Module Information

Module Identifier
Module Title
Academic Year
Semester 2
Successful completion of Part 1
Other Staff

Course Delivery

Delivery Type Delivery length / details
Lecture 10 x 3 Hour Lecture/Workshops


Assessment Type Assessment length / details Proportion
Semester Exam 14 Hours   Practical examination with reflective documentation  2 Days -To be held on 13th and 14th May 2013  50%
Semester Assessment Essay (2500 words)  50%
Supplementary Exam Practical examination and essay  50%
Supplementary Assessment Essay (2500 words) - (to a new title)  50%

Learning Outcomes

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

Demonstrate an intelligent awareness of the role of the theatre director in contemporary theatre practice

Use appropriate methodologies in the analysis of theatre texts from the viewpoint of a theatre director;
Devise and direct rehearsals and offer appropriate assistance to actors in the creation of a short theatre extract, presented before peers

Manage personal workloads, meet deadlines and negotiate and pursue goals with others;
Reflect critically on his/her experience of the directing process

Brief description

Students following this module will be introduced to examples of directing practice from a range of historical and critical perspectives. Students will also be given opportunities to practise such principles and methodologies, under supervision, in the context fo rehearsal environment


Session 1 and 2:
The Emergence of the Nineteenth/Eearly Twentieth Century European Theatre Director:
Pictorial Motion, the Mise en Scene and Artistic Unity
Students will examine contributions made by key theatre practitioners including Saxe-Meiningen, Antoine, Stanislavsky, Nemirovich-Danchenko, Craig, Appia and Meyerhold. Case studies: Stanislavsky and Danchenko's production of The Seagull (Moscow Art Theatre 1989) and Craig's Hamlet (Moscow Art Theatre 1912)

Session 3, 4 and 5:
Concept Directing - Rehearsal and Production
Students will investigate and apply key principles, strategies and rehearsal methodologies used by contemporary British Theatre directors including Peter Brooke, Adrian Noble, Katie Savon, Max Stafford Clarke, Katie Mitchell, Mike Alfreds, Francis Hodge, Peter Hall, Dominic Cooke and Marina Calderone
Texts require: The Seagull and The Crucible
Case Studies: Deconstructing Text - Stephen Daldry's expressionistic reworking of J B Priestley's 'An Inspector Calls' (Royal National Theatre, 1993) and Peter Brook's 'Mahabharata' (1985) and Julie Taymor's 'The Lion King' (1997)

Session 6 and 7:
Non-British models and approaches to the art of theatre directing
These will include contributions made by the following practitioners: Jerry Grotowski, Eugenio Barba, Peter Stein, Ariane Mnouchkine, Augusto Boal, Peter Sellers and Anne Bogart
Case Studies: Peter Steiin's production of Shakespeare's Memory and As You Like It (1976)

Session 8:
Theatre Games and Improvisation
Text required: The History Boys

Session 9:
Directing Popular Theatre: Pantomimes and Musicals
Case Studies: Aladdin - Hackney Empire Theatre 2010 and/or Sleeping Beauty - Birmingham Hippodrome Theatre 2010
The Case Study: Sondheim's Sweeny Todd, directed by John Doyle - Watermill Theatre 2005

Session 10:
So you want to be a director? How, when and where? Career opportunities and funding possibilities for future theatre directors


This restructed module will be offered as part of a suite of Year 2, 20-credit creative 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) and will be central to students registered for the Drama and Theatre Studies pathway.

Module Skills

Skills Type Skills details
Application of Number N/A
Communication Each student's ability to articulate and communicate their ideas to one another and to specific audiences is developed throughout this module. All forms of assessment include a consideration and evaluation of effective communication
Improving own Learning and Performance Students will be required to evaluate their own process and performance as proof of their understanding of the module
Information Technology This is not directly taught on the module
Personal Development and Career planning The module encourages the development of skills which are directly applicable to careers within the theatre/performance industries
Problem solving The identification of problems, the development of creative approaches to solving problems, and the evaluation of potential solutions is a key element of this module In particular, the involvement of performers and participants in problem solving or discursive dialogue is an integral constituent of theatre practice and is examined in depth during the module
Research skills Research skills will be developed in prepartion for, and as a result of, lectures, workshops and practical work, and assessed as part of the essay and the creation of the performance fragment
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. Reading the performance possibilities implied by a script, score and other textual or documentary sources 2. Engaging in performance and production, based on an acquisition and understanding of appropriate performance and production vocabularies, skills, structures and working methods 3. Contributing to the production of performance 4. Using performance techniques associated with particular cultural forms and/or practitioners 5. Engaging in research, whether independent, group or performance-based 6. Making records of performance, using skills in notation and/or documentation 7. Working within a group to make performance
Team work This skill is specifically addressed on the module and will be evaluated and assessed in relation to their contribution towards classwork and the creation of a performance fragment


This module is at CQFW Level 5