Gwybodaeth Modiwlau

Module Identifier
TP21020
Module Title
CONTEMPORARY EUROPEAN THEATRE
Academic Year
2010/2011
Co-ordinator
Dr Karoline Gritzner
Semester
Semester 2
Pre-Requisite
Successful completion of Part 1
Other Staff
 

Course Delivery

Delivery Type Delivery length / details
Lecture 10 x 2-hour lecture/seminars
 

Assessment

Assessment Type Assessment length / details Proportion
Semester Assessment Essay (2500 words)  50%
Semester Assessment Critical Portfolio (equivalent to 2500 words)  50%
Supplementary Assessment Written essay (2500 words) - (to a new title)  50%
Supplementary Assessment Creative Portfolio (equivalent to 2000 words)  50%

Learning Outcomes

On successful completion of this module students should be able to:

1. Demonstrate a clear understanding of key developments in European theatre, drama, performance and directing over the last 50 years.

2. Locate and critically assess these developments in their artistic, political and cultural contexts.

Aims

This new module will be offered as part of a suite of Year 2, 20-credit critical practice options in the Department's revised Part 2 provision. It may be taken by students registered for any of the Theatre Curriculum Group schemes depending on the specification of their degree scheme pathway.

Brief description

The aim of this module is to introduce students to key developments in European theatre, drama, performance and directing over the last fifty years and to situate these developments in their artistic, political and cultural contexts.

Content

1. Introduction: Post-dramatic theatre and the European context

2. Offending the Audience, offending the Nation: Peter Handke and Elfriede Jelinek

3. The Brachtian legacy: Dario Fo and Heiner Muller

4. Post-Franco Spanish theatre and performance: Teatro Independente and La Fura dels Baus

5. Alternative theatre in Poland: Kantor, Grotowski, Gardenize

6. French drama: Michel Vinaver and Bernard-Marie Koltes

7. Flemish Theatre, 'new work': Jan Lauwers and Alain Platel

8. Directors and new directions: Mnouchkine, Ostermeier, Castorf, Castelluci, Peter Zadek, Calixto Bieito, Jan Fabre, Heiner Goebbels

9. Theatre companies: Societas Raffaello Sanzio and Forced Entertainment

10. National theatres and located performance

Module Skills

Skills Type Skills details
Application of Number This element is not assessed
Communication The ability to communicate ideas effectively in written form is directly assessed. The work done in seminars develops oral communication skills although this is not directly assessed.
Improving own Learning and Performance Self-regulation, motivation and time-management skills are developed through the module and are demanded for the successful completion of its assignments.
Information Technology The ability to utilize information technology both in research for and delivery of assignments is assessed directly in Assessment 1 and 2.
Personal Development and Career planning Transferable skills (managing personal workloads and meeting deadlines, designing and realizing research project) are developed through the completion of assessment tasks 1 and 2.
Problem solving Analytical problem solving, outcome recognition and the identification of appropriate strategies and procedures are encouraged and assessed.
Research skills Appropriate personal research and the development of effective personal research practices are directly assessed through Assessment 1 and 2.
Subject Specific Skills See QAA Dance, Drama and Performance Subject Benchmark Statement (Version 2007) The following subject specific skills are developed and partly assessed: 1. Describing, theorising, interpreting adn evaluating performance texts and performance events from a range of critical perspectives. 2. Developing skills of observation and visual, aural and spatial awareness. 3. Considering theories of spectatorship and developing an awareness of the audience or client group for performance and an ability to respond and adapt to it through flexible means. 4. Engaging in research, whether independent, group or performance-based. 5. Identifying and interpreting and cultural frameworks which surround performance events and on which these events impinge, and taking these into account in creating and/or interpreting performances. Making records of performance, using skills in notation and/or documentation.
Team work Effective group work through negotiating ideas and opinions is addressed through the seminars. Seminar discussions demand the application of skills necessary to conduct collaborative activity. This will be indirectly assessed through work included in the creative portfolio.

Notes

This module is at CQFW Level 5