Module Descriptors
MOVERS AND SHAKERS
DRAM40210
Key Facts
School of Digital, Technologies and Arts
Level 4
45 credits
Contact
Leader: Richard Cheshire
Hours of Study
Scheduled Learning and Teaching Activities: 60
Independent Study Hours: 390
Total Learning Hours: 450
Assessment
- PROJECT PORTFOLIO weighted at 50%
- 2ND PROJECT PORTFOLIO weighted at 50%
Module Details
ADDITIONAL ASSESSMENT DETAILS
A PROJECT PORTFOLIO
Length 2500 and/or 20 minute presentation, words weighted at 50%. This assignment may include such individual elements as: weekly blog/report on plays analysed, presentation tasks, written conceptual project (annotated and illustrated), preparation tasks and/or an oral presentation creative pitch.
Learning Outcomes 1 - 4
A 2nd PROJECT PORTFOLIO
Length 2500 and/or a 20 minute, words weighted at 50%. This 2nd assignment may include such individual elements as: critical reviews and analysis of texts and performances, weekly blog/reports, critical case study analysis, conceptual projects (annotated and illustrated), reflective report and preparation tasks.
Learning Outcomes 1 - 4
Length 2500 and/or 20 minute presentation, words weighted at 50%. This assignment may include such individual elements as: weekly blog/report on plays analysed, presentation tasks, written conceptual project (annotated and illustrated), preparation tasks and/or an oral presentation creative pitch.
Learning Outcomes 1 - 4
A 2nd PROJECT PORTFOLIO
Length 2500 and/or a 20 minute, words weighted at 50%. This 2nd assignment may include such individual elements as: critical reviews and analysis of texts and performances, weekly blog/reports, critical case study analysis, conceptual projects (annotated and illustrated), reflective report and preparation tasks.
Learning Outcomes 1 - 4
INDICATIVE CONTENT
This module introduces the study of dramatic performance for theatre and film/TV, with a close examination of the work of practitioners, texts and writers who have influenced the development of drama output within different production contexts.
Semester 1
Through an introduction of key dramatic texts and theatrical representations of those texts, students will explore the key ‘movers and shakers’ in Western Theatre.
A variety of key dramatic texts, practitioners and playwrights who influence(d) theatre and drama will be examined from Jez Butterworth to Harold Pinter, Roy Williams to Shakespeare.
Running parallel to the plays will be the introduction of other key texts from theorists which have influenced theatre making past and present such as Zola, Noble and Alfreds.
Seismic shifts via cultural, political, aesthetic, religious, architectural and ideological contexts will be explored which introduce key movements in theatre (e.g. realism, expressionism, symbolism).
Semester 2
During this Semester, the cohort splits between the two award pathways:
ACTING AND SCREEN PERFORMANCE students:
You will examine the historical development of performance on screen through key practitioners (actors, directors, writers). It considers how different styles of acting and presentation have emerged within cinema and broadcasting to provide audiences with new forms of recorded and live dramatic entertainment.
It will introduce the ways in which the craft of acting has been remediated from the theatre to the screen, and how a range of production considerations have impacted upon the actors within the studio and on location.
It begins with a look at the origins of screen acting and its close relationship with the theatre, and importantly the ways in which actors have gone on to develop styles of performance unique to recorded and live media. There will also be an examination of how certain styles of performance have been evolved by performers working within popular screen genre (e.g. comedy, variety entertainment and series/serial dramas) from the early part of the 20th Century to contemporary live broadcasts of theatre productions in UK cinemas.
ACTING AND THEATRE ARTS students:
You will continue to examine more key practitioners throughout the second semester as per Semester 1 relating specifically to the theatre.
Semester 1
Through an introduction of key dramatic texts and theatrical representations of those texts, students will explore the key ‘movers and shakers’ in Western Theatre.
A variety of key dramatic texts, practitioners and playwrights who influence(d) theatre and drama will be examined from Jez Butterworth to Harold Pinter, Roy Williams to Shakespeare.
Running parallel to the plays will be the introduction of other key texts from theorists which have influenced theatre making past and present such as Zola, Noble and Alfreds.
Seismic shifts via cultural, political, aesthetic, religious, architectural and ideological contexts will be explored which introduce key movements in theatre (e.g. realism, expressionism, symbolism).
Semester 2
During this Semester, the cohort splits between the two award pathways:
ACTING AND SCREEN PERFORMANCE students:
You will examine the historical development of performance on screen through key practitioners (actors, directors, writers). It considers how different styles of acting and presentation have emerged within cinema and broadcasting to provide audiences with new forms of recorded and live dramatic entertainment.
It will introduce the ways in which the craft of acting has been remediated from the theatre to the screen, and how a range of production considerations have impacted upon the actors within the studio and on location.
It begins with a look at the origins of screen acting and its close relationship with the theatre, and importantly the ways in which actors have gone on to develop styles of performance unique to recorded and live media. There will also be an examination of how certain styles of performance have been evolved by performers working within popular screen genre (e.g. comedy, variety entertainment and series/serial dramas) from the early part of the 20th Century to contemporary live broadcasts of theatre productions in UK cinemas.
ACTING AND THEATRE ARTS students:
You will continue to examine more key practitioners throughout the second semester as per Semester 1 relating specifically to the theatre.
LEARNING STRATEGIES
Using a ‘studio based’ approach, students will be introduced to the key practitioners and playwrights via workshops, readings, mini-lectures, discussions, screenings and practical explorations.
This work will contribute to the assessed project portfolios.
This work will contribute to the assessed project portfolios.
RESOURCES
Lecture Theatres/Studio Spaces
Blackboard, Library and online resources (e.g. BoB), TV/DVD playback facilities.
The Blackboard virtual learning environment will be available to support this module; details will be supplied in the module handbook.
Blackboard, Library and online resources (e.g. BoB), TV/DVD playback facilities.
The Blackboard virtual learning environment will be available to support this module; details will be supplied in the module handbook.
TEXTS
Indicative texts:
Allain, P. & Harvie, J. (2014) The Routledge Companion to Theatre and Performance, London: Routledge.
Alfreds, M. (2007) Different Every Night, London: Nick Hern Books.
Cantrell, T. & Luckhurst, M. eds. (2010) Playing For Real, Basingstoke: Palgrave Macmillan.
Churcher, M. (2011) A Screen Acting Workshop, London: Nick Hern Books.
Lawson, D. (2014) The Actor and the Camera, London: Nick Hern Books.
Noble, A. (2010) How to Do Shakespeare, London: Routledge.
Taylor, A. ed. (2012) Theorizing Film Acting, London: Routledge.
Tucker, P. (2014) Secrets of Screen Acting, London: Routledge.
Wiles, D. & Dymkowski, C. eds. (2012) The Cambridge Companion to Theatre History, Cambridge: Cambridge University Press.
See module handbook for a full listing of reading texts.
Allain, P. & Harvie, J. (2014) The Routledge Companion to Theatre and Performance, London: Routledge.
Alfreds, M. (2007) Different Every Night, London: Nick Hern Books.
Cantrell, T. & Luckhurst, M. eds. (2010) Playing For Real, Basingstoke: Palgrave Macmillan.
Churcher, M. (2011) A Screen Acting Workshop, London: Nick Hern Books.
Lawson, D. (2014) The Actor and the Camera, London: Nick Hern Books.
Noble, A. (2010) How to Do Shakespeare, London: Routledge.
Taylor, A. ed. (2012) Theorizing Film Acting, London: Routledge.
Tucker, P. (2014) Secrets of Screen Acting, London: Routledge.
Wiles, D. & Dymkowski, C. eds. (2012) The Cambridge Companion to Theatre History, Cambridge: Cambridge University Press.
See module handbook for a full listing of reading texts.
LEARNING OUTCOMES
1. UNDERSTAND THE WORK OF KEY PRACTITIONERS, WRITERS AND MOVEMENTS THAT HAVE SHAPED DRAMATIC FORM FOR THEATRE/FILM AND TELEVISION.
[Knowledge & Understanding]
2. APPLY KNOWLEDGE AND A CRITICAL FRAMEWORK TO THE ANALYSIS OF DRAMATIC TEXTS AND/OR THE WORK OF INDUSTRY PRACTITIONERS.
[Enquiry]
3. DEMONSTRATE AN APPROPRIATE UNDERSTANDING OF KEY CREATIVE METHODOLOGIES RELEVANT TO THE ANALYSIS OF HISTORICAL AND CONTEMPORARY THEATRE AND/OR RECORDED MEDIA PRACTICES.
[Analysis]
4. DEMONSTRATE THROUGH PROJECT PORTFOLIOS AN UNDERSTANDING OF ACTING FOR DIFFERENT PERFORMANCE PLATFORMS AND ARTICULATE CASE STUDY FINDINGS, ANALYSIS AND ARGUMENTS CLEARLY IN WRITTEN AND ORAL FORMATS.
[Communication]
[Knowledge & Understanding]
2. APPLY KNOWLEDGE AND A CRITICAL FRAMEWORK TO THE ANALYSIS OF DRAMATIC TEXTS AND/OR THE WORK OF INDUSTRY PRACTITIONERS.
[Enquiry]
3. DEMONSTRATE AN APPROPRIATE UNDERSTANDING OF KEY CREATIVE METHODOLOGIES RELEVANT TO THE ANALYSIS OF HISTORICAL AND CONTEMPORARY THEATRE AND/OR RECORDED MEDIA PRACTICES.
[Analysis]
4. DEMONSTRATE THROUGH PROJECT PORTFOLIOS AN UNDERSTANDING OF ACTING FOR DIFFERENT PERFORMANCE PLATFORMS AND ARTICULATE CASE STUDY FINDINGS, ANALYSIS AND ARGUMENTS CLEARLY IN WRITTEN AND ORAL FORMATS.
[Communication]