PLACE, SPACE AND LANDSCAPE
Intended for use in future years
Successful completion of Part 1
|Delivery Type||Delivery length / details|
|Lecture||10 x 2 hour Lecture/seminars|
|Assessment Type||Assessment length / details||Proportion|
|Semester Assessment||1 essay (2500 words)||50%|
|Semester Assessment||Creative Portfolio (2500 words)||50%|
|Supplementary Assessment||Essay (2500 words) - (to a new title)||50%|
|Supplementary Assessment||Creative Portfolio (2500 words) - (to a new topic)||50%|
On successful completion of this module students should be able to:
- Understand the diversity of space, place and landscape performance practices and engage critically with the historical, political and aesthetic reasons for their development.
- Work in an interdisciplinary manner and apply spatial theories to contemporary performance practice.
- Identify the different ways in which contemporary performance practitioners 'compose' or 'sculpt' dramaturgies of place, space and landscape.
- Experiment with ways of merging critical and creative research.
This course sets out to explore how and why an important number of contemporary performance makers have abandoned the neutrality of the stage and have turned instead to various types of space-based performance. It does so by focusing on 3 key terms: space, place and landscape. The first part of the course is largely historical and descriptive and introduces important terms, developments, concepts and practioners. In the second part, greater attention is paid to the relationship between contemporary performance practice and recent spatial theory. The overall aim of its interdisciplinary module is to show how performance makers are always engaged in a concrete spatial practice; and how, in turn, this engagement has important aesthetic and political consequences.
Indicative content based on a 10 week lecture provision:
- The recent history of spatial performance (Surrealism, Situationism, Land Art, Environments, Installations, Fluxus)
- Theories of Space, Place and Landscape (Walter Benjamin, Michel de Certeau, Edward Casey, Henri Lefebvre, John Wylie)
- Psychogeography and the Spatial Turn (Guy Debord, Patrick Keillor, Forced Entertainment)
- Site-specificity (in art; in performance; in theatre)
- Landscape performance (NVA; Mike Pearson and Mike Brookes; Fiona Templeton)
- Location and Performance (Brith Gof; National Theatre Wales; National Theatre of Scotland; Rimini Protokoll)
- New forms of Public Art (Graeme Miller, Lone Twin, thomas Hirschorn, Philippe Parreno)
- Walking as Performance (Richard Long, Mike Pearson, Carl Lavery, Ian Breakwell, Wrights and Site, Janet Cardiff)
- Ecology and Performance (John Fox, Simon Whitehead, Dominique Gonzalez-Foerster, Rachel Rosenthal)
- The final session will comprise group seminar presentations on a selected topic and covering one of the key themes, terms or work encountered during the module
|Skills Type||Skills details|
|Application of Number|
|Communication||Students' oral and written communication skills will be developed in the lecture/seminars and assignments|
|Improving own Learning and Performance||Students will be able to develop their research and communication skills|
|Information Technology||* Students will be given the opportunity to develop their word-processing skills * Students will be given opportunities to develop their skills using the CPR archive's audio-visual resources, electronic databases and retrieval of sources both on the web and on the UWS LIS * Students will develop their skills when referencing from the web and related sources, whilst the ability to evaluate (not describe) and ability to be selective in using these materials are also essential key skills * E-mail and Blackboard will be used as forms of communication and information-sharing.|
|Personal Development and Career planning||* Students will be given the opportunity to evaluate current knowledge and skills and set targets for self-improvement * Students will be encouraged to take increasing responsibility for managing their own learning * Students will be encouraged to build upon the knowledge gained from workshops and develop skills in self study (supported by the general and specific reading lists and other resources distributed throughout the module) * Students will be encouraged to blend critical and creative writing in the portfolio.|
|Problem solving||Problem identification and analysis, particularly when exploring the dramaturgical components of specific performances and their contexts.|
|Research skills||* Information location; creation of bibliographies * Ability to conduct comparative and interdisciplinary textual and performance analysis * Students will develop the ability to analyse, interpret, evaluate and integrate knowledge and understanding gained from interdisciplinary study and then apply that to performance * Autonomous learning opportunites in the portfolio, the subject of which is negotiated with the tutor.|
|Subject Specific Skills||See QAA Dance, Drama and Performance Subject Benchmark Statement (Version 2007).|
|Team work||Group work in the seminars will empower students to develop their team-working and leadership skills|
This module is at CQFW Level 6