Units

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Sample subject outline - Semester 2 2013

Note: Subject outlines often change before the semester begins. Below is a sample outline.

Rationale

NB: Information in this Unit Outline is subject to change prior to commencement of semester
As students of performance, you need to develop specific reading and performance skills in order to appreciate fully the significance of a range of styles and forms and their contribution to world theatre. This unit furthers the work of Performing Skills 1: Character and Scene and places emphasis on an exploration of styles and forms other than realism. These include Greek drama, Commedia dell'Arte, Shakespearean theatre, Restoration comedy, comedy of manners, epic theatre and theatre of the absurd. In particular, you will be introduced to ways of performing texts which will entail detailed work in interpreting, speaking and moving the text. Underlying the approach is an acknowledgment that performing such styles and forms for a contemporary audience requires facility with a heightened style of acting as well as acting skills pertaining to realism.

Aims

This unit aims to introduce you to ways of performing a number of theatrical styles and forms for a contemporary audience that is based in analysis and strong physical, vocal and language skills.

Objectives

On completion of this unit you should be able to:
1. Review and discuss acting and actor training within an historical and contemporary context
2. Develop and practice a range of performance skills and approaches to acting drawn from an understanding of practice and forms in the field of Drama.
3. Work effectively with others in rehearsals and performance with discipline and high level collaborative skills.

Content

Working with tutors, you will experience a series of workshops and rehearsals designed to develop acting techniques in relation to increasing your ability to interpret, speak and move text to create believable performance in Shakespearean theatre and epic theatre.

Approaches to Teaching and Learning

You will attend a one hour lecture and a three hour workshop/rehearsal each week (two hours with tutor and one hour for autonomous group rehearsal). The lecture will introduce performance concepts and dramaturgical approaches that will be discussed and explored in workshops. There is an expectation that you will rehearse autonomously approximately four hours per week in preparation for the 10 minute performance. The tutor-led workshop/rehearsals will advance your acting skills and will focus on voice, language, movement, improvisational techniques and text-reading (interpreting) techniques.

Assessment

LATE ASSIGNMENTS
An assignment submitted after the due date without an approved extension will not be marked. If you are unable to complete your assignment on time, you should submit on time whatever work you have done.

Faculty Assessment Information
To access the Creative Industries Faculty Assessment Information please refer to the Blackboard site for this unit.Note on attendance
Attendance at all workshops, rehearsals and assessment performances is compulsory. As the work is both cumulative and group facilitated, it is impossible to 'catch up' on missed classes. Attendance is therefore recorded, and absence will be penalised. The Standard QUT Rehearsal Protocol applies.

In the event of unavoidable absence from workshops, rehearsals and/or assessment performances, you must upon your return to the class, submit a brief written explanation accompanied by relevant documentation (eg medical certificate). More than two absences will normally result in a reduction of overall grade by five percentage points.

Please note that performance-making is a cooperative activity, and you must be available to work in small teams outside normal class time, with sufficient flexibility to coordinate your rehearsal availability with that of others in your group.

FORMATIVE ASSESSMENT
The unit coordinator and tutors will provide in-class advice and feedback to assist you in your preparation of summative assessment items and will respond to email enquiries throughout the semester. Weight 0%

SUMMATIVE ASSESSMENT
To obtain a pass grade or higher in this unit, all practical summative assessment items must be completed and all written summative assessment items must be submitted.

Assessment name: Performance
Description: Individual workshop performance of a monologue
Relates to objectives: 2 and 3
Weight: 30%
Internal or external: Internal
Group or individual: Individual
Due date: Early semester

Assessment name: Written Assignment
Description: (Summative) Literary Review.
Relates to objectives: 1
Weight: 30%
Internal or external: Internal
Group or individual: Individual
Due date: End semester

Assessment name: Process and Performance
Description: Group process and performance of a scene.
Relates to objectives: 2 and 3
Weight: 40%
Internal or external: Internal
Group or individual: Group with Individual Component
Due date: Late semester

Academic Honesty

QUT is committed to maintaining high academic standards to protect the value of its qualifications. To assist you in assuring the academic integrity of your assessment you are encouraged to make use of the support materials and services available to help you consider and check your assessment items. Important information about the university's approach to academic integrity of assessment is on your unit Blackboard site.

A breach of academic integrity is regarded as Student Misconduct and can lead to the imposition of penalties.

Resource materials

Required texts
Barranger, M.(2004) Understanding Plays (third edition) Pearson, N.Y.
Schechner, R. (2006) Performance Studies (An Introduction) Routledge, UK.


Recommended texts
Barton, John (1984) Playing Shakespeare, Methuen, London.
Berry, Cicely (1987) The Actor and His Text, Harrap, London.
Burton, B. (2001) Living Drama, Pearson Education Australia, South Melbourne.
Clemen, W. (1987) Shakespeare's Soliloquies, Methuen, London.
Cohen, R. (2002) Advanced Acting: style, character and performance, McGraw Hill, Boston.
Cohen, Robert (2005) Acting in Shakespeare, Smith and Kraus Book, Hanover, N.H
Esslin, M. (2001) The Theatre of the Absurd, Methuen, London.
Grantham, B. (2001) Playing Commedia: a training guide to commedia techniques, Heinemann, NH.
Harrop, J. & Epstein, S.R. ( 1982) Acting With Style, Prentice-Hall Inc, N.J.
Linklater, Kristin (1992) Freeing Shakespeare's Voice - The Actor's Guide to Talking the Text, Theatre Communication Group, New York.
Martin, Jacqueline (1991) Voice in Modern Theatre, Routledge, London.
Morrison, Malcom (1995) Classical Acting, A & C Black, London.
Panet, Bridget (2009) Essential acting: a practical handbook for actors, teachers and directors, Routledge, London, New York.
Rudlin, J. (1994) Commedia dell'arte: an actor's handbook, Routledge, London.
Shapiro, Mel (1998) The Director's Companion , Harcourt Brace, USA
Taplin, O. (2003) Greek Tragedy in Action, Routledge, London.
Turner, C. and Behrndt, S. (2008) Dramaturgy and Performance, Palgrave Macmillan, UK.
Working Shakespeare / [Videorecording] / An Applause Vital Production ; Producer, Tom Todoroff ; Director, Tom Todoroff. - "The Cicely Berry workshops."

Risk assessment statement

As all performance-makers understand, creating a performance potentially carries with it certain physical and/or emotional risks, both in the rehearsal room and in the theatre. Indeed taking risks is an integral component of the art forms processes. Some rehearsal warm ups and exercises, and some performance events may include physically or emotionally strenuous activities. Managing this risk to ensure working conditions are safe, is always a high priority in the production process. It is therefore extremely important that if you are aware of personal physical or emotional vulnerabilities that make you feel unsafe or at risk in any way, you should immediately inform your tutor or director or stage manager, so that your situation can be evaluated and appropriate rectifying action can be taken. Theatres and other performance spaces are also potentially dangerous places, particularly backstage during performances when lowlight conditions prevail. You will be warned by the stage manager, the production manager or the director of any specific risks that you will need to be aware of, when your project team first moves in to the theatre. Whenever moving into a new performance space, you should always conduct your own risk assessment, and notify your team or director of any hazards you have personally identified. Every effort is made by Performance Studies staff at QUT to ensure that you work in a safe environment. Conversely you are absolutely expected to follow all safety rules, procedures and directions, and to ensure that you do not put at risk the safety of others, or yourself, or of the highest artistic fulfilment of the project in any way.

Disclaimer - Offer of some units is subject to viability, and information in these Unit Outlines is subject to change prior to commencement of semester.

Last modified: 26-Mar-2013