DRA1003 (2010-2011)
School of Languages, Literatures & Performing Arts
DRAMA STUDIES
DRA1003: ‘Introduction to Practical Theatre 1’
Convenor: David Grant Email: Phone: 90973329
Office: 9University Square, Rm. G02 (very back of ground floor)
This is a yearlong module. Lectures and introductory workshops are offered in Semester 1.
Rehearsals and performances take place in Semester 2.
Full details of the Semester 2 Programme will be provided in Week 12 of Semester 1.
MODULE AIM:
This module aims to develop your performance and technical skills within an historical and theoretical framework. The course includes workshops on voice and movement, text and scene work, introductory lectures on acting and directing theory and culminates in the ‘Rough Cuts’performance showcase.
LEARNING OUTCOMES:
On completion of this module you should have:
- An awareness of the key roles in theatre production.
- An understanding of basic acting and directing theory.
- An overview of actor training in the twentieth century.
- A basic understanding of directorial and dramaturgical approaches to performance.
- Applied theoretical knowledge in a practical performance outcome.
- Extended team-working, problem-solving and communication skills.
- Developed writing and time management skills (PDP)
Continuous Assessment (60%):
This is based on the following criteria:
- Attendance and Participation (partly evidenced by periodic short written assignments to be submitted through QOL Assignment Portal)
- Documentation of performance process
- Overall contribution to ‘Rough Cuts’
- Oral reflection in Week 12
Detailed descriptors for each criterion (i.e. what is required to achieve specified grades) can be found at the back of this module outline.
Written Assessment (40% of the module) will be in two parts:
- In the January Assessment Period you will submit a ‘Contextual Statement’ of 1,000 words dealing with research/preparation issues to do with approaching the text of your assigned scene-work – genre, period, playwright, ideas about character, design, themes, directorial 'vision', etc – as appropriate to your role. Those in production roles should be careful to discuss their contribution in relation to the these contextual issues as well as more practical ones.The ‘Contextual Statement’ should be submitted to the QOL Assignments portal no later than 4pmon Thursday 12th January, 2012. (See Appendix 1 for details of what is required).
- In the May Assessment Period you will submit an ‘Evaluative Statement’ of 1,500 words analysing your experience of the project in relation to your ‘Contextual Statement’,reflecting on how the dramaturgical decisions and pragmatics of production impacted on meaning-making and your experience of the process and performance. What were the challenges, and how were they dealt with in practice? Focus on some key moments/decisions and outlining how they developed.
- You will receive formative feedback on your ‘Contextual Statement’ which will be graded on a scale of Poor/Adequate/Good/Very Good/Excellent and will contribute to your overall mark for the written element of assessment. Both assignments will be submitted electronically. Normal late penalties will apply to each assignment and will be applied collectively to the overall mark for the written element of assessment.
Feedback: You will receive oral and written feedback in a variety of ways throughout the module. Pay close attention to this as it is central to your learning. ‘Formative Feedback’ includes oral comments in practical classes and emailed written comments on your first written assignment and aims to help you understand your own learning process. Oral ‘Summative Feedback’ at the post-performance discussion in Week 12 and written ‘Summative Feedback’ on your final essay will help your progression to future modules and can be discussed with your class tutors or with your Personal Tutor in your individual meetings.
Required Texts:
All Students MUST purchase the following text:Alison Hodge,Actor Training, (London: Routledge, 2010), ISBN: 0415471680. (Abbreviated to Hodge in Reading Schedule). This text will also be useful for DRA2003 (Making Theatre 1) at Level 2. Copies are available in Waterstone’s in Fountain Street, Belfast. PLEASE NOTE THIS IS A NEW EDITION WITH EXTRA CHAPTERS.
SEMESTER 1 (Monday 26th September – Friday 16th December 2010)
Lectures are on Tuesdays 4-5pm in Room G05, 6 University Square (back of ground floor)
Lecturer: David Grant
Workshops are in the Rehearsal Room (DFC, 20 University Square) in Weeks 2, 4, 6, 8, 10 and 12 only on Tuesdays, 9-11 and 11-1. There are also PDP sessions in Weeks 3 & 5
WEEKLY SCHEDULE
WEEK1 – Tuesday 27th September, 4pm- First Meeting
WEEK 2 – Tuesday 4th October – Lecture: ‘Being There’: The Importance of Presence’ (DG)
Required reading before lecture:‘Introduction’, Hodge.
Further reading:Declan Donnellan, The Actor and the Target (extract to be provided)
Workshops: ‘Thinking on Your Feet’
WEEK 3 – Tuesday 11th October – Lecture:‘Inside-Out’ – Stanislavski’s Training System. (DG)
Required reading before lecture: Chapters 1, 6 and 9, Hodge.
Further Reading: Chapter 3, Hodge.
Assignment:Actioning a Sonnet
PDP Workshops: ‘Writing Skills and Referencing’
WEEK 4 – Tuesday 18th October – Lecture:‘Outside-In – Brecht and Actor Training; Meyerhold and Biomechanics, Michael Chekhov.’ (DG)
Required reading before lecture:Chapter 2, 4 and 7, Hodge.
Further Reading: Chapter 8, Hodge.
Workshops: ‘Slow-Walking’ and ‘Workingwith Words’
Assignment: Online Quiz
WEEK 5 – Tuesday 25th October – Lecture: Transparency: “There Are No Secrets” (DG)
Peter Brook & Grotowski
Required reading before lecture:Chapters 11 & 12, Hodge
Further Reading: Chapter14, Hodge
Assignment: Online Quiz
PDP Workshops: ‘Time Management’(NB 10-11 & 11-12)
COMPULSORY HEALTH AND SAFETY TRAINING WITH ROSS McDADE (9-10 and 12-1)
WEEK 6 – Tuesday 1stNov. – Lecture:‘Bring on the Clowns’: Understanding Status (DG)
Required reading before lecture:Chapter 13, Hodge
Further Reading:Extract from Keith Johnstone, Impro(handout)
Workshops: ‘Playing Status’
Week 7 – READING WEEK (No Lecture)
WEEK 8 – Tuesday 15th Nov – ‘Theatre: A Collaborative Process’ – maximising your potential!
Required Reading before Lecture: Chapters 14, 16 & 18
Workshops: Working with Others; Cuescripts.
Further Reading: Lecture handout on Behavioural Styles, Study Skills Handbook Ch. 5)
Written Assignment (200 words): choose a production team of between 4 and 5 people from members of the class saying why you have chosen them in relation to the behavioural styles discussed in the lecture.
WEEK 9 – Tuesday 22ndNov. – Lecture:– ‘The Director’s Perspective’ – Introspective
and External Techniques.
Required reading before lecture: Extract from Augusto Boal, Games for Actors and Non-Actors(handout); Chapters 15 & 17, Hodge.
Further Reading: Maria Shevstova and Christopher Innes, Directors/Directing (CUP, 2009)
(Written Assignment – 200words):select a scene from the list provided in the lecture and choose a rehearsal technique from the handout explaining why it is appropriate to your chosen scene.
WEEK 10 – Tuesday 29th Nov. – Lecture: ‘Thinking about Design’
Reading Required before Lecture: Joslin McKinney and Philip Butterworth, The Cambridge Introduction to Scenography (CUP, 2009), Chapters 1 & 2. (handout)
Short Written Assignment: select an image and explain why and how you might use it help inform the design brief for a scene from the list provided in last week’s lecture.
Project Proposals due today from prospective directors.
Workshops: ‘Making a Model Box’
WEEK 11 – Tuesday 7th Dec. – Lecture: ‘Project Proposals’ – prospective directors will ‘pitch’ their proposed scene. All students will then complete options forms.
WEEK 12 – Tuesday 14th Dec. – Lecture: ‘Reflective Practice’ – writing about doing!Scene work groups will be confirmed at this lecture, and guidelines provided for written assignments.
Workshops: First Team Meetings
SEMESTER 2 (Monday 30thJanuary – Friday 11thMay 2010)
Workshops (weeks 1-5) and Supervised Rehearsals (weeks 7-11) take place on Tuesdays and Wednesdays 9-11 and 11-1 in the Rehearsal Room, DFC, 20 University Square) depending on which scene you are part of. There is also a hour long weekly independent rehearsal on each Thurs. in Weeks 7-11 in the Brian Friel Theatre. Groups may want to schedule additional rehearsals during the Easter Vacation.
(Weeks 1 – 5)Rehearsal Room, Drama and Film Centre, 20 Univ. Sq. Workshop 1: Tuesdays 11am -1pm
Workshop 2: Wednesdays 9am-11am
Workshop 3: Wednesdays 11am-1pm
(Weeks 7-11) Rehearsal Room, Drama and Film Centre, 20 Univ. Sq. Rehearsal Process 1: Tuesdays 11am -1pm (Green group)
Rehearsal Process 2: Wednesdays 9am-11am (Blue Group)
Rehearsal Process 3: Wednesdays 11am-1pm (Yellow Group)
Please ensure you have read the relevant plays BEFORE each workshop. You should bring an actor's journal/notebook to all of these sessions. These will be practical sessions so please wear loose comfortable clothing in neutral colours, flat soft-soledshoes, no jeans, and no jewellery. Latecomers will not be admitted to these sessions.
WEEKLY SCHEDULE
First Meeting – To Be Arranged
Week 1 Workshops (w/c 30thJanuary) – Warm-up Techniques; the Breath and The Body; Poise and Presence. (For this class you should prepare a 1 minute monologue of your choosing)
Additional Reading:
Week 2 Workshops (w/c 6th February) - Clowning Around; States of Tension; Heightened Physicality; Status (Outside-in scenes)
Additional Reading tbc
Week 3 Workshops (w/c 13thFebruary) - Approaching Text; Building a character; Table Work; Units and Objectives; Actioning (Inside-out scenes)
Additional Reading tbc
Week 4 Workshops (w/c 20thFebruary) - Heightened Language; The Voice and Verse (Classical scenes )
Additional Reading tbc
Week 5 Workshops (w/c 27th Feb) – Viewpoints; Abstract Staging; Visual Narratives(Postdramatic scenes)
Additional Reading tbc
Week 6READING WEEK
Week 7Introductory Rehearsals (w/c 6th March)–The Readthrough; The Acting Ensemble; Becoming a company; Rehearsal Room Etiquette.
Weeks 8-10Supervised Rehearsals: The Workshops sessions on Tuesday and Wednesday mornings will be used to explore rehearsal techniques with support from the course tutor. There will be an additional independent rehearsal formally scheduled for each group.
Week 11 – Production Week
Week 12 – Feedback and Oral Reflection (DG)
There will be additional seminars for directors and D.S.M.s on Tues. from 2-3pm in weeks 2-6 and 8-10.
‘Rough Cuts’ Showcase Performance: You will be asked towards the end of Semester 1 to form ‘Project Groups that should have between 5 & 8 members. There will be at least two Project Groups in each workshop and each ‘Project Group’ should have a director and a stage manager. Each project group will work on a specific scene (usually selected by the group director from an approved list). Class members who are not part of an approved group by the start of Semester 2 will be assigned to an existing group. Bear in mind that additional rehearsal will be required outside class time. There will be technical rehearsals in Week 11 of Semester 2, plus one hour’s rehearsal session per week in addition to normal classes. One scene from each workshop group will be presented before and after the interval and workshop members will provide additional technical and stage management for the other scene group in their workshop. PLEASE ENSURE THAT YOU ARE AVAILABLE FOR ALL THE ABOVE TIMES. Detailed calls will be agreed nearer the time. Bear in mind that additional rehearsal may be required outside scheduled times.
Performances will take place in the Brian Friel Theatre on Wednesday 2nd and Thursday 3rd May 2012 at 7.30pm with Technical Rehearsals from 6-10pm on Monday 30thApril and Tuesday 1st May. Dress Rehearsals will take place in the normal class times on Tuesday and Wednesday mornings. PLEASE ENSURE THAT YOU ARE AVAILABLE FOR ALL FOUR EVENINGS.
Rehearsal Reports
All scene-work groups are required to keep a record of all independent rehearsals (i.e. Wednesday afternoons or Thursdays) on the Rehearsal Report form (available for download on QOL). Reports should be completed by the project DSM and MUST BE SIGNED by all present before being submitted to the Drama Studies Office no later than Friday at 12 noon on the week of the rehearsal in question.
Bibliography:
Strongly Recommended:
Mike Alfreds, Different Every Night: Freeing the Actor (London: Nick Hern, 2007)
William Ball, A Sense of Direction (NY: Drama Book Publishers, 1984)
Cicely Berry, Voice and the Actor (London: Virgin Books, 2000)
Declan Donnellan, The Actor and the Target (London: Nick Hern, 2002)
Katie Mitchell, The Director’s Craft (London: Routledge 2009)
Jean Newlove, Laban for Actors and Dancers (NY, London: Routledge/ Nick Hern, 1993)
Recommended:
John Ahart, The Director’s Eye (Colorado Springs: Meriwether, 2001)
Clive Barker, Theatre Games, A New Approach to Drama Training (London: Methuen, 1977)
Michael Bloom, Thinking Like a Director (London:Faber 2002)
Richard Boleslavsky, Acting: The First Six Lessons (London: Routledge, 2003)
Edward Braun, Meyerhold, A Revolution in Theatre (London: Methuen, 1998)
Adrian Cairns, The Making of a Professional Actor 1996, (London: Peter Owen)
Marina Calderone & M. Lloyd Williams, Actions: The Actors’ Thesaurus (London: Nick Hern Books, 2004)
Jerzy Grotowski, Towards a Poor Theatre
Rudolf Laban, The Mastery of Movement (London: Routledge, 1966)
Mary Luckhurst (ed.), On Acting, Interviews with Actors, (London: Faber, 2001)
Charles Marowitz, The Other Way, (New York: Applause, 1999)
Bella Merlin, Beyond Stanislavsky, (London: Nick Hern Books, 2002)
Shomit Mitter, Systems of Rehearsal, Stanislavsky, Brecht, Grotowski and Brook, (London: Routledge,1992)
Patsy Rodenburg, The Actor Speaks: Voice and the Performer (London: Methuen, 2005)
Maria Shevstova and Christopher Innes, Directors/Directing (CUP, 2009)
Rules and Guidelines for working in the Studio Theatre and Rehearsal Room
The Drama Studies programme has strict Health & Safety protocols that should be followed at all times. Below are listed several protocols that students must adhere to when working in both the Main Theatre space and Rehearsal Room. These rules have been put in place for your health and safety and that of others.
- Other than re-sealable bottles of water, no food or drink may be taken into either the BFT or Rehearsal Room.
- Leave all the spaces neat and tidy for other users, and ensure that chairs are stacked away when not in use.
- Shoes with a non-marking sole are to be worn in the Rehearsal Room.
- Students must not use access equipment (ladders or tallescope) unless supervised by a member of staff.
- Students may use various types of technical equipment but must seek approval from a member of staff. Competence in the operation of such equipment must be demonstrated before use.
- Students must wear hard hats when rigging, focusing or otherwise working at height.
- At least one week’s notice must be given to the Production Assistant when requesting technical equipment or assistance. All requests must be by email.
- All accidents or dangerous occurrences must be recorded in the accident book. Students must inform a member of staff of such incidents immediately.
Please refer to Section 11 at the back of the Drama Handbook for full General Safety Protocol.
APPENDIX 1
DRA1003 Contextual Statement – Guidelines
Length – 1,000 words
Due: Thursday 12th January, 2012 at 4pm (submit to QOL Assignment portal)
You should include:
Play: Title and author
Group List (with roles: e.g. director, character name, DSM etc.)
A Research Question in the form: “By participating as [an actor/director/stage manager] in the production of a scene from [insert play title] as part of Rough Cuts I hope to discover…” The rest of this question will depend on your role. E.g. for directors it may be “the challenges arising for the director”; or “how to achieve the stylistic demands required by the play”; or “how to assist the actors in achieving a truthful performance”. For actors it may be “how to develop a performance style appropriate to the play”; or “how to build my character”. For Stage Managers: “how a rehearsal process is managed and to observe the working methods of the actors and director”. (c. 50 words)
Background Research: set your play in context artistically, socially and historically. What do you know of the writer and their other plays? Is there any relevant production history (i.e. when has the play been produced before)? What special stylistic challenges does the play present? (c. 400 words)
A methodogical statement: methodology means the way you understand the methods you use to address your research question. How will you go about your project to achieve your ends. This can include approaches to rehearsal, characterisation and background research. Include at least three quotations from relevant reading, citing these in footnotes according to the styleguide (see Drama Handbook). (c. 400 words)
An annotated bibliography: list between 6 and 8 books or articles that you expect to consult to further your research, explaining in a sentence why each is relevant. E.g. ‘Chapter Title’ in Alison Hodge (ed.), Actor Training (London: Routledge, 2010) – this practitioners ideas are relevant to the play because… You may want to include up to two other works by the same writer, but you need to explain why they are relevant. (c. 150 words)
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Drama DRA1003
DRA1003 Continuous Assessment Criteria (60% of total grade)
Attendance[1] / I: Attends all sessions II(i): Consistent attendance II(ii): Regular attendance III: Sporadic attendance Fail: Limited attendanceParticipation in Class / I: Consistently high level of contribution to class discussion/activities. Excellent time management skills/adherence to deadlines. Consistently reflective of work undertaken/ ideas encountered. Meticulous preparation (reading etc.).
II(i): Some evidence of high level of contribution to class discussion/activities. Very good time management skills/adherence to deadlines. Mostly offers evidence of reflection on work undertaken/ ideas encountered. Thorough preparation.
II(ii): Some contribution to class discussion/activities. Good time management skills/adherence to deadlines. Offers some evidence of reflection on work undertaken/ideas encountered, although this is inconsistent. Generally good preparation.
III: Occasional contribution to class discussion/activities. Some problems with time management skills/adherence to deadlines. Sporadic evidence of reflection on work undertaken/ ideas encountered. Sometimes poorly prepared for class.
Fail: Little or no contribution to class discussion/activities. Significant problems with time management skills/adherence to deadlines. Little or no reflection on work undertaken/ ideas encountered. Often poorly prepared.
Periodic Assignments / I: Excellent depth and breadth of ideas emerging about each theme. Wide range of research materials related to and arising from the topic, documented in a useable way. Thorough, clear and constructive ongoing documentation of reflection on the development process. Clear, practical and sometimes innovative record keeping.