TH984-7-SP-CO:
Theatre-Making 2

The details
2019/20
Literature, Film, and Theatre Studies
Colchester Campus
Spring
Postgraduate: Level 7
Current
Monday 13 January 2020
Friday 20 March 2020
20
08 May 2019

 

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

 

(none)

Key module for

MA W81212 Theatre Practice

Module description

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 2 is a 10-week (20 credits) module, which broadens the focus of Theatre-Making 1 by exploring global practices and problematizing questions of cross-culture/intercultural encounters in theatre and performance practices.
It examines a variety of global performance-making techniques, disciplinary approaches and traditions from across the globe but above all will encourage students to connect their own practice to global audiences. One important element of the module is aimed at preparing students for international collaborations and touring. Drawing on an eclectic array of case studies/practitioners and scholarly approaches to theatre as exemplars each week, the module will offer intensive 1-hour lecture followed by practice-based workshops/seminars to explore artistic approaches from across the globe and with an eye on diversity in the British theatre industry. Students will also be required to attend screening of productions and films as described in the Module outline.

Module aims

The aim of this module is to provide a solid grounding of global theatrical practices and to prepare the students for international collaborations and touring. One important element of the module is aimed at looking at best practices in international collaborations and touring by understanding the issues related to intercultural/cross-cultural encounters and industry approach to whitewash casting and minority theatre. The module starts off by introducing students to the established connection between theatrical practices, the dialogue between Western and non-Western practices that resulted in experimental practices such as the avant-garde and postdramatic theatre etc. It, then, will focus on individual case studies from East-Asia and/or Africa and contemporary forms of intermedial and digital theatre. Towards the end of the Module, it will challenge the concept of intercultural theatre, debate on post-colonial practices and discuss alternatives to whitewash casting. By considering these big debates of global and intercultural/cross-cultural practices, students will be encouraged to create practical projects that could potentially be toured internationally or create international collaborations. To this end, students will be introduced to the network of international partnerships existing between the department and international artists.

Theatre-making 2 enables students to creatively expand the breath of their work and research as a global practice, while providing training in touring and international collaborations. This module will equip students with important set of skills and expertise that will inform their work as global theatre-makers of the future. Balancing academic theoretical work and practice-based activities, similarly to Theatre Making 1, this module embraces a PaR approach, which is also reflected in the assessment.
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 Global theatre practices, issues related to intercultural/cross-cultural encounters, and industry approach to whitewash casting and minority theatre
3. To offer students a chance to receive practical training in touring and international collaborations 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 1-hour lecture followed by 2-hour practical workshop/seminars - Guest lectures by industry professionals where appropriate - Field trips to theatres/productions

Bibliography

  • Ong Keng Sen’s Lear Dreaming (Singapore) (2012), https://globalshakespeares.mit.edu/lear-dreaming-ong-keng-sen-2012/
  • Gao, Xingjian; Fong, Gilbert Chee Fun. (1999) The other shore: plays, Sha Tin, N.T., Hong Kong: Chinese University of Hong Kong.
  • Ronnie, Bai. (no date) 'Dances with Mei Lanfang: Brecht and the Alienation Effect.', in Comparative Drama,. vol. 32 (2)
  • Fraleigh, Sondra Horton. (2010) Butoh: metamorphic dance and global alchemy, Urbana: University of Illinois Press.
  • Brecht, Bertolt; Manheim, Ralph; Willett, John. (c1985) The good person of Szechwan, London: Methuen.
  • Thorpe, Ashley. (2014-10-02) 'Casting Matters: Colour Trouble in the RSC’s The Orphan of Zhao', in Contemporary Theatre Review. vol. 24 (4) , pp.436-451
  • Mazzilli, Mary. (2015) Gao Xingjian's post-exile plays: transnationalism and postdramatic theatre, New York: Bloomsbury Methuen Drama.
  • Okagbue, Osy A. (2007) African theatres and performances, London: Routledge.
  • Pavis, Patrice. (2004) 'TOWARD A THEORY OF CULTURE AND MISE EN SCENE', in Theatre at the Crossroads of Culture, London: Taylor & Francis Ltd.
  • Huang Zuolin. (1990) 'China dream', in The dramatic touch of difference: theatre, own and foreign, Tübingen: Gunter Narr. vol. Band 2, pp.179-187
  • Pavis, Patrice. (2010) 'Intercultural Theatre today (2010)', in Forum Modernes Theater. vol. 25 (1) , pp.5-15
  • Brook, Peter; Propper, Michel; Carrière, Jean-Claude; Estienne, Marie-Hélène; British Film Institute. (c1989) The Mahabharata, [England]: BFI.
  • (2014) The politics of interweaving performance cultures: beyond postcolonialism, London: Routledge. vol. 33
  • Fiebach, Joachim. (c2004) 'King Baabu and the Renaissance vision. Wole Soyinka -- Dimensions of theatricality in Africa', in African drama and performance, Bloomington: Indiana University Press.
  • Kirkwood, Lucy. (2013) Chimerica, London: Nick Hern Books.
  • Leonhardt, Nic. (2017) Routledge companion to digital humanities in theatre and performance, [Place of publication not identified]: Routledge.

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 5-page Tour Project Proposal (Individual) 20/03/2020 25%
Coursework Essay (3,000 words) 20/04/2020 5%
Practical Group Practical presentation (20 mins) - 25% group mark and 10% individual mark 35%
Practical Participation 35%

Overall assessment

Coursework Exam
100% 0%

Reassessment

Coursework Exam
100% 0%
Module supervisor and teaching staff
Dr Mary Mazzilli
LiFTS General Office, email: liftstt@essex.ac.uk Telephone: 01206 872626

 

Availability
No
No
No

External examiner

Dr Anthony Fisher
Reader in Theatre and Philosophy
Resources
Available via Moodle
Of 30 hours, 30 (100%) hours available to students:
0 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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