| Unit name | The Age of the Actress: Eighteenth-Century Performance Practices |
|---|---|
| Unit code | THTR30022 |
| Credit points | 20 |
| Level of study | H/6 |
| Teaching block(s) |
Teaching Block 1 (weeks 1 - 12) |
| Unit director | Professor. McGirr |
| Open unit status | Not open |
| Units you must take before you take this one (pre-requisite units) |
None |
| Units you must take alongside this one (co-requisite units) |
None |
| Units you may not take alongside this one |
None |
| School/department | Department of Theatre |
| Faculty | Faculty of Arts |
The long eighteenth century (1660-1832) was The Age of the Actress. The introduction of actresses to the restored stage in 1660 created new roles for women, from the femmes forts of she-tragedy to the ‘gay romps’ of Restoration sex comedies. Stage business from comedic cross-dressing to comic (and tragic) bed-tricks ensured that actresses were centre stage and women’s plots the main attraction. These new roles were also vehicles for managing and promoting the celebrity of star actresses from Nell Gwyn to Sarah Siddons, who became adept at using their on-stage characters to promote their off-stage celebrity personae, while their celebrity personae inflected and informed interpretation of the roles they played. This course will focus on the power of celebrity actresses to make meaning both on-stage and off. We will use both celebrity studies and eighteenth-century acting techniques to perform celebrity personae and create ‘star turns.’
Students successfully completing this unit will be able to demonstrate:
1. Understanding of the variety of ways – historical, social, ideological – in which theatre and performance engage with, and are shaped by, the culture around them.
2. Specific knowledge of: social and cultural conditions of eighteenth-century theatre, celebrity theory, and the interplay of celebrity persona, dramatic character, and audience reception.
3. Awareness of the relationship between past traditions – especially eighteenth-century acting and early theatrical marketing – and present practice.
4. Critical and historical understanding of the significance of female performers in the development of drama, theatre and celebrity culture.
5. Skills in research, especially gathering, evaluating, sifting and summarising appropriate evidence and ideas, as appropriate to level H.
6. Skills in applying and articulating critical and historical understanding to embodied work as appropriate to level H.
Each week's topic will be brokedn down into deifferent categories: Lecture, Workshop, Discussion and Paractical Seminar. Lectures will be pre-recorded and available via Blackboard on demand. Workshop exercises can all be done independently off-campus and practical seminars, whilst collaborative exercises, are mostly strutured to allow for sequential contributions which can be achieved in an online environment
Tasks which help you learn and prepare you for summative tasks (formative):
1. Group oral presentation on performer biography (5 mins, in groups) (0%
not required for credit)
2. Draft / rehearsal performance of practical essay for peer and tutor feedback (0% not required for credit)
Tasks which count towards your unit mark (summative)
1. Group performance (up to 20 minutes) (70%)
2. Essay, 1250 words (30%)
If this unit has a Resource List, you will normally find a link to it in the Blackboard area for the unit. Sometimes there will be a separate link for each weekly topic.
If you are unable to access a list through Blackboard, you can also find it via the Resource Lists homepage. Search for the list by the unit name or code (e.g. THTR30022).
How much time the unit requires
Each credit equates to 10 hours of total student input. For example a 20 credit unit will take you 200 hours
of study to complete. Your total learning time is made up of contact time, directed learning tasks,
independent learning and assessment activity.
See the University Workload statement relating to this unit for more information.
Assessment
The Board of Examiners will consider all cases where students have failed or not completed the assessments required for credit.
The Board considers each student's outcomes across all the units which contribute to each year's programme of study. For appropriate assessments, if you have self-certificated your absence, you will normally be required to complete it the next time it runs (for assessments at the end of TB1 and TB2 this is usually in the next re-assessment period).
The Board of Examiners will take into account any exceptional circumstances and operates
within the Regulations and Code of Practice for Taught Programmes.
