Rhedir gan School of Music, Drama and Performance

20.000 Credyd neu 10.000 Credyd ECTS

Semester 1

Trefnydd: Mrs Ffion Evans

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.

ardderchog

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

trothwy

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

C- i 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

da

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

1. Been able to identify and discuss the theoretical and practical processes that are required from a director's practice. (3)

2. Been an active and creative participant in the process of play (4)

3. Has undertaken independent research-based investigation to inform written and practical work. (5)

4. Participated in an extended period of practice-based and theoretical exploration to assist in the generation of an original performance. (1)

5. Understood the appropriate skills, working methods and approaches required when conducting performance work. (2)

Math	Enw	Disgrifiad	Pwysau
LLYFR LOG NEU BORTFFOLIO	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 learner go about to direct their own vision of a particular play? The portfolio will be a digital presentation of text, images, sound and music.	40.00
ARDDANGOSIAD/YMARFER	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.	20.00
ARDDANGOSIAD/YMARFER	Directing Actors	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.	40.00

		Oriau
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	22
Seminar	Focused sessions to develop research and introduction to a diverse range of directors and directing approaches.	8
Supervised time in studio/workshop	Opportunity to share rehearsal practice and gain feedback for development	11
Study group	Opportunity for students to support each others rehearsal processes as assistant directors and performers.	11
Private study	Independent time to develop assessments, research and ideas. Read further text and play text, visit live and online/digital performances to allow the opportunity for the learner to develop their own directorial voice.	137
External visit	Watching live performances at Pontio and online digital production work on a regular basis.	11

• Llythrennedd - Medrusrwydd mewn darllen ac ysgrifennu drwy amrywiaeth o gyfryngau
• Hunanreolaeth - Gallu gweithio mewn ffordd effeithlon, prydlon a threfnus. Gallu edrych ar ganlyniadau tasgau a digwyddiadau, a barnu lefelau o ansawdd a phwysigrwydd
• Archwilio - Gallu ymchwilio ac ystyried dewisiadau eraill
• Adalw gwybodaeth - Gallu mynd at wahanol ac amrywiol ffynonellau gwybodaeth
• Sgiliau Rhyngbersonol - Gallu gofyn cwestiynau, gwrando'n astud ar atebion a'u harchwilio
• Dadansoddi Beirniadol & Datrys Problem - Gallu dadelfennu a dadansoddi problemau neu sefyllfaoedd cymhleth. Gallu canfod atebion i broblemau drwy ddadansoddiadau ac archwilio posibiliadau
• Ymwybyddiaeth o ddiogelwch - Bod yn ymwybodol o'ch amgylchedd a hyder o ran cadw at reoliadau iechyd a diogelwch
• Cyflwyniad - Gallu cyflwyno gwybodaeth ac esboniadau yn glir i gynulleidfa. Trwy gyfryngau ysgrifenedig neu ar lafar yn glir a hyderus.
• Gwaith Tîm - Gallu cydweithio'n adeiladol ag eraill ar dasg gyffredin, ac/neu fod yn rhan o dîm gweithio o ddydd i ddydd
• Mentora - Gallu cefnogi, helpu, arwain, ysbrydoli ac/neu hyfforddi eraill
• Gofalu - Dangos consyrn am eraill; gofalu am blant, pobl ag anableddau ac/neu'r henoed
• Rheloaeth - Gallu defnyddio, cydlynu a rheoli adnoddau (dynol, ffisegol ac/neu ariannol)
• Dadl - Gallu cyflwyno, trafod a chyfiawnhau barn neu lwybr gweithredu, naill ai gydag unigolyn neu mewn grwˆp ehangach
• Hunanymwybyddiaeth & Ystyried - Bod yn ymwybodol o'ch cryfderau, gwendidau, nodau ac amcanion eich hun. Gallu adolygu ,cloriannu a myfyrio'n rheolaidd ar eich perfformiad eich hun ac eraill.
• Arweinyddiaeth - Gallu arwain a rheoli, datblygu cynlluniau gweithredu ac amcanion, cynnig arweiniad a chyfarwyddyd i eraill, ac ymdopi â'r pwysau sy'n gysylltiedig ag awdurdod o'r fath

• An understanding of creative and critical processes, and of the wide range of skills inherent in creative writing. (NAWE Creative Writing Benchmark Statement 3.1).
• 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 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
• 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)

Goblygiadau o ran adnoddau ar gyfer myfyrwyr

Students will be informed before hand.

Rhestrau Darllen Bangor (Talis)

http://readinglists.bangor.ac.uk/modules/wxs-2000.html

Rhestr ddarllen

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

Gorfodol mewn cyrsiau:

• 32M8: BA English Literature with Theatre and Performance year 2 (BA/ELTP)
• P3W5: BA Film Studies with Theatre and Performance year 2 (BA/FSTP)
• P35W: Film Stud with Theatre & Performance with International Exp. year 2 (BA/FSTPIE)
• P3WL: BA Media Studies with Theatre and Performance year 2 (BA/MSTP)
• P3WB: BA Media Stud with Theatre & Perform (4yr with Incorp Found) year 2 (BA/MSTP1)
• W3W4: BA Music with Theatre & Performance year 2 (BA/MUSTP)

Opsiynol mewn cyrsiau:

• T103: BA Chinese and Creative Studies year 2 (BA/CHCS)
• WPQ1: BA Creative Studies (with International Experience) year 3 (BA/CSIE)
• WPQ0: BA Creative Studies year 2 (BA/CST)
• WPQB: BA Creative Studies (4 year with Incorporated Foundation) year 2 (BA/CST1)
• WQ93: BA Creative Stds & English Lang. year 2 (BA/CSTEL)
• WR91: BA French and Creative Studies year 2 (BA/CSTFR)
• WR92: BA German and Creative Studies year 2 (BA/CSTG)
• WR93: BA Italian and Creative Studies year 2 (BA/CSTITAL)
• WW93: BA Creative Studies and Music year 2 (BA/CSTMUS)
• WR94: BA Spanish & Creative Studies year 2 (BA/CSTSP)