Ba dtp modules Semester 2017/2018
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 2BA DTP Modules Semester 1 2017/2018
Semester 1
All students take DT2105 Modern Drama and DT2106 Irish Theatre, then choose ONE module from the list below:
Please note that you may not be able to take your desired optional module if it clashes with the time of a lecture in your other subject. TIMETABLE
In the second semester, all students do DT2104 Contemporary Theatre and DT2107 Stagecraft 2, and choose from Playwriting OR Directing OR the 2BA production. The 2BA production will be open to BA DTP and BA Connect students in Second Year only and will be directed by Dr Miriam Haughton in semester 2. Auditions will be held in semester one. DT2105 MODERN DRAMA Workshop: Monday 2-4pm Venue: STUDIO 1 Instructors: Ian R. Walsh (IW) Finian O’Gorman ( FO’G) In this course, we will examine a selection of the major texts and thinkers from the field of modern dramatic literature. We will situate the development of this body of work in cultural, social and historical currents of the early-mid 20th century in the context of the U.S, and Europe primarily. In order to trace these cultural, historical and social dynamics, we will explore the relationship between the terms modern, modernity, modernism and modern drama. Students will engage in regular in-class performance exercises which include experimenting with acting exercises from major theorists of the time (Meyerhold, Brecht, Adler etc.) as well as staging short scenes from texts read in class throughout the semester. There will be a final performance that offers the opportunity to explore in independent group work processes and approaches covered on the course. This course targets the development of analytical reading and writing skills: close-reading, critical thinking, and argumentation. Students will also learn to put their close-readings of primary texts in conversation with secondary historical and critical sources. Writing in this class is stressed as a rigorous process of ongoing reflection, rewriting and peer collaboration. LEARNING OUTCOMES:
CLASS SCHEDULE Week One: Introduction : The Twentieth Century and Modernity (IW and FO’G) Please view videos on Blackboard on Marx, Freud and Nietzsche. Week Two: UNIT 1: Expressionism and Meyerhold (IW) Readings: J.L Styan ‘Expressionism in the Theatre’ from J.L Styan, Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre, (CUP) J.L Styan ‘Expressionism in Soviet Russia” from J.L Styan, Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre, (CUP) Joanthan Pitches, ‘Meyerhold’s Key Writings’ Week Three: UNIT 1 Machinal and Expressionism Readings: Sophie Treadwell, Machinal (1928) JeStudio y Dickey, ‘Sophie Treadwell: The Expressionist Moment’ Week Four: UNIT 2 Dadaism, SuStudio ealism, Futurism and the Reaction Against Realism (F O’G) Readings: F.T. Marinetti, “The Founding and Manifesto of Futurism”, The Dadaist Manifesto, Andre Breton, ‘The First SuStudio ealist Manifesto’ Week Five: UNIT 2 Pirandello and the teatro grottesco (F O’G) Readings: Luigi Pirandello, Six Characters Searching for an Author (1921) (Drama Online) Theatre Histories, 417-424 (Second Edition) J.L Styan ‘Pirandello and the teatro grottesco” from J.L Styan, Modern Drama in Theory and Practice 2: Symbolism, SuStudio ealism and the Absurd (CUP) Preface to Six Characters Searching for an Author Week Six: UNIT 3 Brecht and Epic Theatre Readings: David Barnett, Ch. 4, 5, 6 in Brecht in Practice (Available through Drama Online) Week Seven: UNIT 3 The Good Person of Szechuan and Epic Theatre Readings: Bertolt Brecht, The Good Person of Szechuan (Drama Online) Theatre Histories, 450-456. Week Eight: UNIT 4 Stanislavski in the States: Strasberg/Adler/Meisner (FO’G) Readings: David Krasner ‘Strasberg/Adler/Meisner: Method Acting’ in Actor Training by Alison Hodge Class 7-12 in The Art of Acting by Stella Adler Also look at videos on http://cw.routledge.com/textbooks/actortraining/practitioner-strasberg-adler-meisner.asp Week Nine: Bank Holiday – No class Week Ten: UNIT 4 Death of a Salesman and The Method (FO’G) Readings: Death of a Salesman by Arthur Miller (Drama Online) ‘Tragedy and the Common Man’ by Arthur Miller Arthur Miller’s Death of a Saleman by Peter L. Hays ‘ Background and Context’; ‘Analysis and Commentry’ (available on Drama Online) Week Eleven: (IW and FO’G) Final Group Performance Project Rehearsal in Class Week Twelve (IW and FO’G) Final Group Performance Presentation & Essay Preparation ASSESSMENT Unit Worksheets (20%) – 4 Unit Worksheets x 5% Group Performance Project & Critical reflection (30%)
Final Essay (50%) 2000 words Play Texts: Miller, Arthur Death of a Salesman ( Drama Online) Pirandello, Luigi, Six Characters in Search of an Author ( Drama Online) Treadwell, Sophie, Machinal Brecht, Bertolt, The Good Person of Szechuan ( Drama Online) Core Reading There will be weekly recommended readings provided on Blackboard. Students may also wish to consult the following texts: Meyerhold on Theatre, edited by Edward Braun, (Eyre Methuen,) Shomit Mitter, Systems of Rehearsal (Routledge) Alison , Hodge, Actor Training (Routledge) Peter l. Hays, Arthur Miller’s Death of a Salesman (Bloomsbury) Jonathan Pitches, Vsevolod Meyerhold, Routledge Performance Practitioners J.L Styan, Modern Drama in Theory and Practice 3: Expressionism and Epic Theatre, (CUP) J.L Styan, Modern Drama in Theory and Practice 2: Symbolism, SuStudio ealism and the Absurd (CUP) J.L Styan, Modern Drama in Theory and Practice 1: Realism and Naturalism (CUP) Peter Szondi, A Theory of Modern Drama, (trans. Michael Hays) (Un. Of Minnesota) Brecht on Theatre, edited by John Willett (Hill and Wang) David Barnett, Brecht in Practice ( Bloomsbury) DT2106: Irish Theatre Patrick Lonergan and Miriam Haughton This course provides an introduction to modern Irish drama, starting with the foundation of the Irish Literary Theatre in 1897, and running to the present. Each week, students take two classes. In the first, the group will read and discuss key Irish plays in their cultural and theatrical contexts, aiming to form a deeper appreciation of the contours and preoccupations of the Irish dramatic tradition. In the second, students will participate in skills-based workshops that will explore a variety of topics related to the plays. Assessment:
Texts:
• Drama Online Class Format
Learning Outcomes
Week 1 MH/PL (wb. 4 Sept) Class 1: Introduction, course overview, discussion, visit to archives reading room Class 2: The Irish Literary Theatre / Performing Ireland
Week 2 PL (wb 11 Sept) Lecture: Nation and Woman: Yeats and Gregory, Kathleen ni Houlihan (HaStudio ington); Synge, The Shadow of the Glen; Synge, Riders to the Sea (Drama Online) Workshop: Riders to the Sea Week 3 MH (wb 18 Sept) Lecture: Lady Gregory, The Rising of the Moon, Spreading the News (HaStudio ington), The Gaol Gate. Excerpts from Our Irish Theatre Workshop: Spreading the News Week 4 PL (wb 25 Sept) Lecture: Modernism and the New Ireland – Mary Manning, Youth’s the Season? and Deevy, Katie Roche Workshop: Deevy Week 5: MH (wb 2 Oct) Lecture: Strangers in the House: Synge, The Playboy of the Western World and O’Casey, Juno and the Paycock (Harrington) Workshop: Archives Visit Week 6 MH (wb 9 Oct) Lecture: Beckett and the Beckettian – Waiting for Godot, Play, Not I. (Drama Online) Workshop: Play Week 7 PL (wb 16 Oct) Lecture: Troubles Drama – Friel’s Translations and Reid’s Tea in a Chinacup (Drama Online) Workshop: Reid, Tea in a Chinacup Mid-Term Archives assessment due.
Lecture: Sexualities – McGuinness’s Observe the Sons of Ulster (Drama Online); Conroy, I Heart Alice Heart I (Oberon Anthology) Workshop: Conroy and McGuinness
Lecture: Embodying the Nation – Murphy’s Bailegangaire and CaStudio ’s Woman and Scarecrow (Drama Online) Workshop: Preparation for final performances begins
Lecture: Globalising Irish Drama – McPherson’s The Weir; McDonagh’s Cripple of Inishmaan (Drama Online); Rosemary Jenkinson, Planet Belfast (Bloomsbury anthology), Kuti, The Sugar Wife (library) Workshop: The Cripple of Inishmaan Week 11: PL (wb 13 Nov) Lecture: Disrupting Form – Enda Walsh, Arlington (Drama Online); Louise Lowe, Boys of Foley Street Workshop: Final performance preparation continues Week 12 MH/PL Lecture: CONCLUSION Workshop – final performances. OPTION 1: DT2108: VOICE AND SHAKESPEARE - TUTOR MAX HAFLER The student will receive fundamental practical training in Voice for Acting and how to put it into practice. Voice requires both technical understanding and imaginative work. It is essential for an actor, but also other areas, like teaching. Breathing, diction, resonance, expression and projection will be amongst the areas covered. We will be working on Shakespeare's MIDSUMMERS NIGHTS DREAM. Work will focus on the role of language in Shakespeare, story and imagery; how language informs acting; and explore through discussion and exercises how the very buildings and audiences had a fundamental effect on why the plays were written as they were. Learning Outcomes
Required Texts (core) TEACHING VOICE by Max Hafler [Nick Hern Books 2016] MIDSUMMER NIGHTS DREAM Shakespeare [Arden edition; available in library and on Drama Online] Assessment (Modes, Breakdown of Marks) Development/ involvement and progress. This includes the weekly ‘entries’. 50% There will be a presentation at the last class, with each student performing a monologue of 25 lines duration to the class from the play. 25% A short self assessment of 1000 words is required based upon the weekly entries, focussing on their personal learning and development. 25% o Week by week breakdown of readings and planned activities CLASS ONE : physical warm up. introduction to basic relaxation and breathing work (fuel for the voice) diction, resonance, projection. Looking at the imaginative and physical response to words and language. Using a few lines of Midsummer Nights dream. CLASS TWO: physical warm up. Development of the above singing, and primarily projection and resonance. Connecting the voice to the body and imagination. Radiating receiving. CLASS THREE: physical warm up , Vocal qualities ( Chekhov). Body voice exploration. Placing the Voice. Talk, discussion : Shakespeare’s plays and the theatres in which they were performed : the connection . CLASS FOUR: Physical warm up. Work on 8 line soliloquy of a character they like. The issue of emphasis / breath /radiating . Working in chorus. Working on the 8 line speech. CLASS FIVE: regular practise . More work on 8 lines , colours and phrasing. Pitch and Tone. Midsummer - the different socio economic groups/worlds and how they needed to be catered for and how it affected the play writing . CLASS SIX regular practise. Developing breathing, diction etc. Working with the audience . Exercises in backwards and forward energy. The Power of The Pause. CLASS SEVEN regular practise working with rhythm. The rhythm of regular speech developing soundscape, and pace. Through voice and bodywork, the emotional Journey of the chosen speeches.Rehearsing monologues . CLASS EIGHT. Regular work. Exercises in tone and pause.rehearsing monologues CLASS NINE. Regular work . Rehearsing monologues . CLASS TEN: presentation of 25 line monologues and feedback. Delivery of journal .
Secondary and Further Reading List Berry, Cicely (1973) VOICE AND THE ACTOR London: Virgin Publishing Brook, Peter EVOKING (AND FORGETTING) SHAKESPEARE (1998). London. Nick Hern Books Option 2: Dance and Movement DT3101 (2017) Tutor: Rachel Parry Contact: r.parry2@nuigalway.ie Course Overview This ten-week module will investigate the influence of Western dance history on current Irish and international dance and choreographic practice. The course will begin with an exploration of prominent dance practitioners and their ideas, and will culminate with students choreographing and performing their own short dance solo. Each class will comprise a basic dance technique class, a choreography lab and group discussion of process and practice. This course is suitable for both beginners and students with some dance experience. No previous dance experience is required for this course. Students should wear loose, comfortable clothing for class and be prepared to work barefoot. Learning Outcomes On completion of this module students will:
Course Schedule Each week will begin with a 40-minute Graham and Release Technique-based dance class. Week 1 Introduction to course and assessment. 11.09.17 Week 2 Ballet: 1500’s – present day 18.09.17 Choreography lab: Linear and Non-linear narrative. Week 3 Modern Dance, 1890 – 1950. 25.09.17 Choreography lab: Abstraction and Expressionism. Week 4 Postmodern Dance: Judson Dance Theatre, 1962 – 1964. 02.10.17 Choreography lab: Chance techniques and non-narrative choreographic approaches. Week 5 Contemporary Dance, 1964 – present day: Dance Theatre, Physical 09.10.17 Theatre and multidisciplinary approaches. Choreography workshop: initiating movement material.
16.10.17
23.10.17 First showing of solo choreographies.
06.11.17 This class will take place at various locations around NUI Galway campus. Week 9 Final rehearsal of solo choreographies. 13.11.17 Week 10 Final showing of solo choreographies. 20.11.17
Required reading • Adshead-Lansdale, Janet and June Layson. Dance History: An Introduction. Routledge, 1994
Option 3: Intermediate Theatre Course Outline Course description In this module, students will explore the development of physical theatre in the Western Theatre during the twentieth century. Working individually, and in groups, students will explore the theory surrounding Poor Theatre; Total Theatre; and ensemble and actor-led performance. Through a mixture of seminars and practical workshops the class will look at the specific theatrical practices of Jacques Le Coq; Grotowski; Steven Berkoff; and London theatre company Complicite. This will involve reading and analysing play-texts which aim to make the actor’s voice and body the central aspects of the performance. Week 1 Introduction to Intermediate Theatre looking at Physical Theatre in the 20th century Read: Accidental death of an anarchist by Dario Fo
Seminar: Le Coq, mime and physical theatre Week 3 Practical workshop on Le Coq Read: The Saliva Milkshake by Howard Brenton
Seminar: Grotowski and poor theatre Preparation for Mid-term assignment. Essay titles given, completed assignments due in Week 8
Practical workshop on the methods of Grotowski Read: Kafka’s Metamorphoses, adapted for stage by Steven Berkoff
Seminar: Berkoff and Total Theatre Week 7 Practical workshop on Berkovian theatre Read Martin Crimp’s version of Chairs by Ionesco
Seminar: Complicite Week 9 Workshop on the theatre of Complicite Week 10 Final Performances Learning Outcomes By the end of the module students will: Have a broad understanding of the development of physical theatre in the West in the twentieth century
Mid-term essay on one of the first topics covered 1500 words 40% Final performance - performed scene (5mins per student) 30% Individual critical reflection on creation and execution of final performance 30% Plays Accidental death of an anarchist by Dario Fo The Saliva Milkshake by Howard Brenton Metamorphoses, adapted for stage by Steven Berkoff (from Franz Kafka Metamorphoses) The Chairs by Ionesco, new version by Martin Crimp Articles and academic reading Week to week readings will be set, which will include sections from Towards a Poor Theatre, by Grotowski and Theatre of Movement and Gesture, By Jacques Lecoq. Other readings include, but are not limited to: Interview with Steven Berkoff by Craig Rosen, 1998 http://www.iainfisher.com/berkoff/berkoff-study-disai.html “Drama on Drama: Dimensions of Theatricality on the Contemporary British Stage” by: William C. Boles. Theatre Journal, Volume 51, Number 2, May 1999, pp. 227-228 Yüklə 121,36 Kb. Dostları ilə paylaş:
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