This module builds on the knowledge, understanding and skills students gain in the Level 4 module DA4002 Making Theatre Happen, enabling them to develop and adapt these within the context of devising theatre. It begins with an exploration of dramaturgical principles in relation to devised performance with a focus on how companies and practitioners select and respond to stimulus material of different kinds and how they shape that material into performance. Students study and critique devised productions and engage in creative exercises which enable them to experiment with a range of methods and techniques of devising. They then explore ways in which these approaches can be utilised and adapted within community and applied contexts. They are introduced to principles of theatre as social intervention, studying examples of applied theatre practice and participating in workshops focused around the employment of devising techniques in community contexts with a particular emphasis on collaborative methodology. For their assessment, students create a group-based devised performance They can choose to conceive of this as aimed at a specific audience such as a specific age group or community.
This module aims to:
On successful completion of the module, students should be able to:
This module has a practical focus and is thus mainly delivered in workshop form, although some elements of lecture-presentation might also be employed. In recognition of the fact that the directorial role is one that demands initiative, organisation and leadership, students are expected to take a good deal of responsibility for their own learning through undertaking extensive preparation, research and planning. The importance of creating a ‘safe' rehearsal environment where creative risks can be taken, failure is seen as a valuable learning opportunity and participants feel able to collaborate freely and offer constructive criticism, is reflected in the collaborative, discursive, student-led ethos of teaching delivery.
Activities in teaching block 1 are focused around textual analysis, preparation and working with actors. A list of up to 10 suitable plays will be provided, from which students will choose a scene to direct for their summative assessment, Directed Scene, at the end of the year (they make this choice by about the middle of TB1). Tutors will use a range of scenes from these plays in order to introduce a variety of interpretative approaches and rehearsal methods. When working on workshops and scenes in TB1, students will function as ‘actors' for one another. They can also do so in TB2, but students may ask other Drama students to be ‘actors' for them in their final scene performances.
| Definitive UNISTATS Category | Indicative Description | Hours |
|---|---|---|
| Scheduled learning and teaching | 8 X 1 hour lecture-presentations, including viewing of performances | 8 |
| Scheduled learning and teaching | 8 X 1 and 14 X 2 hour workshops | 36 |
| Guided independent study | Individual research | 50 |
| Guided independent study | group-based planning and rehearsal | 206 |
| Total (number of credits x 10) | 300 | |
All students are assessed on the same three key areas, process, performance and reflection.
Process and Reflection (50%) are assessed by a Creative Portfolio (3000 words or equivalent) which might include: a production critique or case study of a relevant project or company; an articulation of aims for their project and a plan for how they intend to go about achieving those aims, making reference to the theories, methodologies and techniques on which they have drawn in formulating their concept and approach; reflective notes inserted throughout in which they comment on the effectiveness of their strategies and choices Aspects of this portfolio may be assessed formatively and then resubmitted. Summative submission of the portfolio takes place 2 weeks after the performance or project.
Performance (50%)is assessed by a 15 minute group-based devised performance Formative assessment for this element includes work in progress presentations where students gain tutor and peer feedback.
| Learning Outcome | Assessment Strategy |
|---|---|
| Demonstrate knowledge and understanding of a range of devising methodologies, as they are employed by contemporary practitioners of devised theatre in performance or applied theatre contexts | Formatively and summatively in Creative Portfolio of written work |
| Utilise and adapt these methodologies within their own creative work | Formatively in work in progress presentations; summatively in Performance |
| Demonstrate understanding and skill in the application of dramaturgical concepts and practices and/or concepts of drama as social intervention depending on the context within which they choose to work | Formatively and summatively in Creative Portfolio of written work; Formatively in work in progress presentations; summatively in Performance |
| Apply collaborative working skills as appropriate to the context within which they choose to work (KS: Interpersonal, Management and Leadership) | Formatively in work in progress presentations; summatively in Performance |
| Demonstrate understanding of the link between theory and practice through the articulation of aims and their strategies for achieving them within specific performance or community contexts | Formatively and summatively in Creative Portfolio of written work |
| Demonstrate the ability to reflect usefully on both creative process and product (KS: Self Awareness) | Formatively in group viva voce; summatively in written reflection Creative Portfolio |
It IS NOT a requirement that any major assessment category is passed separately in order to achieve an overall pass for the module
Kuppers, P. (2007) Community Performance: An Introduction. London, Routledge
Mermikides, A. and Smart, J. (Eds)(2010) Devising in Process. Basingstoke, Palgrave Macmillan
Baim, C. Brookes, S. Mountfor, A. (2002) The Geese Theatre Handbook: Drama with Offenders and People at Risk. Hook, Waterside Press
Govan, E. Nicholson, H. and Normington K. (2007) Making a Performance: Devising Histories and Contemporary Practices. London, Routledge
Graham, S. and Hoggett, S. (2009) The Frantic Assembly Book of Devising Theatre. London, Routledge
Harvie, J. and Lavender, A. (2010) Making Contemporary Theatre. Manchester, Manchester University Press
Heddon, D. and Milling, J. (2006) Devising Performance: a critical history, Basingstoke, Palgrave
Kuppers, P. and Robertson, G. (eds) (2007) The Community Performance Reader. London, Routledge
McKee, R. (1999) Story: substance, structure, style and the principles of screenwriting. London, Methuen
Nicholson, H. (2005) Applied Drama. Basingstoke, Palgrave Macmillan
Oddey, A. (1996) Devising Theatre: a practical and theoretical handbook. London, Routledge
Turner, C. and Behrndt, S. (2008) Dramaturgy and Performance. Basingstoke, Palgrave Macmillan