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3rd Year Modules 2017-8

Code: TH329

Title: Independent Research Option (IRO)

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Susan Haedicke
Classes: Friday 0930-1130 G55
Assessment: Practical Assessment - 60%, Critical Review - 40% OR Dissertation - 100%
Outline:
The Independent Research Option (IRO) is a compulsory module for third year single-honours Theatre and Performance Studies students. Joint-honours students are not required to take this module but can choose to do so in exceptional circumstances. Supervisors for all IRO students must be based in the Department of Theatre and Performance Studies. The module offers students two routes towards undertaking a substantial piece of supervised research during the course of the third year. These routes are convened separately so as to take into account methodological differences in each instance, but there are also some shared aspects in the programming and running of the module as a whole.

The two basic routes are:

1. Written dissertation (100% of assessment). This route enables students to complete an individually written dissertation of 10,000 words on a research topic of their choice and based on their investigation of primary and secondary sources. Each student taking this route is allocated a single supervisor and the topic must be one that can be appropriately supervised by a member of staff in the Department. In some exceptional cases, a student may be jointly supervised. The written dissertation must be based on clear historiographical, dramaturgical, and/or theoretical/conceptual principles. It should make apparent the context of the research, the research methodology involved and the research questions it is posing. Under certain circumstances and subject to negotiation, the dissertation can include curatorial work (including recording what has happened in the past or organizing an exhibition), historical performance reconstruction or applied practical work undertaken as research (for instance, a series of workshops in the community or in educational contexts).

2. Practice-based project (practice 60%, critical review 40%). This route enables students to use forms of practice as the primary research methodology. The practical work can take several forms, including (but not limited to) live performance, performance installations, site-specific performance, video work, multi-media work, the writing of plays, curatorial work (including recording what has happened in the past or organizing an exhibition), historical performance reconstruction, space and/or costume design, organizing and running participatory workshops, and video documentaries. For the practice-based project, students will usually work in groups of between two and five members, though it is possible under some circumstances to undertake a solo project. Each group following this route is allocated a single supervisor and the nature of the work must be such that it can be appropriately supervised by a member of staff in the department. Practical processes must be informed by clear research imperatives and based on theoretical/conceptual principles. Projects should make apparent the context of the research, the research methodologies involved and the research questions being posed.


Code: TH210

Title: Marketing

CATS: 30
Term: Full Year
Year: 2nd/3rd
Convenor: Caroline Griffin
Classes: Wednesday 1100-1300 G56
Assessment: 25% - Essay (2500 words), 25% - Assessed Seminar Pres., 50% - Essay (5000 words)
Outline:
This module will provide an overview of the theory and practice of strategic marketing and audience development for the arts, with a special emphasis on practical application. Over the course of the module we will look at general marketing theory, the use of market intelligence and data and the special challenges of marketing creative products. There will be an emphasis on exploring the concept of audience development as it is understood in the arts. We will also look at different organisational approaches to being audience focused, and associated implications for programming, resource management, internal communications and business planning. Other specific areas to be covered will include creating marketing materials, using social media, budgeting and evaluating marketing activity.

The taught section of the module breaks into 3 main sections:

an overview of the application of marketing techniques in the arts and evidence-led marketingexploration of marketing as a strategic management toolpractical application of marketing tools in practice.

Through the course we will also look at associated areas such as how the arts are funded and how that affects audience engagement, the role of marketing and marketers in organisations and basic consultancy skills. In each session we will consider how the topics under discussion work in practice, with a particular emphasis on preparing for the placement project that forms the basis for the final written assessment. To bring the subject to life we will be using live case-studies, industry resources and presentations from industry professionals.

After the taught portion of the course, students will be required to work on a marketing or audience development project within an arts organisation. A written assignment of the project will comprise 50% of the overall mark.

Through the course, students will be expected to develop a full understanding of the following:
1) the concepts of marketing and audience development and their application in arts organisations
2) practical tools of theatre marketing and the processes of strategic development, tactical planning and evaluation
3) the nature of arts audiences in the subsidised and commercial theatre sectors, and techniques for gathering and using information on consumer behaviour, economic trends and the funded environment
4) the relationships between the needs of the market and artistic provision, within the framework of an arts organisation.


Code: TH320

Title: Intercultural Performance Practices

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Yvette Hutchison
Classes: Tuesday 1230-1430 G55
Assessment: Essay (3000 words) - 30%, Group Research presentation – 50%, Critique -20%

Outline: This module sets out to look at the implications of contemporary intercultural performance practice in the context of globalisation in terms of form and focus by analysing specific actual examples of artistic interactions in Asia, Africa and Europe in twentieth century film and theatre.in term one we will explore the historifcal and theoretical development of intercultural theatre practices, culminating in an essay. In term 2 we will anlayse more examples as you explore the questions and issues that have arisen for you, which you will present as groups in an interative way. This will culminate in your group research presentation and individual critical reviews. Questions we will explore in seminars will include
What is culture, and how is it constructed? (This will include exploring the construction of cultural hegemony, a collective ideology and aesthetics). Here we will specifically be looking at Patrice Pavis’s introduction to the Intercultural Performance Reader, looking at the various approaches to culture and exploring the implications of these approaches, particularly in relation to globalisation.
We then turn to looking at the implications of such construction of culture for the way we represent ourselves as a group – either as an essentialist discourse (exclusively) or as a constructivist discourse (inclusively). This notion of representation includes the negotiation of identity – both personal and collective. This, in turn, leads us to ask how a multi-cultural context, as the world has become in the global context, affects the expression of this complex identity in performance?
If we are working across cultures, languages and contexts, how do the issues of translation, appropriation, and representation affect intercultural performance practice?
What is the relationship between the postcolonial and intercultural in the context of globalisation and media?


Code: TH319

Title: Interpreting the Theatrical Past: Approaches to Theatre Historiography

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Jim Davis
Classes: Monday 1000-1200 G53
Assessment: Written Portfolio 1 10%, Written Portfolio 2 10%, Project-based Assessment 30%, Assessed Seminar Presentation 50%
Outline:
In recent years there has been a growing interest in the ways in which we study theatre history. Why do we privilege some periods over others? Why are some aspects of theatre history neglected by scholars? What are the assumptions behind our interpretation of documentary evidence? What choices do we make about the theoretical models we use? How did theatre history emerge as an academic discipline? What sorts of narrative inform our study of theatre history? What factors determine the ways in which we write about theatre history? This module aims to investigate the ways in which the historical study of acting, audiences, theatres and performance are heavily influenced by the assumptions, prejudices and ideological beliefs of those who have written about it. A strong emphasis will be placed on the close reading of set texts and on project work applying historiographical methods and methodologies.


Code: TH332

Title: Performing Gender & Sexuality

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Wallace McDowell
Classes: Thursday 1000-1300 G56
Assessment: 20% - Portfolio (4 x 500 words), 30% - Essay 1 - 3000 words, 50% - Essay 2 - 5000 words
Outline:
The module analyses ways in which performance engages with, reveals, challenges, deconstructs and resists dominant norms of gender and sexuality. A key focus will be on how performances reflect and contribute to shifts in circulating discourses of power. Starting with the traditionally 'umarked' dominance of white heterosexual men, students will engage with a range of plays, practitioners, performance artists and documentary examples to interrogate notions of the 'other' as performances of gender and sexual identities. The module will look at theoretical frameworks of gender and sexuality, at the same time exploring the intersections with other elements of performance of identity such as social class and ethnicity.


Code: TH333

Title: You, Me and Everyone We Know: Identity and Performance

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Anna Harpin
Classes: Thursday 1400-1700 G52
Assessment: 50% Essay, 50% Practical Project (30 CAT) 100% Essay (15 CAT)
Outline:
This module combines seminars and practical exploration to investigate the representation of self and others in performance. The module can be taken as 15 or 30 CATS. In the Autumn Term we will explore, through discussion and practical workshops, a range of artistic practices from biographical drama to stand up comedy to verbatim theatre. The aim of this half of the module is to consider questions of identity and performance. How far is identity a performative construction? How have artists represented their own lives and the lives of others and what are the ethical issues that attend on such practices? How do different forms invite different ways of framing and viewing selfhood and identity? The Spring Term (only available to 30 CAT students) will be studio-based work that explores a range of issues such as how to work with audiences or the creation of personas. The workshops will continue our explorations of concepts such as truth and authenticity but in a different mode of thinking. You will then work towards a practical project (solo or group).


Code: TH336

Title: Contemporary European Theatre

CATS: 30
Term: Full Year
Year: 3rd
Convenor: Milija Gluhovic
Classes: Friday 1500-1700 G56
Assessment: 20% - Essay 1, 20% - Essay 2 , 10% - Presentation, 50% - 3 hour Examination
Outline:
The module set out to explore a broad constellation of recent European plays, performances, and films originating from different parts of Europe, which address the changing historical, political and cultural realities of Europe in the wake of the Iron Curtain’s collapse and the fall of communism in 1989. Specifically, the module aims to engage with the following pressing issues and concerns: How does theatre articulate Europe’s new sociocultural space, shaped and negotiated by the experiences of war, exile and the shifting contours of Europe’s borders and territories? How do European artists witness and respond to the current refugee crisis and stories of fraught Mediterranean crossings as migration becomes the defining issue of this century? How does performance address the complex issues of right-wing nationalism, the ongoing financial crisis, and social justice now that the EU faces the biggest crisis since its foundation? What are the ways in which performance takes part in the current debates in Europe concerning secularism, the rise of religious extremism, and fears about national security in the aftermath of the events such as the London bombings and the Paris attacks? How does theatre engage with the traumatic experiences of the Holocaust, the Stalinist Gulags, colonialism and imperialism, and current preoccupations with the politics of memory in Europe? We shall also explore aspects of European cultural policy, cosmopolitan stages of European theatre festivals as well as some popular expressions of “Europeannes” such as the Eurovision Song Contest as a site where cultural struggles over the meaning, frontiers, and limits of Europe are enacted.

Learning Outcomes

By the end of the module students should be able to demonstrate a critical understanding of contemporary European theatrical practice in the light of cultural, political, historical, and philosophical issues across Europe in both historical and contemporary context, by way of making use of interpretative frameworks introduced or extended in the module. They should also be able to demonstrate an enlarged appreciation of the distinctiveness of European cultural contexts but also areas of commonality, as well as current political challenges facing Europe internationally. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art.

Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays. Weekly preparation prior to each seminar, based on set readings, will be crucial.


Code: TH3xx

Title: Adaptation and Transformation

CATS: 30
Term: Autumn (intensive)
Year: 3rd
Convenor: Susan Haedicke / Tim White
Classes: Monday 1300-1800 G55
Assessment: Performance Exam (Group) 50%, Portfolio 50%
Outline:
Adaptation and Transformation is a practice-based module that uses a hands-on approach to understanding the adaptation process. It examines theories of adaptation and analyses plays and professional live and multi-media performances adapted from a range of source materials. In addition, it offers opportunities to practice adapting for performance from literary source materials.


Code: TH226

Title: Twentieth Century Irish Theatre

CATS: 15
Term: Autumn
Year: 2nd/3rd
Convenor: Wallace McDowell
Classes: Tuesday 0930-1130 G56
Assessment: 40% - Portfolio (2 x 1000 words), 60% - Essay (3000 words)
Outline:
TH226 Twentieth Century Irish Theatre The module will investigate:

• How ‘Irishness’ was depicted in a range of plays and performances in the 20th Century

• How the staging of Irish plays are affected by concepts such as landscape, memory, history and myth

• How the Irish theatre reflected the formation of an Irish nation and was used to both rehearse and critique Ireland after the English

• How Irish playwrights have used major historical events to reflect on contemporary events

• How Irish plays and performances have engaged with the wider international world


Code: TH333

Title: You, Me and Everyone We Know: Identity and Performance

CATS: 15
Term: Autumn
Year: 3rd
Convenor: Anna Harpin
Classes: Thursday 1400-1700 G52
Assessment: 50% Essay, 50% Practical Project (30 CAT) 100% Essay (15 CAT)
Outline:
This module combines seminars and practical exploration to investigate the representation of self and others in performance. The module can be taken as 15 or 30 CATS. In the Autumn Term we will explore, through discussion and practical workshops, a range of artistic practices from biographical drama to stand up comedy to verbatim theatre. The aim of this half of the module is to consider questions of identity and performance. How far is identity a performative construction? How have artists represented their own lives and the lives of others and what are the ethical issues that attend on such practices? How do different forms invite different ways of framing and viewing selfhood and identity? The Spring Term (only available to 30 CAT students) will be studio-based work that explores a range of issues such as how to work with audiences or the creation of personas. The workshops will continue our explorations of concepts such as truth and authenticity but in a different mode of thinking. You will then work towards a practical project (solo or group).


Code: TH3xx

Title: The author dies hard

CATS: 15
Term: Autumn
Year: 3rd
Convenor: Silvija Jestrovic
Classes: Tuesday 1000-1200 G55
Assessment: 25% Portfolio 25% Critical Review 50% Practical Exam
Outline:
This module takes Roland Barthes’s proclamation of the ‘Death of the Author’ as its point of departure to investigate concepts of authorial presence on various levels of text and performance from its aesthetic aspects to its political dimensions. Barthes points out that ‘the author’ is a modern invention, emerging in the late Middle ages to replace the figure of the storyteller, narrator, shaman, and gradually replacing the concept of mediation with what will become the capitalist concept of ownership and authorship. In other words, the dynamic, active, performative figure of the mediator has been replaced with a more static notion of the author foregrounding individuality, authenticity and originality as its main traits— the author as originator/ God. Starting with the historical overview of the deconstruction of the godlike authorial figure through theories of Barthes, Foucault, Russian Formalists, Meyerhold and others, the module will explore the notion of the ‘author’ as an unstable and performative figure.

Text, as well as performance, consists of multiple writings and potential embodiments, ‘issuing from several cultures and entering into a dialogues with one another, into parody, into contestation; but there is only one place where this multiplicity is collected, united, and in this place is not the author […], but the reader.’(Barthes) The aim of this module is to investigate how ‘the reader’ (as also the spectator/participant/successor) constructs ‘the author’? Why is the construction of an ‘author’ in the reception process, and even within some participatory forms, important? How is the figure of the author established and distabilised in various instances of text and performance? How and what does the authorial figure perform? How is the author constructed through imaginaries and re-imaginings, over-writings and mutations, repetitions and archiving, fictionalisations and theatricalisations? How is the authorial figure fashioned and constructed through self-referentiality and dramatic irony? How does the figure of the author appear as an intertextual and intertheatrical reference? How is the author/predecessor ghosted within texts and various kinds of performance practices? What are the ethical implications of authorial presence/ absence?


Code: TH335

Title: Post-war British Theatre and Social Abjection

CATS: 15
Term: Spring
Year: 2nd/3rd
Convenor: Nadine Holdsworth
Classes: Tuesday 0930-1200 G56
Assessment: 40% - Project-based Assessment, 60% - Essay (3000 words)
Outline:
This module will address the theatrical treatment of issues that have been at the heart of the British nation in the twenty-first century and subject to widespread public debate, media campaigns, political controversy and legislation: migration, Gypsies and Travellers, homelessness, riots and the north/south divide. As such, the module will address many of the pressing issues that are informing contemporary political debate about how the nation, national life and national citizenship are currently conceived, imagined and represented. The module will highlight the ways in which theatrical practice has contributed to national debate by creating alternatives to dominant narratives and images of 'social abjection' evident in political campaigns, media discourse and popular debate. The module will address a range of different theatrical contexts and forms from large-scale plays for major theatres, to smaller-scale community pieces that encompass various styles including musicals, dance theatre, verbatim and monologues.


Code: TH326

Title: Dramaturgy

CATS: 15
Term: Spring
Year: 2nd/3rd
Convenor: Susan Haedicke
Classes: Monday 1500-1800 G55
Assessment: Practice-based Portfolio: 40%, Project-based assessment : 60%

In this practice-based module, we will focus on two key tasks of the dramaturg: detailed play analysis and background research that help theatre practitioners answer questions of form, content, action, character, theme and context. We will experience what a dramaturg does primarily through creative practice using writing, research, art, and imagination as we develop diagrammatic scene breakdowns, image boards, rhythm analyses, and programme essays, and explore background research presented in written text, images, music, and more. We will work on various dramaturgical techniques in and out of class that will receive oral feedback in class and are structured to be preparation for the practice-based portfolio entries.


Code: TH230

Title: Performing Online

CATS: 15
Term: Spring
Year: 2nd/3rd
Convenor: Tim White
Classes: Monday 1030-1230 G55
Assessment: Project (Group): 50%. Essay 50%
Outline:
What freedoms do we relinquish for the opportunity to participate in social networks online? How much of ourselves do we upload and what is the relationship between our online self and that which remains offline? What are the possibilities and dangers of virtual worlds? This module looks at the interventions of theatre practitioners and artists who consider these questions as well as interrogating posthuman and cyborg futures, culminating in small group projects that explore what it means to perform online.


Code: TH334

Title: Love: Performance, Theory and Criticism

CATS: 15
Term: Spring
Year: 3rd
Convenor: Milija Gluhovic
Classes: Tuesday 1600-1800 G56
Assessment: 15% - Assessed Seminar Presentation, 35% - Essay (1750 words), 50% - Practical Examination
Outline:
Love remains an ever intriguing and complex emotion. Representations of love have been idealised, romanticised and formalised as part of theatre and performance tradition over centuries. In recent years love has also become visible (again) as a contested theoretical problem and political issue. The module addresses the “love question” as an open and exciting interdisciplinary field – one that traverses the arts, the humanities and the sciences. The module aims to explore this new, wide-ranging interest in love by looking into the ways in which the twentieth and twenty-first century artists have dealt with the subject of love as material for their work (e.g. Anski, Bergman, Pinter, Kane, Cavani, Haneke), while investigating a wide range of theories that explore changing ideologies, representations and practices related to the subject (Freud, Kristeva, Butler, Berlant and others). We will ask questions such as: What is love? Why/how is love interesting now? Can we study love historically? What does it mean about love that its expressions tend to be so conventional, so bound up in institutions like marriage and family, property relations, and stock phrases and plots? How can we re-envision love so that it creates different kinds of intimately social (rather than intimate vs. social) bonds that embrace difference (vs. sameness) and are transformative of the self? Finally, what does love bring to the study of theatre and performance? How do performances of love in theatre or cinema deconstruct or confirm its social and political coding? How do theatre and performance recreate and subvert social scenarios of love? The topics to be covered will range from ethics and politics of love, gendered interests in love, to love as a force in radical transformations of society.

By the end of the module students should be able to demonstrate a critical understanding of a broad constellation of contemporary plays, performances, and visual art references in the light of cultural, political, historical, and philosophical debates on the analysis, ethics and politics of love in the modern world. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art. Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays.


Code: TH316

Title: Theatre & National Identity

CATS: 15
Term: Spring
Year: 3rd
Convenor: Nadine Holdsworth
Classes: Wednesday 1100-1300 G53
Assessment: 40% - Essay 60% - Portfolio
Outline:
This module’s overarching question relates to how English, Scottish, Welsh and Northern Irish theatre institutions, playwrights, theatre-makers and performance artists have engaged with conceptions of the nation, nationalism and national identity during the twentieth and into the twenty-first centuries. The 15 CAT version of the module will explore how theatre has contributed to the construction and reappraisal of the nation and national identities through the sites it occupies, the stories it tells and the representations it offers. The module will look at theories on the nation and national identity before looking at plays and performances hailed as seminal ‘state of the nation’ works or celebrated as offering a distinct national identity by reclaiming histories, local dialects and indigenous cultural traditions. This will be followed by a focus on the idea and different manifestations of ‘national theatres’.