CA3: Course Specification Along with the Module Specifications, the Course Specification form the definitive description of any qualification awarded by the University. The Academic Quality and Standards Office (AQSO) is responsible for maintaining up to date records of all definitive documents (course and module specifications). Any amendments made to the Course Specification must be submitted to the AQSO via the formal Amendments process outlined in Section 4 of the Academic Quality and Standards Handbook 2019 – Amending Courses. Refer to CA3i Course Specification Guidance for help in completing this template.
PART A: About the Course (See Part B for other key information)
1. Qualification (award and title):
BA (Hons) in Professional Acting
2. Date of Approval (month and year):
September 2020
3. Delivery Partners, Sites and Recognition: who delivers this course, where? Is it accredited by any professional bodies?
Campuses/Partners Recognised/accredited by
UWL (Paragon House, St Mary’s Road, Reading) Branch Campuses Partners UWL Council for Dance, Drama and Musical Theatre (CDMT) Federation of Drama Schools (FDS)
4. Course Description: a short descriptive statement used for publicity (max. 250 words):
The primary aim of the full-time three year degree course in Professional Acting is to train adult students who have the talent, passion and commitment to become a professional actor and who also wish to gain a BA (Hons) Professional Acting degree.
The programme achieves this by balancing the learning of essential and universal skills with the development of each student’s unique talent. For all students there is a broad path through the course of awareness, then skills and practice.
CA3 Course Specification Template – October 2019 Page 1 of 22 The course is 90% vocational which broadly consists of 50% classes across all disciplines (Acting, Voice, Movement, Media, Preparation for the Profession) and 50% scene studies and productions. 10% will consist of written project work in journals and recordings.
During the first two years training consists of core skills in order to provide a solid foundation from which the student can work. In the final year as well solidifying skills and process across all disciplines, there are multiple productions and several opportunities to perform in front of the profession.
Our BA degree course is validated and awarded by University of West London so students can be assure they will be getting a quality training with an academic stamp form a major University.
Upon graduating students are eligible for Spotlight and Equity membership with a full career launch to present them to professional agents and casting directors together with audio and visual showreels.
DSL has access to the Globe student festival, the BBC Carleton Hobbs Awards, week ends with the Royal Shakespeare Company in Stratford, the Stephen Sondheim award and a one week Grotowski workshop in Poland.
5. Course Structure Diagram: a visual overview of the programme of study LEVEL 4 FT Module Title & Code Terms CORE (C) Credits OPTIONAL (O) CORE PROCESSES AND PRACTICES FOR ACTING PERFORMANCE Terms 1, 2 3 C 40
VOICE AND MOVEMENT FUNDAMENTALS Terms 1, 2, 3 C 40
RECORDED MEDIA FUNDEMENTALS Term 1,2,3 C 20
CONTEXT AND REFLECTIVE PRACTICE Term 1,2,3 C 20
LEVEL 5 - FT
CA3 Course Specification Template – October 2019 Page 2 of 22 Module Title & Code Terms CORE (C) Credits OPTIONAL (O) EXPLORING ACTING IN TEXT STYLE GENRE Terms 1, 2 3 C 40
ADVANCED VOICE AND MOVEMENT Terms 1, 2, 3 C 40
APPLIED RECORDED MEDIA Term 1,2,3 C 20
INDEPENDENT RESEARCH AND Term 1,2,3 C 20 REFLECTION
LEVEL 6 - FT Module Title & Code Terms CORE (C) Credits OPTIONAL (O) THE PERFORMER – Terms 1, 2 3 C 40 READY FOR INDUSTRY ADVANCED SKILLS – INDUSTRY Terms 1, 2, 3 C 40 COMPETENCIES PROFESSION AND Term 1,2,3 C 20 CAREER PREPARATION
ADVANCED RECORDED Term 1,2,3 C 20 MEDIA
6. Course Aims and Content by Level: what is this course all about and how does the programme of study build and develop over time?
LEVEL 4 • At level 4 we begin with in depth study of craft and technique across all disciplines – acting, movement, recorded media and voice. • Each student will develop knowledge and understanding of the body and voice, the historical context of theatre, key acting theories, approaches and
CA3 Course Specification Template – October 2019 Page 3 of 22 techniques for all mediums, the technology of the stage, screen and radio and the differing genres of each. • They will focus on self-awareness, observation skills and an ability to understand what they see as well as what they do to enable them to consider their own strengths and areas for development. • They will develop, and begin to deploy, acting, voice and movement skills in class scenes work, scene study, radio and screen work and reflect on their ongoing practice through an online journal. Their reflection will enable them to establish their own discipline and personal training plan in differing performance contexts. • Supporting all their modules are core skills classes in acting, which interrogate the practice of a variety of practitioners. • Students learn how to create and maintain a safe class and rehearsal space. LEVEL 5: • Essential skills are developed in voice and movement and applied to performance. • Theatre history and stage craft classes develop their ability to research and apply the research to performance. • Media classes look at specialisms such as period drama, sit coms and soaps, adverts, voice overs, lip synch etc. • In acting classes they will experience Meisner, Hagen, Stanislavski, Brecht, Chekhov, intracultural theatre practice, clowning, emotional dynamics, improv, ensemble work, devised work and so on. They will be encouraged to start to develop their own process. • Scene studies and performances include Shakespeare, Chekhov, American, modern International texts and non naturalism. Preparation for the profession begins. LEVEL 6: • From awareness and skills (which are still maintained) the year focusses on more and more performance, on stage and media. • These are supported by group and individual work in voice and movement. • Preparation is throughout. • A showcase and a number of final productions launch the student into the profession.
7. Course Contact Hours: how much time should I commit to this course?
Learning hours are determined by credits. One credit is worth 10 learning hours, so a 20 credit module is 200 learning hours, a 30 credit module is 300 hours etc. This is the amount of time you should be prepared to commit to each module. Learning hours are divided into: taught or ‘contact’ hours, ie, the amount of time students spend in contact with academic staff, whether through face-to-face classes or online learning; and independent study, ie, the amount of time students are expected to spend on their own study and assessment preparation. Students also have one-to-one time with academic staff in classes and personal tutorials.
CA3 Course Specification Template – October 2019 Page 4 of 22 8. Academic Staff:
Core Teaching on the BA is delivered by permanent and regular staff members at Drama Studio London, all with established professional industry credentials; core staff members also have a range of teaching, Masters and PhD qualifications. All teaching staff continue to engage in professional practice as their research, and commit to continuing their professional development both as practitioners and teachers. Core staff provide continuity and core technical skills training in acting, voice, movement and recorded media throughout the three-year programme. This core staffing is balanced with an equally essential steady stream of freelance professionals who provide the necessary regular interface with the industry. These include many who also hold teaching qualifications as well as Masters and PhD qualifications. A wide range of respected practitioners and directors are introduced to the students to provide different methodologies, current industry specialist knowledge and experience. Many teach and direct across equivalent programmes at other respected institutions and bring a substantial range of specialist teaching experience within the practice based conservatoire model. Casting directors and agents act as guest lecturers and meet students for mock interviews and castings and many subsequently invite them to formally audition again once training is complete, providing a smooth transition into the profession.
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9. Course Learning Outcomes: what can I expect to achieve on this course?
Level 4 Level 5 Level 6
Knowledge and Recognise and apply the core Adapt and extend understanding of Initiate appropriate constituent understanding constituent methods, processes and core to non core constituent methods, processes and methods for crafts of developing a role for processes and approaches to developing a role for professional performance. developing a role for performance for performance in various complex texts and styles contexts/media Recognise and understand the Adapt and extend understanding of Integrate expressive technical expressive technical skills of the expressive technical skills of skills of embodied performance embodied performance and how embodied performance and how and sustain how these are these are developed and these are developed and applied developed and applied across differentiated across media across more complex contexts, various contexts, styles, media and styles, media and texts texts Recognise and understand the core Adapt and extend understanding of Operate a comprehensive and modes, styles and cultural contexts the core (and apply this to non core) adaptable understanding of the as they impact on shaping and modes, styles and contextual factors professional modes, styles, defining contemporary performance as they impact on shaping and frameworks, and cultural contexts contemporary performance through which contemporary acting performance emerges and employment is located. Intellectual/Cogniti Recognise and reflect on Question and analyse observations of Interrogate and evaluate self, ve skills observations of self, personal self, personal practice and experiences, practice and practice and collaborative work with collaborative work with others to collaborative work with others to others to identify approaches for develop independent strategies for formulate strategies for development of a specific shaping of specific performances, development of specific performance, personal learning and personal objectives and a performances, professional skills skillset. professional skillset and creative objectives,
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sustainable beyond the point of formal training. Identify and apply findings from Adapt and develop findings from Initiate and synthesise discoveries research and analysis of texts, personal and group research and from autonomous research contextual materials and practice as analysis of texts, contextual materials practice and analysis of texts, sources for information that shapes and practice as sources for contextual materials and practice expressive/ technical choices for information that shapes expressive/ as sources for information that connected performance/presentation. technical choices for connected shapes expressive/ technical performance/presentation. choices for coherent performance/presentation in professional contexts. Subject practical Establish and develop a personal Adapt and extend a personal acting Formulate and Operate a personal skills acting process and practices which process and practices which can acting process and practices which support the realisation of connected respond to the demands of realising can meet and adapt to the and embodied performance of text connected and embodied demands of realising connected performance of complex texts and and embodied performance for any different media/contexts/ directors professional context/text/medium/directors Recognise and demonstrate Adapt and develop advanced Realise a repertoire of expressive technical skills though expressive technical skills though sophisticated and adaptable which to distil and embody which to distil and embody expressive technical skills though performance across media. performance across media. which to distil and embody performance across media. Recognise how expressive technical Integrate expressive technical skills Synthesise expressive technical skills and performance and performance skills and performance methodologies/processes methodologies/processes to shape methodologies/processes in a interconnect and shape interpretation interpretation in connected realised coherent creative interpretation of in realised performance choices. performance choices. realised performance choices. Transferable skills Identify and demonstrate professional Adapt and extend professional Operate safely, ethically, collaborative and individual collaborative and individual collaboratively and independently
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behaviours and safe, ethical practices behaviours and safe, ethical practices within varied working patterns, high for training and for training and pressured intensive working rehearsal/performance in line with rehearsal/performance in line with periods, within the rapidly changing industry expectations and industry expectations and and multi- faceted aspects of the requirements requirements professional context. Identify and demonstrate personal Adapt and evaluate personal Operate professional, self-starting management skills to engage with management skills to engage with and autonomous personal and own learning, response to feedback independent learning and enquiry, business management skills in and shape practical personal anticipation and response to preparation for embarking on a development objectives feedback and to drive practical freelance career in the performing personal development objectives arts, comprehending the role of the professional actor in various contexts and situations. Recognise and apply effective skills, Adapt and develop effective skills, Formulate interpersonal registers, materials and interpersonal registers, materials and interpersonal approaches across a range of understanding to engage in discourse understanding to engage in discourse registers, materials, formats and and communicate with and communicate with professional scenarios to engage peers/audiences and staff peers/audiences, staff and with professional employers, professional practitioners audiences, gatekeepers and practitioners
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10. Learning, Teaching and Assessment Strategies: how will I learn, how will my learning be assessed, and why are these the most appropriate methods?
Level 4,5,6 Practical Classes and Assignments Most of the core expressive /technical skills of acting and performance require embodied learning, and are developed through practical engagement, and so the primary method of teaching technique throughout this programme is provided via attended practical classes. Performance skills are cumulative in acquisition, and develop over time through ongoing routine practice – within this course and beyond throughout an actor’s career- and so practical skills classes are scheduled across the 3 year programme, and summative assessment takes place typically at the end of the year long modules. A sound understanding and regular application of the ongoing practice of performance fitness is a pre-requisite for the professional actor who is regularly required to take part in (self-tapes, auditions, castings, idents, voice to picture and varied rehearsal processes). Performance skills are holistic (an actor can’t speak without use of the body) and so the assessment strategy is to consider these skills – vocal, physical and technical – in synthesised assessment tasks, such as performances and portfolios of practical skills sharing projects, and rarely in isolation.
Level 4,5,6 Seminars, Talks and Lectures Some teaching sessions are delivered via discussion based attended classes, and these are intended to support students to develop and interrogate their understanding and knowledge of theatre history, production, stage craft, the frameworks and mechanisms of the contemporary industry and their own creative development, and to support acquisition of critical thinking, research and contextualisation skills that inform their practice, and the employability skills which will shape their careers. The seminar mode of learning for practice has strong connections with professional practice eg Table work is a recognised stage of the professional rehearsal room. In keeping with the professional journey, skills developed through this method are primarily assessed through how they are applied and integrated in the practical and performance projects, but also underpin some constituent elements of the written portfolio assignments within each year.
Level 4,5,6 Workshops, Masterclasses and specialist Training Sessions Throughout the programme some learning will also be delivered through focused workshop training sessions, or one off taster which offer an intensive insight into particular disciplines that go beyond the core practice of the course (e.g. physical theatre, mask work), and encourage the application of core technical/expressive skills in new, flexible and adaptive scenarios. The professional actor requires a superbly adaptable skillset, and the assurance to engage with unfamiliar processes swiftly and creatively. Different approaches encountered in these sessions often provide insight that unlocks discoveries within the core practices. Learning from these sessions may be demonstrated for assessment as enhanced skills through practical and performance projects, and may also inform the written work presented for assessment through the professional and career portfolio, as students formulate their own strategies for individual continuing professional development.
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Level 4,5,6 Rehearsal process and Live Performance The actor’s core journey is to take/make text, develop this through process driven preparation and distil this into embodied ensemble performance. This is the most effective way to prepare for the industry in any medium, and to develop the high level synthesis of skills this course (and professional work) requires– to practice the acting skills and make choices established through work in a collaborative rehearsal room setting (and through individual prep) before performing in front of a range of audiences from one’s peers to the public and industry professionals. The rehearsal and sharing of performance projects is a fundamental assessment method within this course accordingly. It is important to note that this is viewed as a connected assessment event; Assessment is on skills, process and performance together in a project assessment task. As students progress through the course, they can expect to take greater responsibility for their own process, whilst remaining adaptable to the requirements of a professional director and perform to professional standards in more complex and substantial performance events.
Level 4,5,6 Written assignments The professional actor communicates primarily through practical process, activities and embodied performance and not on paper, and consequently the majority of teaching, learning and assessment is done through practice rather than written tasks. Written work on the programme is expected in the following areas: personal reflection and self- evaluation pieces to develop core self-appraisal skills which join up personal experience, observation and practice holistically with feedback, research and analysis writing, pieces which identify and model personal development strategies for continuing professional development, pieces which are personal business marketing materials (c.v.’s, letters of application) In the 1st and 2nd year Context and Reflective practice and Independent research and Reflection modules, there is a routine expectation of written work, which is formatively assessed each term (summative in term 3) and underpins the basis of the tutorial dialogue throughout the year and which is focused on acquiring the skills of objective self-evaluation and connecting ideas, research, analysis and practical process. In the 3rd year the self-evaluation, personal marketing materials and development strategy are assessed through the professional and career portfolio.
Level 4,5,6 Independent practice and guided learning While acting performance almost without exception is a collaborative act, the professional actor must also be able to operate independently, be creatively self-reliant and manage their own ongoing professional development. Similar to the way a musician relies on a piano or cello etc., the actor must rely on the mind and body to form the creative instrument. So, a high level of independent and specific learning is required individually, to ensure the personal discipline to arrive in the studio sessions ready to work and make offers that further an ensemble project. Professionally, an actor has no line manager or annual appraisal, the nature of the industry requires individuals who know themselves and take responsibility for their work, in collaboration with others. Students can expect to learn through independent but guided prep tasks and activities for studio sessions; routinely learning lines, doing text analysis and specific research enquiries for projects, practising recommended physical and vocal drills to augment their personal expressive facility, reading around their core activity and completing guided reflective tasks. This activity is primarily assessed through the enhanced skills which are demonstrated through performance or practical projects, and also feeds through into through the written
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evaluative portfolios in years 1 and 2, and the professional and career portfolio in the 3rd year (see written assignments)
Level 4,5,6 Online learning/use of digital resources in practice Students will also be expected to engage with the VLE / Blackboard and additional online platforms to support and develop their studies. While the course is fundamentally predicated on embodied learning and collaborative live practice and performance, the world and the industry increasingly rely on online engagements and navigations, and so capacity to utilise these is a core graduate skill. Students can expect to upload written tasks and assignments, interrogate these through online discussion forums and digital seminars, utilise video conferencing platforms for live sessions and interviews, locate and read text material via e.g. DramaOnline, research concepts, texts and contexts through accessing e.g. online journals, engage with practice based tools such as the IDEA accent recordings database. From time to time students may be expected to adapt rehearsal and performance activity into the online environment, using live streamed and recorded sessions as an additional medium through which they can present their skills for performance.
Level 4,5,6 Recorded Media/ Digital creation of performance The contemporary professional actor’s skillset always encompasses the capacity to operate and apply skills cross media and this is fundamental to the design of the course at each level. While the majority of learning in this area is delivered through practical classes as noted above (embodied attendance in order to acquire practical skills under instruction), there will also be some sessions which may deliver teaching/ learning and assessment via digital intersection and online learning; increasingly the industry looks at self-tapes and online interview platforms as a core employment strategy. There is also the opportunity to independently make short films via smart-phone, create show-reels, audio-reels, participate in radio drama, documentaries, commercials, voice-over and audio books recordings. Assessment of work in this area will typically contribute to the professional media module in year 3, as well through practical assessments in the media modules in years 1 and 2.
Level 4,5,6 Individual Tutorials and personal supervision Individual Tutorial based learning allows each student to engage directly with their personal development, use assessment feedback to shape independent work going forward and establish a key context in which all feedback streams (e.g. across all HoDs) can be synthesised to support holistic development. Students should anticipate bringing reflective work (see written assignments) to these sessions, with a view to using them to establish clear goals for their own development holistically throughout the course. Individual tutorials are not assessed, the learning is made manifest for assessment through performance projects and practice across all modules. Ultimately 1:1 Tutorials are there to support individual students emerging with an autonomous grasp of themselves as professional actors, with the capacity to appraise their work objectively, and identify strategies for development going forward – throughout the course and beyond.
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11. Formal and Informal Links with External Organisations/Industrial Partners: what opportunities are there for me to interact with professional contacts?
Graduate Spotlight, Equity membership, working with professional directors throughout the course, working at external venues in final year. Agents are invited to all final year shows. Students go to shows as part of the course and where possible Q and A sessions are organised with the venue. DSL alumni regularly visit both DSL itself and attend graduation shows, and can provide additional links to the profession in an informal, accessible manner.
12. Admissions Criteria: what qualifications and experience do I need to get onto the course?
• UCAS Tariff • Subject-specific One of the following: requirements • 112 UCAS points from at least 2 A-Levels (points can • Additional information also be redeemed from AS-Levels, but only from subjects different to those at A-Level) or equivalent of 112 points from Scottish or international qualifications. • BTEC National Diploma at grade DMM or above • Pass QAA Accredited AHE course Further information on entry requirements and the admissions process is provided below Arrangements for RPL is not permitted for this course Recognition of Prior Learning IELTS Score for All students from a non-English speaking majority International Students country will be required to provide a valid SELT (Secure English Language Test) at level CEFR (Common European Framework) B2 or above or at IELTS level 6.5 or above.
• 18 years or over when the course starts. There is no upper age limit. • One of the following:
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o 112 UCAS points from at least 2 A-Levels (points can also be redeemed from AS- Levels, but only from subjects different to those at A-Level) or equivalent of 112 points from Scottish or international qualifications.
o BTEC National Diploma at grade DMM or above o Pass QAA Accredited AHE course • 5 GCSEs with GCSE English (Language or Literature) or recognised equivalent. • This is a highly competitive programme and applicants must demonstrate suitable commitment to, and engagement with, performing through experience of some form of performing arts study or evidence an aptitude for and/or experience of performance. • In exceptional circumstances students can be considered for entry to the programme having a portfolio of achievement which overall reflects the standard entry criteria but sits outside of the nonstandard entry criteria as specified above. The academic admissions team (DSL and DMU collaboratively) will consider such student profiles on their merits, benchmarking student achievement against the standard entry criteria • All students from a non-English speaking majority country will be required to provide a valid SELT (Secure English Language Test) at level CEFR (Common European Framework) B2 or above or at IELTS level 6.5 or above. • Reasonable Adjustment. Please feel free to advise us of any difficulties or disabilities which may affect your performance at audition, we will be happy to make any reasonable adjustments that ensure you are given a fair opportunity to demonstrate your skills.
We look for talent, passion, a maturity of attitude, a certain level of technical ability, a flexible approach, an ability to create as part of a team and the potential for coping with the demands of training and future employment as an actor.
Applications are processed in monthly audition blocks and at the end of each block we release offers to the successful candidates.
• If offered a place, you’ll be given a deadline within which to accept or decline the offer. After this deadline, your place will be offered to someone else. This offer deadline will be printed on your offer letter. • The audition is a two-stage process: First round auditions are generally in the morning with Recall auditions in the afternoon. If successful in the first round, you will be expected to be available to stay for your recall in the afternoon of the same day (wherever possible). • At the end of your first-round audition you will be given some personal, verbal feedback and notified whether you have a recall. If unsuccessful, and you wish to ask for advice on how to improve your potential for success in future acting training auditions, then please just ask.
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• Auditions are usually held on Saturdays. We cannot confirm you will get the Saturday audition of your choice. • Audition spaces are limited. It is recommended that you apply for the earliest date possible as, once places are filled, we cancel further audition dates. • The audition dates stated below are subject to change.
Audition Guidelines
First Round
A half-day session working with a small group of other auditionees. Following a welcome talk about the school and a warm-up you will be asked to take part in a series of acting and improvisation exercises, either individually or in groups.
• Please prepare two two-minute speeches from published plays • Let them show different aspects of your talent • Please keep your speeches to 2 minutes maximum • One must be in verse from a play by Shakespeare or another Jacobean playwright • One must be a modern speech from a play written after 1955. • You may not be required to perform both speeches to the group at the first-round stage, but you will need both if you get a recall.
We would advise you to do pieces in your own accent, choosing the style based on what you feel you do best and what is reasonably close to you in age and background. In performance be truthful, honest and simple. Let your own instincts guide you, based on having read the whole play - we are looking for what you personally have to offer, not anybody else's interpretation of the speech. So please don't worry if you haven't had any help or 'coaching' on your speeches. We will also be looking at how people respond to feedback or direction.
Recall
Another half-day session where the group work with two senior members of the faculty. Usually, the two people you meet at recall will not have met you in the first round. A brief warm-up will lead to performing your two speeches to the group, after which you may be asked to re-work your speech. You will then read through and work on a scene of the director's choice, possibly taking part in further acting/improvisation exercises. There is an opportunity for the group as a whole to ask questions about training, accommodation, DSL or other common concerns.
If you are successful at this stage, you will be asked to stay for a 20-minute interview.
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13. Student Support Arrangements: what kinds of academic and pastoral support and advice are available?
STUDENT SUPPORT
DSL has a strong tutorial system. Tutors provide both academic and pastoral support, including out of hours cover. DSL also has a subsidised counselling service. DSL has both First Aiders and Mental Health First Aiders. Students have regular tutorials with the Artistic Director of the degree, along with tutorials with Heads of Departments, the MD is available by appointment. There are once termly Student Staff Consultative Committees where student reps from all three year groups meet to discuss the course and raise any concerns/compliments with the Head of Acting and other teaching staff and the Link Tutor from UWL. Students are timetabled to see each others’ performances across the school (except for Level 4 where this only happens at the end of the academic year).
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14. Assessment Matrix: a list of all the assessments on the course, along with how much they count for and where they come in the year. Module Title and Code Core Credit Assessment Weighting (%) Over Minimum Apprenticeships Only: Submission: /Optional Type (choose all percentage contributes to ‘End-Point Week Number (write C from the pass (PSRBs and Assessment’ (write YES or (indicative) or O) dropdown list) mar Apprenticeships NO) k only)
Level 4: Year 1 CORE PROCESSES C 40 Oral 30% 40 N/A T2 WK 10 AND PRACTICES assignment FOR ACTING (CSW2 T2) PERFORMANCE Oral 30% 40 N/A T3 WK 6 assignment (CSW 3 T3) Oral 40% 40 N/A T3 WK 10 assignment (SS1 GREEK T3) VOICE AND C 40 Portfolio T2 10% 40 N/A T2/3 WK 10 MOVEMENT OF PRACTICE T3 30% FUNDAMENTALS (Voice) Portfolio T2 10% 40 N/A T2/3 WK 10 OF PRACTICE T3 30% (Movement) Practical T2 10% 40 N/A T2/3 WK 10 (singing) T3 10% RECORDED MEDIA C 20 Oral T2 15% 40 N/A T2/3 WK 10 FUNDEMENTALS assignment T3 30% (AUDIO)
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Module Title and Code Core Credit Assessment Weighting (%) Over Minimum Apprenticeships Only: Submission: /Optional Type (choose all percentage contributes to ‘End-Point Week Number (write C from the pass (PSRBs and Assessment’ (write YES or (indicative) or O) dropdown list) mar Apprenticeships NO) k only) Oral T2 20% 40 N/A T2/3 WK 10 assignment T3 35% (SCREEN) CONTEXT AND C 20 Portfolio 100% 40 N/A T3 WK 10 REFLECTIVE WRITTEN PRACTICE
Level 5: Year 2 EXPLORING ACTING C 40 Oral 40% 40 N/A T2 WK 10 IN TEXT STYLE assignment GENRE (SS4 Devised T2) Oral 30% 40 N/A T3 WK 6 assignment (SS5 Naturalism T3) Oral 30% 40 N/A T3 WK 10 assignment (SS6 Shakespeare T3) ADVANCED VOICE C 40 Portfolio T2 20% 40 N/A T3 WK 10 AND MOVEMENT OF PRACTICE T3 20% (Voice) Portfolio T2 20% 40 N/A T3 WK 10
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OF PRACTICE T3 20% (Movement) Practical T2 10% 40 N/A T3 WK 10 (singing) T3 10% APPLIED RECORDED C 20 Portfolio T2 20% 40 N/A T2/3 WK 10 MEDIA (AUDIO) T3 25% Portfolio T2 25% 40 N/A T2/3 WK 10 (SCREEN) T3 30% INDEPENDENT C 20 Portfolio 100% 40 N/A T3 WK 10 RESEARCH AND WRITTEN REFLECTION
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Level 6: Year 3 THE PERFORMER – C 40 Oral assignment 30% 40 N/A T1 WK 10 READY FOR (COMMUNITY) INDUSTRY Oral assignment 35% 40 N/A T2 WK 10 (ENSEMBLE) Oral assignment 35% 40 N/A T3 WK 10 (GRADUATION) ADVANCED SKILLS – C 40 Oral assignment 50% 40 N/A T3 WK 8 INDUSTRY CLASSIC TEXT COMPETENCY Practical 50% 40 N/A T3 WK 8 SKILLS ADVANCED C 20 Portfolio 25% (T1) 40 N/A T1/2 WK 6 RECORDED MEDIA AUDIO 25% (T2) Portfolio 25% (T1) 40 N/A T1/2 WK 6 SCREEN 25% (T2) PROFESSIONAL AND C 20 Portfolio 100% 40 N/A T3 WK 11 CAREER WRITTEN PREPARATION
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15. External Examiner Arrangements: who checks the standards and quality of the course? Sian Radinger BA (Hons) Rose Bruford College of Speech and Drama Senior Lecturer at Winchester University in BA (Hons) Drama and BA (Hons) Acting. Actor for over 30 years/Freelance Voice and Dialect Coach Specialisms include: Voice production and Voice into Acting, with emphasis on Cicely Berry and Kristin Linklater. Shakespeare in Performance, verse speaking and embodying the language. Michael Chekhov physical techniques and embodying the voice.
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PART B: Key Information
1. Awarding Institution University of West London
2. UWL School/College Drama Studio London / LCM
3. Subject Area within Performing Arts, Performance and Composition School/College 4. Academic Partners and type of arrangement 5. Course recognised by Federation of Drama Schools, CDMT, Spotlight 6. Sites of delivery Drama Studio London
7. Modes and duration of Full time, three years delivery
8. Sequencing October start
9. Final enrollable award(s) BA (Hons) in Professional Acting
10. Level of final award 6
11. Credit for final award BA(Hons) = 360 CATS/180 ECTS (CATS and ECTS) 12. Exit awards and credits Non-enrollable; for students who do not complete: Level 4 Cert HE in Professional Acting (120 Level 4 CATS) Level 5 Dip HE in Professional Acting (240 Level 4/5 CATS) Level 6 BA (Hons) in Professional Acting (300 Level 4/5/6 CATS) 13. UCAS code(s) (UG W412 programmes) 14. QAA Subject Benchmarking Statement 15. Apprenticeship Standard N/A title and code 16. Course-specific N/A Regulations 17. Language of study English 18. Original approval Date September 2020 Last Revision Date September 2020
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PART C: Record of Approved Amendments Use the following table to list all amendments made to the programme between approval/review events. Add rows as necessary.
Approved Amendments to Course Specification since original approval/last review Course Specification Module Level and title Brief Outline of Approval by Approval effective from Title Amendment School/College Quality Committee
Specify award titles/routes Date and meeting minute affected by change
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