a very short one act comic play, or
screenplay or other humorous piece of writing meant to be performed or enjoyed by a reader.
Assessment will be based on the extent to which the project:
Successfully creates material to deliver the desired effect of comedy to amuse an audience.
Includes insightful and truthful commentary on some aspect of the human experience, politics, or
society that celebrates the ridiculousness of human folly.
Demonstrates a clear understanding of the principles of comedy and of comedic conventions and
techniques.
Students may use an example of the type of work, any of the comedic scenes assigned for work in their scene
work classes, or excerpts from the text selected for the Comedy module.
Weighting
Process and Performance 0.6
Comedic Writing Project 0.4
36
Modules Third Year (Stage 3/Final stage)

Year Three course work summary
Term One
EA371 Applied and Political
Theatres
Performance 0.5
Reflective Essay (1500 words)
0.2
Contact Hours: 16 per week for
first half of Term
Term Two
EA372 Intercultural
Performance Project
Performance Preparation 0.4
Performance 0.6
EA373 Professional
Preparation
Contact hours: 8 per week for
second half of term
EA374 Devised Project (in 3

groups)
Contact Hours: 2 per week with
mentor, 6 per week per group
including rehearsal time, after
the intercultural Performance
Term Three
Contact hours: 24 per week

rehearsal
EA374 Devised Project (in 3

groups)
Performance 0.7
Contact Hours: 4 per week with
mentor, 12 per week per group
including rehearsal time
EA373 Professional
Preparation
Contact Hours:
6 per week
Personal Portfolio 0.4
37
EA371-6-AU
Applied and Political Theatres
Module Outline
This module engages students in the study of performance practitioners and forms (e.g. Boal, Brecht, Ancient
Greek theatre, Agit-Prop, Workers Theatre, Feminist Theatre, etc) which have an intended application beyond
the entertainment of paying audiences by professional practitioners. The module includes an overview of such
practice, and case studies of three such practitioners or forms.
1. Overview: Theatre and Society
A survey of forms of theatre and performance which refuse to be, or seek to be more than, entertainment and
has agendas beyond the aesthetic.
2. Case study 1: Compulsory Theatre
An in-depth study of one form (e.g. Ancient Greek theatre festivals, Passion Plays, initiation rituals) in which the
performance is an essential event in the life of the community that produces it.
3. Case study 2: Engaged Practitioners
An in-depth study of one form (e.g. Brecht, Agit-Prop Theatre) in which practitioners stage for an audience
material with an explicitly radical socio-political content.
4. Case study 3: Engaging the Audience
An in-depth study of one form (e.g. Boals Forum Theatre, Invisible Theatre, or Theatre of the Oppressed,
Workers Theatre, 1960s Happenings) which rely for their effect on the active involvement and participation of
the spectator.
Module Aims
To engage critically and analytically with a range of applied performance forms
To raise awareness of the function of performance as a tool for social conformity, community identity or
socio-political change, as well as aesthetic endeavour or entertainment
To undertake a substantial independent research project
To allow students to work collaboratively in creating a piece of applied theatre for a specific audience
Learning Outcomes
An understanding of several forms of applied and political theatre, and their relationships to their original
cultural contexts
An ability to investigate, and to offer a critical and analytical account of, one major practitioner or form in
the area
The ability to present complex information both orally and in writing so that it is clear, structured,
accurate, and engaging
Project planning skills (including negotiation and communication skills) to realise a piece of group
collaborative performance with minimal input from tutors
Performance and/or camera and video editing skills sufficient to create and/or make a record of a piece of
Applied performance
The ability to articulate their ideas and research findings spontaneously
38
Teaching Methods
Lectures and workshops. Normally 16 hours per week for the first half of Term One.
Assessment
Small group applied theatre performance project (maximum running time 30 minutes) which may be for live
presentation or recorded media, for an identified audience or participant group.
Reflective Essay (1500 words)
Weighting
Performance 0.5
39
EA372-6-SU
Intercultural Performance Project
Students work with professional directors to create a production using specific intercultural techniques acquired
over the previous two years.
Module Outline
time span and sequence of the work varies with the requirements of the specific project)
1. Workshops and Rehearsals
Directors lead rehearsals and production meetings to support, guide and advice. Some rehearsal time may be
untutored.
2. Independent Research
Students undertake substantial independent research appropriate to the play or production including
dramaturgical as well as character work
3. Production
Performance of the finished piece for an audience.
Module Aims
To create a piece of theatre, drawing on a range of performance styles, techniques and forms
To allow students to work under the supervision of a professional director in professional circumstances
To offer students an opportunity to work as a company, in conjunction with an experienced director

producing a piece of work to utilise skills gained through the course
Learning Outcomes
The ability to work efficiently and effectively as part of a creative ensemble
The ability to integrate work learned through the World Performance course under the supervision of a
professional director.
The ability to select and apply performance skills appropriate to the chosen form, style, or tradition of
performance and its intended audience
Teaching Methods workshops and rehearsals

Assessment
Group Performance
Weighting: Continuous assessment 0.4; Performance 0.6
40
EA373-6-AP
Professional Preparation
Module Outline
This module focuses on and assists students preparation for the devised performance projects and entering the
world of work beyond the degree. It includes seminars in business, entrepreneurial and legal issues for
performance practitioners and workshops with practitioners. The module is assessed through the Individual
Professional Portfolio.
1. Seminars
Seminars on promotion, funding, legal issues and entrepreneurship for performance practitioners.
2. Workshops
Skills workshops with directors, designers, producers and theatre practitioners designed to build on or expand
skills, knowledge and understanding both in order to contribute to the devised performance work and to assist in
career planning.
Module Aims
To synthesise and compare major themes arising out of the degree work
To allow students to work largely independently in developing and determining their own aesthetic,
cultural, and theoretical priorities
To develop professional-level skills in creative collaboration and project management
To offer students an opportunity to work as a company, with responsibility for the content, marketing, and
budget of their production
To offer students an introduction to legal and commercial issues encountered in professional practice
To provide a professional preparation to meet real and current industry needs
To provide students with a platform to develop professional contacts
Learning Outcomes
The ability to work efficiently and effectively as part of a creative ensemble
Skills in sourcing, generating and editing material for performance
Understanding how to adapt and integrate a range of skills in seeking employment and in the audition
process
Flexibility & response to change (willingness to play, take risks, change habits and break boundaries)
Understanding of industry possibilities and obstacles
The ability to apply critical self-assessment to develop and improve performance
The ability to select and apply training, rehearsal, and compositional methods appropriate to the chosen
form, style, or tradition of performance
The ability to plan and execute a complex group project, taking collective responsibility for key decisions
and use of resources
41
Learning and Teaching Methods

Skills workshops, tutored rehearsals, entrepreneurship seminars. Additional untutored, independent student
group rehearsal and production work.
Learning also takes place in through verbal formative feedback and assessment in group and individual
discussion on performances
Students prepare a Personal Portfolio based on skills acquired through the course and career aims.
Assessment
Continuous assessment through a combination of practical exercises, written assignments and holistic
observation of class work and performances.
Personal Portfolio: The contents of the Personal Portfolio will vary depending upon the students particular
area of interest and specialisation. Tutors will guide on this. It must include a section on Career Goals and an
outline of strategies for working towards those goals in the months or years following graduation. Other
elements might consist of some of the following:
o
o
o
o
o
o
o
o
o
o
o
Self-promotion
Sample cover letter
Designs
Production photographs
Examples of writing
Reviews
Plan for setting up your own company
Web-design
Marketing and promotion plan for the company
Designing projects and workshops
Working in television/film/documentary industry
Weighting

Personal Portfolio 0.4
42
EA374-6-AP
Devised Project
Module Outline
Students work independently (with access to tutors for advice and feedback during the process) to create an
original, 30- minute performance drawing on two or more of the issues, themes or practices studied in the course
of the degree; the preparation process is monitored and assessed through EA373-6-PS, Professional
Preparation.
1. Rehearsals and Production meetings
By negotiation, tutors attend rehearsals and production meetings to support, guide and advise the students
working independently. The majority of rehearsal time is untutored.
2. Production
Performance of the finished piece for an audience. Tutors offer feedback to inform students reflection on the
finished work.
Module Aims
To create a performance expressing one or more major themes arising out of the degree work
To allow students to work largely independently in developing and determining their own aesthetic,
professional, and cultural priorities
To develop professional-level skills in performance
To offer students an opportunity to apply their knowledge of a chosen performance form or forms in
performance for a live audience
Learning Outcomes
The ability to work efficiently and effectively as part of a creative ensemble under professional
performance conditions
The ability to compare and critically evaluate different aspects of World Performance through live
performance
The ability to apply performance skills appropriate to the chosen form, style, or tradition of performance
Knowledge and understanding of the original cultural context of the content and form of the performance,
and its relationship to the cultural context within which it is performed
Teaching Methods
Rehearsals, production meetings, tutor feedback sessions. Normally 8 hours per week for the second half of
Term One followed by 16 hours per week in Term Two.
Assessment
Continuous assessment of individual students contribution to and role in the creation, planning, and
organisation of the group performance.
Realisation of the group performance
Individual Reflective essay (ca.2000 words)
Weighting
Performance (including continuous assessment) 0.7
43
Assessment Methods
During your time in class there will be continuous verbal guidance and feedback flowing between tutors, directors
and students both while work is in progress, by way of formative assessments (i.e. informal assessments
conducted during the learning process) and at the point at which work is formally evaluated and assessed
(summative assessment). The ability to accept critical feedback and use it to improve performance is a vital part
of your training and a skill you will use throughout your working life.
It is important for you to realise that as well as delivering teaching and learning in practise-based sessions, your
tutors and directors are also engaged in continuously assessing your progress towards achieving the stated
learning outcomes of the modules you are studying. This is based on the observation of students contributions
to class work, practical projects and performance. The continuous assessment process is rigorously undertaken
by a team, never an individual member of staff, consisting of Head of Year/Course, acting and skills tutors (voice,
movement, music & singing) and, where students are working on productions, with directors.
In addition to the continuous verbal feedback you receive in a workshop, class or rehearsal, you will receive
written reports for some of your modules either at the end of a term or at the end of a module. Written reports
will contain tutor comments and you will be able to tell where you are doing well and which areas you need to
work on from the reports. The content of the reports on which the assessments are based, will obviously vary but
are consistent with the stated learning outcomes for the module being assessed these are listed in the Module
Outlines in this book.
Mid-term reports will be issued to individual students if progress in a particular area is causing concern. The
report will give full written details of the area of concern and what the student must do to remedy it.
You will normally have at least one meeting at which a formative discussion of the terms work is conducted in
group session with the team of tutors responsible for continuous assessment.
Marking Schemes
The marking schemes which are used by tutors for the assessment of both practical and written work can be
found in the Appendix at the back of this book.
44
Guidelines for written work

Handing-in procedure
Students based at Loughton, written work should be handed in to the Librarian in the Hatfields Library on the
first floor of Hatfields House. Students based at Southend should hand written work in to the main Administration
Office on the 5th floor of the Gateway building. You will be given a written receipt for your work. The work will
then be passed on to the marker(s).
You must submit two copies (unless otherwise stated)
The deadline for hand-in is 4:30 pm (unless otherwise stated). No exceptions.
Please note: handing in procedures can change during the year and from course to course. Your course leader
will notify you of any changes when confirming the coursework deadlines with you.
It is your responsibility to hand in your work properly stapled together. Office and Library staff are not
responsible for providing staplers or binders, and are not responsible if, because your work is loose, it
becomes mixed with the work of other students or lost.
It is also your responsibility to include a title page giving YOUR NAME, the tutor for whom the work is
for, the date it was handed in and the course/ module. Otherwise, we may not be able to ascribe a mark
to you.
If you have been diagnosed by the University as having a specific learning difficulty, please make sure you have
attached the Cover Sheet to your work, and have signed it (Cover Sheets are available from the Student Support
Office on the ground floor of Hatfields House, Loughton, or the Administration Office on the 5th floor of the
Gateway building, Southend).
If you are obliged to send written work by post, keep a copy of it, and send it by Recorded Delivery.
Assignments may be emailed but this can only be in addition to hard copy. If for any reason your email is not
received and no hard copy has been received, your work will be treated as a non-submission and will receive a
mark of zero in accordance with the coursework deadline policy, described below.
IT failures such as computer crashes or document corruption are not acceptable grounds for claims of
extenuating circumstances for late submission or non-submission of work.
45
Your Progress The Professional Code of Conduct

East 15 Acting School and Essex University are committed to excellence in education, and to supporting your
progression and achievement as a student and in the professional industry after you graduate. To do this we
have strict rules on absence and lateness. Students at East 15 who miss more than three classes in a subject, in
any term, without having first sought permission to be absent or are unable to present approved extenuating
circumstances for the dates that they have been absent, risk failing that subject and possibly retaking the entire
year. Students who arrive after a class has started will also be marked absent.
Monitoring of student attendance allows us to identify any students who may need guidance or support, to help
them to succeed in their studies and beyond. Your engagement with your programme of study is primarily
measured by attendance, and completion of, and performance in, assessments, as appropriate. We will follow-up
concerns about any student in accordance with the East 15 Professional Code of Conduct and the Universitys
Progress Procedures.
As a student, if engagement in your studies, as measured by attendance and submission of assessed work, is
unsatisfactory youll be contacted and offered guidance and support. If your progress causes concerns you may
be contacted by your personal tutor or the Schools Academic Administrator. Where serious concerns persist,
you may be referred to the Deputy Director of the School or the Dean of Education and your case formally
considered by a Progress Committee. You should read the East 15 Acting School Professional Code of
Conduct so that you fully understand what is expected of you.
Please note: students studying at the Southend campus should not use the electronic readers which are
installed in teaching rooms. East 15 does not participate in the card reader system.
East 15 Acting School Professional Code of Conduct (PCC)

The Professional Code of Conduct (PCC) is applied to all modules and all programmes of study at East 15
Acting School at both Loughton and Southend campuses. You MUST read and familiarise yourself with the PCC,
which can accessed online (http://www.east15.ac.uk/current-student) and through Moodle, at the beginning of
your course.
The PCC sets out clear expectations in relation to attendance, engagement, professional behaviour, and
conduct. The PCC also seeks to ensure that the academic progress and learning experience of the generality of
students is not impeded by their peers.
To this end, the PCC provides a framework for supporting progress and positive outcomes through managing the
following:
Punctuality
Full Attendance (see further guidance below)
Preparation for classwork and rehearsals including learning of roles
Co-operation, team-working, professional behaviour as an essential part of the learning and rehearsal
process
Failure to adhere to the PCC in a module may result in an overall fail mark being awarded for the module. As a
result, this is likely to have implications on a students ability to progress to the next academic stage or graduate.
46
Reporting an absence - the Green Slip or Authorised Absence

Students who invoke the Schools Green Slip procedure will not be penalised for absence. If you miss one or
more teaching sessions for a legitimate reason (e.g. a doctors appointment or compassionate leave) you must
report your absence by completing a Green Slip BEFORE your absence from the class. Slips are available from
Student Support on the ground floor of Hatfields House (Loughton) or from the East 15 Administration Office on
the 5th floor, Gateway Building (Southend).Your course leader will sign it if they agree that you can be absent.
You should return the form to the Student Support Officer (Loughton) or the Administration Office (Southend).
Forms will not be accepted if they are not signed by the course leader. Once signed, your absence will be
recorded as authorised and you will not be in breach of the PCC.
Southend campus Administration Office:
01702 328 327
Absence due to illness

If you are feeling too ill to come in to School, you must phone Student Services/Reception (Loughton) or the
Administration Office (Southend) before or around 9.00am in the morning to notify the School of your absence
(details below). Students are marked absent regardless of whether or not they have phoned in sick. We will flag
your absence to indicate that you called the School however, your absence will still be recorded and on your
return, you will need to provide medical evidence, a doctors certificate or a detailed statement with any
supporting evidence to explain why you were absent.
If you are likely to be absent for several weeks. You should contact your course leader, personal tutor or Student
Support for advice and support. If youve missed, or are going to miss, a significant amount of teaching, you
should discuss the option of formally taking a break from your studies (also called intermitting) with your course
leader and Student Support Officer.
47
BA World Performance Reading List

Primary
Artaud, Antonin,
The Theatre and its Double
Aristotle
The Poetics
Banham, Martin
The Cambridge Guide to Theatre
Boal, Augusto,
Games for Actors and Non-Actors
Brook, Peter
The Open Door
Carlson, Marvin
Theories of the Theatre
Carlson, Marvin,
Performance: A Critical Context
Esslin, Martin
The Theatre of the Absurd
Goldfarb, Alvin and Wilson, Edwin Living Theatre: A History
Gordon Craig, E
On the Asrt of the Theatre (ed Franc Chamberlain)
Leach, Robert
The Makers of Modern Theatre
McConachie, Nielhaus, Sorenfrei, Theatre Histories: Ac Introduction
Undereiner
Postlewait, T. - McConacahie, B. (ed.) Interpreting the Theatrical Past
Rhem, Rush
Understanding Greek Tragic Theatre
Shank, Theodore
Beyond the Boundaries
Stanislavski, Constantin
Building a Character
Stanislavski, Konstantin
An Actor's Work: A Student's Diary
Stanislavski, Konstantin
An Actor's Work on a Role
Wiles, Davis
Greek Theatre Performance: An introduction
Willet, John D.
Brecht on Theatre
Worthen, W.B.
Harcourt Brace Anthology of Drama
Grove press 2003

Norton 1982
Cambridge University1996
Routledge 2003
Anchor Books 2005
Cornell University Press 1993
Routledge 2003
Penguin 1980
Hill Higher Education 2003
Routledge 2008
Routledge 2004
Routledge 2016
Iowa Press 1996
Routledge 2017
Michigan Press 2002
Methuen 1979
Routledge 2009
Routledge 2009
Routledge 2002
Methuen 1978
Thompson Learning 1999
Applied and Political Theatre

Boal, Augusto
Boal, Augusto
Boal, Augusto
Theatre of the Oppressed

The Rainbow of Desire
Legislative Theatre
Pluto Press 2000

Routledge 1994
Routledge 1998
Study Skills
Fowler
Strunk and White
Taggart and Wines
Truss, L
Modern English Usage

Elements of Style
My Grammar and I (or should that be me?)
Eats Shoots and Leaves
OUP 2015
Longman 1999
Michael OMara 2011
Fourth Estate 2009

Albuquerque, Severino J.
(editor) Bishop-Sanchez
Kathrin (editor)
Anderson, Christopher,
Arnott, Peter D.,
Barba & Sevarese
Performing Brazil
University of Wisconsin Press 2015
Art and Performance in Oceania

The Theatres of Japan
A Dictionary of Theatre Anthropology
Hawaii 1999
Macmillan 1969
Barba, Eugenio
The Paper Canoe
Routledge 1994
Bartow Arthur
Acting techniques
Bentley, Eric,
Theories of the Modern Stage
Bharata, Trans by Apparao, P.S.R., The Natyasastra
Bradley K. Karen
Rudolf Laban
Brandon J. R., and Banham, M,
The Cambridge Guide to Asian Theatre
Brandon, James R.,
Kabuki: Five Classic Plays
Brandon, James R.,
Theatre in Southeast Asia
Brown, John Russell
New Sites for Shakespeare: Th., Aud. Asia
Drew, Margaret T.,
Yoruba Ritual: Performers, Play, Agency
Fei, Chunfang,
Chinese Theories of Theater & Performance
Nick Hern 2008

Penguin 1992
Sahitya Akademi 1992
Routledge 2008
Cambridge University 1997
HawaiI Press 1992
Oxford 1967
Routledge 1999
Indiana 1992
Michigan Press 2002
George, David
University of Texas Press 2011
The Modern Brazilian Stage
48
Hollander Julia
Keene, Donald,
Keith, A. B.,
Lal, P.,
Lee, Esther, Kim
Liu, Siyuan
Mackerras, Colin,
Martin John
Indian folk theatres

Noh, the Classical Theatre of Japan
Sanskrit Drama
Great Sanskrit Plays
A History of Asian American Theatre
Routledge Handbook of Asian Theatre
Chinese Theatre: Origins to Present Day
The intercultural performance handbook
Routledge 2008
Kodansha 1978
Motilal 1992
Norton & Co 2003
CUP 2006
Routledge 2016
Hawaii Press 1986
Routledge 2008
Oida, Ioshi
An Actor Adrift
Methuen Drama 1992
Okabuge Osita
Puga Elena Ana
Richmond, Farley
Rimer, J. Thomas,
Rubin, Leon & Sedana, N.
Rubin Leon
Saltz, Jonah
Schechner
Vatsyayan, Kapila,
Waley, Arthur
Whaley, Arthur,
Wichman, Elizabeth,
African theatres and performances

Routledge 2008
Memory allegory and testimony in South American theatre Routledge 2008
Indian Theatre
Yamazaki Masakazu: the Art of Noh Drama
Princeton 1984
Performance in Bali
Routledge 2007
Performance in Bali
Routledge 2008
Cambridge History of Japanese Theatre
2016
Performance Studies: An introduction
Bharata: the Natyasastra
Nesma Books 2001
The Analects
Penguin 1979
The Noh Plays of Japan
Macmillan 1916
Listening to Theatre
Hawaii Press 1989

Bell, Catherine
Ritual Theory ritual Practice
Bell, Catherine
Ritual Practice and Dimensions (Revised edition)
Eisman, Fred
Bali: Sekala and Niskala (Vol 1: Essays in Religion
and Art)
Gold, Lisa
Music in Bali: Experiencing Music, Expressing Culture
Schechner Richard
The future of ritual
Schechner, Richard
Between Theatre and Anthropology
Schechner and Appel
By Means of Performance: Intercultural Studies of
Theatre and Ritual
Non-Western Acting
Suggested reading
Cohen, Matthew Isaac
Isaka, Maki
Rimer and Masakazu
Riley, Jo
Sunardi, C
Inventing the Performance Arts: Modernity and

Tradition in Colonial Indonesia
Onnagate: A Labyrinth of Gendering in Kabuki Theatre
The Art of Noh Drama
Chinese Theatre and the Actor in Performance
Stunning Males and Powerful Females: Gender and
Tradition in East Javanese Dance
OUP 2009
OUP 2009
Periplus Editions 1990
Oxford University Press 2005
Routledge 2008
University of Pennsylvania Press 1985
Cambridge University Press 1990
University of Hawaii Press 2016

University of Washington Press 2016
Princeton University Press 1984
CUP 1997
Illinois Press 2016
General Reference
Brown, John Russell
Bett, Henry
Bowker, John (ed.)
Drabble, Margaret (ed.)
Drain, Richard (ed.)
Fernandez-Arnesto, Felipe
Goorney, Howard
Huxley, M & Witts, N (ed.)
Palmer, Alan
Shapiro & Hendricks
Trevelyan, G.M.
Urson & Ree
Oxford Illustrated History of Theatre

English Myths and Legends
Oxford Dictionary of World Religions
Oxford Companion to Literature
Twentieth Century Theatre: Sourcebook
Ideas that Changed the World
The Theatre Workshop Story
The Twentieth-Centure Performance Reader
Dictionary of Twentieth-Century History
Dictionary of Mythologies
A Shortened History of England
Concise Encyclopaedia of Western Philosophy
Acting and Dramatic Theory

Allain P. Harvie J.
Alfreds, Mike
Bailey, Claudia Jean
Barba, Eugenio
Bartow Arthur
Boal, Augusto
The Routledge companion to theatre and performance Routledge 2008

Different Every Night
Nick Hern 2007
A Guide to Reference and Bibliography for Theatre Research Ohio University 1983
A dictionary of theatre anthropology
Routledge 2008
Acting Techniques
Nick Hern 2008
Games for Actors and Non-Actors
Routledge 1997
OUP 2001
Dorset 1991
OUP 1997
OUP 1987
Routledge 1995
Dorling-Kindersley 2004
Methuen 1981
Routledge 1997
Penguin 1990
Granada 1981
Penguin 1987
Unwin 1991
49
Bogart, Anne Landau, Tina

Braun, Edward
Britton, John
Brook, Peter
Cannon, Dee
Chekhov, Michael
Donnellan, Declan
Dixon, Luke
Dromgoole Nicholas
Dundjerovic
Elsam, Paul
Gillett, John
Harrop, John
Hodge, Alison
The Viewpoints Book

Meyhold: A Revolution in Theatre
Encountering Ensemble
The Empty Space
In-Depth Acting
On the Technique of Acting
The Actor and the Target
Play Acting
Performance style and gesture in western theatre
Robert Lepage
Acting Characters
Acting on impulse Methuen 2008
Acting
Actor Training
Jonhstone, Keith
Impro
Johnston, Chris
Kelleher Joe (ed.)
The Improvisation Game

Contemporary theatres in Europe
Malaev-Babel, Andrei
The Vakhtangov Sourcebook
Marshall, Lorna and Oida, Yoshi

Merlin, Bella
Mitter, Shomit
Normington K. Wilsher Toby
Robson, Colin
Richards Thomas
Riggio cozart M.
Schechner, Richard
Schechter Joel
Schneider r.
Silverberg, Larry
Stanislavski, Constantine
Strunk, William Jr.
An Actors Tricks
The Complete Stanislavski Toolkit
Systems of Rehearsal
Making a performance
Real World Research
Heart of practice
Carnival
Performance Studies: an introduction
Popular theatre
Re: direction
The Sanford Meisner Approach
An Actor Prepares
The Elements of Style
Toporkov, Vasily Osipovich
Stanislavski in Rehearsal
Van Erven Eugene

Wilsher Toby
Zarilli, B. Philip.
Zarilli B. Phillip
Zarrilli, B. Phillip
Zarrilli, B. Phillip
Zarrilli. B. Phillip
Community theatre
The mask handbook
Phsychophysical acting
Kathakali
Acting (Re)Considered
When the Body Becomes All Eyes
Theatre Histories: An Introduction
Nick Hern Books 2014

Methuen 1986
Methuen 2013
Penguin 1968
Oberon 2012
Perennial 1991
Nick Hern 2005
Methuen 2004
Oberon 2008
Routledge 2008
Methuen 2007
Routledge 1992
Routledge 2000
Methuen Drama 2007

Nick Hern 2006
Routledge 2008
Routledge 2011
Methuen 2007
Nick Hern 2006
Routledge 1992
Routledge 2008
Blackwell publishers 2002
Routledge 2008
Routledge 2008
Routledge 2006
Routledge 2008
Routledge 2008
Smith and Kraus 1994
Methuen 1980
Allyn & Bacon 2000
Bloomsbury Methuen Drama 2016

Routledge. 2008
Routledge 2008
Routledge 2008
Routledge 2008
Routledge 2002
Oxford University Press 2000
Routledge 2010
Voice
Essential:
Alburger, James
Ashton, H & Shepard, S
Berry, Cicely
Carey, David and Rebecca
Case, Sarah
Gutekunst, C & Gillet, J.
Houseman, Barbara
Lessac, Arthur
Linklater, Kristin
Linklater, Kristin
McCallion, Michael
Rodenburg, Patsy
Rodenburg, Patsy
Rogers, Janet (ed).
The Art of Voice Acting: the craft and business of

performing Voiceover
Work on your Accent: Clearer
pronunciation for better communication
Voice and the Actor
The verbal arts workbook
The verbal arts workbook & DVD
the Integrated Voice: A complete Voice
Course for Actors
Voice into Acting: Integrating Voice
and the Stanislavski Approach
Finding Your Voice
The Use and Training of the Human Voice
Freeing the Natural Voice
Freeing the Natural Voice: Imagery & Art in the
Practice of Voice and Language
The Voice Book
The Right to Speak
The Need for Words
The Complete Voice and Speech Workout
Book and CD
2014
HarperCollins 2012
Collier Books 1973
Methuen 2010
Methuen 2008
Nick Hern 2013
Bloomsbury 2014
Nick Hern 2002
Mayfield 1997
Drama Book 1976
Nick Hern 2006
Faber & Faber 1998
Routledge 1992
Methuen 1993
Applause 2002
50
Recommended:
Nobel, Adrian
Rodenburg, Patsy
Michael Lugering.
Reena Cook
Barton, Robert
Adrian, Barbara
From Word to Play
Berry, Cicely
Boston, J & Cook, R
Campo, G & Molik Z
Chun-Tao Cheng, S
Farhi, Donna
Gillett, John
Hackney, Peggy
Houseman, Barbara
Kaiser, Scott
Kaminoff, Leslie
Linklater, Kristin
Melton, J & Tom, K
Rodenburg, Patsy
Walsh, V & Walsh, M
How to do Shakespeare
The verbal arts workbook
The verbal arts workbook & DVD
The Second Circle
The Expressive Actor:
integrated voice, movement and acting
Voice and the Young Actor
Voice on Stage and Off
Actor Training the Laban Way
The Text in Action
Breath in Action
Zygmunt Moliks Voice and Body Work
Tao of Voice: A New East-West Approach to
Transforming the Singing & Speaking Voice
The Breathing Book
Acting on Impulse
Making Connections: Total Body Integration
through Bartenieff Fundamentals
Tackling Text and Subtext
Mastering Shakespeare
Yoga Anatomy
Freeing Shakespeares Voice
One Voice
The Actor Speaks
The Tao of Voice, The way of the Breath
Routledge 2009
Methuen 2010
Methuen 2008
WW Norton 2008
Routledge 2012
Methuen 2012
Harcourt School
Har/Cas edition 1995
Allworth press 2008
Oberon 2002
Virgin 2001
Jessica Kingsley 2009
Routledge 2010
Inner Tradition Bear 1991
Holt Paperback 1996
Methuen 2007
Routledge 2002
Nick Hern 2008
Allworth Press 2003
Human Kinetics 2007
TCG 1992
Heinemann 2003
Methuen 1997
Perfect Paperback 2007
Movement and Physical Skills

Essential
Cohen, Bonnie Bambridge.
Calais-Germain.
Hackney, Peggy.
Newlove, Jean & Dalby, J.
Sensing, Feeling and Action

Anatomy of Movement
Making Connections
Laban for All
Contact Editions 1994

Eastland Press, 1994
Routledge, 2002
Nick Hern 2004
Additional Reading
Callery,Dymphna.
Carter, Alexandra
Barton, Robert
Bogart, Anne & Landau, Tina.
Dennis, Anne
Grotowski, Jerzy.
Hodgson
King, Nancy.
Laban, Rudolf.
Lamb, Warren.
Lecoq, Jacques
McCaw, Dick
Moore, Carol Lynne
Newlove, Jean
North, Marion.
Through the Body

The Routledge Dance Studies Reader
Style for Actors
The Viewpoints Book
The Articulate Body
Towards a Poor Theatre
Mastering Movement
Theatre Movement
The Mastery of Movement
Posture and Gesture
The Moving Body
Laban Sourcebook
The Harmonic Structure of Movement, Music
and Dance According to Rudolf Laban
Laban for Actors and Dancers
Personality Assessment Through Movement
Nick Hern 2005

Routledge 2010
Routledge 2009
TCG 2006
Nick Hern 2002
Simon & Shuster, 1968
Methuen 2001
Drama Book Spec. 1971
Macdonald & Evans, 1960
Duckworth, 1965
Methuen 2000
Routledge 2010
Nick Hern 1993

Northcote House, 2001.
51
Olsen, Andrea.
Bodystories: A Guide to Experiential Anatomy
Potter, Nicole, Edited by:
Movement for Actor
Pisk, Litz
The Actor and His Body
Preston-Dunlop, Valerie.
Making Dances
Preston-Dunlop V & Sanchez-Colberg A. Dance and the Performative
Richards, Thomas.
At work with Grotowski on Physical Actions
Spier, Steven
William Forsythe
Tufnell, Miranda.
Body, Space, Image
University Press, 2004.

Allworth Press, 2002
Methuen 1975
Dance Books, 2002
Dance Books. 2002
Taylor & Francis 1995
Routledge 2010
Virago Press 1990
Movement DVDs
Labans Legacy
Biomechanics
Understanding Pina: The legacy of Pina Bausch
European Dance Theatre
Music and Singing
Bunch Meribeth
Cook, Orlando
Gammond, P
Gold, L
Gumm, A.J
Kayes, Gillyanne
Kennedy, M
Larkin, C
Dynamics of the Singing Voice

Singing with your Own voice
The Oxford Companion to Popular Music
Music in Bali
Making More Sense of How to Sing
Singing and the Actor
The Oxford Dictionary of Music
The Virgin Encyclopedia of Stage &
Film Musicals
Martinez, M & Roscetti, E
World Beat Rhythms; Africa
Martinez, M & Roscetti, E
World Beat Rhythms; Brazil
Massey, R & J
The Music of India
Russell , Dave
Popular music in England, 1840-1914
Scott, Derek
Music, Culture and Society
Sharma, E
Music Worldwide
Various
The Concise Garland Encyclopaedia of
World Music
Winterson, J, Nickol, P & Bricheno, T Pop Music The Text Book
Springer 2009
Nick Hern 2004
OUP 1991
OUP 2004
Eurospan 2009
Methuen 2000
OUP 1985
Virgin 1999
Hal Leonard 2003
Hal Leonard 2003
Kahn & Averill
MUP 1997
OUP 2000
CUP 1998
Routledge 2008
Peters 2003
Stage Fighting
Hobbs, William
Morton, E.D
Techniques of the Stage Fight

Martini A-Z of Fencing
Studio Vista 1967

Macdonald Queen Anne 1988
Production and Backstage

Boucher, Franoise
Goodman, J (ed.)
Pallin, Gail
Pilbrow, Richard
Swinfield, Rosemary
A History of Costume in the West

British Theatre Design
Stage Management Handbook
Stage Lighting Design
Stage Make-Up Step by Step
Thames & Hudson 1996

Weidenfeld & Nicholson, 1989
Nick Hern 2003
Nick Hern 2007
A & C Black 199
General online content

Drama Online - you can access it via the Library catalogue by undertaking a Resource name search for Drama Online, or go to this
address: http://serlib0.essex.ac.uk/record=e1000389~S5, and click on Drama online (labelled as Resource Home). Youll be prompted to
login with your Essex username and password.
Digital Theatre Plus - http://www.digitaltheatreplus.com/about-us): to view live recordings of theatre productions as well as interviews and
documentaries about the making of the work.
52
Appendix
Year one undergraduate marking schemes - The following Guidelines are used by tutors for assessment of
practical work in Year One modules:
70 and above
First Class Hons
Year One practical work will normally be awarded first class marks if:
Overall grasp of the objectives of the work is very good with no significant shortcomings
There is evidence of critical engagement and awareness in class
There is evidence of substantial contribution to ensemble work
It shows a firm grasp of basic skills (voice, movement, music & singing) with few significant shortcomings
It shows a good analytical understanding of basic text and character
A high standard of practical work is sustained in classes.
60 69
Class 2:1 Hons
Year One practical work will normally be awarded an upper second-class mark if it displays a
significant number of the following qualities:
overall grasp of the objectives is good with few significant shortcomings
is consistently engaged and concentrated in classes
shows consistent collaboration with and support of ensemble
Firm grasp of basic skills (voice, movement, music & singing) to a good standard
Good understanding of basic text and character
Sustains practical work of good standard in classes
50 59
Class 2:2 Hons
Year One practical work will normally be awarded a lower second-class mark if it displays a significant
number of the following qualities:
grasp of objectives is adequate
sufficient engagement and concentration in classes
adequate collaboration with and support of ensemble
adequate grasp of basic skills (voice, movement, music & singing)
adequate understanding of basic text and character
practical work in class is of consistent standard
40- 49
Class 3 Hons
Year One practical work will normally be awarded a third-class mark if it displays many of the
following characteristics:
basic understanding of the work objectives
engagement and concentration in classes is patchy
collaboration with and support of ensemble is minimum required to do the work
Basic skills (voice, movement, music and singing) are minimal
Understanding of basic text and character is limited
Practical work in class is weak and/or inconsistent
53
39 and Below
Fail
Year One practical work will normally be awarded a mark of 39 or below if it shows a number of
serious shortcomings, such as the following:
Incomplete understanding or misinterpretation of the work objectives
there is little or no engagement or concentration in classes
poor collaboration with and support of ensemble
skills (voice, movement, music and singing) are below basic technical levels
there is little or no understanding of basic text and character
practical work in class is inconsistent or incomplete
The following Guidelines are used by tutors for assessment of written work in Year One modules:
70 and above
First Class Hons
Year One written work will normally be awarded first class marks if it shows substantial evidence of
the following qualities:
good overall grasp of work with no significant shortcomings
well-constructed and logical argument
critical awareness of the topics main issues
firm grasp of module content
evidence of own ideas and concepts
well- researched
60 69
Class 2:1 Hons
Year One written work will normally be awarded an upper second-class mark if it displays a significant
overall grasp of work is good with few significant shortcomings
consistent and coherent argument
understanding of the topics main issues
understanding of main points of module content
ability to express ideas and concepts
adequate research
50 59
Class 2:2 Hons
Year One written work will normally be awarded a lower second-class mark if it displays a significant
adequate grasp of work with very few if any shortcomings
basically consistent argument
fair coverage of most relevant aspects of the topic
adequate understanding of module content
reasonably well-structured response
basic research
40- 49
Class 3 Hons
Year One written work will normally be awarded a third-class mark if it displays many of the following
characteristics:
basic understanding of work but few really serious shortcomings
Patchy consistency and coherence of argument
Patchy knowledge of the modules major issues
Limited coverage of the topic
Limited presentation and exemplification of ideas
Minimal research
54
39 and Below
Fail
Year One written work will normally be awarded a mark of 39 or below if it shows a number of serious
shortcomings, such as the following:
Limited or misinterpreted grasp of work objectives
inconsistent or incomplete argumentation
excessive brevity
inclusion of a substantial amount of irrelevant material
inappropriate expression of unsupported subjective views
poor standards of presentation
0 This mark is reserved for the non-submission of work by the deadline set, or for cases of confirmed
plagiarism.
Year two undergraduate marking schemes - The following Guidelines are used by tutors for
assessment of practical work in Year Two modules:
70 and above
First Class Hons
Year Two practical work will normally be awarded first class marks if:
engagement and concentration makes a demonstrable contribution
there is evidence of substantial contribution to ensemble work
it shows skill, creativity and invention in rehearsal and performance
it shows extensive integration of skills (voice, movement, music & singing)
there is substantial connection with text and character
character work in both rehearsal and performance is consistent and sustained
it shows substantial discipline and application
it fully achieves the objectives of the work
60 69
Class 2:1 Hons
Year Two practical work will normally be awarded an upper second-class mark if it displays a
consistently engaged and concentrated in classes and rehearsals
substantial collaboration with and support of ensemble
makes a positive contribution to rehearsal and performance
evidence of skills integration (voice, movement, music & singing)
connects with text and character
consistent character work in both rehearsal and performance
shows discipline and application
achieves key objectives of the work with very few shortcomings
50 59
Class 2:2 Hons
Year Two practical work will normally be awarded a lower second-class mark if it displays a significant
sufficient engagement and concentration in classes and rehearsals to do the work
consistent collaboration with and support of ensemble
basic integration of skills (voice, movement, music & singing)
adequate connection with text and character
adequate character work in both rehearsal and performance
shows adequate standards of discipline and application
achieves key objectives to a reasonable standard with few significant shortcomings
40- 49
Class 3 Hons
Year Two practical work will normally be awarded a third-class mark if it displays many of the
engagement and concentration in classes and rehearsals is patchy
55

integration of skills (voice, movement, music and singing) is minimal or inconsistent
connection with text and character is at a fairly basic level
ability to sustain character work in rehearsal and performance is limited
discipline and application is minimum level required to do the work
barely achieves key objectives of the work
39 and Below
Fail
Year Two practical work will normally be awarded a mark of 39 or below if it shows a number of
engagement or concentration in classes and rehearsals is weak or superficial
lack of collaboration with and support of ensemble
skills are below technical levels necessary to sustain work
poor understanding of text and character
inconsistent or incomplete character work in rehearsal and/or performance
standards of discipline and application are below the level required to do the work.
The following Guidelines are used by tutors for assessment of written work in Year Two modules:
70 and above
First Class Hons
Year Two written work will normally be awarded first class marks if it shows evidence of the following
qualities:
Substantial original argument
Significant critical analysis
Substantial command of module content
Accurate expression of complex ideas
Some independent research
No significant shortcomings
60 69
Class 2:1 Hons
Year Two written work will normally be awarded an upper second-class mark if it displays a significant
Consistency and coherence in argument
Substantial understanding of the main issues
A well-informed and intelligent treatment of the subject
Evidence of an independent perspective
Evidence of original thinking in the analysis of course material
No major shortcomings
50 59
Class 2:2 Hons
Year Two written work will normally be awarded a lower second-class mark if it displays a significant
General consistency and coherence of argument
Fair coverage of most relevant aspects of the topic
Adequate presentation and exemplification of ideas
Reasonably well-structured response
Very few if any serious shortcomings
40- 49
Class 3 Hons
Year Two written work will normally be awarded a third-class mark if it displays many of the following
characteristics:
Patchy knowledge of the major issues
Few really serious shortcomings
39 and Below
Fail
Year Two written work will normally be awarded a mark of 39 or below if it shows a number of serious
Poor understanding of ideas
Inconsistent or incomplete argumentation
Excessive brevity
56
Inclusion of a substantial amount of irrelevant material

Inappropriate expression of unsupported subjective views
Poor standards of presentation
0
This mark is reserved for the non-submission or non-completion of work, or for cases of confirmed
plagiarism.
Final year undergraduate marking schemes - The following Guidelines are used by tutors for assessment
of practical work in Final Year Modules:
70 and above
First Class Hons
Final Year practical work will normally be awarded first class marks if:
it is deemed to be of the highest professional standard.
there is demonstrable creative engagement and concentration at the highest level
there is evidence of outstanding creative contribution to ensemble work
it shows outstanding skill, creativity and invention in rehearsal and performance
it fully integrates advanced skills techniques (voice, movement, music & singing)
it connects with complex text and character at the highest level
it sustains complex and subtle character work in both rehearsal and performance
it achieves the objectives of the work at the highest standard overall
60 69
Class 2:1 Hons
Final Year practical work will normally be awarded an upper second-class mark if it displays a
shows significant professional potential
is consistently and creatively engaged and concentrated in classes and rehearsals
shows substantial creative collaboration with and support of ensemble
regularly demonstrates skill, creativity and invention in rehearsal and performance
integrates advanced skills (voice, movement, music & singing) to a good standard
connects with complex text and character well
sustains convincing character work in both rehearsal and performance
achieves key objectives of the work to a good standard overall
50 59
Class 2:2 Hons
Final Year practical work will normally be awarded a lower second-class mark if it displays a
there is evidence of professional potential
some creative engagement and concentration in classes and rehearsals
consistent collaboration with and support of ensemble
adequate integration of advanced skills (voice, movement, music & singing)
adequate connection with complex text and character
capable of sustaining adequate character work in both rehearsal and performance
achieves key objectives of the work to a reasonable standard
40- 49
Class 3 Hons
Final Year practical work will normally be awarded a third-class mark if it displays many of the
overall standard of work is patchy or inconsistent
limited potential but is of minimum professional standard
engagement and concentration in classes and rehearsals is patchy
integration of advanced skills (voice, movement, music and singing) is minimal or inconsistent
connection with complex text and character is at a fairly basic level
57
character work in rehearsal and performance is limited and basic

barely achieves key objectives of the work
39 and Below
Fail
Final Year practical work will normally be awarded a mark of 39 or below if it shows a number of
work is below minimum professional standard
engagement or concentration in classes and rehearsals is weak or superficial
lack of collaboration with and support of ensemble
skills are below technical levels necessary to sustain work
inability to understand complex text and character
inconsistent or incomplete character work in rehearsal and/or performance
The following Guidelines are used by tutors for assessment of written work in Final Year modules:
70 and above
First Class Hons
Final Year written work will normally be awarded first class marks if it shows evidence of:
Original argument, insight and critical flair
High level of critical analysis
Full command of module content and concepts
Fluent and accurate expression of difficult ideas
Some independent research
No significant shortcomings
60 69
Class 2:1 Hons
Final Year written work will normally be awarded an upper second-class mark if it displays a
A high level consistency and coherence in argument
Clear understanding of the main issues
A well-informed and intelligent treatment of the subject
Evidence of an independent perspective
Evidence of original thinking in the analysis of course material
No major shortcomings
50 59
Class 2:2 Hons
Final Year written work will normally be awarded a lower second-class mark if it displays a significant
General consistency and coherence of argument
Fair coverage of most relevant aspects of the topic
Adequate presentation and exemplification of ideas
Reasonably well-structured response
Very few if any serious shortcomings
40- 49
Class 3 Hons
Final Year written work will normally be awarded a third-class mark if it displays many of the following
characteristics:
Patchy knowledge of the major issues
Few really serious shortcomings
39 and Below
Fail
Final Year written work will normally be awarded a mark of 39 or below if it shows a number of serious
Poor understanding of critical ideas
Inconsistent or incomplete argumentation
Excessive brevity
Inclusion of a substantial amount of irrelevant material
Inappropriate expression of unsupported subjective views
Poor standards of presentation
0 This mark is reserved for the non-submission or non-completion of work, or for cases of confirmed
58
plagiarism.
CLIFFTOWN RULES
RESPECT:
Please show respect to all staff members & fellow students; it is important we all work as a team and you will
need that team to support you at some points during your time here.
Please respect East 15 equipment and the Clifftown building. You will have been shown how to store mats,
etc so please do this to avoid damaging the equipment.
Please ensure you book appointments with the Technicians/Wardrobe to book out props and costumes, or
you may be disappointed.
Please show respect to local residents by keeping noise to a minimum when outside the building.
ACCESS TO CLIFFTOWN:
Entrance & exit to Clifftown is via the side door only your student passes will not work on the front door
panel.
The Front doors are to be used for deliveries, audience access to 3rd year & external performances, and
wheelchair access only.
DO NOT pin the side door open for any reason as it is a serious fire risk.
BEFORE/AFTER CLASS:
o
o
DO NOT gather outside the building, or block the pavements outside Clifftown. There are many alternative
places to gather, such as the park over the road, the High Street, the Gateway Building etc
DO NOT smoke or drop cigarette ends outside Clifftown. If you wish to smoke you can go around the corner
into the car park. Neighbours complain and they have the power to damage our operation and license ability,
so please be good citizens!
COURTESY:
o
o
o
Tidy up after yourselves.

Our cleaners are paid to clean, not to tidy up other peoples mess.
Take your belongings with you and dispose of your rubbish in the bins provided.
o
o
59
STUDIOS & THEATRE:
o
o
Only water is allowed in the studios & theatre. DO NOT take any other food or drinks into these rooms.
NO ALCOHOL may be brought onto or consumed on the premises. The only alcohol that may be consumed
on the premises must be bought at the theatre bar during performances.
In this instance drink purchased at the bar may only be consumed in the bar it cannot be taken into any
other area of the building.
In order to use a room, out of working hours, for rehearsal you MUST book this in advance with Teresa or
Meg, do not just use a room that may appear to be free. Booking forms are with Teresa & Meg and we will
accommodate requests where possible.
o
o
COMMUNICATION:
Please regularly check the notice-boards for your specific course at Clifftown; this is how we notify you of the
things you need to know.
PRODUCTIONS:
To book tickets for upcoming productions, please contact the Box Office in advance (01702 328335).
Arriving on the evening of a show may result in your disappointment if we are sold out.
Please be aware that when the blue light is on backstage, a show or rehearsal is in progress, and as such
please keep noise to a minimum.
FACILITIES:
The showers in the Actors Changing rooms are not for personal use outside performances. These rooms
will be locked when not in use.
The washing machines in the Wardrobe Dept are also not for personal use!
Thank you for your cooperation.

NB: CCTV is in operation throughout the building, monitored by Security at all times
60
CAVEAT
While the information contained in this Handbook is believed to be

correct at the time it was compiled (August 2015), and is believed to
contain an accurate description of the course planned for the academic
year 2015-2016, the School reserves the right to update, modify or even
withdraw specific courses or change staffing arrangements or methods
of assessments where academic developments or unexpected
contingencies renders such action necessary or expedient in the
judgement of the Director. Likewise, if there are any discrepancies
between this document and University of Essex documents, then the
official University documents take precedence.
61
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BA World Performance

Undergraduate student coursebook

Coursebook and School Handbook

Term dates, timetable and campus locations

East 15 Acting School

Unit 4 (for the technical department) and Roding House

East 15 Acting School

Clifftown Theatre & Studios

About your course

Your personal tutor

Correspondence and communication

Digital signage and noticeboards

Care of studios and public areas

Guidelines for rehearsals and performance preparation

Western Theatre in Context

Know and begin to use the ground rules of performance

Year Two - Students will develop:

Creative responsibility for their own work

Cope with and respond to a variety of audiences

Group practical classes

Modules First Year (Stage 1)

EA171 Western Theatre

EA171 Western Theatre

EA171 Western Theatre

EA173 World Theatre

EA173 World Theatre

EA173 World Theatre

EA174 Music and World

EA174 Music and World

EA174 Music and World

Western Theatre in Context

9. Post-war Theatre 1: The Director

Continuous assessment of practical work in classes.

World Theatre Studies

Music and World Performance

Modules Second Year (Stage 2)

EA272 Visiting Artist

Ritual and Religious Performance

To offer an overview of theoretical approaches to the study of ritual in World Performance

Media & Theatre Production Skills

Non-Western Character Acting

To introduce cultural perspectives of characters and role types in performance

Process and Performance 0.6

Learning Outcomes - Students will be able to demonstrate:

Modules Third Year (Stage 3/Final stage)

EA374 Devised Project (in 3

Contact hours: 24 per week

EA374 Devised Project (in 3

Applied and Political Theatres

Intercultural Performance Project

To offer students an opportunity to work as a company, in conjunction with an experienced director

Teaching Methods workshops and rehearsals

Learning and Teaching Methods

Continuous assessment 0.6

Guidelines for written work

Your Progress The Professional Code of Conduct

East 15 Acting School Professional Code of Conduct (PCC)

Reporting an absence - the Green Slip or Authorised Absence

Southend campus Administration Office:

01702 328 327

Absence due to illness

BA World Performance Reading List

Grove press 2003

Applied and Political Theatre