This technique concentrates on two key ideas: Acting: Before You Think and

Thinking: Before You Act. Whilst studying Script Analysis and Performance Technique, students explore scripts by understanding the story and the written circumstances, and then going through the process of choosing ‘actions’ and making choices that will create a character.

The technique focuses on what is actually happening in the scene and on the pursuit of an action or goal. Developed by David Mamet and William H. Macy, the methodology explores two main elements: what the character is “doing,” and what he/she “wants”. This is distilled down to a playable “action,” which the actor personalizes through what is called an “as if.” The second part of the technique is called Moment: students will complete a variety of exercises, including Repetition, which will help them conquer self-consciousness and teach them how to focus on the other people in a scene, and to act spontaneously and truthfully to that stimuli.

Improvisation – The Five Pillars

Improvisation classes will introduce students to the five basic concepts of improvisation: Specificity, “Yes and…”, Object Work, Emotion and Status.

Improvising, and being comfortable improvising, is fundamental to an actor’s preparation. These classes will introduce students to the power of this skill and allow them to learn how to use it in a way that will help their confidence and their overall acting craft.

Meisner Technique

Meisner Technique takes as it’s basis, what is sometimes called “truthful acting.” Peter Brook refers to this as the “invisible actor”. i.e. acting the truth of a character, not seeking to make them “interesting” or “entertaining”. Sanford Meisner, who developed the method, encouraged his students to live truthfully under any given imaginary circumstance. The approach to the method is to have the actor act on fundamental emotional impulses – their instinct as opposed to their brain.

Stanislavski’s System

Stanislavski was the originator and the father of most modern acting theory. His theories were the starting point for most methodologies that came after, including Meisner and Strassberg. His philosophy, in essence, encourages an actor to use his/her emotional memory when approaching work, asking themselves, “How would I react if this was really happening to me?”

Acting for the Camera

Most traditional training methods for the actor make no allowance for the specificity of screen acting, rather they adopt a ‘one size fits all’ approach, that focuses the student solely on ‘truthfulness’. These classes will look at the specific challenges of acting on screen, as compared to stage. This includes learning how to maintain concentration on a set and not being distracted by a camera and crew, learning how to deliver a performance suitable for the size of shot and the scene, learning how and when to be consistent for continuity, and understanding the importance of character arcs so as not to be confused by shooting out of sequence.

Le Jeu – Techniques from Phillipe Gaulier and Jacques Lecoq

These classes will look at the techniques used by performers such as Sacha Baron Cohen, Leigh Francis and Helena Bonham Carter and is particularly suited to devised work and work that contains ‘movement’ elements. The approach is designed to allow the student to discover the pleasure of performing. There are philosophical principles involved, but it is more about finding the ‘fun’ in acting and performing, or as Philippe Gaulier terms it: “Le Jeu – ‘the game’”.

Voice – Techniques from Cicely Berry

“Speaking is part of a whole: an expression of inner life.” Cicely Berry’s work is based on the conviction that our natural instincts have been crippled from birth by conditioning. She argues, an actor needs precise exercise, and clear understanding, to liberate hidden possibilities and to learn the hard task of being true to the ′instinct of the moment′. Her methodology begins from a simple premise: there is no such thing as a correct voice. “There is no right way––there are only a million wrong ways, which are wrong because they deny what would otherwise be affirmed. Wrong uses of the voice are those that constipate feeling, constrict activity, blunt expression, level out idiosyncrasy, generalize experience, coarsen intimacy.”  

Audition Technique

Auditions are the life blood for any actor, and knowing how to approach them in a way that best delivers what the Director looking for is key. The classes aim to allow the student to understand how to prepare for auditions, how to be comfortable and confident when sight reading, and how to ‘work’ the room.

Students under 18 years should ideally have GCSE English at grade A*-C (grade 9 – 4) and a full Level 3 qualification such as BTEC, A Level or an Access to HE Course. If you have industry experience, we can consider your application on a case-by-case basis.

Students over 18 can apply as mature students providing they can demonstrate the ability (and experience) to study at the appropriate level. Employment history will be advantageous and qualifications taken several years ago will also be taken into account.

Year 1

All students study common modules in their first year. This builds the foundation of the study programme:

HND – Year 1 Modules:

• The Performing Arts Industry (Pearson-set)
• Professional Development
• Acting 1
• Voice and Speech for Actors
• Acting for Camera
• Devising
• Film Studies
• Script writing for FIlm & Television

Raindance Year 1 Courses:

• Saturday film school
• Filmmakers foundation certificate
• Directors foundation certificate
• Writers foundation certificate
• Technical foundation certificate
• Basic cinematography
• Hands on directing 1
• Hands on directing 2
• Directing actors
• Movie Genre Foundation Certificate.

Year 2

In the second year, students start to specialise in specific areas of filmmaking, developing their skills further and working in teams on industry-style projects.

HND – Year 2 Modules:

• Creative Research Project (Pearson-set)
• Working in the Performing Arts Industry
• Acting 2
• Drama
• Directing
• Performance Project
• Auditioning
• Movement for Actors

Raindance – Year 2 Courses:

• Producers foundation certificate
• Documentary foundation certificate
• Comedy intensive with Steve Kaplan
• Lo-To-No budget filmmaking with Elliot Grove
• Saturday VR film school
• Create and market your web series
• Script analysis for directors
• The short film project
• Write and sell the Hot script
• Pitching Skills Workshop.

* Units can be subject to change.

Year 3

Semester 1 

Module 1 – Critical Research (15 credits)

This module gives you the opportunity to carry out of a piece of critical research into your chosen specialisation within film & TV production, to provide a practical, as well as academic, exploration of an area of professional interest to you. The module will also help you to develop your skills of enquiry, reflection, problem solving and academic writing, which will be valuable preparation for your reflection in future modules.

Module 2 – Specialist Negotiated Practical Project (45 credits)

This module provides you with an opportunity to create a unique project that explores a chosen area of specialisation, with a mind to developing your practical skills. Possible projects that can be undertaken may include: a short test film, a music video or test advert, showreel scenes, rehearsal workshops, script development/ writers rooms/ treatments, pitch decks or directing workshops. 

Semester 2

Module 3 – Film & TV Business Practices (15 credits)

This module examines the film marketplace, the industry and the job roles available to you in your future career. It is designed to help you navigate the current industry landscape, the opportunities, and the legal and financial considerations you will need to consider as you embark on a career in the film and TV industry. Assessment is via an essay, or short video, that takes the form of a critical case study, or a practitioner profile, from within your chosen specialisation. 

Module 4 – Film Practices Final Project (45 credits)

This module provides you with an opportunity to creatively explore an individually chosen area of specialisation and to produce a large scale, professional standard creative artefact. You are able to choose one of four options: (a) a producing project; or (b) a screenwriting project; or (c) a directing project; or (d) an acting project. 

The aim of the finished project should be to produce an effective ‘calling card’ to aid entry into the industry. Whether, as a director, actor, screenwriter or producer, the expectation is that all final projects will be produced to a highly professional standard suitable for public/ festival screening and/or future professional production.

Units are interlinked to replicate “real world” scenarios and offer the opportunity for students to build a range of skills to maximise employment opportunities.

Students can enter employment in a wide range of roles within the film industry. Careers include screenwriting, directing, producing, documentary filmmaking or cinematography.
We have an interesting network with producing companies in Mexico you will be in contact with.

Complete the online application form

When we have received your application we will contact you to arrange an interview time.