This Level 5 module enables students to frame critical and analytical investigations of dance movement, dance works and dance events. Performing Theories combines practical sessions and lectures in order to introduce students to methodological tools, theoretical frameworks and critical writings in relation to dance performance and dance practices.
The module addresses a number of key methodologies used within 21st century dance research, including intertextuality in dance, the body politic and gender representations in performance. These concepts will be explored through technique classes, repertoire sessions, video and live performance analysis and group discussions.
Theoretical and analytical perspectives
Applied to:
Choreographers and companies studied may include Siobhan Davies, Richard Alston, Lloyd Newson and DV8, Bill T. Jones, CandoCo, Mark Morris, Matthew Bourne, Wayne McGregor, Vincent Dance Theatre, Alvin Ailey, Urban Bush Women, Hofesh Shechter. Techniques studied may include Cunningham, Graham, Release, Limón and Contact Improvisation.
Students are introduced to various critical perspectives within the lectures and explore these further through viewings of recorded dance, discussions and practical sessions. In order to help students fully understand the connection between theory and practice, some of the theories discussed in class will be explored in the studio (eg. engaging with theories of embodiment and body representation, exploring strategies of signification through movement and experimenting with ideas surrounding dance dramaturgy). Each week this module provides one hour for the supplementary technique class scheme (STS).
| Definitive UNISTATS Category | Indicative Description | Hours |
|---|---|---|
| Scheduled learning and teaching | Lecture | 20 |
| Scheduled learning and teaching | Practical classes | 22 |
| Scheduled learning and teaching | Practical Classes (STS) | 22 |
| Guided independent study | Independent study | 236 |
| Total (number of credits x 10) | 300 | |
The assessment for this module is designed to increase students' awareness and knowledge through a progressive mode of assessment. Support and feedback will be provided during the academic year via formative tasks, class discussions and draft submissions.
In teaching block one the formative task will take place during lecture time as well as in the form of group exercises and presentations. This will allow students to monitor their progress and development of their knowledge and understanding of various methods and theoretical frameworks in relation to performance practice.
In teaching block two students will work towards their assessment. The summative assessment is distributed in two phases. Firstly, students will be assessed on the practical aspect of the module via a practical presentation. Secondly students will write academic essays (2000 words) applying a method or theoretical framework to the analysis of a specific dance work (i.e the repertoire learned in class or work provided by the tutor). Relevant essay questions will be provided by the tutor.
| Learning Outcome | Assessment Strategy |
|---|---|
| An in-depth understanding of different methodological approaches to the analysis and the reading of dance works. | a) Assessed formatively by class discussions and the submissions of a draft. b) Assessed summatively through an essay |
| Select and apply appropriate theoretical frameworks in the analysis of dance works. | a) Assessed formatively via class discussions and designed task. b) Assessed summatively via an essay. |
| Demonstrate technical and performance skills in the presentation of a piece of repertoire. | a) Assessed formatively in class presentations. b) Assessed summatively via practical performance. |
| Apply research, structuring and academic writing skills in the production of analytical writing and performance practice. | a) Assessed formatively via a draft submission and practical presentations in class. b) Assessed summatively via an essay and practical performance. |
| Description of Assessment | Definitive UNISTATS Categories | Percentage |
|---|---|---|
| Coursework | Essay | 50 |
| PRC | Practical assessment | 50 |
| Total (to equal 100%) | 100% | |
It IS NOT a requirement that any major assessment category is passed separately in order to achieve an overall pass for the module.
Adshead-Lansdale J (1999). Dancing texts : intertextuality in interpretation. London: Dance Books.
Reinelt, J & Roach, J (eds.) (2010). Critical Theory and performance. Michigan: The university of Michigan Press.
Adshead-Lansdale J (2008). Decentring dancing texts: the challenge of interpreting dances.Basingstoke: Palgrave Macmillan.
Adshead-Lansdale J (1988).Dance analysis: theory and practice.London : Dance Books.
AlbrightAC (1997) Choreographing Difference: The body and Identity in contemporary dance. Middletown: Wesleyan University Press.
Foster, SL (2011) Choreographing Empathy: Kinesthesia in Performance. NewYork: Routledge.
Foster SL (1995). Corporealities : body, knowledge, culture, power. London : Routledge.
Lepecki A (2006) Exhausting Dance: Performance and the Politics of Movement. London:Routledge.
Martin R (1998) Critical Moves: Dance Studies in Theory and Politics. New York: Duke University Press.
Martin R (1990) Performance as Political Act: The Embodied Self. New York: Bergin &Garvey Publishers.
Schechner, R (2002) Performance Studies: an Introduction. London: Routledge.
Thomas, H (2003). The Body, Dance and Cultural Theory. London: Palgrave.