|Assessment Type||Assessment length / details||Proportion|
|Semester Assessment||Essay where students choose one of a number of questions offered by the module coordinator. 3000 Words||60%|
|Semester Exam||Presentation - will be run as 15-minute conference papers. Proposals to be developed and agreed with the module coordinator over the course of the module in Semester 1, to present the paper in the January exam period. Symposium to take place during exam period, with students acting as informed audience and interlocutors for each other.||40%|
|Supplementary Assessment||Essay - write in response to one of several questions offered by the module coordinator. Where a previous attempt was failed, the resit assessment must respond to a different question than the original. 2000 Words||40%|
|Supplementary Assessment||Essay Students choose one of a number of questions offered by the module coordinator. 3000 Words||60%|
On successful completion of this module students should be able to:
Demonstrate an analytical understanding of a range of dramatic texts and production issues.
Produce informed and original arguments reflecting research and independent thought in the subject area of the course.
Demonstrate an intelligent awareness of current debates about the social purpose and ramifications of drama in a period under review.
This module offers a detailed exploration of a selection of recent international dramatic texts (some written in English, some in translation), within a cultural and political context. Students will be given the opportunity to consider theatrical problems and consequences of previous and possible productions. Through directed reading and weekly discussions students will be encouraged to develop original ideas about the specifically theatrical dimensions and demands of the texts under review.
1: Introduction to the module; assessment details
2: debbie tucker green's random (ENG)
3: Lorna French’s Jacaranda (ENG/ZWE)
4: Elfriede Jelinek’s A Sport Play (AUT)
5: Caridad Svich’s JARMAN (all this maddening beauty) (USA)
6: Ai Nagai’s Got to Make Them Sing (JPN)
7: Howard Barker's The Forty (ENG)
8: Ilbijerri Theatre Company’s Beautiful One Day (AUS)
9: Ed Thomas’s On Bear Ridge (CYM)
10: Judith Adong’s Silent Voices (UGA)
|Skills Type||Skills details|
|Communication||The ability to communicate ideas effectively in written form is directly assessed. The work done in seminars develops oral communication skills although this is not directly assessed.|
|Improving own Learning and Performance||Self-regulation, motivation and time-management skills are developed through the module and are demanded for the successful completion of its assignments. These skills are directly assessed through both Assessments.|
|Information Technology||The ability to utilize technology both in the research for and delivery of written assignments is assessed directly Assessments.|
|Personal Development and Career planning||Transferable skills (managing personal workloads and meeting deadlines, designing and realizing research project) are developed through the completion of assessments tasks.|
|Problem solving||Analytical problem solving, outcome recognition and the identification of appropriate strategies and procedures are encouraged and assessed across the duration of the module.|
|Research skills||Appropriate personal research and the development of effective personal research practices are directly assessed through both Assessments.|
|Subject Specific Skills||See QAA Dance, Drama and Performance Subject Benchmark Statement (Version 2007). The following subject specific skills are developed and partly assessed: * describing, theorising, interpreting and evaluating performance texts and performance events from a range of critical perspectives * developing skills of observation and visual, aural and spatial awareness * considering theories of spectatorship and developing an awareness of the audience or client group for performance and an ability to respond and adapt to it through flexible means * engaging in research, whether independent, group or performance-based * identifying and interpreting the cultural frameworks which surround performance events and on which these events impinge, and taking these into account in creating and/or interpreting performances * making records of performance, using skills in notation and/or documentation|
|Team work||Effective group work through negotiating ideas and opinions is addressed through the seminars and seminar presentations.|
This module is at CQFW Level 6