| Module Identifier |
DR10320 |
| Module Title |
MODES OF PRACTICE: THEATRE, PERFORMANCE & SCENOGRAPHY |
| Academic Year |
2002/2003 |
| Co-ordinator |
Joan G Mills |
| Semester |
Semester 2 (Taught over 2 semesters) |
| Pre-Requisite |
Compulsory for Single Hons Drama, optional for Joint hons Drama students. SEE NOTES IN MODULES DOCUMENTS. |
| Co-Requisite |
DR10120 , DR10220 |
| Course delivery |
Practical | 40 Hours |
| |
Lecture | 11 Hours |
| Assessment |
Semester Assessment | 3000 word assignment | 50% |
| |
Semester Assessment | Practical work | 30% |
| |
Semester Assessment | Working notebook | 20% |
Learning outcomes
Upon completion of this module, students should have:
· Extended their performance and team work skills
· Deepened their understanding of the problems, possibilities and challenges of interpreting text for performance
· Deepened their understanding of the principles of dramatic, scenographic or performance practice
· Learnt how to reflect analytically upon the production process
· Completed research within guidelines set by the tutor
Brief description
This module is compulsory for Single Honours Part I Drama students and optional for Joint Honours Drama studentswho wish to proceed with Drama in Part II. Any other students interested in following this module should apply to Ms Joan Mills or Mr David Blumfield at registration on Tuesday 24th September.
Aims
The aims of the module are
· To introduce some key concepts in rehearsal, scenographic and performance methodology and to apply and test these in a presentation/performance environment or as an approved study
· To provide students with the experience of undertaking a practical investigation
· To encourage students to take responsibility for collaboration and group work within the context of workshops and presentation
· To enable students to analyse and theorize their own experience of the practical processes investigated
Content
The module consists of a introductory lecture series, theatre visits and practical classes in Semester 1. In Semester 2, the students are given the opportunity to focus more closely on a particular mode of practice by working on a group dramatic text, performance or scenography project, or carrying out an individual conceptual study. Classes will introduce physical and vocal training methods, as well as performance exercises, improvisation, approaches to text, rehearsal methods and spatial and visual awareness.
Reading Lists
Books
** Recommended Background
Berry, Cicely. (1993)
Voice and the Actor. 2nd. London: Virgin Publishing
Berry, Cicely. (2001)
Text in Action (A definitive guide to exploring text in rehearsal for actors and directors). 2nd. London: Virgin Publishing
Johnston, Keith. (1999)
Impro for Storytellers: Theatre Sports and Art of Making Things Happen. London: Routledge
Linklater, Kristin.
Freeing the Natural Voice. Drama Books
Callow, Simon. (1991)
Acting in Restoration Comedy. New York: Applause Theatre Books
Hagen, Uta. (1991)
Respect for Acting. New York: Macmillan
Hagen, Uta. (1991)
A Challenge for the Actor. New York: Macmillan
Berry, Cicely. (1993)
The Actor and the Text. 2nd. London: Virgin Publishing
Huxley, Michael & Witts, Noel (eds.). (1996)
The Twentieth Century Performance Reader. London: Routledge
Rodenburg, Patsy. (1997)
The Actor Speaks. Methuen
Goldberg, Roselee. (1999)
Performance Art. London: Thames and Hudson