semester 2.

Assessment Pattern

• To introduce students to one or more non-text-based approaches to (or aspects of) the creation and presentation of performance (a, c, e, h)
• To enable practical articulation of a negotiated creative response to a studied or found approach to (or aspect of) performance (g)
• To prepare students to create a clear, engaged and well-crafted performance that emerges from their management of their investigation of making processes (b, e)

   

On completion of this module students should be able to

1. Identify key aspects of one or more non-text-based approaches to or aspects of processes of making and showing performance within a specific context (A1, A2, B2)
2. Clearly communicate analysis of and reflection on their own experience of engaging creatively in making and showing performance – as evidenced in both performance and presentation (B1, B3, C1, C2, C3)
3. Manage their own contribution in a creative project in relation to the overall direction of work and work to explore processes and in production (C1, C2, C3, D1, D2, D3, D4)

The module will consider the theatre as a laboratory for the examination of particular perspectives, requiring specific methods, research, experiment and conclusion. This module will explore one or more specific approaches to or aspects of the creation and presentation of performance (by examining the work of critical practitioners such as Boal, Bogart, Kantor, Wilson, Mitchell, Berry ).  The practical work may focus on one distinct method or critical understanding of theatre construction and will be informed by theoretical and practical approaches led by a member of staff or visiting practitioner.  It will present second year students with a chance to consider specific aspects of performance and thereby prepare them for their own investigations in the dissertation project in the final year.

The module will be delivered through a combination of lecture/workshop/seminars, as appropriate to the precise focus of the module in any given year.  The module may be delivered as one or more intensive periods of study.

Required Reading :

Kelleher, Joe and Nicholas Ridout, eds. 2006. Contemporary theatres in europe . Abingdon: Routledge

Recommended Reading : Bruno, (Bruno, 2002; Graham and Hoggett, 2009; Heddon and Milling, 2006; Hill and Paris, 2001; Kaye, 2000; Kelleher and Ridout, 2006)

As this module will take a specific angle on performance, the list of sources will vary accordingly.  However the sources below are representative of the form of approach in that they include work on specific aspects of performance but also of ways of seeing individual involvement in artistic practice.

Bruno, G, Atlas of emotion : journeys in art, architecture, and film. New York: Verso, 2002.

Graham, S and Hoggett, S, The Frantic Assembly Book of Devising Theatre. Abingdon: Routledge, 2009.

Heddon, D and Milling, J, Devising Performance. Basingstoke: Palgrave Macmillan, 2006.

Hill, L and Paris, H, Guerilla Performance and Multimedia. Poole: Continuum, 2001.

Kaye, N, Site-Specific  Art: Performance, Place and Documentation. London: Routledge, 2000.

Kelleher, J and Ridout, N, eds. 2006. Contemporary Theatres in Europe. Abingdon: Routledge.