Module Descriptors
UNDERSTANDING THE PERFORMANCE INDUSTRY 2
CCIF50679
Key Facts
Faculty of Arts and Creative Technologies
Level 5
15 credits
Contact
Leader: Rowena Beighton-Dykes
Hours of Study
Scheduled Learning and Teaching Activities: 57
Independent Study Hours: 93
Total Learning Hours: 150
Assessment
- PORTFOLIO weighted at 50%
- PROJECT PRESENTATION weighted at 50%
Module Details
Module Additional Assessment Details
Students must submit work for all assessments.
Assessment 1: A portfolio of examples of the use of performance, annotated to discuss and describe different uses of performance in different contexts and for different purposes. (50%, L0,1)
Assessment 2: One project brief, demonstrating the use of performance communication for a specific purpose (LO 2, 3) (50%).
Assessment 1: A portfolio of examples of the use of performance, annotated to discuss and describe different uses of performance in different contexts and for different purposes. (50%, L0,1)
Assessment 2: One project brief, demonstrating the use of performance communication for a specific purpose (LO 2, 3) (50%).
Module Indicative Content
In this module students will be able to explore and extend their skills in a range of performance techniques: innovative and experimental performance skills will be encouraged. Their development in vocal and physical skills will be highlighted and advanced.
Students will apply their understanding of creating and directing a performance for an intended purpose. An example of this might be producing a performance about the dangers of binge drinking for use as part of pastoral tutorial programmes in schools and colleges. Relevant investigations would show how other products have been designed for the same target audience, and an evaluation of their success, including the use of visual and performance imagery, and the psychology of communication. Students would be expected to collect and collate a portfolio of work demonstrating their understanding of the way dance and/or theatre arts are influenced by social and contextual factors, and how a director can tackle an issue through the medium of entertainment and/or performance. They will consider examples of how the expressive arts industry has applied different approaches for different purposes.
Technical skills and their underpinning theory will be studied to support students in their practical work. These include areas such as advanced vocal techniques, advanced physical techniques, the psychology of communication and emotional expressionism.
Students will apply their understanding of creating and directing a performance for an intended purpose. An example of this might be producing a performance about the dangers of binge drinking for use as part of pastoral tutorial programmes in schools and colleges. Relevant investigations would show how other products have been designed for the same target audience, and an evaluation of their success, including the use of visual and performance imagery, and the psychology of communication. Students would be expected to collect and collate a portfolio of work demonstrating their understanding of the way dance and/or theatre arts are influenced by social and contextual factors, and how a director can tackle an issue through the medium of entertainment and/or performance. They will consider examples of how the expressive arts industry has applied different approaches for different purposes.
Technical skills and their underpinning theory will be studied to support students in their practical work. These include areas such as advanced vocal techniques, advanced physical techniques, the psychology of communication and emotional expressionism.
Module Texts
Books:
Blom, Lynne Anne (2003). The Intimate Act of Choreography . Alton: Dance Books Ltd.
Smith-Autard, Jacqueline M. (2010). Dance Composition: A Practical Guide to Creative Success in Dance Making. 6th ed. London: Methuen Drama.
Journals:
Finnan, Kevin. (2006). Dance Theatre Journal.
Websites:
http://artsalive.ca/en/dan/make/process/chprocess.asp
Blom, Lynne Anne (2003). The Intimate Act of Choreography . Alton: Dance Books Ltd.
Smith-Autard, Jacqueline M. (2010). Dance Composition: A Practical Guide to Creative Success in Dance Making. 6th ed. London: Methuen Drama.
Journals:
Finnan, Kevin. (2006). Dance Theatre Journal.
Websites:
http://artsalive.ca/en/dan/make/process/chprocess.asp
Module Learning Strategies
The content of the taught sessions will relate to your local area as well as giving you an insight into the national background and theoretical aspects of the performance arts industry. The module to include the following:
An introduction/briefing to the Module: 2 Hours
A series of lectures, seminars, and demonstrations: 15 Hours
Group critiques, seminars, production meetings & feedback: 35 Hours
Individual Tutorials: 5 Hours
Total contact time per student: 57 Hours.
An introduction/briefing to the Module: 2 Hours
A series of lectures, seminars, and demonstrations: 15 Hours
Group critiques, seminars, production meetings & feedback: 35 Hours
Individual Tutorials: 5 Hours
Total contact time per student: 57 Hours.
Module Resources
Studio Theatre; including a full lighting rig, backstage area, props and costumes
Dance Studio; sprung floor, mirrors, barres
Library; books, journals, articles and ejournals
Learning Resource Centre; computers, internet and printing facilities
Access to digital video recorders & tripod
Brewhouse facilities:
Dance Studio; Mirrors, Barres, changing area, showers
Drama studio, Loft Gallery, Corner studio. Auditorium to seat 300. Full backstage facilities, full lighting and sound facilities.
Dance Studio; sprung floor, mirrors, barres
Library; books, journals, articles and ejournals
Learning Resource Centre; computers, internet and printing facilities
Access to digital video recorders & tripod
Brewhouse facilities:
Dance Studio; Mirrors, Barres, changing area, showers
Drama studio, Loft Gallery, Corner studio. Auditorium to seat 300. Full backstage facilities, full lighting and sound facilities.