Module Information
Module Identifier
TP22320
Module Title
PRINCIPLES OF SCENOGRAPHY
Academic Year
2010/2011
Co-ordinator
Semester
Semester 1
Pre-Requisite
Successful completion of Part 1
Other Staff
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | 10 x 2 hours |
| Seminars / Tutorials | 5 x 1 hour Seminar/Viewings |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | Essay (2000 Words) Essay (2000 words) | 40% |
| Semester Assessment | Creative Portfolio Creative Portfolio | 60% |
| Supplementary Assessment | Resit: Essay (2000 Words) The modes of assessment permit repeat submissions (based upon new questions) during the Autumn re-sit period. | 40% |
| Supplementary Assessment | Resit: Creative Portfolio | 60% |
Learning Outcomes
On successful completion of this module students should be able to:
Brief description
This module identifies and applies a range of fundamental scenographic principles and offers an analytical model for the evaluation of a significant body of historical, contemporary and global scenographic practice. This practice will be introduced and evaluated in lectures employing a variety of media, and further illustrated and considered through accompanying screenings and seminars. The module is assessed through two assignments that develop skills of research, analysis and evaluation, formulated and expressed through a combination of written, visual and aural media.
Content
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.
(Screening: Christo)
8. Scenography, performance and virtual space: Josef Svoboda, Robert Lepage, Mark Reaney, Blast Theory; aaplications 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, James Turrell, Bill Viola; immersion and the poetic sense of space.
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.
(Screening: Christo)
8. Scenography, performance and virtual space: Josef Svoboda, Robert Lepage, Mark Reaney, Blast Theory; aaplications 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, James Turrell, Bill Viola; immersion and the poetic sense of space.
Aims
This module offers:
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.
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.
Module Skills
| Skills Type | Skills details |
|---|---|
| Application of Number | Tackle problems involving number within IT data handling |
| Communication | Read in different contexts and for different purposes Write in an academic context Speak in different contexts and for different purposes (including presentation and discussion) Listen effectively |
| 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 micht 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 researcy |
| Subject Specific Skills | See QAA Dance, Drama and Performance Subject Benchmark Statement (Version 2007). The following subject specific skills are developed and directly or indirectly assessed: describing, theorising, interpreting and evaluating performance texts and performance events from a range of critical perspectives; reading the performance possibilities implied by a script, score and other textual or documentary sources; engaging in performance and production, based on an acquisition and understanding of appropriate performance and production vocabularies, skills, structures and working methods; developing skills of observation and visual, aural and spatial awareness; engaging in research, whether independent, group or performance-based. |
| Team work | Understand the concept of group dynamics in seminars Play an active part in seminar group activities |
Notes
This module is at CQFW Level 5