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Acting Shakespeare

Module description

Using acting Shakespeare as our inspiration, the first half of the module draws on best performance practice and actor training from English-speaking traditions. We use this to practically explore the nuts and bolts, techniques and tactics of performing Shakespeare. The second half of the module journeys around the world to be inspired by performances of Shakespeare in other languages, genres and cultures. Prior knowledge of or experience with Shakespeare is NOT a requirement. You work together as a large group, in small groups and in pairs in a supportive learning environment. Along with your practice journey of process into performance, a written portfolio (critical and reflective) will draw together research, embodied practice and acting process. 

Module aims - intentions of the module

The aim of the module is to help you find and/or develop your acting skills and grow your understanding of Shakespeare and twenty-first century global performance through the inter-related process of:

• Actor training - developing proficiency in performing text, psychophysical awareness and expression
• Collaboration – developing capability in imaginative and culturally sensitive creation while developing group time management and problem-solving skills.
• Creativity - using a variety of stimuli as starting points for imaginative exploration, selection, adaptation and refinement of textual sources
• Critical context - Extending your understanding of the theories and practices of performances. Critical study and appreciation of global Shakespeare, with reference to your own work and exemplars of professional theatre

Intended Learning Outcomes (ILOs)

ILO: Module-specific skills

On successfully completing the module you will be able to...

• 1. Demonstrate an ability to translate theoretical approaches of acting Shakespeare into performance.
• 2. Demonstrate an ability to analyse historical theatre texts and performances in preparation for contemporary performance.
• 3. Demonstrate understanding and appreciation of global Shakespeare within an historical and cultural context.

ILO: Discipline-specific skills

On successfully completing the module you will be able to...

• 4. Relate to others in theatrical processes and performances; work effectively with others in small task- orientated groups.
• 5. Synthesise findings in practical and written tasks. Interpret research into physical practice and vice versa.

ILO: Personal and key skills

On successfully completing the module you will be able to...

• 6. Demonstrate research skills using personal initiative; set personal objectives and identify and evaluate personal learning strategies.
• 7. Demonstrate group cooperation skills, including the ability to give and receive constructive critical feedback
• 8. Demonstrate confidence in performance skills and public presentation, both of practice and researched material.

Syllabus plan

Whilst the content may vary from year to year, it is envisioned that this module will:

• begin by introducing key practical approaches to the analysis and performance of Shakespearian text into performance. Research and practice will develop simultaneously, and you will gain the skills to read the acting signals built into Shakespeare’s work; bring heightened language into performance; examine a range of performance modes, contexts and approaches to create your own interpretation.
• though a varied series of staff-led activities and self-led explorations, allow you to create small group performances to share at the end of the module developing your collaborative and individual skills and providing space for you to showcase your learning.
• throughout, give you regular opportunities to critically reflect on the relationship between working practices and modes of performance, towards developing your own personal 'methodology' for developing a role and interpreting a text.

There will be a combination of reading, viewing, practical textual enquiries and performance creation tasks. You will work in supportive group situations (small groups and pairs) and on short solo tasks. Fundamental to practical sessions will be the development of the understanding and embodiment of performance cues within the text. A written portfolio (critical and reflective) will draw together research, embodied practice and solo process.

Learning activities and teaching methods (given in hours of study time)

Details of learning activities and teaching methods

Formative assessment

Summative assessment (% of credit)

Details of summative assessment

Details of re-assessment (where required by referral or deferral)

Re-assessment notes

Deferral – if you miss an assessment for certificated reasons judged acceptable by the Mitigation Committee, you will normally be either deferred in the assessment or an extension may be granted. The mark given for a re-assessment taken as a result of deferral will not be capped and will be treated as it would be if it were your first attempt at the assessment.

Referral – if you have failed the module overall (i.e. a final overall module mark of less than 40%) you will be required to submit a further assessment as necessary. If you are successful on referral, your overall module mark will be capped at 40%.

Indicative learning resources - Basic reading

Shakespeare’s Plays and Poems

• The RSC Complete Works of Shakespeare edited by Jonathan Bate and Eric Rasmussen (London: Palgrave Macmillan, 2008)

Works on Shakespeare and acting

• Barton, John, Playing Shakespeare (London: Methuen, 1984)
• Berry, Cicely Text in Action (London: Virgin 2001)
• Brown, John Russell, Shakespeare Dancing: a Theatrical Study of the Plays (Basingstoke: Palgrave Macmillan, 2005)
• Escolme, Bridget, Talking to the Audience: Shakespeare, Performance, Self (London: Routledge, 2005)
• Gielgud, John Acting Shakespeare (London: Pan, 1997)
• Hall, Peter Shakespeare’s Advice to the Players (London: Oberon 2003)
• Hartley, Andrew James The Shakespearean Dramaturg (Basingstoke: Palgrave Macmillan, 2005)
• Jarrett-Macauley Shakespeare, race and performance: the diverse bard (London: Routledge 2016)
• Kiernan, Pauline Shakespeare’s Theory of Drama (Cambridge: CUP 1996)
• Levith, Murray J Shakespeare in China (London: Bloomsbury: 2004)
• Slater, Ann Pasternak Shakespeare the Director (Brighton: Harvester, 1992)
• Tucker, Patrick Secrets of Acting Shakespeare (New York: Theatre Arts Books, 1991)
• Weingust, Don, Acting from Shakespeare’s First Folio: Theory, Text and Performance (2006)

Indicative learning resources - Web based and electronic resources

• Multicultural Shakespeare (journal) https://encore.exeter.ac.uk/iii/encore/record/C__Rb2654466
• Sonho de uma Noite de Verao: uma intromissao do grupo Nós do Morro no mundo de Shakespeare (performance of Midsummer’s Night Dream) (Mello da Costa, 2004)  https://globalshakespeares.mit.edu/sonho-de-uma-noite-de-verao-mello-da-costa-fernando-2004/#video=pyramus-and-thisbe-mnd-mello-da-costa-fernando-2004
• Shakespeare's Women Today: Harriet Walter in Conversation with Carol Rutter https://www-digitaltheatreplus-com.uoelibrary.idm.oclc.org/education/collections/digital-theatre/shakespeares-women-today-harriet-walter-in-conversation-with
• Shakespeare and Orientalism: an interview with Abdulla Al-Dabbagh https://www-digitaltheatreplus-com.uoelibrary.idm.oclc.org/education/collections/talking-about-plays/talking-about-plays-shakespeare-and-orientalism-an
• Global Shakespeare: Michael Dobson in conversation with Jyotsna Singh.https://www-digitaltheatreplus-com.uoelibrary.idm.oclc.org/education/collections/digital-theatre/michael-dobson-in-conversation-with-jyotsna-singh
• Exeter Digital Archives
• Digital Theatre +

Key words search

Shakespeare, global, acting, performer training, text interpretation