Module Provider: |
Institute of Education |
Number of credits: |
20 [10 ECTS credits] |
Level: |
H (Honours) |
Terms in which taught: |
Autumn and Spring |
Module Convenor: |
Mr
S
Floodgate |
Pre-requisites: |
ED220T
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Co-requisites: |
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Modules excluded: |
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Module version for: |
2006/7 [module in process of revision] |
Aims:
This module aims to provide students with an examination of the role of the Theatre Director through analysis of a range of significant practitioners throughout the twentieth century. It intends to appraise the importance of the Director through looking at the emergence of the role, its relevance to theatre production and the development of theatre practice as well as the various ways that the role has been interpreted. |
Assessable learning outcomes:
It is expected that the student will be able to:
Outline and discuss the theories and practices of a range of twentieth century Theatre Directors
Compare and contrast the different approaches to theatre production of a variety of Theatre Directors
Appraise the work of a range of practitioners through both verbal/signed debate and through practical exercises
Plan, research, organise and articulate their arguments effectively in writing and in seminar presentation
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Additional outcomes:
The module also aims to encourage the development of communication skills in a deaf/hearing integrated context. Students will develop their IT skills employing relevant web resources within their research. |
Outline content:
The content is organised chronologically. It begins by looking at the emergence of the Director, the predecessors to the role and the rise of early practitioners to whom the title was first applied – the Duke of Saxe Meiningen, Andre Antoine. The Autumn term then focuses upon largely pre-WWII practitioners of the naturalist, expressionist, modernist and epic theatre movements including Constantin Stanislavski, Vsevolod Meyerhold and Bertolt Brecht. The structure of the module includes lectures, seminars and a range of practical sessions.
The structure of the Spring term remains the same as the focus becomes post-WWII. In this term the post modernist movement is considered and practitioners working outside the structure of the well-made play incorporating performance, visual art, dance and film/video will be studied including Peter Brook, Jerzy Grotowski and Pina Bausch.
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Brief description of teaching
and learning methods:
One three-hour contact session per week. A range of lectures, practical sessions and seminar papers presented in pairs/threes. Each week requires preparatory reading for group discussion. There will be occasional preparation of practical work in small groups outside contact time. |
Contact hours:
| |
Autumn |
Spring |
Summer |
| Lectures |
1 |
1 |
|
| Tutorials/seminars |
11 |
11 |
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| Practicals |
18 |
18 |
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| Other contact (eg study visits) |
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|
|
| |
|
|
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| Total hours |
30 |
30 |
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| Number of essays or assignments |
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1 |
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| Other (eg major seminar paper) |
1 |
1 |
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Assessment:
Coursework
Students are assessed upon their contribution to practical sessions and group discussion throughout the module; one major seminar paper and one essay of c. 3,000 words to be submitted by the first day of the Summer term.
Students will research, prepare and present (in pairs/threes) during the course of the module.
Each section has a weighting of - Practical/Discussion contribution 60%
Written essay 30%
Seminar paper 10%
Penalties for late submission
Penalties for late submission of course work will be in accordance with University policy.
Examinations
No formal written examination is taken.
Requirements for a pass
A mark of 40% overall.
Reassessment arrangements
Practical work cannot be reassessed in year. Re-examination of written assignment in September should this be required.
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