Directing and Dramaturgy
Rhedir gan School of Arts, Culture and Language
20.000 Credydau neu 10.000 Credyd ECTS
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.
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
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
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 able to identify and discuss the theoretical and practical processes that are required from a director's practice. (3)
Been an active and creative participant in the process of play (4)
Has undertaken independent research-based investigation to inform written and practical work. (5)
Participated in an extended period of practice-based and theoretical exploration to assist in the generation of an original performance. (1)
Understood the appropriate skills, working methods and approaches required when conducting performance work. (2)
|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 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.
|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.
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.
Strategaeth addysgu a dysgu
|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
Focused sessions to develop research and introduction to a diverse range of directors and directing approaches.
|Supervised time in studio/workshop||
Opportunity to share rehearsal practice and gain feedback for development
Opportunity for students to support each others rehearsal processes as assistant directors and performers.
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.
Watching live performances at Pontio and online digital production work on a regular basis.
- 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 sentistevely 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
Sgiliau pwnc penodol
- 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.
Rhestr ddarllen Talishttp://readinglists.bangor.ac.uk/modules/wxs-2000.html
Cyrsiau sy’n cynnwys y modiwl hwn
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- 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)
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