Course
Overview


Our intensive and practical course focuses on fundamental technical acting techniques, while putting you at the cutting edge of acting for screen and digital platforms.
You work with traditional and emerging technologies to create a diverse set of skills. These include TV, film, online, voice for audio (animation, ADR, immersive audio) and motion capture (including VR). You also develop off-camera skills as a writer, director and producer while collaborating with other students on productions as you compile a varied and well-rounded professional media portfolio.
What You Will
Study
The Actor's Technique I: Acting I
In this module, you examine the techniques of different practitioners and how to apply their approaches to character and scene. Practitioners studied include Constantin Stanislavski, Michael Chekhov and Sanford Meisner. Through individual and group work, you develop the necessary skills required of a naturalistic Stanislavski-based approach such as improvisation, textual analysis, practical realisation of contemporary text and reflection. Towards the end of the module, you harness the core principles of these techniques to perform a psychologically-driven contemporary text. Movement and voice sessions support your understanding of technique and its application.
This module content is indicative.
The Actor's Technique I: Acting II
This module builds on your learning from the other modules in The Actor’s Technique. You bring together the psychological, physical and vocal techniques you’ve learned so far in varied and challenging naturalistic texts.
You hone your technical application to dramatic texts, in order to understand its application, practicing naturalistic acting preparations, techniques and rehearsal approaches in preparation for the recreation of performance. You present your work in-house, prior to transferring these skills to the screen in Acting for Camera I.
This module content is indicative.
The Actor’s Technique I: Movement & Voice
This module combines and integrates the core acting disciplines of movement and voice, allowing you to develop a working knowledge of anatomy and physiology, and the recognition of your voice as an expressive instrument. You explore the fundamental components of movement and space including weight, tension, effort and rhythm. You improve spinal alignment, flexibility and strength, and begin to work with breath awareness. By focusing on these technical principles, you work towards neutrality and centring, eliminating any tensions to utilise psycho-physical awareness in relation to building character and worlds, and the analysis of voice and sound in differing and challenging spaces.
This module content is indicative.
The Actor’s Technique I: Acting for Camera I
In this module you will work with other creatives on a screen acting scene and familiarise yourself with basic technical screen acting skills. You adopt both on and off-screen technical skills when introduced to the main principles of acting for camera to record dramatic material, recognising key concepts in visual storytelling. You will work with a director, as well as studio producer and technical crew to understand the process of filmmaking, inter-personal working relationships, problem solving and teamwork. You will consistently self-assess, by viewing rushes of your own work and others, working peer-to-peer as well as realising your director’s vision.
This module content is indicative.
Artistic Practice I
This module supports your understanding of the scriptwriter’s intentions and practice, while providing you with the skills to develop your own script and story writing, as well as understanding the construction and theories of narrative and authorship. You practice this craft, working to narrative conventions, script layout and utilsing the vocabulary of visual and audio story telling. You also look at the roles technology and social media play in telling stories in the digital age. To help put your writing work into context, you discover the history of recorded media and explore the relationship between audience, performance space and the act of performance.
This module content is indicative.
Cultural Perspectives I
Through this module, you learn to analyse practitioner approaches and historical acting works. You develop a solid foundation of theoretical, historical, contextual and critical studies which inform your work throughout the course. You investigate acting traditions and examine the evolution of genre, style and practitioner approach. Practical classes link your learning of theorists and philosophies to your technical training in The Actor’s Technique. Finally, you produce a written assignment which enhances your analytical skills and understanding of performance works.
This module content is indicative.
The Professional I
This module is designed to help you achieve sustained work in your chosen profession. You learn about the different elements involved in putting on an event, including planning, budgeting, rights and clearances and digital marketing. By working as part of a small team with students from other subjects to create a one-off event, you learn first-hand about the importance of collaborating and develop essential interpersonal skills including negotiation and persuasion. Through this module, you also learn to reflect on your own personal and professional attributes and skills. This self-development technique stands you in good stead throughout your professional career.
This module content is indicative.
The Actor's Technique II: Advanced Acting
Through this module, you explore advanced acting approaches, investigating style and genre to understand the requirements and demands of specific screen acting styles. You look at developments in dramatic form from contemporary and classical techniques including 20th and 21st century styles, genres, practitioners and methodologies and consider their translation to the screen. You work on rehearsal techniques and focus on the creation of a scene or edited work, applicable to studio-based screen work, such as acting for comedy, sitcom, continuing drama and other screen styles.
This module content is indicative.
The Actor's Technique II: Advanced Movement & Voice
In this module you advance your understanding of movement via classes and workshops, examining the body and physical life of a character in preparation for its application to motion capture and acting for CGI or gaming. You also investigate vocal resonance, range, speech and text. You hone your sight-reading skills as well as musicality, tone, dynamics and textual annotation appropriate to microphone techniques to make studio adjustments and technical adaptations. You analyse and apply your vocal technique in differing contexts, such as audiobook recordings, commercial, ADR for animation, gaming and voiceover working with professional voice coaches.
This module content is indicative.
The Actor’s Process: Acting for Camera II
This module builds on the technical screen acting and camera skills acquired in Acting for Camera I, putting this into practice in a TV studio. You also look at the nature and significance of different roles and communication processes in a studio environment. You explore communication, mass media and audience reception theory and incorporate these into your work. During the module, you participate in the creation of a short programme or film, which is produced in the studio to a small invited audience. You also examine a contemporary industry issue related to your practice to enhance your knowledge and articulacy.
This module content is indicative.
The Actor’s Process: Acting for Camera III
This module is a project-based exploration of VR and motion capture, in which you apply learning from core acting modules, as well as movement and voice, to execute a recorded scene. You adapt and adjust your learned techniques, exploring the nature of audience engagement and reception of VR and motion capture. You collaborate with students from other disciplines, working on group projects to produce a separate VR and motion capture experience, analysing the technical principles of digital performance.
This module content is indicative.
Artistic Practice II
This module offers you the option to continue to develop your writing skills for specific mediums, such as camera and audio or to opt for a pathway in directing, applicable to different media platforms and mediums. You analyse narrative forms, devices and technicalities used in dramatic writing and/or directing with specific considerations for camera and audio. You will consider how to assess and address a target audience, employing performance conventions and how to apply this to script production. Your work in this module includes adapting an existing text and creating short original pieces for camera, audio or a different medium according to a given brief. You may be working as part of a team of writers, as well as in negotiation with students from our making performance possible courses and the module tutor.
This module content is indicative.
Cultural Perspectives II
This module builds on your knowledge of theatre and acting practice within the major artistic, intellectual and critical movements of the modern era. You examine critical theorists, theories and philosophical perspectives on texts, theatrical forms, media, styles and genres. Bringing together research, theory and practice, you then explore these concepts through your practical work in The Actor’s Process. Your learning in this module furthers your understanding of the contextual significance and interpretation of works, writers and artistic creators to enhance your approach to developing characters and worlds.
This module content is indicative.
The Professional II
In this module, you gain the knowledge and skills to plan a project, which will stand you in good stead for creating independent work. You learn how to consider industry demands, promotional tools and initiatives, and analyse audience targets and demographics. You undertake research to produce a career plan and funding options. There is the opportunity to connect your work in this module with your work in Artistic Practice II and project-based work in your third year.
This module content is indicative.
The Actor’s Performance: Media Production I
In this module, you experience the creation and delivery of a screen acting production for a live event or film/TV broadcast, applying advanced techniques and knowledge of studio and location practice whilst working with a recognised, professional director. You adapt the skills you have developed in studio and location filming to the broadcast of a live event or performance, learning about different models of broadcast and their commercial considerations. You work with a team of creatives to employ professional etiquette and working practices, demonstrating a high level of professional discipline and execution.
This module content is indicative.
The Actor’s Performance: Media Production II
Through this module, you consolidate your experience with recorded media, taking part in both the production and performance of a short media project in film, voiceover, radio, ADR or gaming. You collaborate with creatives and are required to engage with digital concepts of artistic value and marketing.
You research and fulfil the pre/post-production requirements and expectations of an assigned role, and work within high-pressured and challenging environments which match the real world. As well as your final, edited media project, you are assessed on your professional engagement and reflective analysis of your work.
This module content is indicative.
The Actor’s Performance: Media Production III
In this module, you assume full responsibility for your own process and production work to meet professional standards. You will work with a director as mentor to produce a digital production of your own creation, providing contrasting material for your developing creative profile and portfolio. Your independent methodology is further tested through self-governed responsibility and engagement with external professionals. You reflect on your process, professionalism and production through a verbal evaluation.
This module content is indicative.
Artistic Practice III
Following on from previous Artistic Practice modules, you advance your development of a complementary discipline or concentrate on an additional skill which supports the creation of original new work as part of our festival, staged outside the building. Again, you receive mentored supervision in your chosen area leading to a live performance event of a multi-disciplinary mixed-media production which showcases your work. Following the event, you reflect on how your additional skills impact on your professional profile, the artistic impact of your work and areas for development and progression.
This module content is indicative.
Cultural Perspectives III: Critical Project (Option)
In this module, you embark on an independent research study to explore an issue which links to your personal interests and ambitions. You are required to submit an initial proposal of your research, which then forms the basis of a 5,000-word research paper. Your paper should examine cultural and historical contexts and perspectives that define textual and theoretical readings in live or recorded media. It should also analyse practitioner approaches and evaluate the creation of performance. This allows you to demonstrate advanced analytical research skills and written communication skills.
This module content is indicative.
Cultural Perspectives III: Practical Project (Option)
This module brings together your practical and research skills to develop a solo practice-as-research project. Your project allows you to demonstrate your ability to work independently and take on responsibility for a project over a period of time. Possible projects include a staged performance, play reading, script submission or a short film. Your work should reflect an awareness of the relevant cultural and historical contexts and respond, through practice, to an appropriate research question.
This module content is indicative.
The Professional III
In this module, you prepare for your next steps after graduation. With links to your performance-based work, you focus on presenting yourself to the industry. You cover essential elements including audition and interview technique, creating a digital showreel, building a website for self-promotion and developing other marketing tools. You are encouraged to improve your entrepreneurial and project/event management skills by taking on a production role in the management of your work in Artistic Practice III.
This module content is indicative.
How You Will
Study
-
Technical skills classes
-
Workshops
-
Performances
-
Seminars
-
Lectures
-
Independent study
-
Group Work
-
Masterclass
How You Will Be
Assessed
Your assessment takes place during practical classes and rehearsals, performances and your reflective journals. Overall, assessment is based on applications of technique in performance situations, either in front of a camera, an audience or in workshops.
The coursework element is focussed on your future career, your working environment and critical life skills. In your third year you undertake an optional practical or written research project. Again, career focussed and chosen by you.
Practical/written work ratio
80% practical work / 20% written course work
Validated By:


Alan Pearce
Course Leader Acting (Screen & Digital Media)
Alan has worked as an actor for 20 years; in live performance at The National Theatre for Nicholas Hynter and in the West End for Rupert Goold; on film in Star Wars: Rogue One; Darkest Hour with Gary Oldman; on TV in Black Mirror and in season 2 of His Dark Materials. Alan has taught screen acting for 10 years at LAMDA and UCA, gaining a PGCert in Arts education in 2018; writing and directing over 15 short films for training actors.

Will Hammond
Head of Acting
Will has worked in theatre, TV, film and radio. Having worked across mediums and platforms, Will can support students to become adaptable. His credits include the BBC, Lime Pictures, Greenwich Films, West Yorkshire Playhouse, Paines Plough, Frantic Assembly and Soho Theatre. Will has won the High Sheriff Award for New Writing from the Stephen Joseph Theatre, judged by Sir Alan Ayckbourn. He co-wrote the musical Kate and the Devil, which was shortlisted for the Stiles & Drewe Best New Song Award 2015. He feels it is important for actors to cultivate their own independent approach to acting in preparation for sustainable careers.

Peter Carroll
Lecturer
A graduate of both Manchester University and Manchester Metropolitan, Peter also studied and developed his craft at The Acting Studio in New York City. He has a PGCert teaching qualification and has worked extensively in both education and the wider industry as a drama facilitator, workshop deviser and acting coach. He specialises in screen acting and the Meisner Technique. He remains very active within the industry. Peter is founder and creative director of Thinking Actors - an independent training and filming support centre for actors, content creators and casting. He’s passionate about Continued Professional Development. He works closely with both emerging and established talent and his clients can be seen across major terrestrial and digital platforms.
Peter believes his job is to facilitate an actor’s ‘truth’, their voice and their uniqueness. He aims to create confident, resilient, efficient and resourceful actors who understand and embrace the very different demands of acting for camera and the development of a life and truth under imaginary circumstances.

Matthew Dudley
Lecturer
Matthew has taught on and led professional training and degree programmes for over 15 years. After studying at Trinity College of Music and the Guildhall School of Music and Drama, he performed in the UK and in Europe. Matthew has taught voice, text and singing at several respected training institutions, including Guildford School of Acting and Italia Conti, and has delivered workshops throughout the UK for organisations such as Bristol Old Vic Theatre School and the British Voice Association. He is a certified Associate Teacher of Fitzmaurice Voicework and has taught on the certification programme in Los Angeles. His teaching is influenced by his study of classical and contemporary voicework, and incorporates movement work, mindfulness and concepts taken from his study of psychotherapeutic modalities.

Gary Horner
Course Leader MA Acting (Company), Lecturer & Visiting Lecturer
Gary trained as an actor at Guildford School of Acting before going on to work professionally throughout the UK. Subsequently he went on to gain his MA from The Royal Central School of Speech and Drama in Voice studies and trained intensively with author of Freeing the Natural Voice, Kristin Linklater to become a designated Linklater teacher. Gary is an internationally recognised voice coach and director and has worked extensively within the UK Drama School sector.
Alongside being the course leader for the MA in Acting (Company) at LIPA, Gary continues to work professionally as a voice coach and director. Mostly recently, Gary was an associate voice coach on Henry VI part 3 at The Royal Shakespeare Company. Prior to this some of Gary’s credits include Matilda the musical (Cambridge Theatre, London), Acts of Resistance (Bristol Old Vic), The Boy with Two Hearts (Wales Millennium Centre / The Royal National Theatre), Brainstorm (The Royal National Theatre), Sour Lips (Oval House Theatre), The Arsonists (Watford Palace Theatre), Bush Bazaar (The Bush Theatre), Romeo and Juliet (The Chocolate Factory), Titus Andronicus (Bedlam Theatre/UK TOUR), In His Image (Hampstead Theatre), Reverie (Pleasance Theatre), Hello, Mr Capello (Watford Palace Theatre).
Gary oversees the development and delivery of the MA Acting (Company) course, as well as delivering across the BA and Foundation courses within the Acting department. He directs projects, final year productions and teaches technical voice and voice into text.
Working within the theatre industry with some of the biggest theatre companies and theatres around the UK allows Gary to understand the current trends within the professional sphere and ensures that the training he delivers at LIPA is relevant and fully prepares students for entering into the acting industry.
Publications/research
A non-elitist approach to Professional Development in Actor Training - Drama and Theatre Publication – Summer Term 1 – 2019/20 (Publication)
Northern Centre for Voice and Movement bringing Cultural Capital to a forgotten land – International Network for Voice Symposium – 2019 (Presentation)

Sophie Mensah
Lecturer
Sophie Mensah is a professional actress with experience in theatre, television, and film as well as voiceover and extensive work in corporate role play. She is a member of Spotlight, Equity and a proud member of The Actors Benevolent Fund.
Sophie has taught as a freelance acting teacher at institutions such as The Royal Central School of Speech and Drama, East 15 Acting School, St Mary’s University and more. She has extensive experience in coaching actors in their audition technique. She specialises in text analysis and developing the actor’s personal methods of approaching and developing a character.
Sophie has an MA in Actor Training and Coaching from the royal Central School of Speech and Drama and studied a BA Hons in Acting at E15.

Beth Vyse
Lecturer
Beth is a critically acclaimed and award-winning creator/performer. She recently finished an international tour of her own show As Funny As Cancer, she also has national and regional theatre, global RSC, BBC, and ITV credits to her name. Over the last 20 years she has worked tirelessly within an industry she adores to become an established comedian, director, and lecturer – sharing her wealth of experience to help educate and encourage those with her shared passion for performance.
What Our
Graduates Do
We expect that graduates from this new course will be contemporary screen actors capable of creating employment for themselves and others in today’s recorded and digital world. Your likely future work will be as performers in TV, film, ADR, scripted reality, virtual reality, motion capture, gaming and online. Other career outcomes will be as TV presenters, online influencers, directors, scriptwriters, content creators and podcasters.

GRADUATING ACTORS 2023
It is with great pleasure that we present our graduating Actors from BA (Hons) Acting and BA (Hons) Acting (Screen & Digital Media) for 2023.
Educational qualifications are important but limited in what they can tell us about you.
Your natural ability, your fit with what and how we teach, your growth and your potential are also key factors in our admission process. We can’t evaluate these solely on your educational achievements, so no matter which course you are applying for, we look for the following attributes on your application and at the interview stage.
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section. After you accept our offer, we'll send you a list of books and equipment that we'd like you to bring. We recommend that you bring specific clothing and footwear for your practical classes. These are standard items of clothing that you will need as a working actor.
Here are the key course-related costs that we'd expect you to pay during your three years with us, in addition to your tuition fees:
Script fees
Each year, you are asked to buy Acting scripts for your roles in assessed performances: the costs for these are likely to work out roughly as follows:
- First year acting script fees: £20
- Second year acting script fees: £25
- Third year acting script fees: £40
Trips and training courses
As part of the various modules on the programme, some class trips may be offered to help support your learning. Some of these will form part of the curriculum but most will be important additions to your work. Some trips may be free or subsidised but you may be required to cover some costs yourself. Please allow up to £100 for these throughout the year.
Seeing shows
You should see live performances as often as you can. This is not compulsory, but it will help your development as a creative practitioner. Trips to the theatre and live events are not covered by your tuition fees, so you'll need to cover these costs yourself. We are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see LIPA shows. We offer discounted student tickets to make this as affordable as possible.
Portfolio
At the end of Year Three you are required to create a professional standard portfolio. There are inevitably printing and binding costs associated with this task, but most people see it as an important investment for their future career. You may also want to include head shots. We encourage you to undertake research into which photographer to work with. Our students typically pay around £80 to £120 for their headshots. Professionally-taken headshots can cost over £300 in London.
Project Work
While developing some of your projects, you may incur costs related to transport or accommodation. This will depend on the nature of your projects and the research you wish to carry out in order to produce them.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool represents great value for students. Accommodation costs are low in comparison with other places in the UK, particularly the South East. The city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting,:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.
Additional Costs
As part of this course, there are likely to be some additional costs that are not included within your tuition fees. Many of these are optional. We’ve also included information about cost of living expenses in Liverpool in this section. After you accept our offer, we'll send you a list of books and equipment that we'd like you to bring. We recommend that you bring specific clothing and footwear for your practical classes. These are standard items of clothing that you will need as a working actor.
Here are the key course-related costs that we'd expect you to pay during your three years with us, in addition to your tuition fees:
Script fees
Each year, you are asked to buy Acting scripts for your roles in assessed performances: the costs for these are likely to work out roughly as follows:
- First year acting script fees: £20
- Second year acting script fees: £25
- Third year acting script fees: £40
Trips and training courses
As part of the various modules on the programme, some class trips may be offered to help support your learning. Some of these will form part of the curriculum but most will be important additions to your work. Some trips may be free or subsidised but you may be required to cover some costs yourself. Please allow up to £100 for these throughout the year.
Seeing shows
You should see live performances as often as you can. This is not compulsory, but it will help your development as a creative practitioner. Trips to the theatre and live events are not covered by your tuition fees, so you'll need to cover these costs yourself. We are occasionally offered a limited number of free or discounted tickets for shows in the city. We also encourage you to see LIPA shows. We offer discounted student tickets to make this as affordable as possible.
Portfolio
At the end of Year Three you are required to create a professional standard portfolio. There are inevitably printing and binding costs associated with this task, but most people see it as an important investment for their future career. You may also want to include head shots. We encourage you to undertake research into which photographer to work with. Our students typically pay around £80 to £120 for their headshots. Professionally-taken headshots can cost over £300 in London.
Project Work
While developing some of your projects, you may incur costs related to transport or accommodation. This will depend on the nature of your projects and the research you wish to carry out in order to produce them.
Cost of living
Wherever you choose to study, you'll have to budget for accommodation and other everyday living expenses, such as food and bills.
Liverpool represents great value for students. Accommodation costs are low in comparison with other places in the UK, particularly the South East. The city's shops and entertainment venues also have lots of student discounts.
We’d recommend completing a simple budget plan to predict your income and outgoings. This should include accommodation, bills, insurance, TV licence, food, laundry, clothes, books, travel and socialising. How much you'll want to spend on a lot of these is completely personal.
There is lots of advice available online about budgeting,:
- UCAS budget calculator is a great tool to help you balance your in-comings and out-goings.
- SaveTheStudent provides useful information on student money resources, including loans, budgeting, and scholarship sources.
Most UK students will be able to take out a maintenance loan to assist with living costs and there are some grants available. We also offer some bursaries. To find out more, please see Student Finance and bursaries.
Because our courses are intensive and we have a busy season of student performances, options for part-time work during our teaching periods can be limited. However, many of our students gain flexible part-time work, in performance venues, shops, restaurants and bars. We also provide casual work opportunities for our students ranging from stewarding work on our productions to working with young people to help us widen access to our courses. The long summer break is when many of our students choose to work.