| Unit name | Performing Theatre History |
|---|---|
| Unit code | DRAMM1115 |
| Credit points | 20 |
| Level of study | M/7 |
| Teaching block(s) |
Teaching Block 2 (weeks 13 - 24) |
| Unit director | Professor. White |
| Open unit status | Not open |
| Pre-requisites |
s None |
| Co-requisites |
s None |
| School/department | Department of Theatre |
| Faculty | Faculty of Arts |
This unit investigates a range of approaches to the study of past theatre practices and performances. Developments in performance studies in recent years have resulted in more systematic systems of analysis that embrace practice-based as well as more traditional modes of scholarship as means to uncover aspects of historical performance, especially those for which no extensive visual documentation exists or survives. The unit will explore a range of approaches to the study of the theatrical past. Investigation of specific individuals, events, works, documents , etc. will open up analysis of issues such as the relationships between changing sites of performance and the texts produced for those spaces; the implications of these relationships for the arts of the performer; "cultures") of spectatorship; the processes and purposes of reconstruction-based research. The unit will relate performance studies to a range of other disciplines, such as art history, archaeology, music and anthropology.
Aims:
1. To demonstrate knowledge of, and use creatively, a wider range of secondary literature than at Level H 2. To demonstrate understanding of key concepts relating to historical performance, as developed in Theatre and Performance Studies (and related disciplines); 3. To be aware of, and be able to apply to an advanced level, a broad range of established theoretical debates, and consider them through a critical lens. 4. To present a clear and well-structured argument, supported by relevant critical and theoretical literature, that additionally develops independent lines of inquiry 5. To present work that is assured in its use of English and referencing 6. To be able to communicate verbally key ideas based on a range of secondary reading, relevant primary texts and independent research/lines of inquiry 7. To demonstrate time management skills
Plus, as appropriate to the mode of teaching:
8. To be able to write a reflective account of practical work, making connections with an appropriate range of critical ideas 9. To be able to work constructively and creatively in a group-based workshop 10. To work independently and reach individual/personal judgements within a collaborative context
These may include: Lectures; workshops; seminars; plenary and small group discussions; viewings; essay/critical analysis;
Either:
2 x Essays (2,500 words)
Or:
1 x Essay (2,500 words) and 1 x Seminar Presentation and write up (1,500 words)
Or:
1 x Essay (2,500 words) and 1 x Critical Analysis (1,500 words)
Mackintosh, Iain (1993) Architecture, Actor and Audience, Routledge
Postlewait, Thomas, and McConachie, Bruce (eds) (1989) Interpreting the Theatrical Past, University of Iowa Press
Roach, Joseph R. (1985) The Player’s Passion: Studies in the Science of Acting, University of Delaware Press
Thomson, Peter (2000) On Actors and Acting, University of Exeter Press
Wiles, David (1997) Tragedy in Athens: performance space and theatrical meaning, Cambridge University Press
Wilson, Jean (1995) The Shakespeare Legacy: the material legacy of Shakespeare’s theatre, Bramley Books
