This module builds on the knowledge, understanding and performance skills students have gained in Level 4 modules, particularly DA400, The Actor and the Text. The module provides an opportunity to explore in detail the key facets of Modernism, as it was manifested in theatre. The first part of the module explores the themes and principles of Naturalism in theory and practice. Students study its historical context and conventions alongside the work of key dramatists and directors who helped to shape Naturalistic theatre. The exploration of this key movement in modern theatre is underpinned by practice. Key scenes are explored in detail and appropriate processes used to realise them in performance. The second part of the module explores the gravitation towards the ‘Anti-Realism' movement of the early twentieth century Avant-Garde, touching on Symbolism, Dada, Surrealism and Absurdism. The conventions, themes and principles of these movements are explored in terms of their social, cultural and political concerns. Selected texts from key dramatists will be fully interrogated within the workshop/classroom and their influence on performance today will be examined.
This module aims to:
On successful completion of the module, students should be able to demonstrate:
The module is taught in a weekly series of three hour classes, through the academic year, employing a mixture of lectures, seminars and practical workshops. In the first teaching block, the focus is on Naturalism. Lectures and seminars introduce and examine Naturalism's historical context, its principles and themes and ways in which they were explored and expressed by different playwrights, directors and performers. Workshops enable students to experiment with the practical exploration and application of pertinent methodologies, particularly Stanislavski's active analysis cycles in conjunction with key exercises and methods from his acting system. The second teaching block employs the same approach to the investigation of Non-Naturalistic Modernist performance and its historical, cultural and political contexts. The practical nature of the work relies on students engaging in guided research between classes. Students' work should increasingly be informed by their own research both as individuals and in groups.
| Definitive UNISTATS Category | Indicative Description | Hours |
|---|---|---|
| Scheduled learning and teaching | 10 x 3 hour lecture-seminar | 30 |
| Scheduled learning and teaching | 12 X 3 hour workshops | 30 |
| Guided independent study | student independent study | 206 |
| Guided independent study | Guided Collaborative study | 31 |
| Total (number of credits x 10) | 300 | |
The assessment strategy for this module aims to embed and extend students' understanding of the link between knowledge and understanding of Modernist theatre on the one hand and their ability to articulate it and apply it creatively in practice on the other.
Summative assessment consists of a group performance of a scene from a Naturalistic play at the end of teaching block one (10 minutes) and a performance essay (15-20 minutes, depending on group size) addressing one or more forms of Non-Naturalistic Modernist theatre practice at the end of teaching block two. In the Naturalistic performance, students demonstrate their understanding of Naturalistic acting methods and approaches through practice. In the second, the performance essay mode of assessment enables them to draw together theory and practice and to present their knowledge and understanding in imaginative and creative ways.
Formative assessments include production critiques, research presentations and work in progress performances, which help students to prepare for their summative assessments and gain feedback from tutors and each other on their developing understanding and practical experiments.
| Learning Outcome | Assessment Strategy |
|---|---|
| knowledge and understanding of the key movements of Modernist theatre and the impact of them on contemporary performance | formatively in research presentations and, production critiques; summatively in performance and performance essay |
| knowledge and understanding of the social, political and cultural context of key dramatists' plays within particular Modernist movements | formatively in research presentations; summatively in performance essay |
| understanding of the complex relationship between the performer, the director and the text | formatively in production critiques and work in progress performances; summatively in performance and performance essay |
| the ability to apply their understanding of Modernist theatre ideas and methods in practice through rehearsal and performance | formatively in work in progress performances; summatively in performance and performance essay |
| the ability to critically evaluate their own practice and the practice of others (Key skill: self-awareness) | formatively in work in progress performances |
| the ability to critique and analyse key productions on stage | formatively in work in progress performances; summatively in performance essay |
| the ability to express themselves clearly and unambiguously using the spoken word (Key Skill: Communication) | formatively in research presentations and work in progress performances; summatively in performance and performance essay |
It IS NOT a requirement that any major assessment category is passed separately in order to achieve an overall pass for the module
Core texts will differ each year but will always include a range of Naturalistic and Non-Naturalistic playtexts
Merlin, B. (2007) The Complete Stanislavski Toolkit. London, Nick Hern Books
Artaud, A. (2010) The Theatre and its Double. London, One World Classics
Benedetti, J. (1989) Stanislavski: An Introduction. Revised edition. London, Methuen
Benedetti, J. (1998) Stanislavski and the Actor. London, Methuen
Braun, E. (1982) The Director and the Stage. London, Methuen
Gottleib, V. & Allain, P. (eds.) (2000) The Cambridge companion to Chekhov. Cambridge, Cambridge University Press
Hodge, A. (ed.)(2000) Twentieth Century Actor Training. London, Routledge
Innes, C.D. (ed.)(2000) Sourcebook on Naturalist Theatre. London, Routledge
Innes, C.D. (1993) Avant Garde Theatre 1892-1992. London, Routledge
Merlin, B. (2001) Beyond Stanislavski: The Pshycho-Physical Approach to Acting. London, Nick Hern Books
Schumacher, C. (1996) Naturalism and symbolism in European theatre 1850-1918. Cambridge, Cambridge University Press
Stanislavski, K. (1936) An Actor Prepares. London, Methuen, 1988
Stanislavski, K. (1961) Creating A Role. Trans. Elizabeth Reynolds Hapgood (1968). London, Mentor
Styan J.L. (1981) Modern Drama in Theory and Practice 1: Realism and Naturalism. Cambridge, Cambridge University Press
Styan J.L. (1981) Modern Drama in Theory and Practice 2:Symbolism, Surrealism and the Absurd. Cambridge, Cambridge University Press
Styan J.L. (1981) Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre. Cambridge, Cambridge University Press
Whyman, R. (2008) The Stanislavsky System of Acting: Legacy and Influence in Modern Performance. Cambridge, Cambridge University Press