THE INTEGRATED BODY - 2020/1
Module code: ACTM040
In light of the Covid-19 pandemic, and in a departure from previous academic years and previously published information, the University has had to change the delivery (and in some cases the content) of its programmes, together with certain University services and facilities for the academic year 2020/21.
These changes include the implementation of a hybrid teaching approach during 2020/21. Detailed information on all changes is available at: https://www.surrey.ac.uk/coronavirus/course-changes. This webpage sets out information relating to general University changes, and will also direct you to consider additional specific information relating to your chosen programme.
Prior to registering online, you must read this general information and all relevant additional programme specific information. By completing online registration, you acknowledge that you have read such content, and accept all such changes.
This module is designed to appreciate and explore the vocal and physical demands placed on the performer in any given space. The performer will experience embodied integration of somatic techniques through the study of voice and movement and will consider the body and voice as an expressive instrument of the mind. The performer will use relevant anatomy and physiology of the whole body to underscore the work. The module is founded upon a commitment to refine the integration of the vocal and physical techniques necessary for work in the theatre and for recorded media. The elements of this module aim to develop and extend existing knowledge and ability and to develop a secure and consistent vocal and physical technique.
Guildford School of Acting
RYAN Rosemarie (GSA)
Number of Credits: 30
ECTS Credits: 15
Framework: FHEQ Level 7
JACs code: W410
Module cap (Maximum number of students): N/A
Prerequisites / Co-requisites
Indicative content for Integrated Movement includes:
The movement classes range from general warm-up classes designed to increase strength and flexibility, to technique classes in social and historical dance. The Movement for Actor’s class is designed to centre and ground the body, to enhance the understanding of neutrality and expressivity and to consider the body as an expressive instrument of the mind.
• Connecting to the body through experiential anatomy
• An introduction to Laban’s principles of Analysis
• Use of Improvisation to enable the student to explore movement range, potential and expression.
• Elementary exercises which develop good posture, placement, strength, flexibility and alignment.
• To understand the world of movement through observation and translation.
• Working with emotions in movement
• Exploring Laban’s efforts of action drive
• Movement expression equation
• Effort duos
• Personal and character effort maps
• Effort weaves
• Uniting efforts and text
• Manifesting thoughts and feelings
• Creating a physical score
• Efforts in rehearsal
• Physical codes and keys
• Personal safety in movement
• To use the efforts to deepen the ability to observe and translate.
• Encourage students to create a vibrant and truthful relationship with their imagination
• Daily physical warm-up which may include Cardio-vascular fitness, Exercises for the development of core strength, Dynamic stretches to warm muscles and joints, Upper and lower body conditioning
• Exploration of the work of Lecoq
• Historical and social dance
Indicative content for Integrated Voice includes:
The work in voice is founded upon a commitment to the integration of the physical and vocal techniques necessary for work in the theatre and for recorded media. Designated texts will be explored and performed. The classes are practical and are heavily biased towards learning and training through ‘doing, reflecting, understanding and adapting’. Relevant vocal anatomy and physiology, as well as phonetics, communication psychology and the use of the whole body, underscore the work.
• Practical Voice explores, develops and brings together all elements of the voice, including posture and breathing, resonance, range, expression, and articulation.
• Applied Voice sets out to explore, awareness of speech, speech sound and speech physicality, via practical exercises, recordings, written materials and analysis of one’s own and other people’s voices. Students learn about phonetics and the relationships between phonetic notation, speech sounds and speech physicality. Students will be asked to select, learn, experience and speak modern and classical texts for training and assessment purposes. Developing the ability to respond expressively and with flexibility to varying text forms is a key requirement of the module.
|Assessment type||Unit of assessment||Weighting|
|Practical based assessment||Movement: Continuous assessment of classroom exercises||50|
|Practical based assessment||Voice: Continuous assessment of classroom exercises||50|
The assessment strategy is designed to provide students with the opportunity to demonstrate a growing understanding of integrated movement and voice in the different areas of the module
The module is continually assessed through the two terms
Thus, the summative assessment for this module consist of a portfolio of workshop activities
Formative assessment and feedback will be given through a 1 – 1 session at the end of term 1 and Summative feedback at the end of term 2.
Thus, the summative assessment for this module consists of:
Movement classroom exercises (Practical) 50% - assessed in Term 2
Voice classroom exercises (Practical): 50% - assessed in Term 2
- To heighten awareness of vocal and somatic elements of expression
- To develop the capability for sophisticated embodied vocal and physical expression
- To examine the factors indicative of and conducive to effective vocal and physical practice
- To develop students' awareness of the demands placed on the voice and body by a variety of texts
- To explore a variety of vocal and movement methodologies
|001||Demonstrate knowledge of a range of embodied practices in movement and voice that lead to the ability to occupy space with a fully energised vocal presence and body confidence.||K|
|002||Demonstrate engagement and consistency in the approach to skills acquisition of embodied practises in movement and voice.||T|
|003||Evaluate the relationship between performer, narrative and performance contexts. taking on other forms and qualities of expression using movement and voice.||C|
|004||To develop a sophisticated toolkit of techniques in embodied voice and movement methodologies.||K|
|005||Demonstrate effective collaborative strategies with the voice and body in a range of performance spaces and performance conditions.||T|
|006||Demonstrate the ability to work with disciplined self-awareness consistent in a professional manner to prepare for and present a character appropriately applying embodied voice and movement.||P|
C - Cognitive/analytical
K - Subject knowledge
T - Transferable skills
P - Professional/Practical skills
Overall student workload
Independent Study Hours: 156
Practical/Performance Hours: 144
Methods of Teaching / Learning
The learning and teaching strategy is designed to:
Place an emphasis on the applied practical development of vocal and movement skills that are required for extended and best practice as an actor. Enable students to acquire versatility in their physical and vocal skills, integrating their embodied knowledge across a range of genres and styles.
The learning and teaching methods include:
Practical, skills based and tutor led group sessions following traditional formats. Ongoing practical classes, masterclasses and seminars. Visual, Audio and Kinaesthetic methods of learning – including use of VLE.
• Practical classes and workshops in voice (64 hours)
• Practical classes and workshops in movement (32 hours Laban, 32 hours LeCoq)
• Week-long intensive in Viewpoints (30 hours)
• Ensemble singing classes (16 hours)
• Journal entry, Independent research and study (126 hours)
Indicated Lecture Hours (which may also include seminars, tutorials, workshops and other contact time) are approximate and may include in-class tests where one or more of these are an assessment on the module. In-class tests are scheduled/organised separately to taught content and will be published on to student personal timetables, where they apply to taken modules, as soon as they are finalised by central administration. This will usually be after the initial publication of the teaching timetable for the relevant semester.
Reading list for THE INTEGRATED BODY : http://aspire.surrey.ac.uk/modules/actm040
Under the three term structure that commences from academic year 2019/0 – this module’s delivery is year-long due to the teaching occurring in Teaching Blocks 1 and 2.
Programmes this module appears in
Please note that the information detailed within this record is accurate at the time of publishing and may be subject to change. This record contains information for the most up to date version of the programme / module for the 2020/1 academic year.