Leader  George Smith

“activate the body   exercise the voice   engage the mind   release the imagination   integrate the whole”

S  Y  L  L  A  B  U  S

this will evolve according to students’ needs

VOICE  AND  SPEECH                                                      WORDS  IN  ACTION

developing power expression clarity                                  “words…key to…action…thought…feeling”

  relaxation posture alignment                                            word sounds and energy

  fundamentals of pure voice                                               READING  ALOUD

  intercostal diaphragmatic breathing                                prepared prose poetry drama

  resonation                                                                            sight reading of prose poetry drama

  enunciation of vowels                                                         POETRY  SPEAKING

  diphthongs                                                                          structured verse

  articulation of consonants                                                   ballad

  expressive projection                                                           blank verse

  RP  dialect  accents                                                              Petrarchan and Elizabethan sonnet

  voice and movement                                                            ode

  use of microphones                                                            free verse

                                                                                               comic verse

  pitch  pace  pause  phrasing  power                                 CHORAL  SPEECH

  inflection  tone  rhythm                                                     group speaking of prose poetry drama

  vocal range                                                                          STORY-TELLING


relaxation   posture   alignment   flexibility   balance   strength   physical awareness

leading to imaginative creativity

movement, the outward expression of an inner impulse emanating from the centre to the periphery and beyond


singly   with another   as part of the ensemble

to experience the centrality of the spine in all movement

to free and use the body as a creative, eloquent instrument, a means of communication

to bring about movement that is motivated, instinctive, unconscious, dramatically significant

to use body parts

head  face  hands  feet

to convey on their own   with another part   together with all parts

age  character  state of mind   occupations   environments

to explore

rhythm   space   eye contact   body language   non-verbal communication   physical transformation


basic stage combat

movement of dance

movement of singing

movement and period costume


 enabling the discovery of acting that is  authentic   immediate   controlled   free

acquiring precise control of the body’s expression in space

finding a way physically to make others ‘see’

maintaining spontaneity with repetition

away from the tyranny of words


presenting elements of everyday life as self

finding physical means of presenting the true reality of the ordinary

observing the characteristics of an occupation and showing them truthfully to an audience

given a subject the student composes, plans and develops the stage action

students find ways of being persons as different as possible from themselves


the art of telling a story to an audience

(there are a cross-overs from the Voice and Speech and Movement aspects of this syllabus)

realism    naturalism

tragedy    comedy    farce    melodrama

actor playing as self       playing someone else

ensemble acting

solo acting – monologue  soliloquy  chorus

text – its analysis and usage

building a character

use of space and acting spaces

proscenium    thrust/apron    in-the-round    avenue/traverse    Amphitheatre

actor and audience

actor and director  

 in rehearsal

theatre history and playwrights

Constantin Stanislavsky    Michael Chekhov    David Mamet