| Module Code: THE3007 |
Module Title: ACTING: ACTOR AND AUDIENCE |
|
|
Module Provider: Dance,Film & Theatre
|
Short Name: THE3007
|
|
Level: HE3
|
Module Co-ordinator: ANDREWS S Dr (Dnc Flm Thtr)
|
|
Number of credits: 15
|
Number of ECTS credits: 7.5
|
|
|
|
| Module Availability |
| Semester 1. |
|
|
| Assessment Pattern |
|
Unit(s) of Assessment
|
Weighting Towards Module Mark( %)
|
|
Formative Assessment:
Continuous feedback on practical class
|
|
|
Summative Assessment:
Performance
|
100%
|
|
|
|
| Module Overview |
| This module will introduce students to techniques, considerations and expectations of acting for recorded media (e.g. TV/film/radio/podcast). |
|
|
| Prerequisites/Co-requisites |
| None. |
|
|
| Module Aims |
- To enable students to identify and engage creatively and imaginatively with techniques and conventions and behaviours of acting for a specific audience (c, e, f, g, h)
- To experience current and emerging professional practices, genre and form for performance to an audience (a, b, c)
- To consider the practical considerations, implications and limitations of inhabiting a role and conveying this role to an audience (e, f, g)
|
|
|
| Learning Outcomes |
On completion of this module students should be able to
- Identify and apply techniques and conventions of acting for a specific audience (A1, A2, A3, C1, C2, C3)
- Respond creatively and imaginatively to conventions, genre/form, implications and/or limitations of communicating a convincing performance for an audience (B1, C2, C3)
- Identify core aspects of the actor-audience relationship to be staged and create a performance to respond to this in a given timeframe (D3)
|
|
|
| Module Content |
In this module, students will be introduced to the conventions, genre/form, implications and/or limitations of communicating a convincing performance for a specific audience. The module asks students to engage in sophisticated engagement with requirements, expectations and practices of performing for a specific audience.
The term audience may be interpreted in many ways and may include small or solo audience, street performance, audiences of applied theatre, audience for recorded media. Students will be able to practise techniques relevant to the genre and to create performance for, typically, one audience for the assessment.
|
|
|
| Methods of Teaching/Learning |
Workshops/practice sessions.
|
|
|
| Selected Texts/Journals |
Required
Reading
Rosenthal, C, Ellen Stewart La Mama of Us All. TDR: The Drama Review, 50(2), 12-51, 2006.
Recommended Reading: (Bogart, 2007, ; Hagen, 2008, ; Herrington, 2002, ; Rafael, 2008, ; Zamir, 2010, ; Zarrilli, 2002) (Escolme, 2010) (Cohen-Cruz, 2001, ; Rosenthal, 2006)
Bogart, A, And then, you act: Making art in an unpredictable world. Abingdon: Routledge, 2007.
Cohen-Cruz, J, When the Gown Goes to Town: The Reciprocal Rewards of Fieldwork for Artists. Theatre Topics, 11(1), 55-62, 2001.
Escolme, B, Being Good: Actors’ Testimonies as Archive and the Cultural Construction of Success in Performance. Shakespeare Bulletin, 28(1), 77-91, 2010.
Hagen, U, Respect for Acting. Hoboken, NJ: John Wiley & Sons, 2008.
Herrington, J, Breathing Common Air: The SITI Company Creates Cabin Pressure. TDR: The Drama Review, 46(2), 122-144, 2002.
Rafael, M, Telling stories : a grand unifying theory of acting techniques. Hanover, NH: Smith and Kraus, 2008.
Rosenthal, C, Ellen Stewart La Mama of Us All. TDR: The Drama Review, 50(2), 12-51, 2006.
Zamir, T, Watching Actors. Theatre Journal, 62(2), 227-243, 2010.
Zarrilli, P, ed. 2002. Acting Reconsidered: Theories and Practices London: Routledge.
|
|
|
| Last Updated |
| 13.04.11 |
|
|
|
