Theatre and Performance: Self
Run by School of Arts, Culture and Language
20.000 Credits or 10.000 ECTS Credits
Organiser: Mrs Ffion Evans
Overall aims and purpose
The aim of Theatre and Performance: The Self is to explore Performance as it related to the individual practitioner. This module will examine some of the fundamental aspects of performance such as performativity, liveness, embodiment, and theatricality and how they link into the world outside of the theatre. Using various performers and performance groups and drawing on other arts practices (such as photography, writing, visual arts) as illustrations this module will focus on the ways those practitioners employ new and dynamic modes of performance to destabilise and question notions of self and identity, belonging and being. During this module students are involved in practical work focusing on, and experimenting with, the dynamics of live performance. The individual is at the centre of the work and the students are expected to develop an advanced notion of their own artistic identity as creators of performance.
Theories of Self, identity and autobiography in performance Examples of current and past arts practice in relation to identity and the self Rehearsal processes and directing Portfolio creation Critical analysis of theatre and performance
D • Knowledge of key areas/principles only • Weaknesses in understanding of main areas • Limited evidence of background study • Answer only poorly focussed on question and with some irrelevant material and poor structure • Arguments presented but lack coherence • Several factual/computational errors • No original interpretation • Only major links between topics are described • Limited problem solving • Many weaknesses in presentation and accuracy
C • Knowledge of key areas/principles • Understands main areas • Limited evidence of background study • Answer focussed on question but also with some irrelevant material and weaknesses in structure • Arguments presented but lack coherence • Has several factual/computational errors • No original interpretation • Only major links between topics are described • Limited problem solving • Some weaknesses in presentation and accuracy
B • Strong knowledge • Understands most but not all • Evidence of background study • Focussed answer with good structure • Arguments presented coherently • Mostly free of factual and computational errors • Some limited original interpretation • Well known links between topics are described • Problems addressed by existing methods/approaches • Good presentation with accurate communication
A • Comprehensive knowledge • Detailed understanding • Extensive background study • Highly focussed answer and well structured • Logically presented and defended arguments • No factual/computational errors • Original interpretation • New links between topics are developed • New approach to a problem • Excellent presentation with very accurate communication
Advanced critical writing skills including clarity of expression, cogent argument and structure, accuracy and adherence to referencing protocol
Demonstrate an ability to devise and lead a project confidently
Demonstrate an extensive awareness of current discussions and debates in the field and be knowledgeable about work of a range of movements and practitioners.
Describe, interpret and critically evaluate performance across a range of occurrences and sites and clearly articulate their relevance to own work.
Show extensive awareness of the conceptual and creative processes that underpin the understanding and realization of performance.
Demonstrate a depth of understanding of issues relating to the self and identity in performance and related disciplines
Advanced presentation skills including clarity of spoken expression, use of appropriate technological and/or performative examples, detailed preparation and coherent structure
Teaching and Learning Strategy
|Practical classes and workshops||
Practical theatre workshops: In the first 6 weeks these will last 2 hours; in the final 4 weeks they will last 3 hours to assist the preparation of performance assessment work under the supervision and guidance of the lecturer.
Seminars: these will last 1 hour during the first 6 weeks and will range between staff presentations, student presentations and discussions of readings undertaken.
- Literacy - Proficiency in reading and writing through a variety of media
- Self-Management - Able to work unsupervised in an efficient, punctual and structured manner. To examine the outcomes of tasks and events, and judge levels of quality and importance
- Exploring - Able to investigate, research and consider alternatives
- Information retrieval - Able to access different and multiple sources of information
- Inter-personal - Able to question, actively listen, examine given answers and interact sensitevely with others
- Critical analysis & Problem Solving - Able to deconstruct and analyse problems or complex situations. To find solutions to problems through analyses and exploration of all possibilities using appropriate methods, rescources and creativity.
- Safety-Consciousness - Having an awareness of your immediate environment, and confidence in adhering to health and safety regulations
- Presentation - Able to clearly present information and explanations to an audience. Through the written or oral mode of communication accurately and concisely.
- Teamwork - Able to constructively cooperate with others on a common task, and/or be part of a day-to-day working team
- Mentoring - Able to support, help, guide, inspire and/or coach others
- Management - Able to utilise, coordinate and control resources (human, physical and/or financial)
- Argument - Able to put forward, debate and justify an opinion or a course of action, with an individual or in a wider group setting
- Self-awareness & Reflectivity - Having an awareness of your own strengths, weaknesses, aims and objectives. Able to regularly review, evaluate and reflect upon the performance of yourself and others
- Leadership - Able to lead and manage, develop action plans and objectives, offer guidance and direction to others, and cope with the related pressures such authority can result in
Subject specific skills
- Artistic engagement and ability to articulate complex ideas in oral and written forms. (NAWE Creative Writing Benchmark Statement 3.2).
- Ability to connect creative and critical ideas between and among forms, techniques and types of creative and critical praxis. (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.2).
- Awareness of how different social and cultural contexts affect the nature of language and meaning (English Benchmark Statement 3.2).
- Reflective practitioner skills, including awareness of the practice of others in collaborative learning (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.2).
- The ability to synthesize information from various sources, choosing and applying appropriate concepts and methods (English Benchmark Statement 3.3).
- Ability to formulate and solve problems, anticipate and accommodate change, and work within contexts of ambiguity, uncertainty and unfamiliarity (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
- Ability to engage in processes of drafting and redrafting texts to achieve clarity of expression and an appropriate style. (English Benchmark Statement 3.3; NAWE Creative Writing Benchmark Statement 3.2).
- Ability to gather information, analyse, interpret and discuss different viewpoints (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
- Information technology (IT) skills broadly understood and the ability to access, work with and evaluate electronic resources (NAWE Creative Writing Benchmark Statement 3.2; English Benchmark Statement 3.3).
Resource implications for students
Students are expected to attend live performances, at least one per theatre module. They should allocate at least £15 to this activity.
Required reading: Aston, E. and Savona, G. (1991) Theatre as a sign-system: A Semiotics of Text and Performance. London: Routledge. pp. 99 – 123
Barthes, R (1977) ‘Death of the Author’ in Image Music Text. London: HarperCollins pp.142 – 148
Ferris, L. (2005) ‘Cooking up the Self: Bobby Baker and Blondell Cummings ‘Do’ the Kitchen’ in Smith, Sidonie and Watson, Julie (eds.) Interfaces: Women/Autobiography/Image/Performance. Ann Arbor: University of Michigan Press. pp. 186 – 210
Foucault, M. ‘What is an author?’ from: Bouchard, Donald.F. Ed.(1980) Language, Counter Memory, Practice: selected essays an interview by Michel Foucault. New York: Cornell University Press, pp.113-138.
Hirsch, M. (2005) ‘Collected Memories: Lorie Novak’s Virtual Family Album’ in Interfaces: Women/Autobiography/Image/Performance. Ann Arbor: University of Michigan Press. pp. 240 – 260
Hultona, D. (2007) ‘The One Square Foot project’ in Studies in Theatre and Performance, 27:2, pp155-168
Wright, J. (2002) ‘Who’s writing this anyway?’ in Total Theatre Magazine 14:1. Pp 6 - 8
Plays To be advised
Recommended reading: Boal, Augusto. (2002) The Games Actors Play. London and New York: Routledge.
Schechner, R. (2002) Performance Studies: an introduction. London: Routledge.
Smith, Sidonie and Watson, Julie (eds.) Interfaces: Women/Autobiography/Image/Performance. Ann Arbor: University of Michigan Press.
Sullivan, N. (2003) A Critical Introduction to Queer Theory. New York: New York University Press
Zarilli, Phillip B. (2005) ‘Senses and silence in actor training and performance’ in The Senses in Performance. Routledge.
Courses including this module
Optional in courses:
- QWM5: BA Cymraeg, Theatr a'r Cyfryngau year 3 (BA/CTC)