Professional Documents
Culture Documents
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
Programme title
UCAS code
WW34
Date of Validation/Re-validation
July 2008
2013
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.
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.
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
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%
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
Student Services
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.
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
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
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
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
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)
rd
th
nd
th
th
th
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.
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.
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
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
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
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.
4