TH983-7-AU-CO:
Theatre-Making 1

The details
2019/20
Literature, Film, and Theatre Studies
Colchester Campus
Autumn
Postgraduate: Level 7
Current
Thursday 03 October 2019
Saturday 14 December 2019
20
08 May 2019

 

Requisites for this module
(none)
(none)
(none)
(none)

 

(none)

Key module for

MA W81212 Theatre Practice

Module description

This course is co-taught by tutor-practitioners with extensive experience of working in professional theatre. The Theatre-Making module is the spine of the new MA in Theatre Practice course, and it is divided into two parts (Theatre-Making 1 & 2). Theatre-Making 1 is a 10-week (20 credits) module, which will focus on methodologies in practice-as-research (PaR), examining an array of performance-making techniques, disciplinary approaches and traditions from different critical vantage points – drawing on an eclectic array of case studies/practitioners as exemplars each week, the module will offer intensive practice-led 3-hour workshops to explore artistic approaches in directing, acting, devising, performance art and applied practices.

Module aims

The aim of this module is to provide a solid grounding in different models and approaches to practice-as-research (PaR), while giving postgraduate students an opportunity to explore PaR methodologies through a variety of theatre-making traditions in Ethnography and Performance, Devising, Performance Art, Performer Training Methods, Directing or Applied Performance.

Theatre-making 1 enables students to creatively explore these diverse fields, while providing the creative freedom to increasingly specialise over the duration of the term in one particular area of research interest. Students will receive formative tutor/peer feedback throughout the term in response to their research proposal and the sharing of practical work-in-progress in a rigorous and energised PaR forum.

Module learning outcomes

Upon successful completion, students should be able to:
1. To prepare students for the rigours or practice-as-research, exploring a range of research strategies, methodologies and approaches to imbricating practice in an original research enquiry.
2. To provide both practical and theoretical insights into Ethnography and Performance, Devising, Performance Art, Performer Training Methods, Directing or Applied Performance in historical and contemporary performance practices.
3. To offer students a chance to engage in experimental exercises to develop the skills necessary for anyone wishing to work as a theatre-maker or practitioner-researcher (and foundations for anyone wishing to progress their research skills to PhD level).
4. To prepare students to undertake independently led practical projects arising from an in-depth process of research and development.

Module information

No additional information available.

Learning and teaching methods

- Weekly 3-hour practical workshop seminars - Guest lectures by industry professionals where appropriate - Field trips to theatres/productions

Bibliography

  • Shannon Jackson. (2011) Social works: performing art, supporting publics, New York: Routledge.
  • Goldberg, RoseLee. (2011) Performance Art, London: Thames & Hudson Ltd.
  • Bogart, Anne; Landau, Tina. (2014) Viewpoints Book, London: Nick Hern Books.
  • Robin Nelson. (2013) Practice as research in the arts: principles, protocols, pedagogies, resistances, Basingstoke: Palgrave Macmillan.
  • (©2009) The applied theatre reader, Abingdon: Routledge.
  • Michèle Barrett; Bobby Baker. (2007) Bobby Baker: redeeming features of daily life, London: Routledge.
  • Robin Nelson. (2013) 'From Practitioner to Practitioner-Researcher', in Practice as research in the arts: principles, protocols, pedagogies, resistances, Basingstoke: Palgrave Macmillan., pp.23-47
  • Maria M. Delgado; Dan Rebellato. (2010) Contemporary European Theatre Directors, London: Taylor & Francis Ltd.
  • Sheila Preston. (©2016) Applied theatre: facilitation : pedagogies, practices, resistance, London: Bloomsbury Methuen Drama.
  • Frazer Ward. (©2016) No innocent bystanders: performance art and audience, New Hampshire: Dartmouth College Press.
  • Katie Mitchell. (2009) The director's craft: a handbook for the theatre, New York, NY: Routledge.
  • Norman K. Denzin. (©2018) Performance autoethnography: critical pedagogy and the politics of culture, Abingdon, Oxon: Routledge.
  • Jon Cook. (©2013) 'Creative Writing as a Research Method', in Research methods for English studies, Edinburgh: Edinburgh University Press., pp.200-218

The above list is indicative of the essential reading for the course. The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students. Further reading can be obtained from this module's reading list.

Assessment items, weightings and deadlines

Coursework / exam Description Deadline Weighting
Coursework Practical presentation (20 minutes) 70%
Coursework Formative: Two-page Project Proposal  04/11/2019 0%
Coursework Critical Reflection (2,000 words) 17/01/2020 25%
Practical Participation 5%

Overall assessment

Coursework Exam
100% 0%

Reassessment

Coursework Exam
100% 0%
Module supervisor and teaching staff
Various
LiFTS General Office, email liftstt@essex.ac.uk Tel. 01206 872626

 

Availability
No
No
No

External examiner

Dr Anthony Fisher
Reader in Theatre and Philosophy
Resources
Available via Moodle
Of 30 hours, 27 (90%) hours available to students:
3 hours not recorded due to service coverage or fault;
0 hours not recorded due to opt-out by lecturer(s).

 

Further information

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