Units

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Sample subject outline - Semester 1 2013

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

Rationale

An understanding of innovative contemporary performance would be incomplete without an appreciation of the role that investigations into physical expressivity have played in the development of a range of new performance forms, including Physical Theatre, and of a range of training techniques that focus on releasing the performer's physical creativity.

Aims

This unit explores through practical and theoretical work, the creative possibilities of a body-centred approach to performance.

Objectives

On completion of this unit you should be able to:
1. creatively apply physical methodology to performance-making
2. apply a range of theoretical perspectives to physical performance-making
3. apply safe work practices to physical performance-making
4. employ developed ensemble skills, creativity and discipline to the devising process and to performance

Content

The unit content addresses practical components through one or more physical performance disciplines that are introduced in studio-based classes and workshops. It provides opportunities for the devising and performing of contemporary theatre forms using physical approaches. A selection of texts by leading practitioners and academics introduces you to a range of theoretical perspectives on physical training, devising techniques and physical performance forms.

Approaches to Teaching and Learning

At a practical level, the unit consists of a series of workshops, autonomous rehearsals, and a showing of performance work. Workshops comprise a range of exercises and activities designed to introduce you to the underlying principles of physical performance and to selected physical performance disciplines. On a theoretical level, lectures, video recordings, a book of readings and the Blackboard site contextualize theoretical perspectives that you will apply to your creative work. The unit culminates in a small-scale, informal, studio performance of your devised work .

Because of the practical nature of this subject, the importance of developing a dynamic group culture, and for physical health and safety reasons (missing workshops may put at physical risk either you or your fellow students in a later class), you must commit to attendance at every workshop. For health and safety reasons a record of attendance will be kept.

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 see the Blackboard site for this unit.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%
Please note: Creative Industries Faculty has a standard referencing system which MUST be used for written responses. The CIF Referencing Guide can be accessed through the Blackboard site under section titled 'Unit Details'.

SUMMATIVE ASSESSMENT
Attendance: Attendance at all lectures is strongly recommended. Attendance at all practical workshops and rehearsals is compulsory, as the learning of physical skills is involved. Missing any such classes may put at physical risk either you or your fellow students in a later class. Absences will be subject to a penalty.

Please note that in reference to the performance-making assignment - this is a cooperative activity, and you must be available to work in small teams outside normal class time for at least four hours a week, with sufficient flexibility to coordinate your rehearsal availability with that of the majority of others in your group.

Assessment name: Performance
Description: (Summative)
Relates to objectives: 1, 2, 3, 4
Weight: 40%
Internal or external: Internal
Group or individual: Group
Due date: Mid-late semester

Assessment name: Teamwork (process)
Description: (Summative) Analytical Reflection 1500 words.
Relates to objectives: 1, 2, 3
Weight: 40%
Internal or external: Internal
Group or individual: Individual
Due date: End of semester

Assessment name: Analytical Report
Description: (Summative)
Relates to objectives: 2
Weight: 20%
Internal or external: External
Group or individual: Individual
Due date: Mid 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 Text

Required readings will be available on the Course Materials Database, accessed via the Learning Resources page on Blackboard.

Recommended References

Bogart, Anne, (2005), The viewpoints book: a practical guide to viewpoints and composition, New York: Theatre Communications Group; St. Paul, MN

Callery, Dymphna (2001) Through the Body A Practical Guide to Physical Theatre, Nick Hern Books, London.

Dixon, M. B. and J. A. Smith (1995). Anne Bogart: viewpoints. Lyme, NH, Smith and Kraus.

Grotowski, J. and E. Barba (1975). Towards a poor theatre. London, Eyre Methuen.

Hodge, A. (2000). Twentieth century actor training. London New York, Routledge.

Loth, J. M. (2001). Developing a theatre of the integrated actor : the application of the Suzuki actor training method within three theatrical contexts, Queensland University of Technology

Merlin, B. (2001). Beyond Stanislavsky : the psycho-physical approach to actor training. London, Nick Hern.

Meyer-Dinkgrafe, D. (2001). Approaches to acting : past and present. London New York, Continuum.

Radvan, M. (2004). Towards bodydialogue : developing a process for enhancing the actor's physicalisation skills in rehearsal and performance, Queensland University of Technology

Robins, G. (2002). Moving the actor : towards an holistic approach to training and devising for performance, Queensland University of Technology

Suzuki, T. (1986) The Way of Acting, Theatre Communications Group, NY.

Tait, P. (1994) Converging Realities: Feminism in Australian Theatre, Currency Press, Sydney.

Watson, I. (2000). Performer training : developments across cultures. Amsterdam, Abingdon, Harwood Academic Marston

Whelan, J. (1994). Instant acting. Cincinnati, Ohio, Betterway Books.

Zarrilli, P. (1995) Acting (Re)Considered, Routledge, NY.

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 fulfillment of the project in any way. As such, it is recommended that students read and apply the Autonomous Rehearsal Protocols outlined by Performance Studies available on Blackboard.

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: 05-Feb-2013