BA Connect in Performing Arts Studies First Year 2017 2018
Semester 1
KEY DATES for 1B PS STUDENTS
Introductions to Years
31 August / 1B PS orientation , 2-4, STUDIO 1Other Important Dates
4 September / Week 1 of teaching16-22 October / Baboro International Arts Festival for Children (performances in O’Donoghue Centre)
Friday 24 November / end of teaching.
27 November – 2 December / study week – no exams, assessment or classes may be scheduled during this week.
15 January 2018 / teaching resumes
19-23 February / Theatre Week
22 April / End of teaching
23-28 April / Study week
TIMETABLE
- In semester one, all students take TP108 Theatre History.
- In semester two, all students take DT110, Production Practicuum
- TP103, Acting and Acting Methods in Performance, runs for the whole year.
Semester One timetable
Acting Tp103 / Ian Walsh / Monday 10-11 / Studio 1Theatre History TP108 / Finian O’Gorman / Tuesday 11-12
Thursday 11-12 / CR1
STUDIO 2
Semester Two timetable
DT1110: Production Skills (a course on practical theatre skills) / TBC / Thursday 11-12 / BOIActing TP103 / Vincent O’Connell / Tuesday 11-1 / BOI
TP108 Theatre History 2017/18
Instructor: Finian O’Gorman
Course Outline
This module offers students the opportunity to develop their skills in reading dramatic texts from diverse periods in the European theatrical tradition, and to trace the development of theatre from the Greek classical period, through the Elizabethan and Restoration periods, and into the nineteenth century. Students will discuss and analyse theatrical conventions at play in a range of texts, and examine the relationship between space, audience, language, and convention.
Course Objectives
Students will be offered the opportunity to learn, historically situate and evaluate the conventions of the stage. The course aims to foster active learning and creative thinking through developing the practice of analysis in practical sessions, and in the discussion of lecture materials in small group teaching. Small groups will be offered the possibility of viewing and discussing a variety of theatre pieces. Theatre visit(s) will also be included in the schedule.
Learning Outcomes
On completion of this module students should be able to:
- Identify and discuss a range of theatrical conventions,
- Evaluate and situate the different historical genres covered,
- Analyse theatrical texts in terms of performance conventions,
- Test and practically investigate how conventions work on stage.
Assessment
Scene Analysis: 30%
Performance: 15%
Critical Reflection: 15%
Final Essay: 40%
Workshop Schedule
Week 1: Lecture: Introduction: Theatre Conventions
Workshop: Theatre Conventions in Performance
Week 2: Lecture: Greek Tragedy
Workshop: Greek Tragedy in Performance
Week 3 Lecture: Oedipus the King
Workshop: Oedipus the King in Performance
Week 4: Lecture: The Elizabethan Stage
Workshop: The Elizabethan Stage in Performance
Week 5: Lecture: Hamlet
Workshop: Hamlet in Performance
Week 6: Commedia dell’Arte
Workshop: Commedia dell’Arte in Performance
Week 7: Lecture: The Servant of Two Masters
Workshop: The Servant of Two Masters in Performance
Week 8: Lecture: Restoration Comedy
Workshop: Restoration Comedyin Performance
Week 9:Lecture: The Rover
Workshop: The Rover in Performance
Week 10; Lecture: Melodrama
Workshop: Melodrama in Performance
Week 11: Lecture: Arragh-na-Pogue
Workshop: Arragh-na-Pogue in Performance
Week 12: Scene Showings
TP103 ACTING First Year BA CONNECT
Lecturer: Dr Ian R Walsh
Teaching Assistant: Melinda Szűts
The objective of this course is to provide an introduction to the fundamentals of an actor’s process that is rooted in the dramatic works and teaching approaches of the contemporary Western theatre, with an emphasis on realistic acting technique and texts. You will be engaged in an active and experimental process that draws on your artistic and intellectual skills in order to furnish you with an understanding of basic realistic acting terminology and processes.
CLASS SCHEDULE
Week 1: Introduction: (JN)
Reading:
Sharon Carnickie, “Introduction,” “Demythologizing Stanislavsky,” “in Stanislavsky in Focus: An Acting Master for the Twenty-First Century, 1-17
J.L Styan, ‘The Naturalistic Revolt’ in Modern Drama in Theory and Practice 1: Realism and Naturalism
Week 2: Units & Objectives (IW)
Reading:
Stella Feehily, Duck
Bella Merlin, ‘Mining the Text’ in The Complete Stanislavsky Toolkit.
Week 3: Physical and Psychological Senses (JN)
Reading:
Harold Pinter, Betrayal
Uta Hagen, “The Physical Senses” and “The Psychological Senses,” A Challenge For The Actor
Week 4: The Given Circumstances(IW)
Reading:
Diane Son, Stop Kiss
Bella Merlin, ‘Mining the Text’ in The Complete Stanislavsky Toolkit.
Week 5: Rehearsing Scenes (JN)
Week 6: Showing of Scenes (IW)
Week 7: Showing of Scenes (JN)
Week 8: Problematising Stanislavski 1: Disability & Diversity (JN)
Reading:
Carrie Sandahl, ‘The Tyranny of Neutral: Disability and the Actor’ in Bodies in Commotion: Disability and Performance ed. Carrie Sandahl and Philip Auslander.
Richard Schechner, ‘Race Free, Body-Type Free, Age Free Casting’. TDR Vol 33, No 1 (Spring 1989), pp. 4-12.
Week 9: Problematising Stanislavski 2: Gender (IW)
Reading:
Rosemary Malague, “Chapter One: The ‘Given Circumstances,’” An Actress Prepares: Women and the “Method,” 1-29.
Week 10: Rehearsing of Scene (JN)
Week 11: Final Showing of Scene (IW)
Week 12: Final Showing of Scene. (JN)
ASSESSMENT
Please note that all files will be submitted as .doc or .docx via Turnitin on Blackboard.
1. Mid-term assessment (20)%
Students will submit:
- Marked up breakdown of their scene with overall objective, beat shifts and playable actions identified.
2. Scene Showing- 30%
Showing One (Mid-term)- 15%
Showing Two (End of term)- 15%
3. Final Research Paper (1500 words)-50%
REQUIRED READING
Play Texts:
Feehily, Stella, Duck (text will be provided by Lecturers)
Pinter, HaroldBetrayal (Available through Drama Online)
Son, Diane, Stop Kiss(text will be provided by Lecturers)
Core Texts:
Including excerpts from but not limited to:
Ball, David. Backwards and Forwards: A Technical Manual for Reading Plays. Illinois: Southern Illinois University Press, 1983. Print.
Carnickie, Sharon, Stanislavsky in Focus: An Acting Master for the Twenty-First Century,Amsterdam: Harwood Academic Publishers, 1998. Print
Hagen, Uta. A Challenge for the Actor. New York: Scribner, 1991. Print.
Merlin, Bella, The Complete Stanislavski Toolkit, London: Nick Hern, 2007. Print
------, Routledge Performance Practitioners: Konstantin Stanislavsky. New York: Routledge, 2003. Print
Sandahl, Carrie and Auslander, Philip, Editors.Bodies in Commotion: Disability and Performance. University of Michigan Press, 2005. Print
Stanislavski, Constantin ,An Actor’s Work on a Role, translated by Jean BenedettiLondon: Routledge, 2010. Print.
------An Actor Prepares. Elizabeth R. Hapgood, trans. New York: Routledge, 1964. Print.
Styan, J.L, Modern Drama in Theory and Practice 1: Realism and Naturalism. Cambridge:CUP, 1981.