|Delivery Type||Delivery length / details|
|Seminars / Tutorials||10 x 2 hour SEMINAR/VIEWINGS|
|Lecture||Lecture 1 x 2 hour slot during 5 weeks|
|Assessment Type||Assessment length / details||Proportion|
|Semester Assessment||* 1 x Critical Analysis: a comparative analytical consideration of the work of two key practitioners within the broader context of the field of scenography. This is to be submitted in electronic (CD) format and must incorporate a written element of 2000 words together with appropriate, supporting, visual/aural material. This format of submission is intended to encourage critical consideration of the communicative value of diverse media, and to direct attention towards selective and effective compositional technique within specific parameters. A printed transcript of the text (for purposes of comment and feedback) must accompany the submission.||40%|
|Semester Assessment||2 x analytical considerations, each of 1000 words, applying key scenographic principles discussed and conducted in response to an assignment brief determined by the course tutors and linked to a major dramatic text. Each assessment task is conducted and submitted through two complementary elements:  a verbal presentation in the form of an audio or video recording, not more than ten minutes in duration, and [2[ a supporting word processed transcript.||30%|
|Supplementary Assessment||The modes of assessment permit repeat submissions (based upon new questions) during the Autumn re-sit period.|
On completion of this module, students should be able to.
1. Critically consider specific examples of significant scenographic practice within a broader context.
2. Demonstrate an understanding of the function of scenography within the dramaturgy of the performed aesthetic event.
3. Identify and apply a range of fundamental principles informing the construction and interpretation of scenographic material.
4. Employ skills of research, analysis and evaluation and apply these in the formulation of responses, through a diversity of media, to well defined and abstract problems.
- Offers an analytical model with which to evaluate scenographic concepts at an abstract level.
- Advances critical consideration of a body of significant contemporary, historical and global scenographic practice.
- Fosters an increased understanding of the function of scenography within the dramaturgy of the performed aesthetic event.
- Identifies and applies a range of fundamental principles informing the construction and interpretation of scenographic material.
- Develops skills of research, analysis and evaluation and applies these in the formulation of responses, through a diversity of media, to well defined and abstract problems.
1. Module overview. Key principles and terminology (1)
2. Key principles and terminology (2)
(Screening: Revolution and Rebirth: Modern Theatrical Reform and its Debt to Antiquity)
3. Holistic vision: Adolphe Appia; body; space; light; movement.
4. Adolphe Appia; Hellerau and after.
(Screening: The Bauhaus)
5. Expressive abstraction: Oskar Schlemmer and the performance of art.
6. Scenography and encounter: Antonin Artaud, Jerzy Grotowski and the re-negotiation of spatial contracts.
(Screening: The Theatre of Robert Wilson)
7. Re-addressing the frame: Robert Wilson, Hotel Pro Forma; formality, duration and the deep surface.
8. Scenography, performance and virtual space: Josef Svoboda, Robert Lepage, Mark Reaney, Blast Theory; applications of projection and interactive technologies.
(Screening: Tadeusz Kantor)
9. The language of objects: Tadeusz Kantor, Christian Boltanski, Caspar Neher.
10. Perception, illusion and emotion: Achim Freyer, JamesTurrell, Bill Viola;
immersion and the poetic sense of space.
|Skills Type||Skills details|
|Application of Number||* Tackle problems involving number within IT data handling|
|Communication||* Understand a range of research methods * Plan and carry out research|
|Improving own Learning and Performance||* Devise and apply realistic learning and self management strategies|
|Information Technology||* Use a range of commonly used software packages * Present information and data * Use email /internet appropriately and effectively|
|Personal Development and Career planning||* Whilst not an especial focus or assessed element of teaching and learning, the module extends a range of analytical, conceptual and creative skills, and students are made aware of the transferable applications of these across academic and career borders|
|Problem solving||* Identify conceptual problems * Identify factors which might influence potential solutions * Develop creative thinking approaches to problem solving * Evaluate advantages and disadvantages of potential solutions * Construct a rational proposal in response to a problem|
|Research skills||* Understand a range of research methods * Plan and carry out research|
|Team work||* Understand the concept of group dynamics in seminars * Play an active part in seminar group activities.|
Reading ListRecommended Text
Adcock, Craig, Turrell , James (1990) The Art of Light and Space, University of California Primo search Baugh, Christopher (2005) Theatre, Performance and Technology Palgrave Macmillan Primo search Beacham, Richard C, (1994) Adolphe Appia, Artist and Visionary of the Modern Theatre Harwood Primo search Burian, J. M. (ed), (1990) The Secret of Theatrical Space Applause Primo search Goldberg, RoseLee, (1999) Performance Art Thames and Hudson Primo search Gropius, Walter (ed), (1961) The Theater of the Bauhaus Methuen Primo search Holmberg, Arthur, (1997) The Theatre of Robert Wilson Cambridge Primo search Howard, Pamela (2001) What is Scenography? Routledge Primo search Huxley, Michael & Witts Noel (eds), (1996) The Twentieth-Century Performance Reader Routledge Primo search Kaye, Nick , (1996) Art into Theatre, Harwood Primo search Roose-Evans, James (1989) Experimental Theatre, from Stanislavsky to Peter Brook Routledge Primo search
This module is at CQFW Level 5