|Delivery length / details
|6 x 2 Hour Lectures
|Assessment length / details
|14 Hours Group Performed Essay (30 mins)
|Essay (2500 words)
|Essay (2500 words) - (to a new topic)
|Essay (2500 words) - (to a new topic)
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 practices of location in contemporary performance and live art, and considers how and why an important number of contemporary performance makers have abandoned assumptions about 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 introduces important terms, developments, concepts and practitioners, exploring the relationship between contemporary performance practice and recent spatial theory. In the second part, these understandings are explored and expanded through the development and realisation of practical research projects. The overall aim of this 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.
6 x 2 hour Seminars
6 x 1 hour Seminar/Tutorials
- Recent histories of spatial performance (Situationism, Land Art, Installations, Interventions)
- Theories of space, place and landscape (Walter Benjamin, Michel de Certeau, Edward Casey, Henri Lefebvre, Doreen Massey)
- Psychogeography and the Spatial Turn (Guy Debord, Patrick Keillor)
- Site-specificity (in art, in performance, in theatre)
- Private and public (Mike Pearson, Rachel Whiteread, Bobby Baker)
- Walking as performance (Richard Long, Simon Whitehead, Francis Alys)
- Performance in and of landscape (Pearson/Brookes, Blast Theory, Fiona Templeton, NVA)
- Location of performance, performance of location (National Theatre Wales, Rimini Protokoll, Stan'r Cafe)
- New forms of public art (Graeme Miller, Mike Brookes and Rosa Casado, Lone Twin)
|Application of Number
|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
|* 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 identification and analysis, particularly when exploring the dramaturgical components of specific performances and their contexts.
|* 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).
|Group work in the seminars will empower students to develop their team-working and leadership skills
This module is at CQFW Level 6