Improvisation
School of Theatre, Performance and Cultural Policy Studies
TH214 IMPROVISATION
2011-2012
Module Convenor: Richard Bate (rich.bate@yahoo.co.uk)
FRIDAYS 1400-1800 MILLBURN STUDIO
Autumn 2011
Timetable: Friday 2.00 – 6.00pm
Room: G53 Millburn Studios
Assessment:
30% = First workshop presentation to take place in week 9 of the autumn term
40% = Second workshop presentation to take place in week 9 of the spring term
30% = 1 x 2500 word essay
Module description: This module will develop an understanding of improvisation and ensemble work through research and practical exploration, in tutor-led workshops. In the module we will explore ways of developing the ability to hold attention on stage by living ‘in the present moment’ in performance. Areas to be considered further will incorporate spontaneity, awareness and interactive sensitivity, for the development of ensemble techniques. The module will explore work based on but not confined to: Viola Spolin and Augusto Boal - group dynamics and relationships; Jacques Copeau – the concept of physical ‘neutrality’; Jacques Lecoq – the concept of movement (space) and ‘play’, the balance between freedom and restraint. This will underpin improvisational techniques derived from various practitioners such as Keith Johnstone, Clive Barker and Grotowski. Where appropriate, this will involve some vocal work and improvisation from text. This area of study will be given further context by examining and critiquing improvisation within the broader context of acting as an historical, cultural and contemporary art form and technique. Here, Improvisation is contextualised in terms of actor training and its pre- and post-war usage (Joan Littlewood and the Theatre Workshop & Keith Johnstone at the
During the module, you will each keep a study journal to act as an ‘aide memoiré’ to record your knowledge and understanding of the various exercises used by practitioners and identify these techniques as part of the creative process for production. The journal contents will form a basis for you to demonstrate your ability to research, reference and use theories to comment on your work over the study period. It will then be used to form the basis of an essay submitted for review by Week 5 of the spring term.
The essay will address one of the following questions:
a) With reference to one or more theories and practitioners and, from your own research, discuss how these techniques have developed and informed Improvisation as a contemporary theatre practice.
b) Discuss the development of Improvisation within a specific ‘performance’ context. How ‘conflict’ or ‘status’ as a theatrical construct informs narrative or character development, for example.
c) A sense of ‘play’, the imagination and creativity informs the improvisation process, as described by theatre practitioners such as Stanislavsky, Michael Chekhov, Lecoq, and Boal. Discuss.
LEARNING OUTCOMES:
Subject Knowledge and Understanding
- Demonstrate an understanding of individual and group processes in practice
- Give examples of techniques developed by a range of practitioners
- Utilise devising skills derived from improvisational training
Subject-specific Skills
- Show physical and mental adaptability on stage
- Respond to offers in an improvisational context
- Operate effectively and appropriately in ensemble-based work
Key Skills
- Research and document practical procedures in a clear and concise manner
- Communicate effectively in a format appropriate to the discipline
- Articulate an understanding of theory in practice and vice versa
