Directing and Dramaturgy
Run by School of Arts, Culture and Language
20.000 Credits or 10.000 ECTS Credits
Organiser: Mrs Ffion Evans
Overall aims and purpose
Directing and Dramaturgy is a module that explores the stage directors process in detail. From constructing narrative, directing actors to evaluating the process from text into production, this module allows the opportunity for an individual to gain a further insight into the possible roles the director might entail.
Students interested in writing, directing and performing as well as literature and film and media students could benefit from this module as it allows the individual to understand what collaboration is needed between the director-writer, actor-director, or technical designer for example in the process of developing live work. The module will focus mainly on 21st Century directors and the challenges and possibilities of creating production today.
Summary of Course Content:
- Introduce theoretical and practical research in the Director and the Dramaturg's Practice.
- Explore rehearsal methods and scene work in directing actors
- Evaluating narrative construction and development through text analysis
- Exploring the collaborative process of developing a live performance from text into production, i.e. looking at the lighting designer, sound designer, set designer, composer's relationship with the director.
C- to C+
Good/Satisfactory (C- to C+)
• Knowledge of key areas/principles • Understands main areas • Limited evidence of background study • Written or performance response focussed on assignment but also with some irrelevant material and weaknesses in structure • Arguments presented but lack coherence • Has several factual/computational errors/mostly unconvincing performance • No original interpretation • Only major links between topics are described • Limited problem solving/satisfactory team work • Some weaknesses in presentation/performance and accuracy
Threshold (D- to D+)
• Knowledge of key areas/principles only • Weaknesses in understanding of main areas • Limited evidence of background study • Performance or written response only poorly focussed on question and with some irrelevant material and poor structure • Arguments presented but lack coherence • Several factual/computational errors/unconvincing performance • No original interpretation • Only major links between topics are described • Weak group skills • Many weaknesses in presentation/performance and accuracy
Excellent (A- to A+)
• Comprehensive knowledge • Detailed understanding • Extensive background study • Highly focussed and well structured written or performance response • Logically presented and defended arguments • No factual/computational errors/committed and convincing performance • Original interpretation • New links between topics are developed • Strong group skills • Excellent presentation with very accurate communication
Very Good/Good (B- to B+)
• Comprehensive knowledge • Detailed understanding • Background study • Focussed and well structured written or performance response • Logically presented and defended most arguments • Some to No factual/computational errors/committed and convincing performance • Some Original interpretation • New links between topics are developed • Strong group skills • Very good presentation with accurate communication
Been a highly active and creative participant in the process of play, inspiring and supporting others (4)
Has undertaken advanced independent research-based investigation to inform written and practical work. (5)
Been able to identify and discuss the theoretical and practical processes that are required from a director's practice to an advanced level. (3)
Participated in an extended period of practice-based and theoretical exploration to lead in the generation of an original performance. (1)
Understood and applied the appropriate skills, working methods and approaches required when conducting performance work. (2)
|DEMONSTRATION/PRACTICE||Directing Monologue work||
Through preparing initial text analysis and character study, you will be required to prepare and direct another member of the class through a series of rehearsals.
|LOGBOOK OR PORTFOLIO||Micro Play Portfolio||
The Micro Play Portfolio is a document of a director's choices into production. From conceptual research ideas to staging configurations, potential collaborations with lighting and sound and costume designers as well as composers. How would the learning go about to direct their own vision of a particular play? The portfolio will be a digital presentation of text, images, sound and music.
Preparing a scene to be performed that shows detail research and knowledge of script breakdown, techniques and skills. Demonstrate these skills in action with actors and give notes and implement ideas and techniques in action.
Teaching and Learning Strategy
|Supervised time in studio/workshop||
Through a series of specifically designed workshops and exploring the directors rehearsal method, specific rehearsal times will be allocated for feedback and development.
An opportunity to read further text and play text, visit performances (live and digital/online) material to evaluate and develop the learner's directorial voice.
Opportunity for learner's to be present in each other's rehearsals as assistant directors and performers to support each other's development.
|Practical classes and workshops||
Early Pre-Production Process: Reading the play, developing ideas, concepts, evaluating narrative structure, Drafting process with the writer, building a vision, evaluating touring obligations, casting. Planning Process: Collaborative development with writers, designers, lighting and sound designers, composers, company, text analysis, auditioning, schedule for rehearsals, rehearsal content Production: Directing actors, production meetings
Introduction to a variety of directors and directing techniques.
Performance visits and online digital productions
- 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
- Caring - Showing concern for others; caring for children, people with disabilities and/or the elderly
- 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).
- 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).
- Re-creative skills – interpretation, innovation, versatility, and other skills relating to performance
- Creative skills – conception, elaboration, adaptation, presentation, collaboration, preservation
- Intellectual skills shared with other disciplines – research and exploration, reasoning and logic, understanding, critical judgement, assimilation and application
- Skills of communication and interaction – oral and written communication, public presentation, team-working and collaboration, awareness of professional protocols, sensitivity, ICT skills, etc.
- Skills of personal management – self-motivation, self-critical awareness, independence, entrepreneurship and employment skills, time management and reliability, organisation, etc.
- Enhanced powers of imagination and creativity (4.17)
Resource implications for students
Students will be informed before hand.
Talis Reading listhttp://readinglists.bangor.ac.uk/modules/wxs-3000.html
A detailed reading list will be presented before the module begins.
Caldarone M., Lloyd-Williams M. & Johnson T., 2004. Actions: the actors’ thesaurus, London: Nick Hern. Moseley N., 2012. Meisner in practice: a guide for actors, directors and teachers, London: Nick Hern Books. Bernard I., 1998. Film and television acting: from stage to screen, Boston: Focal Press. Mitchell K., 2009. The director’s craft: a handbook for the theatre, New York, NY: Routledge. Alfreds M., 2007. Different every night: freeing the actor, London: Nick Hern. Boenisch P., The Theatre of Thomas Ostermeier, London, Routledge
Courses including this module
Compulsory in courses:
- 32M8: BA English Literature with Theatre and Performance year 3 (BA/ELTP)
- P3W5: BA Film Studies with Theatre and Performance year 3 (BA/FSTP)
- P35W: Film Stud with Theatre & Performance with International Exp. year 3 (BA/FSTPIE)
- P3WL: BA Media Studies with Theatre and Performance year 3 (BA/MSTP)
- P3WB: BA Media Stud with Theatre & Perform (4yr with Incorp Found) year 3 (BA/MSTP1)
Optional in courses:
- T103: BA Chinese and Creative Studies year 4 (BA/CHCS)
- WPQ1: BA Creative Studies (with International Experience) year 4 (BA/CSIE)
- WPQ0: BA Creative Studies year 3 (BA/CST)
- WPQB: BA Creative Studies (4 year with Incorporated Foundation) year 3 (BA/CST1)
- WQ93: BA Creative Stds & English Lang. year 3 (BA/CSTEL)
- WR91: BA French and Creative Studies year 4 (BA/CSTFR)
- WR92: BA German and Creative Studies year 4 (BA/CSTG)
- WR93: BA Italian and Creative Studies year 4 (BA/CSTITAL)
- WW93: BA Creative Studies and Music year 3 (BA/CSTMUS)
- WR94: BA Spanish & Creative Studies year 4 (BA/CSTSP)