B.A.

(Hons) Musical Theatre

Programme Specification and Learner Handbook
Levels 4, 5 and 6
September 2012

CONTENTS
Introduction ............................................................................................................................................................ 4
Programme Specification ....................................................................................................................................... 4
General programme Information ................................................................................................................... 4
Programme Overview ..................................................................................................................................... 4
Admission Criteria........................................................................................................................................... 5
Programme Aims ............................................................................................................................................ 5
Programme Learning Outcomes ..................................................................................................................... 5
Teaching, Learning & Assessment Strategy .................................................................................................... 6
Modules and Credits ....................................................................................................................................... 7
Programme Structure Full Time Study ......................................................................................................... 7
The Programme Team ............................................................................................................................................ 9
Important numbers and contact details ................................................................................................................. 9
Initial Timetable ...................................................................................................................................................... 0
Indicative Assessment Schedule ............................................................................................................................. 0
Module Abstract ..................................................................................................................................................... 0
Level 4 Modules ...................................................................................................................................................... 0
Acting Principles 1 (Naturalism & Realism) .................................................................................................... 0
Contextual Studies (Musical Theatre) ............................................................................................................. 0
Musical Theatre Dance ................................................................................................................................... 1
Project Realisation 1 (Musical Theatre) .......................................................................................................... 1
Singing Technique 1 ........................................................................................................................................ 2
Level 5 Modules ...................................................................................................................................................... 3
Acting Principles (Expressionism) ................................................................................................................... 3
Critical Performance Analysis (Musical Theatre) ............................................................................................ 3
Dance Specialism ............................................................................................................................................ 3
Project Realisation 2 (Musical Theatre) ......................................................................................................... 4
Singing Technique 2 ........................................................................................................................................ 5
Level 6 Modules ...................................................................................................................................................... 5
Business and Professional Practice ................................................................................................................. 5
Creative Developments and Innovations........................................................................................................ 6
Dissertation, Research Methods and Outputs ................................................................................................ 6
Group Performance Realisation (Musical Theatre) ........................................................................................ 6
Solo Performance Realisation (Musical Theatre) ........................................................................................... 7
Academic Calendar 2012/2013 for BA(Hons) Acting and BA(Hons) Musical Theatre .................................... 8
How Will I Learn? .................................................................................................................................................... 8
Semesters ....................................................................................................................................................... 8
How Much Work Should I Do? ........................................................................................................................ 8
Grading of Modules ........................................................................................................................................ 9
Assessment Deadlines and Late Work ............................................................................................................ 9

Moderation ..................................................................................................................................................... 9
Assessment Boards ....................................................................................................................................... 10
Computing Facilities ..................................................................................................................................... 10
Learning Resources ....................................................................................................................................... 10
Equality and Diversity Impact Measures ...................................................................................................... 11
Progression Between levels .......................................................................................................................... 11
PERSONAL DEVELOPMENT PLANNING ......................................................................................................... 13
CRITERIA FOR ASSESSMENT .......................................................................................................................... 13
WORKING TOWARDS PROFESSIONAL STANDARDS ........................................................................................ 3

INTRODUCTION
This handbook aims to provide you with the key information specifically relating to your chosen programme of
study. Additional information on cross-college services such as Learning Support, Learning Resource Centres
(LRC) and Student Forums are provided in the initial pages of the College Learner Diary and Handbook. Please
ensure you read both documents carefully and keep them in a safe place for future reference.

PROGRAMME SPECIFICATION
GENERAL PROGRAMME INFORMATION
Name of awarding body/institution

University of Lancaster

Teaching institution

Blackpool and The Fylde College

Details of Professional/Statutory body

accreditation
Name of the final award

B.A. (Hons) Musical Theatre

Programme title

B.A. (Hons) Musical Theatre

UCAS code

WW34

Relevant QAA Subject Benchmark

Statement Group(s)

Dance, Drama & Performing Arts

Date of Validation/Re-validation

July 2008

Date Programme is Due for Re-validation

2013

Mode of Study (FT/PT/Both)

FT

Language of Study

English

Academic Regulations

Lancaster University

PROGRAMME OVERVIEW
Blackpool and The Fylde College has been delivering a range of Higher Education programmes in Performing
Arts specialisms for over a decade. The aim of these programmes has been to enable learners to appreciate
the holistic nature of the performing arts and to develop specialist skills in acting, singing, vocal technique and
dance. The reflective and evaluative nature of these programmes has provided the basis for the development
of the B.A. (Hons) Musical Theatre. The emphasis is placed heavily on the study of interdisciplinary skills
encompassing both performance and creativity. The B.A. (Hons) Musical Theatre will further develop
exploration, creativity and the critical understanding of the relationship between the art form and social and
cultural contexts. The principle aim of the programme is to balance the provision of vocational skills and the
fostering of creativity.

ADMISSION CRITERIA
220 UCAS points. The criteria for admission onto the course are the students suitability and perceived ability
to complete the course successfully. This is principally demonstrated through audition and interview.

PROGRAMME AIMS
The programme aims to develop a range of advanced techniques across independent performance disciplines
and aims to develop an understanding of the cultural influences pertaining to the performance. These aims will
be achieved through both the theoretical understanding of performance concepts and through the practical
demonstration of appropriate performance material.

PROGRAMME LEARNING OUTCOMES

The programme will develop a deep understanding of the interrelationship between components of effective
theatre and develop a trans-disciplinary vocabulary. The knowledge and skills acquired will link directly to the
vocational context and diversify into a range of skills required by the creative industries. The most important
values that inform this programme are the ability to develop practical skills, and embrace the creative contexts
that have inspired the work. Learning methods will focus on formal class room sessions which inform the
practical rehearsal sessions, thus placing theory into performance practice. Assessment methods will include
formal written essays, reflective journals (incorporating PDP) and video evidence of performance work. The
evaluative and analytical elements of the programme will increase across Levels 4,5,6 culminating in a written
dissertation in the Honours year.
Subject knowledge and understanding
A1 Develop a practical application of multidisciplinary techniques (acting/movement/singing/voice) to
performance aesthetics.
A2 Understand a variety of contexts (cultural, historical, personal) specific to live and recorded drama.
A3 Be concurrent with relevant issues shaping theatre practices.
A4 Develop systematic approaches to text and performance analysis.
A5 Develop systematic approaches to performance presentation.
A6 Apply a range of strategies which will develop research, creativity and practice.
Analysis and evaluation
B1 Analyse text and performance in a systematic way.
B2 Analyse and evaluate creativity and performance practice with developmental strategies when
appropriate.
B3 Evaluate live drama with reference to current practice and research.
B4 Record, analyse and reflect on individual practice.
Broader workplace and transferable skills
C1
C2
C3
C4
C5

Develop independent responsibility for artistic decisions.

Manage time and work to meet deadlines.
Act autonomously in planning.
Identify and take measures to ensure self development.
Structure and communicate ideas effectively in debate and through written and oral presentations.

TEACHING, LEARNING & ASSESSMENT STRATEGY

Learning and teaching strategies are designed to be as informal as possible and are based on interactive
lecture, rehearsal and seminar sessions. At this stage in the students learning, they will be required to be
autonomous learners, this will be developed across levels 4,5,6 culminating in a dissertation and the
performance of creative material in the Honours year. Assessments will require students to demonstrate
advanced study skills and to use them in the analysis and synthesis of information from a variety of sources.
Modes of assessment will be drawn from the following:
Essays
Individual reports.
Reflective journals
Seen and unseen written assessments
Presentations
Performances both studio and full stage
Research dissertation
Workshop demonstrations
Lectures/Seminars
The course entails a mix of staff-led sessions, student preparation in groups and independent study.
Particular methods of learning and teaching are as follows:
Lecture/Seminar - Knowledge and understanding of selected subjects will be developed through these formats
leading to discussion and analysis. The intellectual skills of synthesis and debate will be explored and
developed across all levels building skills to enable students to undertake significant research at Honours level.
Analytical Reports These reports provide the synthesis of information gathered from working journals. In
level 4 they will focus on the analysis of skills and working practices, with some written critical analysis of
performance work. At level 5 the focus will be on critical analysis and reflection. Honours level will include
strategies for improvements and a critical analysis of both process , practice, and aesthetics.
Workshops - Students will be introduced to, and encouraged to develop, creative and technical abilities
through exploration and exposition. The exploration of new, or rehearsed material, will be placed in the
current social and political context.
Rehearsal - Directed and student led rehearsals will develop existing material and explore the creation of new
and innovative production work.
Performance/Showing - Will enable students to apply the discoveries / theories encountered and place them
in a professional context. This will be followed by subsequent reflection and analysis. Work in progress
showings will provide valuable formative feedback. The early stages of the programme (levels 4 & 5) will
embed research and analytical study skills into the delivery strategy with formative submission of essay plans
and research methodology playing an integral part. Formative feedback will support student progression in
both written work and practical performances. Work in progress showings will be an essential element of
each practical assignment and the feedback from these termly events will enhance student achievement and
progression. Thus all students will be well prepared for the dissertation and creative modules in the honours
year.
Tutorial - Students will receive individual tuition/feedback and (where appropriate) action points to develop
skills and intellectual cognisance.
Independent Research - Specialist study will be undertaken in accordance with personal interests. Research
guidelines and tutorials will support this process.
6

The programme is assessed through the submission of written essays and reports, a series of performance
presentations, and an assessment of praxis (technique development, and the creative use of the rehearsal
processes) and the submission of a dissertation.
The programme allows for 120 credits at each level.

MODULES AND CREDITS

All Higher Education programmes delivered at Blackpool and The Fylde College consist of modules. A module
is a coherent unit of subject material, which is complete with its own learning outcomes and assessments.
Each module is rated by its level and credit weighting. Level 4 corresponds to the usual academic level of first
year undergraduate study, while level 5 corresponds to second year and level 6 to final honours year. Each
level of study consists of a total of 120 credits. The number of modules which contribute to this may vary from
programme to programme. The following sections of this handbook outline the specific structure of your
programme.

PROGRAMME STRUCTURE FULL TIME STUDY

Year 1 (Level 4)
Module
Code

ST102

PR1(MT)104

Credits

%
Coursework

%
Examination

15

70%

30%

30

40%

60%

15

70%

30%

30

70%

30%

Contextual Studies
(Musical Theatre)

30

80%

20%

Title

Level

Credits

%
Coursework

%
Examination

15

40%

60%

30

40%

60%

15

30%

70%

30

50%

50%

30

80%

20%

Acting Principles 1
(Naturalism and
Realism)
Singing Technique 1

AP101

MTD103

Level

Title

Musical Theatre
Dance
Project Realisation 1 (Musical Theatre)

CS(MT)105

Year 2 (Level 5)
Module
Code
AP201
ST202
DS203
PR2(MT)204
CPA(MT)205

Acting Principles 2 (expressionism)

Singing Technique 2
Dance Specialism
Project Realisation 2 (Musical Theatre)
Critical Performance Analysis (Musical
Theatre)

Year 3 (Level 6)
Module
Code
DRMO301

CDI302
BPP303
SPR(MT)304

GPR(MT)305

Title
Dissertation,
Research Methods
and outputs
Creative Developments & Innovations
Business & Professional Practice
Solo Performance Realisation (Musical
Theatre)
Group
Performance
Realisation (Musical Theatre)

Level

Credits

%
Coursework

%
Examination

30

100%

30

40%

60%

15

60%

40%

15

30%

70%

30

30%

70%

THE PROGRAMME TEAM

During your studies you will be supported by a wide range of staff who are all here to help you get the best
from your studies and time at College. If you need any help or guidance, your programme team is there to
support you achieve your goals.
Name

Role

Maggie Woodings

Head of School

Nigel Brown

Curriculum Manager

Anthony Dalnas

Curriculum leader

Michael Holdsworth

Programme Leader

David Scott-Thomas

Module Tutor

David Norris

Module Tutor

Kate Gavaghan

Module Tutor

Sarah Green

Module Tutor

Andrew Margerison

Module Tutor

Nicola Williams

Module Tutor

Lee Lomas

Module Tutor

Andrew Keir

Module Tutor

Alison Burns

Module Tutor

Paul Coopes

Technician

Contact Details
Email: MWOO@blackpool.ac.uk
Room: PA 062 Tel: 01253504602
Email: NBR@Blackpool.ac.uk
Room: MB 101 Tel: 01253504532
Email: ADAL@Blackpool.ac.uk
Room: MB110 Tel:01253504436
Email: MHOLD@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: DTHO@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: DNO@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: KGA@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: SGREEN@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: AMARG@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: NWILLI@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: LLO@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: AKEI@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: ABUR@Blackpool.ac.uk
Room: MB104 Tel:01253504525
Email: PCOO@Blackpool.ac.uk
Room: MB104 Tel:01253504525

IMPORTANT NUMBERS AND CONTACT DETAILS

Name
University Centre Reception & First Aid
HE Registrar Sharon Bailey
The Learning Resource Centre

Student Services

Learning Support HELMs Team

Contact Details
University Hub: Tel: 01253504420
University Hub: Tel: 01253504526
Email: sbroc@blackpool.ac.uk
University Hub: Tel: 01253504414
Email: centrallooplrc@blackpool.ac.uk
University Hub:
Welfare Advice:
Tel: 01253504496
Careers Advice:
Tel: 01253504474
Accommodation Advice : Tel: 01253504497
University Hub: Tel: 01253504494
Email: HELMinfo@blackpool.ac.uk

INITIAL TIMETABLE
Your initial timetable will be available at induction.

INDICATIVE ASSESSMENT SCHEDULE

Your indicative assessment schedule will be available at induction.

MODULE ABSTRACT
LEVEL 4 MODULES
ACTING PRINCIPLES 1 (NATURALISM & REALISM)
The module allows for an initial understanding and practice of the theoretical elements of creating
and communicating a character. The module will focus on the ways in which actors prepare for work:
how they research and develop characters appropriate for performance. In small groups students will
focus on foundation acting skills. At Certificate level the emphasis will be on Stanislavski and the
related skills of Naturalism & Realism. Stimulus covered will range from Chekhov, Ibsen and
contemporary playwrights such as Marber, Mamet & Ravenhill and Kelly.
This module will provide students with the opportunity to:
acquire and understand the core skills and processes by which a characterisation is realised
and presented in performance.
develop an awareness of the actors relationship, while performing, to the audience and the
other actors.
understand how a character relates and responds to other characters, the audience, and the
given circumstances.
develop trust in self and between members of the group.
understand and employ the energy and quality of concentration necessary for successful
performance.
acquire the skills necessary to create believable character and emotion appropriate to the
demands of a text.
define the objectives of a character and embody and express them
use the principles behind Stanislavskis system of physical actions, motivation and intention.
use the technical skills of voice and movement in the creation of a character
draw upon and make use of personal experience and observation to assist in the creation of
a role
engage in independent research as part of the process of creating a new performance

CONTEXTUAL STUDIES ( MUSICAL THEATRE)

This module addresses the analysis of the social and cultural contexts which led to the development
of musical theatre and drama from 1900 present day. The module must recognise the development
of genres such as Vaudeville, Musical Hall, American Musical Hall, British Light Opera and Cabaret.
This process will inform debate around and the development of the learners own work. It will explore
the aesthetic, cultural and historical issues with reference to specific composers, writers and
choreographers such as Rodgers & Module Manager: Cs(Mt)105 - Contextual Studies (Musical
Theatre) [Version 1.0] New Document Uploaded: 07 April 2011
0

Hammerstein, Sondheim, Kander & Ebb, Brecht & Kurt Weil, Andrew Lloyd Webber, Gilbert &
Sullivan, Bob Fosse, Martha Graham.
The development of work and the ever changing nature of the creative industries will be placed
within the context of current political and cultural attitudes. The current changing structure of the
genres will focus on different styles of performance and production e.g. traditional proscenium arch,
cabaret and contemporary musical drama. These different styles of performance production will be
related to the development of contemporary arts practice and also the evolution of political musical
theatre and contemporary drama.
This module will provide students with the opportunity to:
identify forms, practices, traditions and histories of performance and of some theoretical
explanations of those histories
identify key practitioners and theorists and their cultural and/or historical contexts
engage in appropriate independent research
acquire the appropriate information retrieval skills needed to gather, and organise material
independently
acquire appropriate information technology skills and develop some awareness of their
application and potential
develop a responsible and consistent attitude towards self-management as seen in the
ability to manage personal workloads and meet deadlines.
understand the effect that the historical/cultural framework of a script has upon
performance.
recognise and describe some of the key practices, traditions and histories of performance
and of some theoretical explanations of those histories
identify some key practitioners and theorists and their cultural and/or historical contexts

MUSICAL THEATRE DANCE

This module will provide a comprehensive awareness of the range of dance styles used in musical
theatre. The aim is to enhance technique and develop an understanding of the cultural context of
dance .Skills will be developed through a range of practical work explored within the context of
musical theatre genre. Performance will be evaluated and analysed through the submission of a
analytical report, a working journal will provide the stimulus for this report.
This will provide students with the opportunity:Acquire skills in Jazz Dance & appropriate musical theatre dance genres
Develop an understanding of the range of dance styles appropriate for musical theatre
Develop an understanding of the historical and cultural context of musical theatre dance
styles.
Develop analytical and evaluative skills
Develop research skills
Develop performance skills related to musical theatre dance

PROJECT REALISATION 1 (MUSICAL THEATRE)

The student performer needs to develop essential core technical skills of acting, singing and dance
within a rehearsal and performance experience. Project work encourages the individual to take
responsibility for his or her learning and begin the development of a personal working system. The
student will be encouraged to develop an attitude to work that fosters creativity and performance
skills based on a personal code of practice.

The performance format may include the presentation of scenes or a full-length performance. The
selected material will be taken from a fixed timescale 1900 present day. Normally the first
production will be performed to an invited audience and the second and third to an invited and/or
public audience.
Typical productions might be drawn from:
20th Century American musical theatre
20th Century European musical theatre
Contemporary musical theatre
This module will provide students with the opportunity to:
conduct appropriate independent research in the preparation of character
develop analytical and problem solving skills
prepare a personal voice and physical warm-up before rehearsal and performance
prepare thoroughly for, and contribute to the rehearsal process
prepare a character and understand its relationship to the other characters and given
circumstances, in the context of the performance
create and perform a believable character with the psychological and emotional truth
appropriate to the performance text and/or score as required
contribute creatively to the realisation of a performance
manage personal workloads, meet deadlines, and pursue goals with others
use the appropriate energy and concentration required for rehearsal and performance
realise character and narrative through the integration of vocal, movement, dance and acting
skill, appropriate to the demands of the performance
maintain a working journal which will monitor and evaluate the work in process

SINGING TECHNIQUE 1
Musical theatre performers and practitioners need to be able to hold a vocal line in harmonic singing.
They need to be able to understand the nature of their own voices and to apply the theoretical and
physiological concepts of Estill Technique which will enable them to understand their range and
sonority. They will develop an understanding of suitable performance material for their personal and
professional goals. This repertoire will form the basis for further exploration and performance
practice in Singing Technique 2. Singing, movement and acting will be seamlessly integrated
In small groups, students will undertake choral work based around a theme, this will provide the
framework for performance material.
In singing anatomy classes students will learn the basic anatomy of voice. In addition the fundamental
principles of music notation (ABRSM Music Theory Grade 2) will provide the underpinning knowledge
essential for future development at Intermediate level.
This module will provide students with the opportunity to:
understand the possibilities and potential of their singing voice.
learn appropriate repertoire for their voice from a range of periods and styles.
acquire basic information about musical notation and interpretation.
work with a group to achieve a performance in choral singing.
create and communicate character, emotion, thought and narrative through the use of sung
language.
perform repertoire before an audience of peers.
build stamina.
perform without vocal strain.
2

experiment under supervision with their own voices, and understand the principles of vocal
hygiene.

LEVEL 5 MODULES
ACTING PRINCIPLES (EXPRESSIONISM)
This module will consolidate and develop work completed at Certificate level. Students will use a
range of techniques to effectively communicate one role selected from Epic Theatre, or German
Expressionism in 3 different performance workshops. The underlying principles will be explored
through a process of critical enquiry and will lay the foundations for the practical element of Creative
Developments and Innovations at Honours level.
In small groups, within a studio environment, students will further develop a personal working system
to create and communicate characters using practice related to an Epic Theatre. The students work
will be advanced by exploring and presenting a text selected from Brecht, Piscator.
This module will provide students with the opportunity to:
create and communicate holistic characterisation
understand the interplay between the performers conscious and subconscious resources in
the realisation of performance
explore and present, where appropriate, scenes that are personally challenging through the
nature of their emotional and/or intellectual and/or physical content.
develop acting principles associated with expressionism. This may include Brecht and
Piscator
integrate the technical skills of movement and voice in the creation of a character
create credible character appropriate to the demands of a text
work within and contribute to an ensemble
work sensitively with other actors in both rehearsal and performance

CRITICAL PERFORMANCE ANALYSIS (MUSICAL THEATRE)

The emphasis of this module is on the development of a critical framework through which a student
can begin to analyse the performance aesthetics in a structured and rigorous way. Learners will build
on the broad overview offered in Contextual Studies and focus their research on a specific period in
the development of Musical Theatre - from 1950 to present day. The work studied will involve visits
to live theatre events and utilise recorded material. The emphasis will be on identifying the
connections between the works and their cultural contexts. Productions studied will include examples
of American Musical Theatre Rodgers and Hammerstein, Cye Colemen, and Sondheim and how this
effected the development of contemporary Musical Theatre e.g. Tim Rice and Andrew Lloyd Webber,
Thatcher The Musical, The Jerry Springer Show and the work of Tom Waites and Robert Wilson .This
critical understanding will inform the Creative Developments and Innovations module at Honours
level.
This module will provide students the opportunity to:Develop a critical framework to analyse performance material
Develop advanced research skills
Develop advanced critical, evaluative and analytical skills
Develop planning and time management skills
Develop advanced written expression

DANCE SPECIALISM
3

This module aims to extend the students physical and expressive powers in dance through the style
of Jazz. It involves the development of technique and a critical understanding of its uses and functions
in commercial and non-commercial contexts. A critical appreciation of the historical and cultural roots
of jazz and its development as a vernacular dance form as part of the current musical theatre dance
tradition will be explored. Techniques developed will include flexibility, extensions, dynamics and
clarity of actions which will develop existing skills and focus the work towards a professional
performance standard. Written analysis will further develop self-development and support a growing
critical awareness of the development of this style of dance. Skills will be developed, applied and
evaluated.
Students will participate in a at least one seminar which will explore the cultural, historical and social
developments which inspired the selected work for performance.
This module will provide students with the opportunity to:
Develop advanced skills in Jazz Dance technique
Apply advanced skills in Jazz Dance to performance work
Develop a critical understanding of the uses and functions of Jazz Dance Technique
Develop a critical appreciation of the historical and cultural roots of Jazz Dance
Develop a critical awareness of performance work
Develop advanced presentation skills
Develop critical and evaluative skills

PROJECT REALISATION 2 (MUSICAL THEATRE)

This module is divided into three sub divisions; students will each perform in three separate
performances, selected from a variety of historical and cultural sources and/or performance genre.
Typical sub divisions might be:
Performance material that employs complexity of structure, language, imagery and
metaphor. This may come from historical sources ie Elizabethan or Jacobean incorporating
Historical Dance skills.
Performance material from 19th Century Music Hall and or Vaudeville. Performance of
Political Musical Theatre.
This module will provide students with the opportunity to:
continue to develop existing skills and techniques in singing, acting, and dance and use them
to realise practice based work
demonstrate a sound understanding of how the cultural and/or historical framework of a
performance is developed
experience, respond imaginatively, and perform in work derived from a variety of cultural
and/or historical sources
provide a critical and creative contribution to the ensemble
work effectively providing analysis of the work of others in both rehearsal and performance
communicate effectively to an internal audience
prepare and sustain the quality of energy and concentration required for performance
discover the performance possibilities implied by a script and or musical stimulus
take responsibility for the development of a personal development plan to support class
work and rehearsals
manage personal workloads, meet deadlines, and negotiate and pursue goals with others
4

SINGING TECHNIQUE 2
This module draws on the skills acquired in singing technique 1 at Certificate level. It aims to enhance
the performance skills and critical understanding of a range of singing styles focusing on the creation
of an individual portfolio of performance work. This will require students to undertake practical
research into specific songs and composers this will form a practical link to Critical Performance
Analysis. Students will develop a sound and critical understanding of the principles of effective singing
technique appropriate for performance. Students will be expected to demonstrate improvements in
technical proficiency in a divergent range of musical theatre styles such as, operetta, rock, rock opera,
contemporary Broadway and jazz.
Building on the notation skills developed at Certificate level students will study notation up to ABRSM
Music Theory Grade 4.

LEVEL 6 MODULES
BUSINESS AND PROFESSIONAL PRACTICE
Students need to develop the basic freelance personal management skills in order to operate as a
professional performer, and become entrepreneurial people who are equipped with a dynamic
approach to job creation and adaptation. Students need to recognise that professional development
is a continuing process across a lifetime.
This module will provide students with the opportunity to:
develop basic freelance skills
gain current and relevant industry information and guidance
choose personal photographs which accurately reveal casting potential
target potential employment opportunities
prepare clear and concise CVs that provide accurate and relevant information
record and maintain potential employment contacts in a systematic way
understand a unions role in relation to the employment process and have the opportunity to
meet representatives of Equity in order to inform themselves of the Trades Union which they
should join
understand the function and powers of agents, casting directors, etc.
show an understanding of and a willingness to observe professional and contractual
obligations
understand the conditions of employment contracts and their implications
gain a knowledge and understanding of the entertainment industry, and its professional
organisations, services, and opportunities for further training
understand the basic current taxation system and how to run their personal tax accounts
understand and appreciate the professional status which will be conferred on them by their
graduation from the course and their subsequent eligibility for membership of equity
gain a knowledge of the entrepreneurial skills required to produce work independently (e.g.
access to funding, approaching venues, publicity, business plans, etc)

CREATIVE DEVELOPMENTS AND INNOVATIONS

This module is designed to enable learners to study and explore approaches to theatre performance
that are based on experimental or innovative work. It addresses the creative elements of the learning
outcomes of the programme. This may be open to fairly broad interpretations of creativity and
innovation and it does not imply any specific stylistic or structural features; it must embrace the
paradox that, in creating a theatrical avant-garde, many key practitioners returned to some form of
primitivism. Given that yesterdays radicalism is often todays establishment, it is important that any
work focused on in this module is understood in its immediate social/historical context and that
learners are encouraged to analysis just how and why the work is considered innovative. The
innovation(s) may refer to structure, style, language, theme, form, and demands placed upon the
performer or audience, or use of space or time. This module provides a progression form Contextual
Studies at Certificate Level to Critical Performance Analysis at Intermediate level and enables learners
to synthesise the learning in these earlier modules to provide the creative and innovative nature of
the programme.

DISSERTATION, RESEARCH METHODS AND OUTPUTS

This module addresses the synthesis of the theoretical, evaluative and analytical elements of level 2
part II. This enables the students to select an area of research activity particular to their chosen area
of specialism which will support their current performance work or provide the basis for further
development at level 7. This research activity will draw on the specialisms of other staff, particularly
from the LRC. It will provide a broad range of research skills in an academic context and facilitate the
completion of a piece of independent work This module will also provide the development of further
skills in time management, planning, and communicating through the written word. The delivery of
this module is divided between formal lectures, small seminars and individual tutorials.

GROUP PERFORMANCE REALISATION (MUSICAL THEATRE)

The student actor needs opportunities to bring together, through rehearsal, the skills of acting, voice,
movement and singing (where appropriate), into a fully integrated performance for a public audience.
Students need to develop the ability to sustain a performance, and adjust to the demands of different
audience and performance venues. Within this module students will normally rehearse and perform
three productions (one per term). A designated number of rehearsal weeks will be assigned to each
production to give a broad experience of differing rehearsal demands. Additionally the number of
performances may vary in order to develop a students awareness of the demands of sustaining a
performance. Students will meet a variety of audiences across a selection of performance venues.
Each student will be cast in order to extend his or her playing range, and experience a variety of
performance challenges.
For the purposes of this assignment the term professional relates to industry expectations in
relation to punctuality, attendance, work ethic and self-discipline.
As part of the rehearsal process and assessment, students are required to attend all movement and
voice classes as timetabled.
This module will provide students with the opportunity to:
develop and play a character in rehearsals and performance and sustain it before an
audience within the framework of a production as directed
create believable character and emotion appropriate to the demands of the performance
script and production
define the objectives of a character and embody and express them within the context of a
production
6

make full use of individuality in performance

use make-up, wear costumes, and handle props to realise performance
create and communicate truthful character, emotion, thought, and narrative through the use
of language spoken or sung, where appropriate
communicate to an audience with spontaneity, confidence, and assurance, within the
demands of the production
perform suitable vocal and movement warm-ups for rehearsal and performance
respond and listen to other actors and be aware of the audience
realise character, emotion, and narrative through the use of the body and movement
behave within the confines of industry expectations in relation to punctuality, attendance
and the meeting of all deadlines
treat production teams with courtesy and consideration
perform to a public audience
combine acting with singing and/or dancing and/or other appropriate skills within a
performance
manage personal workloads, meet deadlines, and negotiate and pursue goals with others
handle creative, personal and interpersonal issues
use research in the creation of a performance
apply theories of acting/singing and/or dance in the creation of a performance
respond with imagination and creativity to the material used as a source for production

SOLO PERFORMANCE REALISATION (MUSICAL THEATRE)

To enter the profession, students need access to the relevant employment gatekeepers, such as
agents, casting directors, artistic directors etc. This module allows students to prepare audition
material and present it to a professional audience, normally both in Manchester and London. It also
allows students to prepare a portfolio of material for future auditions. The module gives students
initial support in the transition into work.
Students will work self-directed and in small groups with a tutor, to develop a personal portfolio of
audition material. This will consist of a variety of audition pieces. The minimum requirement is 2
modern acting, 2 classical acting (of which at least one should be Elizabethan/Jacobean verse) and 2
songs (accompanied and unaccompanied) as appropriate and suitable for the individual student. In
small groups students will practice sight-reading and interview techniques.
In small groups, students will submit scenes, solo pieces, and songs for consideration by a production
team for Showcase events. Material will be developed by students in consultation with the creative
team. Students will engage in a number of mock audition scenarios for stage. Guest industry
professionals will be invited to observe and give feedback preparing the students for actual showcase
events in both Manchester & London.
This module will provide students with the opportunity to:
prepare a portfolio of audition pieces suitable for professional auditions
perform audition material in a simulated audition situation
perform audition material within a structured framework (showcase) to an audience of
professional gatekeepers such as agents, casting directors, directors, etc.
prepare personally for future auditions and interviews
understand the interview process and the respective roles of the personnel they may meet
at interview i.e. casting director, director, producer, executive producer
deliver what is likely to be required in commercial castings

ACADEMIC CALENDAR 2012/2013 FOR BA(HONS) ACTING AND BA(HONS)

MUSICAL THEATRE

SEMESTER 1 2012/13 11 Weeks (includes Induction Week)

th
(Commences Monday 10 September 2012)
th

rd

Monday 10 September 2012 Friday 23 November 2012

th

th

Study week and preparation for Semester 2: 26 November 30 November 2012

SEMESTER 2 2012/13 10 Weeks

rd
(Commences Monday 3 December 2012)
rd

nd

Monday 3 December 2012 Friday 22 February 2013

th

th

Christmas Vacation 2 weeks: Monday 24 December 2012 Monday 7 January 2013

th
Staff Development Day Monday 7 January 2013
nd
st
Study week and preparation for Semester 2: 22 November 1 March 2013

SEMESTER 2 (continued) 2012/13 10 Weeks

th
(Commences Monday 4 March 2013)
th

th

Monday 4 March 2013 Friday 24 May 2013

8th

th

Easter Vacation 2 weeks: Thursday 2 March 2013 Friday 12 April 2013

th
Good Friday: 29 March 2013
th
th
Bank Holiday: Monday 6 & 20 May 2013

Total Academic Year 31 weeks - (including Induction)

HOW WILL I LEARN?

SEMESTERS
The Academic year is divided into 2 semesters of 16 weeks. The final week is typically reserved for
examinations where they are included within your programme.

HOW MUCH WORK SHOULD I DO?

For each module, you will have a number of hours timetabled each week where you will be supported
by an academic tutor in your studies. If you wish to see a member of staff at another time, either
drop in or make an appointment in person, by phone or by e-mail. In addition to your timetabled
sessions, you will be expected to undertake further study independently, outside of the classroom.
8

This may be in the form of reading, research, rehearsal or completing assignments as directed by your
tutor. The amount of time you will need to allocate to your studies outside of the classroom will vary
greatly from person to person, and the chances are that your there will be times within your
programme of study where your workload will be heavier than others. Your tutors will work with you
to ensure that you are aware of factors that may influence your workload, such as assessment
deadlines and performances well in advance, to assist you in your planning.

GRADING OF MODULES
For each module taken, you will be given a percentage grade corresponding to your performance.
Examinations may be held at the end of the module, and continuous assessment takes place
throughout the modules in the form of assignments, practical exercises, portfolios, presentations etc.
Each assessment will carry a different weighting towards the overall module grade, for example, a
module may consist of a process element worth 60% of the module grade and a performance
element worth 40%. Some modules within your programme may be subjected to a simple pass or fail
mark.
Examination and assessment arrangements differ between modules. Details for each module will be
available from the module tutor at the start of each module.

ASSESSMENT DEADLINES AND LATE WORK

Assignments will normally be set at least four weeks before the deadline for submission. These
deadlines will be set by individual module tutors. Please keep a diary of your various coursework
deadlines and plan your work accordingly. If you need further assistance with this, our Higher
Education Learning Mentors (HELMs) can offer advice and support. Remember that you may be
given several pieces of work to complete simultaneously, and they may even be due on the same day.
All coursework must be submitted to the LRC where it will be logged and a receipt issued. You must
retain the receipt as evidence as you may be asked to present it should there be a query regarding
your submission. All course work must be accompanied by an Assignment Front Sheet which will be
provided by your module tutor.
Any work submitted late will be automatically given a mark of zero. You should always submit
whatever work you are able to complete prior to the deadline. If you feel there are circumstances
that will affect your performance in the work you submit, you should make a formal application for
Mitigating Circumstances. Further details of the Mitigating Circumstances Policy and Procedure can
be found online.
It is recommended that on submission of the Application form that you contact the HE Learning
Mentors for support.
HELM contact details:
- HELMinfo@blackpool.ac.uk
- 01253 504494
- or complete the attached Student Referral Form

MODERATION
All work that you submit for assessment is marked by your module tutor. A suitable sample is then
selected to be cross-marked or moderated by a second person. All of the work you submit is retained
by the college to assist our external examiners in the quality assurance of your programme.
9

ASSESSMENT BOARDS
Once a module is complete, the marks for all assessments are compiled together to create an overall
module mark. Your overall marks are then considered by an assessment board who will make
recommendations regarding your progression between levels, reassessment and eventually the
award of your qualification. The first Assessment Board for your programme will sit at the start of the
second semester to review your academic performance in semester 1. Where you have failed to
meet the criteria to pass a module in the first instance, you may be given reassessment work to
complete. Reassessment work from semester 1 will normally be completed within the first few weeks
of semester 2.
The board sits again at the end of semester 2 to consider your performance for the academic year.
The majority of programmes within the college run an academic year between September and June.
Reassessment work for semester 2 will therefore normally be completed during the summer month
of July.
The board sits again prior to the start of the next academic year in September where the results of
any summer reassessment work will be considered.
Where programmes fall outside of the standard academic year, the timing of the board identified
above may vary, however the general process remains the same.

COMPUTING FACILITIES
You will be expected to use many software packages during your course. If you are not familiar with
the technologies used within your programme, you should take steps to become so. We expect you
to be able to use a word processor, web browser and e-mail from very early on in your course. Other
technologies including our Virtual Learning Environment Moodle, will be introduced to you as you
commence your formal studies.

LEARNING RESOURCES
Throughout your college experience, you will find that the Learning Resource Centres and their staff
can play a key role in your success. Each centre is tailored to support its own students and stocks a
broad range of books and journals. Beyond this, you can access a wealth of online resources on the
college network.
Term time opening hours for the Central Loop Resource Centre at the University Centre are:
Monday Thursday 08:30 21:00, Friday 08:30 17:00, Saturday 10:00 - 16:00
The Centre offers several different styles of work space including silent study and groupwork. It has
46 networked computers and 25 wireless laptops (including Macs), colour printing/photocopying
and scanning facilities. Laptops can be loaned out for 4 hour slots and used anywhere on campus.
Two self issue/return kiosks allow you to borrow and return loaned items without the need to
queue at a desk. Stock items can be reserved or renewed via our online catalogue:
http://hip.blackpool.ac.uk
Our subject based Learning Resource Advisers can offer advice on finding the most suitable
resources for your assignment. Many of these are now available online including eBooks, full text
journals and multimedia and we have our own Moodle area packed with useful links and
information. In conjunction with your tutor, we will run tailored sessions for your class based on
assignment work, as well as offering one-2-one support sessions. We can also answer your
referencing queries and provide support for your IT problems. And watch out for our drop-in
sessions which run throughout the year.

10

An assignment/dissertation binding service is available when you need to hand in your work.
The staff are here to help you, so if youre struggling to find the sources you need for your work,
youre not confident in using the computers or in fact, if anything else is stopping you from getting
the most from the Learning Resource Centres then ask a member of staff - and together well help
you to achieve.

EQUALITY AND DIVERSITY IMPACT MEASURES

This procedure has been impact assessed by colleagues through the HE Academic Development
Committee, AMT and the Students Union.

PROGRESSION BETWEEN LEVELS

The research and analytical skills of each module will be supported by research skills sessions
built into the formative delivery stages. Feedback will be provided at least once a term on
the submission of essay plans, research hypothesis statements and outlines of report
structures. This will facilitate a progressive development of analytical and research skills
across the levels, preparing you for the extended analytical work required for the
dissertation, research methods and outputs module in the Honours year.
Work in progress showings will support the development of practical skills and assessment
material. These will occur at least once a term.
Certificate Level aims to develop:
basic practical skills in acting, movement, and singing where appropriate.
key concepts, theories, practices and methods of the subject.
practical skills in improvisation
organisational skills, capacity to work in groups, ability to locate practice within
specific social and cultural contexts, ability to assimilate information and produce
work relating to aim of unit
practice as a mode of investigation
how to structure an argument
how to synthesize secondary resources in composition of oral and written work
how to analyse primary texts and performances
how to organise, conduct and present research
how to prepare for and participate in peer group discussion
how to master basic use of information and learning technology
produce an analytical report which demonstrates an understanding of working
techniques and practices these will include evaluations which incorporate a
reflective analysis of process and production
Intermediate Level - builds on Certificate level but also aims for:
a deepening understanding of some key areas within Theatre performance, with
particular focus on analysis of own work and practice
evidence of greater capacity for developing and adapting performance work from
given stimuli
evidence of a deeper understanding of the nature and development of
improvisation techniques
evidence of greater conceptual understanding of a variety of performance practices
and theories
11

a greater understanding of skills and techniques appropriate to practical work,

including performance and technical skills in theatre and site-specific performance
spaces
a greater capacity to work independently, and as part of a group of peers
a greater capacity to locate their own practice within relevant body of theory
the development of skills such as self-motivation, working in groups, time keeping
and time management
the development of practice as a mode of conceptualisation and investigation
the introduction to ways of thinking critically in developing solutions to complex
problems
evidence of greater conceptual understanding
a greater capacity to reflect on the public nature of performance
a greater capacity to master practical skills, including IT
Produce analytical reports which demonstrate a critical analysis of working
techniques and practices
Produce evaluations which demonstrate the ability to evaluate critically the
appropriateness of differing artistic methodologies
Honours Level - builds on Intermediate level but also aims for:
the ability to demonstrate in performance a high competency in acting, movement
the ability to demonstrate detailed knowledge and understanding of the theory and
practice of Theatre
independent critical engagement with conceptual material
the ability to reflect theoretically on practical work
the development of skills such as independent learning, creativity and self direction
the development of the ability to abstract, conceptualise, analyse and synthesize
information from written visual and aural sources
the development of the ability to design and develop a research project
the development of the ability to comprehend and evaluate arguments and to use
evidence in constructing arguments
the development of the ability to read performance within an interdisciplinary
context and the knowledge on how to apply appropriate knowledge from other
disciplines
The ability to prepare material appropriate for the demands of the profession.
The ability to create innovative performance material
In general, the learning outcomes of the degree scheme are that, on successful completion
of your studies, you should have acquired and demonstrated
a progressively sophisticated ability to analyse texts and relate them to historical
and contemporary issues
the capacity to analyse their own practice
a range of transferable skills such as analysing text, performance, carrying out
research, participating in group work and communicating effectively
the capacity to contribute to the process and production of performances and the
awareness and ability to respond and communicate with an audience
a high competency in the skills of acting, voice and movement that would be
appropriate for employment
a competency in the use of information technology pertaining to essays, dissertation
and performance research
the development of ideas and constructing arguments
12

reflective and independent thinking

the ability to produce written work with appropriate scholarly conventions
the ability to manage personal workloads and to meet deadlines
the ability to negotiate and pursue goals with others
the ability to handle creative, personal and interpersonal issues
the ability to communicate by using a range of forms and media (including
information technology)
PERSONAL DEVELOPMENT PLANNING
Personal Development Planning (PDP) is a process that is undertaken by an
individual learner to reflect upon their own learning and achievement and to plan
for their own educational, academic and career development.
PDP is a feature of all HE courses and it consists of a number of actions that are
important in achieving success at University Level education. These are:
planning (how to achieve objectives or general change);
doing (learning through the experience of doing with greater awareness);
recording (thoughts, ideas, experiences, evidence of learning through writing,
audio video, visual or other means);
reviewing (reflections on what has happened, making sense of it all);
evaluating (making judgements about self and own work and determining what
needs to be done to develop/improve/move on).
These actions enable the HE learner to move forward with confidence to achieve
their own personal educational goals and to realise their potential. Peer group and
tutor support are important in building this confidence. It is therefore very
important that you realise the fundamental truth that education at university level is
a social activity. The college tutorial and workshops provide this venue and for those
who are geographically isolated at home or in the work place there are chat rooms
on Moodle, which is the colleges virtual learning environment. Other social network
spaces are being developed

CRITERIA FOR ASSESSMENT

The following is intended as a guideline. It should not be taken as an all-inclusive,
exhaustive, or definitive document, which covers all cases or eventualities.
Essays
Criteria for the assessment of essays falls into four general overlapping areas: scope,
research/preparation, exposition/style and presentation.
THE FOLLOWING POINTS ARE NOT NECESSARILY PLACED IN ORDER OF IMPORTANCE.
Scope
Involves consideration of the choice of topic/question/theme/object of study
The following points will be taken into account.
13

the choice of topic, etc. in relation to its appropriateness and relevance to the
general field of study or course;
the availability of material;
the required length of the piece;
the level of complexity or difficulty of the area or object of study;
the conceptual and intellectual challenges made by the study.
Research / preparation
The work should demonstrate:
an appropriate amount of reading and/or field research of relevant materials or
primary texts;
familiarity with a reasonable range of secondary materials providing a broader
context;
the type of reading/research in evidence within the main body of the text, as well as
through bibliographical references.
Exposition
The work should:
directly address the key issues raised by the question/area of study in an analytical
manner;
define in an articulate and coherent manner its own parameters and limitations in
terms of general content but also approach, methodology or central argument;
demonstrate comprehensive of any reading/research undertaken and the ability to
use this in a selective and concise fashion;
employ recognised theoretical or methodological approaches where appropriate;
provide to be structures around a clearly recognisable argument (thesis) or theme,
developed in a manner that is coherent and literate and of some substance within
the area of investigation;
introduce points in a manner which allows the reader to grasp the development of
argument/themes;
explore, expound or analyse each issue providing relevant and detailed examples
before moving onto the next point;
move from point to point in a manner that is lucid, grammatical and coherent within
the overall structure;
show evidence of independence or originality of thought;
demonstrate an understanding of the relationship between theory and practice.

14

Marking Criteria for Essays

The aim of this section is to inform you about the criteria staff may take into account when awarding marks for your coursework. It is principally designed for essay-style assignments. It
should help you to understand what we think you are achieving in your work, and should also give you some indication of the kind of performance we expect from you. However, such
guidelines can only ever be general and many other factors may contribute to an assessors final decision about the mark you should be awarded.

Class
I

Mark
90-100

80-89

70-79

II.i

60-69

II.ii

50-59

III

40-49

Narrow
Fail

35-39

Definite
Fail

30-34
20-29
10-19
1-9
0

Coursework
Outstanding work showing an excellent command and understanding of the issues which approaches the postgraduate threshold. Original research (in terms of
content and/or approach), with rigorous argument, which engages in detail with and is very well supported by extensive and appropriate reading. Structure
almost flawless. Superb written expression, free from errors of grammar, punctuation and spelling; extensive use of appropriate terminology and faultless
referencing
Excellent work showing a clear command and understanding of the issues. Evidence of independent thinking and some elements of original research. Very wellstructured work, well supported by appropriate reading, which is referenced consistently. Excellent and stylish written expression, free from all but the most
minor errors, and with faultless use of relevant terminology
Excellent work showing a clear command and understanding of the issues. Some evidence of independent thinking without necessarily showing originality. Essays
usually contain a wealth of relevant information, and demonstrate wide reading of appropriate literature; sources are referenced consistently. Well-structured
and supported work which engages closely with the set task. Excellent written expression, free from all but the most minor errors, and with very good use of
relevant terminology.
Work showing evidence of a good knowledge and understanding of the material, put together in a way which is, for the most part, clearly argued and relevant to
the task set. Answers are thoroughly competent and accurate, and, at the upper end of the class, may occasionally show some originality of thought. Written
expression is clear and largely free from clumsiness and errors of grammar, punctuation and spelling. Referencing methods are almost entirely consistent.
Work which is competent and broadly relevant, but somewhat lacking in focus, organisation, or breadth of reference. One or more of the principal sources may
have been overlooked, there may be over-reliance on one or two items in the literature, some ideas may not have been clearly understood, or the argument may
not be very clearly structured. Some aspects of the work may not be closely related to the task set. Written expression, while not poor, may at times lack clarity,
and there may be a number of errors of grammar, punctuation and spelling. Referencing techniques may show some inconsistencies.
Work showing some knowledge of the material, but having serious shortcomings. It may demonstrate insufficient knowledge of the material, and/or poor
understanding. It may be much too short, and is often muddled, unfocused, or poorly organised. Some essays may fail to answer the question set; others may
contain a considerable amount of irrelevant information. Written language may show numerous faults, with errors and clumsy expression, such that some
passages are difficult to comprehend. Poor referencing techniques.
Work showing some very elementary knowledge of material, but which demonstrates very little breadth of reference, and lapses quickly into misunderstanding
and incoherence, with no perceptible attempt at structuring an argument. The work is very superficial, and suggests either that little effort has been made to
prepare the task set, or that the student is unable to comprehend the material he/she has used. Written expression is very poor, and language errors abundant,
such that some passages are incomprehensible.
Work which is irrelevant, incompetent shows inadequate knowledge of the material and/or is superficial. Some key words or phrases. Extremely poor written
expression; many passages incomprehensible
Only a rudimentary, poor knowledge of the subject, with serious and fundamental errors. Much irrelevant material and/or very superficial. Few key words or
phrases. Extremely weak command of written language.
Weak. Little hint of any knowledge, almost totally irrelevant response; written language largely incomprehensible
No knowledge relevant to the question, but the candidate has made some effort. No perceptible command of written language.
Nothing written, or submitted. Extensive plagiarism
0

Practical Work
Where the term professional is used it relates to time keeping, attendance, work ethic, and the creative and
ensemble nature of the subject. It does not exclude your potential to analyse the concept of professional musical
theatre in its broader sense.
As the type of practical work undertaken in courses varies in its nature and purposes, course convenors or tutors
will discuss with classes the criteria for assessment for such work for each course. Criteria for assessment will
address:
the skills and competencies to be taught and assessed;
the percentage of marks to be allocated to post-project written analysis and/or viva voce;
the criteria, expectations and procedures for monitoring and assessment of the project;
the role of the tutor within the assessment process.
Checklist of Principles/Skills as a Basis for the Assessment of Practical Work
The following checklist should be used by students and tutors only as a creative guide to areas for assessment of
practical work. It offers guidance but is not intended as a set of rules to be followed mechanically.
Process
Time keeping
Self discipline
Co-operation, collaboration and processes of constructive and creative discussion, self-assessment and
criticism
Appropriate research
Preparation outside rehearsals
Acquisition and development of skills
Flair and imagination
Attention to detail
Effective time-management, organisation and efficiency, appropriate documentation of process

Checklist of Principles/Skills as a Basis for the Assessment of Practical Work

Performance
Time keeping
Effective deployment of skills taught on course
Movement, physicality, spatial awareness
Voice
Characterisation
Concentration
Pace
Rhythm
Expressiveness
Attention to detail
Interaction with other performers/attention to detail
Backstage discipline
Ambition
Scope
Consistency
Flair and imagination

Directing
Appropriateness of choice of piece and casting
Conceptual effectiveness of interpretation
Clarity, consistency and coherence of interpretation
Co-ordination and effective use of all elements of production
Deployment of skills taught on course
Practical effectiveness
Overall pace and rhythm of production
Appropriate use of space and co-ordination of spatial dynamic
Organisation and efficient use of technical and other theatre support resources
Scope/ambition
Flair and imagination
Attention to detail
Dramaturgy
Production Elements
Conceptual effectiveness
Aesthetic effectiveness
Exercise of skill in implementation/operation
Co-ordination with other elements of the production
Attention to detail
Consistency and coherence
Evidence of skills acquired on course
Health and safety awareness
Devising
Conceptual effectiveness
Aesthetic effectiveness
Structure
Consistency and coherence of form
Relationship between verbal and visual elements
Character development (where appropriate)
Narrative development (where appropriate)
Clarity of relationship to audience
Clarity of relationship between verbal and visual elements
Scope and ambition
Evidence of skills acquired on course
Dramaturgy

WORKING TOWARDS PROFESSIONAL STANDARDS

The rules of civilised discussion and debate must be observed.
Whilst lively and informed discussion will always be encouraged, such discussion should take into consideration
the rights of other students and lecturers to be given a fair hearing. In all circumstances, the class lecturer will be
the conduit for informed comment and the arbiter of the acceptability of such comment. You must give way
when the lecturer invites another participant to have her/his say. Persistent breach of the rules of common
courtesy (i.e. by talking over lecturers and other participants; holding private conversations whilst others are
legitimately speaking, and other disruptive behaviour) will result in an official warning.
Complaints and concerns must not be permitted to monopolise class-time.
Legitimate complaints and concerns should be brought to the attention of the course tutor either via the class
representative (for group concerns) or by the individual student concerned. If you feel unable to discuss a
particular issue with the course tutor, then an appointment should be made with the Programme Leader, who will
seek to address the matters raised. If this route is deemed inappropriate, the matter should be raised with the
Curriculum Manager.
Please note that it is not the function of tutors directly to address pastoral matters.
If you need help or advice on a personal non-academic matter, you should contact your course tutor who will
make an appointment with the Senior Tutor for Pastoral Care who will then offer the appropriate guidance and
support. Please note that this may involve referral to other qualified professionals. No referrals will be made
without your explicit consent.
At all times you retain the right to make formal complaint through the appropriate channels.
Staff will make every effort to resolve all matters raised. However, if you feel that your concerns have not been
adequately addressed, you should contact Student Services who will provide you with the appropriate forms to
make a formal complaint.
Lateness
1. If you know you are going to be late you must ring THE RECEPTION prior to the commencement of your class.
It is important that you leave your name, course, year group and valid reason for lateness and an expected
time of arrival, please ask the receptionist to forward the message to the tutor that will be affected.
MESSAGES PASSED ON FROM A THIRD PARTY ARE NOT ACCEPTABLE AND THEREFORE WILL NOT BE
REGARDED BY THE ACADEMIC TEAM. If you are late you will not be admitted to classes unless you have a
valid reason, missing buses and oversleeping are not acceptable excuses. All lateness will be challenged at an
appropriate juncture in the session by the class tutor. Repeat offences may result in a warning or disciplinary
action - see section 4 for further sanctions which may be considered.
2. If you arrive late but with a valid reason you should enter at a convenient juncture in the session. Therefore
you must wait outside and enter at an appropriate point, perhaps even knock first. It is then up to the tutor
whether they will permit you to take active participation in the session or would prefer you to sit out and
observe as you may have missed the task notes. Tutors will not spend any time repeating task notes as this
will only disrupt the flow of their session and affect the learning of those students who were on time.
Absence
3. Absence - You must ring the RECEPTION BEFORE 9am to inform staff of non-attendance, this will give the
Academic Team time to adapt their lesson or rehearsal schedules should they require - particularly important
if production call-times are being issued. This message must be forwarded to the first tutor you have that day
3

and the year group tutor. Please leave your name, course, year group and reason for non-attendance - if a
reason is not left the same sanctions as section 4 will be followed. Again, only valid reasons can be accepted,
any that are considered to be unacceptable will be challenged by the year group tutor on your return to the
programme.
4. If your reason for non-attendance or lateness is deemed unacceptable the year tutor will issue an OFFICIAL
WARNING, repeat offences will result in DISCIPLINARY action and may also affect your role within any current
productions being undertaken at that time. Additionally, casting for future shows will take into account
attitudes towards professionalism which in part is measured by accepted levels of attendance and punctuality
and are also prerequisites of your Learner Agreement (refer to items 1, 2 & 3 of the Learner Misconduct
Procedure) Persistent absence may affect your position on the programme.
5. VERY IMPORTANT If you are absent for 5 or more consecutive days you will not be able to continue with
your studies without an official doctor's note that highlights a legitimate reason for non-attendance. Before
you can return you will be required to make an appointment with your year group tutor who will arrange an
interview to assess any course of action that may need to be considered in light of your absence. Prolonged
non-attendance may impact on your ability to complete module learning outcomes and submission and
performance deadlines in which case you will be required to apply for Mitigating Circumstances .In cases
where you may be unable to cope with the rigors of the programme due to the specific nature of your
absence it may be recommended that you intercalate and return the following year to complete your studies.
The year group Tutor will advise the best course of action given the length and nature of your absence and
specifically any issues that may hinder your ability to continue with your studies.
6. Protocols following an absence - No matter whether you have been off for half a day, day or number of days,
it is entirely your responsibility to catch up on any work missed and complete tasks set independently. No
excuses can be accepted for not being sufficiently prepared for your next session due to non-attendance
unless the module tutor or year tutor has agreed special dispensations due to the nature of your absence.
Tutors will of course assist in bringing you up-to-speed with anything that you have missed however; it is your
responsibility to arrange a convenient time to meet with the tutor to discuss this work.
Work ethic
7. All students from all levels of their programme of study must consider the expectation of work at each year of
the provision i.e. Certificate, Intermediate and Honours (refer to Progression Between Levels) The academic
structure of degrees requires you to further develop and extend both practical and theoretical skills and
knowledge from one year to the next therefore it is essential that methodologies delivered at each level of
the provision are harnessed and utilised in your approach to future work, in fact it is a prerequisite in order to
meet module learning outcomes successfully. Disregarding the practices that form the curriculum may affect
your overall academic achievement and practical performance ability.
8. All Students must be appropriately prepared for sessions. Tutors will always require some sort of preparation
for their classes which may require extra-curricular activities such as independent rehearsals, wider-reading,
research etc. Likewise, it is expected that students take some responsibility for being sufficiently warmed-up
and mentally prepared for each session so that there is an appropriate level of focus and concentration for
the commencement of both practical and theoretical studies. It is important therefore that you have all the
relevant equipment, clothing and footwear as basic requirements. For all dance and/or movement based
classes both Acting and Musical Theatre cohorts must wear a basic black ensemble, i.e. black T-shirt and
black jogging bottoms or jazz pants (without logos and motifs). All jewellery must be removed before
commencement of studies for health and safety purposes and long hair tied back. For more specific dance
classes, Musical Theatre students must bring the appropriate attire which will include basic blacks, footless
tights, jazz pants, jazz shoes and ballet shoes.
9. Dictaphones and mobile phone voice-memo devices may be used in sessions but you must seek authorisation
from the tutors before using them. All mobile phones must be switched off or on silent and not vibrate.
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