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FdA DRAMA

Faculty of Arts, Design and Media

Department of Arts and Design

PROGRAMME SPECIFICATION

Version Occasion of Change Change Author Last Modified 1.0 Version presented for approval Nigel Watson 06/06/06

2.0 Amendments for Periodic Review Nigel Watson 15/01/09

3.0 Amendments of module Nigel Watson 06/07/2009

4.0 Amendments of modules Nigel Watson 09/07/2010

5.0 Amendments on Programme agreed at FQMSC NOV 2014

Adelle Hulsmeier 18/11/14

Date of Validation Event: 6th June 2006Date Approved by QMSC:

CONTENTS FdA PERFORMING ARTS Page Number

PART A – PROGRAMME SPECIFICATION

1. CORE INFORMATION 2

2 PROGRAMME AIMS 3

3 LEARNING OUTCOMES 3

4 PROGRAMME STRUCTURE 5

5 TEACHING AND LEARNING 6

6 ASSESSMENT 7

7 SUPPORT AND GUIDANCE 7

8 ADMISSIONS 8

9 PROGRAMME MANAGEMENT AND QA 8

10 LEARNING ENVIRONMENT AND RESOURCES 9

Appnd 1 SITS SUMMARY 10

MODULE LIST 12

Appnd 2 PROGRAMME TEMPLATE 15

Appnd 3 MODES OF TEACHING LEARNING AND ASSESSMENT 16

ASSESSMENT CRITERIA 19

MODULE DESCRIPTORS 21

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1. Core information

PROGRAMME SPECIFICATION:

2. Core information

Programme title: FdA Drama………….Target award …FdA Drama…………….Interim or exit awards Foundation Certificate in Higher Education………………..Awarding body: University of SunderlandProgramme Assessment Board Performing Arts………….

QAA subject benchmark(s) applicable Foundation Degree Drama Accrediting body / bodies (if applicable) …N/A………………..

Other points of reference:

QAA Framework for Higher Education Qualifications http://www.qaa.ac.uk/academicinfrastructure/FHEQ/EWNI/default.aspNICATS level descriptors (NB Level 4 is the equivalent of HE Stage 1, Certificate level)http://www.nicats.ac.uk/doc/scr_prnc_guide.pdfNational credit guidelines http://bookshop.universitiesUK.ac.uk/downloads/Burgess_credit_report.pdf University of Sunderland credit framework and regulations https://docushare.sunderland.ac.uk/docushare/dsweb/View/Collection-247

Modes of delivery and duration:

Tick all that apply

Min number of years

Max number of years

Intake dates (months)

Any other issues

Full-time 2 9 SeptemberPart-time 3 9 SeptemberSandwichOff-campusOn-campusDistance learningWork-based learning Collaborative

3. Aims of the Programme

Departmental Aims

All programmes adhere to our broad Arts and Design departmental aims;

To provide opportunities for students to gain knowledge and apply that knowledge within the programmes offered

To encourage students to combine practical and conceptual skills in order to enhance their creativity and promote reflective, analytical and critical approaches to learning

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http://www.qaa.ac.uk/academicinfrastructure/FHEQ/EWNI/default.asp

https://docushare.sunderland.ac.uk/docushare/dsweb/View/Collection-247

http://bookshop.universitiesUK.ac.uk/downloads/Burgess_credit_report.pdf

http://www.nicats.ac.uk/doc/scr_prnc_guide.pdf

To develop transferable skills through appropriate teaching, learning and assessment strategies

To enable students to obtain a knowledge of the broader cultural and social contexts in which work is created and disseminated

To offer students the opportunity to become aware of vocational and professional contexts in preparation for the challenges of a changing work environment

To offer flexibility and choice in learning enabling students to study in ways appropriate to their needs, interests and ambitions

To enhance both student learning and the overall student experience through high level staff research activity

Programme Aims

1. To offer an opportunity within this programme to develop awareness and understanding of distinctive traditions, conventions, practitioners and contexts that have helped shape contemporary practice within and across drama.

2. To offer a programme of study providing opportunities for an experiential fusion of theory and practice in which both conceptual awareness and practical, creative skills are developed in drama.

3. To develop transferable skills e.g communication, I.T. and working with others

4. To develop students as reflective practitioners who can take increasing responsibility for their own learning.

5. To introduce students to vocational and professional practices and opportunities within drama raising awareness of current trends and developments, enabling students to gain and apply skills prior to and through their engagement in projects, placements and community events

6. To allow the individual student to emphasise a study of drama as well a working on modules with students from other performing arts disciplines.

3.Learning Outcomes

Skills

Stage 1 (Certificate of HE):

On successful completion of level one, students will have;

S1.Generated approaches to drama practice/performance and developed skills - individually and/or in groups.

S2.Demonstrated the ability to describe, investigate, interpret and evaluate a range of material including performance, video projects and live events and recognised the importance of these in relation to their drama practice.

S3.Demonstrated independent research and study skills through practical and written work and an engagement with a range of identified drama language, working methods and processes.

S4.Expressed ideas in the realisation and presentation of written and practical work, and demonstrated between theory and practice.

Stage 2 (FdA): as above plus:

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S5.Demonstrated an ability to expand personal skills/select and develop approaches to their drama practice.

S6.Demonstrated an ability to reflect on and evaluate a range of material and apply this in specific settings.

S7.Demonstrated the ability to work independently on a range of tasks leading to the presentation of their practical and written work whilst reflecting on processes and working methods.

S8.Demonstrated the ability to communicate effectively in the realisation and presentation ofwork which shows the relationship between theory and practice.

S9.Demonstrated the ability to analyse the work of key drama practitioners and artistic/cultural movements and relate these to practice.

S10.Demonstrated application of both drama and vocational skills in work based settings.

Knowledge

Stage 1 (Certificate of HE):

K1.Demonstrated understanding of performer/audience relationships and a range of contexts for drama performance.

K2.Demonstrated a critical, contextual and historic perspective within drama and some knowledge and awareness of the work of selected practitioners.

K3.Demonstrated understanding of issues involved in work based settings.

Stage 2 (FdA) as above plus

K4.Analysed the issues surrounding performer/audience relationships; cultural contexts for performance; professional practice and possibilities for community and educational projects/events.

Additional learning opportunities

Students interact with the local community and schools through projects and assessments Students are involved with the operation of the College Theatre as an arts venue Students work alongside dance and drama students in the core modules

4.Programme Structure and Content

Module list – See Appendix 1

Programme regulations – See Appendix 2

Programme content

Stage 1Semester 1FPA 111 Performing Arts Production1 20 creditsDRA 121 Performer Training 20 creditsDRA 112 Text in Performance 20 credits

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Semester 2DRA 119 Experimental Performance 20 creditsDRA 123 Theatre for Social Change 20 creditsDRA 115 Theatre Production 1 20 credits

Stage 2Semester 1DRA 223 Directing for the Stage 20 creditsDRA 219 From Page to Stage 20 creditsDRA 211 Key Theatre Practitioners 20 credits

Semester 2FPA 213 Performing Arts Production2 20 creditsDRA 224 Theatre for Social Change 2 20 creditsDRA 215 Theatre Production 2 20 credits

Placements, study abroad and other work experience opportunities

Students on Foundation Degree programmes are able to apply for the University Study Abroad Scheme in Level 2.

5. Teaching and Learning

See teaching, learning and assessment matrix, Appendix 3

The range of teaching and learning strategies which students will experience in all Performing Arts programmes at some stage of the programme includes;

Lectures that stimulate thought, discussion and debate and which encourage reading, listening and research

Seminars and other forms of small group discussion Small group learning and teaching where students work together as a team One to one interaction supporting the development of creative skills Corporate performance activity developing teamwork and leadership skills Workshops, often benefiting from the experience of visiting specialists Essay writing as a means of presenting ideas and arguments in written form Practical exercises connected with the development of creative, analytical and aural skills Use of computer assisted learning Studio work giving hands-on experience in the use of electronic equipment for composition,

recording and performance Independent learning External placements such as work experience or community projects Fieldwork projects where students may observe and participate in events Extra curricular activities involving participation in or attendance at performances Peer learning through discussion of colleagues’ work

These have been selected to reflect the subject and the broad range of students expected to study on this programme and support both the practical and written work within the programme.Projects encourage students to work independently on topics, which match their skills, develop their interests or fit in with their career aspirations. They often reflect students’ knowledge of the needs of the local community.

6. Assessment

See teaching, learning and assessment matrix, Appendix 3

Students may expect to encounter a range of assessment strategies including: Individual written essays and coursework which tests their ability to investigate a topic and organize

their material and ideas to a prescribed deadline.

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Exercises in arranging drama for specific groups develops skills of the working community dramaian

Practical assessments such as individual and group performances develop both individual skills and team work

Creative projects give opportunities to develop conceptual, planning and evaluative skills Oral presentations testing both oral and presentation skills Reports on external placements make the programme vocationally relevant Compositions including soundscapes test the student imagination and develop their technological

skills Research files and learning logs develop on going research and reflective thinking Assessment of facilitation/teaching skills in practical contexts sites the programme in the real

working world Assessment of the application of subject specific and generic skills in appropriate contexts provides

wide ranging opportunities

For Assessment criteria for the programme see Appendix 4

7. Student Support and Guidance

Student support is organised and operated by the partner college. A minimum requirement is that;

Each college has an overall strategy for support and guidance Each student will be assigned a support tutor for both academic and pastoral guidance. Studies advice is available centrally including remedial support Appropriate induction takes place Advice and information on careers is available. (N.b. This is to some extent built into the

programme but students may require guidance outside of their own subject area) Tutorial or other support is provided during placement and project modules

During their first week, students are provided with an induction programme, student handbook and relevant module guides. They meet both the University Programme leader and the college staff. On a visit to the University they register at the University library and meet relevant specialist staff

All on-campus students have access to the University’s central support services including Counselling, Disability Service, Health and Well-being, Chaplaincy, financial support and advice, International Office and Careers and Employability Service. The Students’ Union provides an independent service which offers advice and support across the full range of personal and academic problems which students may encounter. Students wishing to lodge a complaint or an appeal can seek advice from the Students’ Union or from Academic Services. Full details of all these services can be found on the University’s web-site. Where appropriate, academic or support staff in the Faculty will sign-post students to these specialist services.

8. Admissions

Admissions requirements to enter at level 1 of this programme will fall into one of the following three categories;Attainment at FE level provided through:

A and AS Levels GNVQApplicants will be expected to have: Three passes at GCSE Grade C or above including Mathematics and English (or equivalent). A

minimum of level 2 key skills in Communications, Application of number and Information is acceptable.

plus one of the following:

A minimum of one 6-unit award (A level/GNVQ) or 1 x 12 unit award or equivalent. The relevant Scottish Framework Qualification of higher grade C.

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Successful completion of a recognised Foundation or Access Programme. The full International or European Baccalaureate Other qualifications as deemed acceptable by the University

9. Programme Management and Quality Assurance

The programme is managed and quality assured through the University’s standard processes. Modules are overseen by a Module Studies Board and each year each module leader provides a brief report on the delivery of the module, identifying strengths and areas for development. The Programme Studies Board, which includes module leaders, student representatives and, where applicable, typical employers, is responsible for the programme as a whole, ensuring the coherence of the programme overall, its currency, progression, and alignment between the learning outcomes and modes of teaching, learning and assessment. Student achievement, including progression between levels and degree classification, is kept under review. The programme is reviewed annually and a report is sent to the Faculty Quality Management Sub-Committee which in turn reports issues to Academic Board via the University’s Quality Management Sub-Committee (QMSC) and Academic Experience Committee (AEC).

External examiners are appointed to oversee and advise on the assessment of the programme. They verify the comparability of the standards of the programme with the standards of similar programmes elsewhere in the UK and the quality of the assessment process. They are also invited to comment on proposed developments to the programme. Their reports are sent to the DVC (Academic) as well as to the Faculty; he requires a report from the Faculty on any major issues of concern raised by the External Examiner.

All programmes are reviewed by the University on a six-yearly cycle to identify good practice and areas for enhancement. Programmes are revalidated through this review process. These reviews include at least one academic specialist in the subject area concerned from another UK HEI.

Students’ views are sought through module questionnaires and by other methods. The feedback informs module leaders’ annual reports on their modules. Students are represented on the Programme and Module Studies Boards; in the former they are involved in discussion of external examiners’ reports.

10. Learning Environment and Resources

A team of staff deliver this programme including 2 from the College and 2 from the University. This gives students an opportunity to work with specialist tutors and experience a range of teaching styles. They may also encounter Academic tutors for individual sessions on modules.

Students study on modules where research informs teaching, particularly in Level 2.

Students have access to both their library at College and to the Murray library at the University where the Performing Arts books and resources are held. Although students have access to Sunspace the VLE, use of this has not been fully exploited in the core modules although students do use this resource when studying on the University modules

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Appendix 1

SITS SUMMARY PROGRAMME/SHORT COURSE DETAILS (Form to be completed electronically by the Faculty and forwarded to the QAE Quality Officer supporting

the Approval event, or sent to MISD for faculty devolved processes before sending to QAE)

PROGRAMME/SUBJECT/SHORT COURSE DETAILSExit Award: Title of programme/award FdA DramaIf replacement for existing, specify title of oldFaculty(ies): Arts, Design and MediaDepartment: Arts and DesignSITS Programme/Short Course code1 Programme Studies Board2 Performing ArtsUCAS code3 (if applicable). If other please state method.JACS code4

Qualification Level / Qualification Aim Foundation Degree

Modes of delivery and duration:(delete yes/no as necessary)Full time yes …2….. yearsSandwich no …….. yearsPart time yes …….. yearsWork Based Learning yesOn-campus noOff-campus yes

CSP Only. Other subject combinations not allowed with this subject:

n/a

Programme/Subject/Short Course Leader: Adelle HulsmeierDate of Approval /Modification/Review 06/06/06 and modified 25/04/08 and modified

06/07/09 and modified 09/07/10Date of next review (QAE to complete)

Start date of programme Number of intakes per annum and likely month(s) intake(s) starts.

September intake

FUNDING DETAILSConfirm funding arrangements for programme e.g. HEFCE/TDA/NHS/Other5

HEFCE

If it is TDA, is it primary/secondary/F.E./Other (please state)

n/a

Is the programme Open or Closed6: Open

1 To be allocated in consultation with MISD team in SRBP2 Programme Studies/Assessment Board that will have management responsibilities for the programme.3 Please contact Admissions Manager for code4 JACS code = e.g. (V1) History, (G5) Computing Science, etc. for information contact relevant AD5 Please confer with David Balme for funding status for programmedocument.doc, V2

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QUICK REFERENCEPanel: External Internal Programme: New Review Title Change Replacement for existing

ACCREDITING BODY No

PROGRAMME SPECIFIC REGULATIONSAre there to be programme specific regulations?No

COLLABORATIVE:

Please complete details

UK yes

Overseas noInstitution Collaborative model7 Funding arrangements8

…City of Sunderland College……Model C………………………………….. ……………………………… ….……………………..

………………………………………….. ……………………………… ………………………..

………………………………………….. ……………………………… …………………………

INTERIM AWARD SCHEDULE

Interim award title Credits required

Interim structure

Please show mandatory requirements if applicable e.g. core module codes

Foundation Certificate in Higher Education 120

DETAILS SUPPLIED BY: ……………………………………… DATE: ………………………..

For QAE use only: Circulation list: Quality Assurance & Enhancement (files) MISD (J Ruffell), Admissions (E Wilson), Recruitment (Les Brown, Catryn Davies), Student Office (L Dixon), Examinations (B Muldowney), Planning (David Balme) Learning Development Services (Malcolm Creen) Central Timetabling (Lesley Scott) + for collaborative programmes: SRBP Carole Green/Peter Elliott, marketing (Judith Green)

6 An Open programme constitutes an open admissions policy. A Closed programme is normally specific to one client only. If in doubt please consult Academic Services or Planning and Finance.

7 As per QAE guidelines8 Please contact David Balme for confirmation of funding details

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Module List

DRA 112 Text and PerformanceDRA 115 Theatre Production 1DRA 121 The theory and practice of Performer Training DRA 123 Theatre for Social Change FPA 111 Performing Arts Production1DRA 119 Experimental Performance

DRA 211 Key Theatre PractitionersDRA 215 Theatre Production 2DRA 224 Theatre for Social Change 2DRA 223 Directing for the StageFPA 213 Performing Arts ProductionDRA 219 Page to Stage

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Module ListAward, Route (if applicable) and Level

New/Existing/ Modified Module (N/E/MM)

Module Title Module Code

Module Credit Value

core or option

Must choose (ie designated option):

Assessment weighting – give % weight for each assessment item

Pre-/co-requisites

Module leader

Other comment (if required)

Date of Entry on SITS.N/MM only( After event)

JACS Code

FdA Drama level 1

E Performing Arts production

FPA 111

20 C Practical / written: 60.40

Rachel Emms Hobbins

FdA Drama level 1

E The Theory and Practice of Performer Training

DRA 121


Adelle Hulsmeier

FdA Dramalevel 1

E Text and Performance 1

DRA 112


Adelle Hulsmeier

FdA Drama level 1

E Experimental Performance

DRA 119


Adelle Hulsmeier

FdA Drama level 1

E Theatre Production 1

DRA 115


Roy Connolly

FdA Drama level 1

E Theatre for Social Change

DRA 123


Adelle Hulsmeier

FdA Drama level 2

E Directing for the Stage

DRA 223


Adelle Hulsmeier

FdA Drama level 2

E From Page to Stage DRA 219


Adelle Hulsmeier

FdA Drama level 2

E Key Theatre Practitioners

DRA 211


Roy Connolly

FdA Drama level 2

E Performing Arts Production 2

FPA 213


Rachel Emms Hobbins

FdA Drama level 2

E Theatre Production 2

DRA 215


Adelle Hulsmeier

FdA Drama level 2

E Theatre for Social Change 2

DRA 220


Adelle Hulsmeier

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A ppendix 2TEMPLATE FOR PROGRAMME REGULATIONS

Stage 1

Core modules:

CodeFPA 111DRA 121DRA 112DRA 119DRA 115DRA 123

TitlePerforming Arts ProductionPerformer Training Text and Performance 1Experimental PerformanceTheatre Production 1Theatre for Social Change

Credits202020202020

Progression Regulations

There are no programme-specific progression regulations9

Stage 2

Core modules

Code Title Credits DRA 223 Directing for the Stage 20DRA 219 From Page to Stage 20DRA 215 Theatre Production 2 20FPA 213 Performing Arts Production 2 20DRA 211 Key Theatre Practitioners 20DRA 224 Theatre for Social Change 2 20

Elective modules

There is no provision for an elective module at Stage 2.

Progression Regulations

There are no programme-specific progression regulations10

9

10

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Appendix 3Matrix of modes of teaching, learning and assessment

Stage 1

Module Code Core / optional

Modes of T&L Modes of Assessment

LO S1 LO S2 LO S3 LO S4 LO K1 LO K2 LO K3

Performing Arts Production

FPA 111 Core Independent study, seminars,Tutor led workshops. Rehearsals

PerformanceEssay/ evaluation

Taught, Developed Assessed

TaughtDevelopedAssessed

Taught,Developed assessed




Introduction to Naturalist / Realist Theatre

DRA 117 Core Independent study, seminars,Tutor led workshops. Rehearsals








Performer Training









Experimental Performance

DRA 119 Core Independent study, seminars,Tutor led workshops.presentations

Vocational PlacementPresentation


Taught DevelopedAssessed




TaughtDevelopedAssessed


Drama Production 1









Theatre for Social Change


PresentationWorkshop leadershipevaluation








Stage 2

Module Code Core / option

Modes of T&L

Modes of Assessment

LO S5 LO S6 LO S7 LO S8 LOS9 LO S10 LO K4

Directing for the Stage


Presentation. Log book. Directed performanceevaluation.






Taught, Developed

TaughtDeveloped

Performing Arts Production 2

FPA 213 Core Independent study, seminars,Tutor led workshops. rehearsals








Page to Stage








Taught, Developed

Taught, Developed

Key Theatre Practitioners

DRA 211 Core Independent study, seminars,Tutor led workshops. rehearsals







Taught, Developed

Theatre Production 2









Theatre for Social Change 2


Practical projectPlanning evaluation








Assessment Criteria at the level of the target award Generic Assessment Criteria Foundation Degrees in Dance, Drama, Music and Performing Arts

CategoriesGrades Relevance Knowledge Analysis,

Problem solving and/or Collaboration

Argument and Structure and/or Artistic coherence

Critical evaluation and Creativity

Presentation/Execution of performance and/or production duties,

Reference to Literature

Demonstrate ability to focus on a designated topic or topics in practical and/or written work

Demonstrate a critical perspective on performance theories and practices and the ability to contextualise performance work in relation to this

Demonstrate an ability to analyse topics, problem solve, and/or employ effective group skills including in work-based contexts

Demonstrate coherence and clarity in your critical perspective argument, ideas and/or performance work

Demonstrate the ability to critically evaluate materials and/or generate creative ideas including in work based contexts.

Demonstrate appropriate skills in writing, communication, performance and/or production

Demonstrate awareness of relevant research materials and reference points for your work in performance, literature and/or performance criticism

Pas

s

86 – 100%

The work examined is exemplary and provides clear evidence of a complete grasp of the knowledge, understanding and skills appropriate to the Level of the qualification. There is also ample excellent evidence showing that all the learning outcomes and responsibilities appropriate to that Level are fully satisfied. At this level it is expected that the work will be exemplary in all the categories cited above. It will demonstrate particularly compelling evaluation, originality, creativity, elegance of argument/performance, interpretation or discourse.

76-85% The work examined is outstanding and demonstrates comprehensive knowledge, understanding and skills appropriate to the Level of the qualification. There is also excellent evidence showing that all the learning outcomes and responsibilities appropriate to that level are fully satisfied. At this level it is expected that the work will be outstanding in the majority of the categories cited above or by demonstrating particularly compelling evaluation, creativity, elegance of argument/performance, interpretation or discourse.

70 – 75%

The work examined is excellent and provides evidence of comprehensive knowledge, understanding and skills appropriate to the Level of the qualification. There is also excellent evidence showing that all the learning outcomes and responsibilities appropriate to that level are satisfied At this level it is expected that the work will be excellent in the majority of the categories cited above or by demonstrating particularly compelling evaluation, creativity, elegance of argument/performance, interpretation or discourse.

60 – 69%

Directly relevant to the requirements of the assessment

A substantial knowledge of relevant material, showing a clear grasp of themes, questions and issues therein

Good analysis, identification and resolution of issues or problems. Effective organisation, and/or negotiation/collaboration

Generally coherent and logically structured, using an appropriate mode of argument, or performance, production and/or theoretical modes

May contain some distinctive, creative or independent thinking; may begin to formulate an independent position in response to theory and/or practice.

Well written, with standard spelling and grammar, in a readable style with acceptable format. OrEffectively presented with intelligent performance and production decisions in evidence

Critical appraisal of up-to-date and/or appropriate literature. Recognition of different perspectives. Very good use of source material. Uses a range of sources

50 – 59%

Some attempt to address the requirements of the assessment. May lose focus occasionally

Adequate knowledge of a fair range of relevant material, with intermittent evidence of an appreciation of its significance

Some analysis, identification and resolution of issues or problems. Occasionally effective organisation, and/or negotiation/collaboration

Some attempt to construct a coherent argument performance or production strategy, but may suffer loss of coherence and consistency, with issues at stake presented only vaguely, or theoretical mode(s) and performance ideas couched in simplistic terms

Sound work which expresses a coherent position only in broad terms and in uncritical conformity to one or more standard views of the topic, and/or approaches to performance

Competently written, with only minor lapses from standard grammar, with acceptable format. Or Competently presented with informed performance and production decisions in evidence

Uses a variety of literature which includes some recent texts and/or appropriate literature, though not necessarily including a substantive amount beyond library texts. Competent use of source material.

40 – 49%

Some correlation with the requirements of the assessment but there is a significant degree of irrelevance

Basic understanding of the subject but addressing a limited range of material

Little evidence of analysis, identification and resolution of issues or problems. Little evidence of effective organisation, and/or negotiation/collaboration

A basic argument, performance or production strategy is evident, but this is mainly supported by assertion, and/or obvious/simplistic choices. There may also be a lack of clarity and coherence

Some evidence of a critical perspective but mainly derivative, and/or with an un-interrogated performance strategy employed

A simple basic style but with significant deficiencies in expression or format that may pose obstacles for the readerOr Employment of a simplistic/basic performance and production strategy with significant deficiencies in expression or format

Some up-to-date and/or appropriate literature used. Goes beyond the material tutor has provided. Limited use of sources to support a point. Weak use of source material.

Fail

35 – 39%

Relevance to the requirements of the assessment may be very intermittent, and may be reduced to its vaguest and least challenging terms

A limited understanding of a narrow range of material

Heavy dependence on description, Lacking analysis, identification and resolution of issues or problems. Lacking evidence of effective organisation, and/or negotiation/collaboration

Little evidence of coherent argument, performance or production strategy: The work lacks development and may be repetitive or thin

Almost wholly derivative: the writer’s contribution rarely goes beyond simplifying paraphrase

Numerous deficiencies in expression and presentation. The writer/performer achieves clarity (if at all) only by using a simplistic or repetitious style/approach

Barely adequate use of literature. Over reliance onmaterial provided by the tutor.

The evidence provided shows that the majority of the learning outcomes and responsibilities appropriate to that Level are satisfied. 30 – 34%

The work examined provides insufficient evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence provided shows that some of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in some of the indicators.

15-29% The work examined is unacceptable and provides little evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence shows that few of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in several of the indicators.

0-14% The work examined is unacceptable and provides almost no evidence of the knowledge, understanding and skills appropriate to the Level of the qualification. The evidence fails to show that any of the learning outcomes and responsibilities appropriate to that Level are satisfied. The work will be weak in the majority or all of the indicators.

TITLE: THEATRE PRODUCTION 1CODE: DRA 115CREDITS: 20LEVEL: 1FACULTY: Arts, Design and MediaMODULE BOARD: Performing ArtsPRE-REQUISITES: NoneCO-REQUISITES: NoneLEARNING HOURS: 200 (the nature of which is specified in the module guide)

LEARNING OUTCOMESUpon successful completion of this module, students will have demonstrated:

KnowledgeK1. A critical, contextual and/or historical perspective on a play text and/or theatrical approach

SkillsS2. Communication skills, problem solving skills, acting and/or production skills at a level appropriate to public theatre performance

S3. Basic research skills, teamwork and/or some ability to work independently

CONTENT SYNOPSISThis module provides students with the opportunity to collaborate on the planning, production and presentation of a theatrical performance. It is concerned with developing students' theatre making, performance and production skills through engagement with practice and reflection on practice. Under the guidance of a tutor, students will be introduced to selected rehearsal methods and production strategies and the various production roles that might be adopted when developing work for public performance.

TEACHING AND LEARNING METHODSThe learning on this module will be through lectures, seminars, workshops, tutorials, research and rehearsals: Workshops with tutor: 60 hoursIndependent Rehearsal: 140 hours

ASSESSMENT METHODSAssessment 001 Performance work and accompanying documentation/tasks (LO 1,

2 & 3)Assessment 002 Essay (LO 1 & 2)

Sequence Assessment Type

Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 70 1 40

002 CW UG 30 1 40

INDICATIVE READING LISTThe reading list will depend on the nature of the work chosen for development in any given semester. Typically, relevant texts might include:Stanislavski, C. (2003), An Actor Prepares, New York: Routledge (Translated by E. R. Hapgood.)Taylor, Don (1986) Directing Plays, London: A&C Black

PROGRAMMES USING THIS MODULE AS CORE OR OPTION: FdA Performing Arts FdA Drama FdA Dance

FRANCHISED: No

WORK BASED LEARNING: No

PROFESSIONAL ACCREDITATION: No

MODULE LEADER

LEAD DELIVERER

JACS Code: W403

MODULE TITLE PERFORMING ARTS PRODUCTION 1CODE FPA 111CREDITS 20LEVEL 1FACULTY Arts, Design and MediaMODULE BOARD Performing Arts PRE-REQUISITE NoneCO-REQUISITE NoneLEARNING HOURS200 (including about 60 contact hours, the exact nature

of which is specified in the module guide)

LEARNING OUTCOMESUpon successful completion of this module, students will have demonstrated:Knowledge 1. Knowledge and understanding of issues involved in a public specialist

subject and/or cross-arts performance Skill

2. Application of specialist performing skills and effective collaborative practices 3. The ability to evaluate own artistic practice

CONTENT SYNOPSISThe module will focus on all aspects of the production of a specialist subject and/or cross-arts performance for a public audience and involve study of and wherever possible first hand experience of contemporary theatre practice. Under the guidance of the module leader students will have a dual involvement in this module;a. As a participant performer they will rehearse and perform in one or more of

their chosen Arts elements (Dance, Drama, Music)b. They will be a member of the production team within one of the three broad

areas that make up the realisation of a public performance;Set/ Props/Site,Script/choreography/score or composition, Stage Management, Costume, Movement, Front of House, Programme /poster, Music, Publicity, Lighting/sound,ActingThe module leader will take on the responsibilities of artistic director or choreographer and production manager. Production work will be supported, where appropriate, by reference to contextual information, written and/or video

material. Students will be encouraged to reflect on both performance and production roles.

LEARNING and TEACHING METHODSThe learning on this module will be through practically based workshops and rehearsals.The indicative breakdown of learning hours is:Practical workshops 60 Rehearsals/Meetings 60 Directed Study Tasks 30 Rehearsals/feedback 10Tutorials/Seminars 10 Tech dress/Assessment Research (read/view)30

ASSESSMENT METHODSAssessment 001 Performance 60% LO 1, 2 Assessment 002 Evaluation 40% LO 1, 3

Sequence

Assessment Type

Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 60 35002 CW UG 40 35

INDICATIVE READING LISTThe reading list will depend on the nature of the focus chosen. Typically, relevant texts might include:

Anderson, P (2006) Dance Composition: Human Kinetics (London)Bial H (2004) The Performance Studies Reader Routledge.Dean, P (2002) Production Management, Making Shows Happen: Crowood Press LTDGraham, S, Hoggett, S The Frantic Assembly book of Devising Theatre Routledge (2009)

PROGRAMMES USING THIS MODULE AS A CORE OR OPTIONFDA Performing Arts FDA Performing Arts (Dance)FDA Drama

FRANCHISED Yes

COLLEGES Sunderland College

WORK BASED LEARNING No

PROFESSIONAL ACCREDITATION NoModule leader: Sheree Snowdon

[email protected] Code: W500

DRA121: Theory and Practice of Performer Training

mailto:[email protected]

Scheme Undergraduate

Department Arts & Design (D)

Level Level 1

Credits 20

Module Board Performing Arts

PRE-REQUISITES: None

CO-REQUISITES: None

LEARNING HOURS: 200 (the nature of which is specified in the module guide)

PROGRAMMES USING THIS MODULE AS CORE/OPTION:

(a) BA Honours Drama (core)

(b) BA Honours Performing Arts (option)

(c) BA Honours English and Drama (option)

(d) BA Honours Combined Subjects (option)

(e)FDA Performing Arts

FRANCHISED: No



JACS Code: W400

Learning Outcomes

Upon successful completion of this module, students will have demonstrated:

Knowledge

1. Critical engagement with selected performer training ideas and methods and understanding of the enduring relevance of these ideas and methods.

Skills

2. The ability to apply the outcomes of performer training exercises and to critically reflect on these ideas in presentation.

3. The ability to deploy critical and creative skills in response to the demands of a given text.

CONTENT SYNOPSIS

This module explores some key ideas in performer training. It engages with the theoretical and philosophical perspective underpinning Stanislavsky training approaches, the historical and artistic contexts in which these ideas are developed and the dynamic between performance practices and the theatrical forms with which they are associated. You will be given an opportunity to develop their theoretical and historical understanding of performer training while also engaging in practical skills development and play text analysis.

Teaching and Learning Methods

1. Scheduled learning and teaching activities: this includes:

a. Lectures

b. Seminars, tutorials (including on-line communication)

c. Rehearsal supervision

d. Workshops: demonstrating or developing a practical skill.

e. Supervised time in studio / workshop: ‘time in which students work independently but under supervision’ e.g. supervised time in a studio or workshop which may nor may not be formally timetabled

f. One-to-one or small group sessions which are by fixed appointment

2. Independent study: guided learning which is not directly supervised: all the study activity which is not covered above, including:

a. Private study

b. Revision

c. On-line work in the students’ own time

d. Library-based work

e. Independent Rehearsals

Students are expected to work both independently and collaboratively in their non-contact time, to carry out research and read relevant texts, and to attend team meetings/rehearsals. Groups will be responsible for arranging meetings and preparation sessions and must keep the module leader informed of progress and problems.

ASSESSMENT

Assessment will be in two parts:

1. Written documentation (1,500 word essay) 40% (LO 1)

2. Practical group performance/viva 60% (LO2 & 3)

ASSESSMENT METHODS

Required For KIS return to HESA

Seq. Element % of module assessment weighting

Summary Pass Mark

LO Written exam – central timetable

(% of the element)

Written exam – local timetable

(% of the element)

Coursework

(% of the element)

Practical

(% of the element)

% Type % Type % Type % Type

001 Written work

40 1500 Word essay

40 1 100 Essay

002 Practical Group Performance

60 15 minute Performance / viva

40 2 & 3

100 Performance and viva

READING LIST

Core Texts

Benedetti J. (1998) Stanislavski and the Actor, London: Eyre Methuen

Stanislavski K. (2009) An Actor’s Work, London: Routledge

Caldarone M. and Lloyd-Williams M. (2004) Actions: The Actors’ Thesaurus. London: Nick Hern Books (This book is not a text book but a useful tool in the application of specific techniques).

Reading List

Alfreds M. (2007) Different Every Night London: Nick Hern Books

Benedetti J. (1982) Stanislavski an Introduction: The System, London: Methuen

Benedetti, J (2004 ) Stanislavski in Rehearsal: Methuen, London

Blair, R. (2008) The Actor, Image, and Action: Acting and Cognitive Neuroscience London: Routledge

Carnicke, S.M. (2009) Stanislavski in Focus 2nd edition, London: Routledge

Hodge A. (2000) Twentieth Century Actor Training, London: Routledge (Chapter 1: Stanislavsky's System: pathways for the actor pp 11-36)

Merlin B. (2007) The Complete Stanislavski Toolkit, London: Nick Hern Books

Merlin B. (2003) Konstantin Stanislavski: Routledge Performance Practitioners. London: Routledge

Mitter S. (1992) Systems of Rehearsal: Stanislavsky, Brecht, Grotowski and Brook. London: Routledge (Chapter 1: To Be: Konstantin Stanislavsky and Brook pp6-41)

O’Brien, N. (2011) Stanislavski in Practice, London: Routledge

Pitches, J (2006) Science and the Stanislavsky Tradition of Acting. London: Routledge

Styan J.L. (1981) Modern Drama in Theory and Practice Vol 1: Realism and Naturalism. Cambridge: Cambridge University Press

Stanislavski, K. (1937) An Actor Prepares translated by E R Hapgood, London: Eyre Methuen

- - - . (1949) Building a Character translated by E R Hapgood, London: Eyre Methuen

- - - .(1949) Creating a Role translated by E R Hapgood, London: Eyre Methuen

Stanislavski, C. (1962) My Life in Art. London: Methuen

TITLE: THEATRE FOR SOCIAL CHANGECODE: DRA 123CREDITS: 20 CREDITSSCHOOL: ARTS DESIGN and MEDIAMODULE BOARD: PERFORMING ARTSPRE-REQUISITE– NONECO-REQUISITES: NONELEARNING HOURS: 200

PROGRAMMES USING THIS MODULE AS CORE/OPTION:

(a) BA Honours Drama (core)

(b) BA Honours Performing Arts (option)

(c) BA Honours English and Drama (option)

(d) BA Honours Combined Subjects (option)

Is the programme delivered On Campus or Off campus: On campus

Work based learning: No

Professional Accreditation: No

JACS Code: W403

LEARNING OUTCOMES

Upon successful completion of this module, students will have demonstrated

Knowledge

K1. an understanding of a range of ways in which drama and theatre are applied in order to bring about social change.

Skills

S2. an ability to analyse relevant concepts, ideas and practices through reflection and research.

S3. an ability to articulate the relationship between theory and practice in both written and performance forms.

CONTENT SYNOPSIS

This module explores a range of approaches in the application of drama and theatre with the purpose of bringing about some form of social change. It is delivered through a series of seminars, workshops and studio-based tasks and activities .It provides an introduction to this area of work as well as encouraging critical and evaluative perspectives on the applications. Regular workshop tasks will provide opportunities to explore new work and to develop and evaluate relevant study and research skills.

TEACHING AND LEARNING METHODS:

1. Scheduled learning and teaching activities: this includes:

a. Lectures

b. Seminars, tutorials (including on-line communication)

c. Rehearsal supervision

d. Workshops: demonstrating or developing a practical skill.

e. Supervised time in studio / workshop: ‘time in which students work independently but under supervision’ e.g. supervised time in a studio or workshop which may nor may not be formally timetabled

f. One-to-one or small group sessions, which are by fixed appointment

2. Independent study: guided learning which is not directly supervised: all the study activity which is not covered above, including:

a. Private study

b. Revision

c. On-line work in the students’ own time

d. Library-based work

e. Independent Rehearsals

ASSESSMENT METHODS

Required For KIS return to HESASeq.

Element % of module assessment weighting

Summary

Pass Mark

LO

Written exam – central timetable(% of

Written exam – local timetable(% of the element)

Coursework(% of the element)

Practical(% of the element)

the element)

% Type

% Type

% Type % Type

001

Practical Work

60 15-20 minute Performance / Presentation and viva

40 1, 2 & 3

100

Performance and viva

002

Written Work

40 1500 Word essay

40 1 & 3

100

Essay

Assessment 001

A collaborative project culminating in performance / presentation and viva 60%. LOs 1, 2 & 3

Assessment 002

A written assignment concerned with the subject matter studied on the module

(1500 words) 40%. LOs 1 & 3.

Key Reading:

These are very useful texts and you should consider buying them.

Prendergast M & Saxton J. (eds.) (2009) Applied Theatre. Intellect. Bristol (Available online)

Nicholson H.(2009) Theatre and Education. Palgrave Macmillan. Basingstoke.

Nicholson H.(20050 Applied Drama. Palgrave Macmillan. Basingstoke

Jackson A. & Vine C. (eds.) (2013). Learning Through Theatre.

General Reading List:

Billingham P (ed) (2005). Radical Initiatives in Radical and Community Drama. Intellect. Bristol.

Boal A. (2002) Games for Actors and Non-Actors. Routledge. London.

Cohen-Cruz J. & Schutzman M.(eds.) (2006) A Boal Companion. Routledge. London.

Greig N (2008). Young People, New Theatre. Routledge. London.

Jackson A. (2007) Theatre Education and the Making of Meanings. M.U.P. Manchester.

Jackson A. & Vine C. (2013). Learning Through Theatre. Routledge.

Kuppers P. & Robertson G. (eds.) (2007) The Community Performance Reader. Routledge. London.

Kuppers P. (2007) Community Performance – An Introduction. Routledge. London.

Landy R. & Montgomery D. (2012) Theatre for Change. Palgrave Macmillan. Basingstoke.

Nicholson H.(2009) Theatre and Education. Palgrave Macmillan. Basingstoke.

Nicholson H.(20050 Applied Drama. Palgrave Macmillan. Basingstoke

Prendergast M & Saxton J. (eds.) (2009) Applied Theatre. Intellect. Bristol.

Prentki T & Preston S. (eds.) (2009) The Applied Theatre Reader. Routledge. Bristol.

MODULE TITLE Experimental PerformanceCode DRA119Credits 20 Level 1School Arts, Design and Media

Module Board Performance Arts StudiesPre-requisite NoneCo-requisite NoneLearning Hours 200 (including about 60 contact hours, the exact nature of

which is specified in the module guide)LEARNING OUTCOMESUpon successful completion of this module, students will have demonstrated

KNOWLEDGE1. Understand how to interpret, experiment and realise ideas for a workshop

performance. (PLO K 1)2. The ability to explore and integrate skills they have developed on the

programme. (PLO K2)3. Understand current social and cultural concepts that can be explored and

then applied to a workshop performance. (PLO K2)SKILL

1. Ability to explore and develop experimental ways of creating a performance that uses not just acting skills but multi disciplinary/cross arts. (PLO S1, S5)

2. Demonstrate workshop processes of taking source material developing from practical exploration through to performance to an audience. (PLO S1, S2, S4, S8)

3. Ability to critically reflect upon working processes in relation to enhancing professional practice. (PLO S3, S6)

4. Realise work within a vocational context. (PLO S10)

CONTENT SYNOPOSISThis module will focus on the students exploring the process of making performance material in a workshop environment. The module gives the students the opportunity to take their performance ideas and experiment with them using their own ideas, research and practical exploration. Ideas for a performance will generate from a stimuli that will be explored initially through lecturer led, practical workshops. Students will then take the ideas/research from this phase into the realisation of their ideas ready to be presented to an audience. Work will be created and evaluated within a vocational context. The essence of this module is for the students to create a product for a target audience.

LEARNING and TEACHING METHODSLectures, regular group tutorials, performance workshops, rehearsals, technical consultationsThe indicative breakdown of learning hours is:Practical workshops 60 Rehearsals/Meetings 60 Directed Study Tasks 30Rehearsals/feedback 10 Tutorials/Seminars 10 Tech dress/Assessment Research (read/view) 30

ASSESSMENT METHODS

Assessment 001Exploration/realisation of performance 60%Assessment 002Essay 40%Sequence

Assessment Type

Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 60 35002 CW UG 40 35INDICATIVE READING LIST – Typical Texts may include:Willet, J (1974) Brecht on Theatre, London: MethuenBrook, P (1968) The Empty Space: PenguinGrotowski, J (1969) Towards a Poor Theatre: MethuenArtaud, A (1958) The Theatre and its Double: Grove PressPROGRAMMES USING THE MODULE AS CORE OR OPTIONFdA Performing Arts StudiesFdA DramaFdA DanceFranchised YesWORK BASED LEARNING: NoPROFESSIONAL ACCREDITATION: NoMODULE LEADER: Sheree Snowdon [email protected] JACS Code: W490


MODULE TITLE Text in Performance Code DRA112Credits 20 Level 1School Arts, Design and MediaModule Board Performance Arts StudiesPre-requisite NoneCo-requisite NoneLearning Hours 200 (including about 60 contact hours, the exact nature of

which is specified in the module guide)Learning Outcomes: Upon successful completion of this module, students will have: KnowledgeK1. Identified dominant themes, issues and the dramatic conventions in the works of key twentieth century playwrights in their translation from text to performanceK2. Independently applied their understanding of these themes, issues and conventions to the study of selected plays and playwrightsSkillsS1. Demonstrated competence in collaborative work by creatively presenting those issues in a dramatic presentation to peers and acquired basic skills necessary for performance.

CONTENT SYNOPOSISThis module will focus on selected playwrights with contrasting styles of writing. Students will discover how to understand these texts in terms of their staging and performance. Study of historical/cultural contexts of these plays will be balanced by practical exploration of play-texts. Students will also be able to study the world of other playwrights for a presentation task throughout the course of the module. This will be arranged in the early stages of the module. Plays will be explored through practical approaches, team tasks and activities in addition to lecturers and self-directed study.

LEARNING and TEACHING METHODSLectures, regular group tutorials, performance workshops, rehearsals, technical consultationsThe indicative breakdown of learning hours is:Practical workshops 60 Rehearsals/Meetings 60 Directed Study Tasks 30Rehearsals/feedback 10 Tutorials/Seminars 10 Tech dress/Assessment Research (read/view) 30

ASSESSMENT METHODS

1. Practical performance/ presentation 60%2. Written documentation (1,500 word essay) 40%


Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 40 35 40002 CW UG 60 35 40

Indicative ReadingAristotle, Poetics. (Widely available, but can be found in the Murrary Library as: Aristotle (1981) Aristotle’s Poetics: a Translation and Commentary for Students of Literature. Tallahassee: University of Florida Press.)Beckett, S (1965) Waiting for Godot. London: Faber. Bond, Edward: Plays one (1974) Saved. Kane, S (2001) Complete Plays. London: Methuen.Pinter, H (2005) Harold Pinter: Plays 4. London: Faber. (The play we will be looking at is Room.)Russell, W (1989) Blood Brothers. Chiltenham: Stanley Thornes. Sophocles, Oedipus The King. (Widely available, but can be found in the Murray Library as: Sophocles (1986) Sophocles: Plays 1. London: Methuen.)

PROGRAMMES USING THIS MODULE AS A CORE OR OPTIONFDA Performing Arts FDA Performing Arts (Dance)

FDA Drama

FRANCHISED Yes



PROFESSIONAL ACCREDITATION NoModule leader: Gemma Whelam Telephone 0191 5116000 (ext 03831) e-mail: [email protected]

Jacs Code: W430

TITLE: THEATRE FOR SOCIAL CHANGE 2CODE: DRA 224CREDITS: 20 CREDITSSCHOOL: ARTS DESIGN and MEDIAMODULE BOARD: PERFORMING ARTSPRE-REQUISITE– THEATRE IN EDUCATION 1CO-REQUISITES: NONELEARNING HOURS: 200LEARNING OUTCOMESOn completion students will have demonstrated:Skills:S1 Ensemble and devising skills through a Forum Theatre performance.S2 Research skills and proposal writing skills through the completion of a funding proposalKnowledge:K1 Critical understanding of Boal’s theories.K2 Critical understanding of needs assessment and evaluation

CONTENT SYNOPSISThis module builds on the skills and knowledge gained in ‘Theatre in Education 1’, students will have the opportunity to explore one practitioner, in more depth


and develop their facilitation skills to devise a Forum Theatre performance and perform to an audience. In this module students will develop a deeper understanding of using theatrical forms as a way of educating and will adapt this knowledge into their own performance; following the techniques and roles associated with Forum Theatre. They will also further their understanding of the professional environment by researching and compiling a funding proposal for the project.

TEACHING AND LEARNING METHODSThere will be a variety of teaching and learning opportunities: practical workshops Lectures, study groups, independent study, planning and devising in groups, contact and liaising with client groups, performing to an audience.

ASSESSMENT METHODSAssessment 001 A group presentation based on a funding proposal and forum theatre performance. 60%. (LOs S1 S2 K1 K2)Assessment 002 Reflective log including evaluation (2000 words). 40%. (LOs S1 S2 K1 K2)

Sequence Assessment Type Marking Scheme Weighting% Qualifying Mark Pass Mark001 CW UG 40 35002 CW UG 60 35

INDICATIVE READING LIST

Boal A- Games for Actors and Non-Actors Second Edition (Routledge 2002)Boal A- Theatre of the Oppressed (Pluto Classics)Baim C, Brookes S, Mountford A- The Geese Theatre Handbook (Waterside Press 2002)Nicholson H- Theatre and EducationWooster R- Contemporary Theatre in Education


FRANCHISED Yes



PROFESSIONAL ACCREDITATION No

Module leader: Gemma Whelam Telephone 0191 5116000 (ext 03831) e-mail: [email protected]

Jacs Code: W500

TITLE: KEY THEATRE PRACTITIONERSCODE DRA 211LEVEL: 2CREDITS: 20FACULTY: Arts, Design and MediaMODULE BOARD Performing Arts PRE-REQUISITES: DRA 117 or equivalentCO-REQUISITES: NONELEARNING HOURS:200 (the nature of which is specified in the module guide)

LEARNING OUTCOMES:Upon successful completion of this module students will have demonstrated:

KnowledgeK1. A critical perspective on the theory and practice of selected twentieth-century theatre practitioners, its relevance to (influence on) modern/contemporary theatre practice, and the student's own view of theatre making.

SkillsS2. The ability to create and critically reflect upon performance work that is informed by the ideas of a selected twentieth-century theatre practitioner


S3. The ability to research and critically evaluate in written form the theory and practice of a selected twentieth century theatre practitioner and his/her significance

CONTENT SYNOPSISThis module is concerned with developing students' knowledge of twentieth century theatre practice along with their theatre making, production and performance skills. The module examines the ideas of some influential twentieth century theatre practitioners and the theories, practices and performance strategies with which they are associated. The ideas of these practitioners are interrogated to take account of their historical context, social/political agenda and aesthetic ideology, and in light of this interrogation, students are prompted to experiment with applying the ideas and or/methodologies of these practitioners to create performance work. Typically, the practitioners chosen for study will be drawn from a list that might include figures such as Bertolt Brecht, Erwin Piscator, Vsevolod Meyerhold, Samuel Beckett, Tadeusz Kantor and The Living Theatre.

TEACHING AND LEARNING METHODSThe learning on this module will be through Lectures, seminars, workshops and self-directed study.

ASSESSMENT METHODSAssessment 001 Group performance/presentation and accompanying

documentation LO K1 & S2Assessment 002 Essay LOK1 & S3


Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 60 35 40002 CW UG 40 35 40

INDICATIVE READING LISTKalb, Johnathon (1989) Beckett in Performance, Cambridge University PressThompson, Peter and Sacks, Glendyr, ed., (1994) The Cambridge Companion to

Brecht, CUP


FRANCHISED Yes




Jacs Code: W430

TITLE: THEATRE PRODUCTION 2CODE: DRA215CREDITS 20LEVEL: 2FACULTY: Arts, Design and Media.MODULE BOARD: Performing ArtsPRE-REQUISITES: NoneLEARNING HOURS: 200 (60 contact, the exact nature of which is

specified in the module guide).

LEARNING OUTCOMES Upon successful completion of this module students will have demonstrated:

Knowledge:K1 knowledge of a performance style appropriate to the chosen text (adapted

and edited as necessary). Skills:S2 the appropriate production and performance skills necessary for their chosen productionS3 the ability to evaluate their own performance work employing appropriate research skills and knowledge


CONTENT SYNOPSIS This module provides students with the opportunity to work collaboratively on piece of theatre for performance to an invited audience, utilising appropriate theories and techniques.Learning on this module is through workshop/lectures, rehearsal and production meetings, collaborative group work and self-directed study. The module introduces further production roles in a studio theatre context and provides the opportunity to consolidate learning.

LEARNING AND TEACHING METHODS Workshops/seminars/tutorials/production week/assessment: 60 hoursSelf-directed study [research/devising/rehearsal/documentation]: 140 hours

ASSESSMENT METHODS Assessment 001 A collaborative project culminating in presentation/performance to peers. 60%. LOs K1,S2,S3Assessment 002 A written assignment in relation to the performance (2,000 words). 40%. LOs K1,S2,.


Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 60 35 40002 CW UG 40 35 40

PROGRAMMES USING THIS MODULE AS CORE OR OPTION: BA (Hons) DramaBA English and DramaBA (Hons) Performing ArtsCombined Subject ProgrammesFdA Performing ArtsFdA Drama

INDICATIVE READING:Bennet, Susan (1997) Theatre Audiences, London: Routledge.Bogart, Anne (2000) A Director Prepares, London: Routledge.Braun, Edward (1982) The Director and the Stage, London: MethuenPROGRAMMES USING THIS MODULE AS A CORE OR OPTIONFDA Performing Arts FDA Performing Arts (Dance)FDA Drama

FRANCHISED Yes



PROFESSIONAL ACCREDITATION No

Module leader: Gemma Whelam Telephone 0191 5116000 (ext 03831) e-mail: [email protected]

Jacs Code: W403

TITLE: FROM PAGE TO STAGECODE: DRA219LEVEL: 2CREDITS: 20FACULTY: Arts, Design and MediaMODULE BOARD: Performance Arts StudiesPRE-REQUISITES: NONECO-REQUISITES: NONELEARNING HOURS: 200 (the nature of which is specified in the module guide)

LEARNING OUTCOMES: Upon successful completion of this module, students will have demonstrated:

Knowledge:K1 practical and theoretical understanding of the playwrights, practitioners,

genres and playing styles that have been studiedSkills:S2 the application of this understanding to the study of selected

plays/practitionersS3 appropriate acting or directing styles and modes of presentation.

CONTENT SYNOPSIS: The module will explore the role of the actor and the director in transferring text to performance. Students will learn the elements of dramaturgy i.e. the conventions


which guide the construction of a piece of drama and the variations in physical and vocal signs utilised by actors and directors to interpret different genres. Through practical workshops students will experiment with performance styles and/or production strategies appropriate to particular play texts.

TEACHING AND LEARNING METHODS: There will be a variety of teaching and learning opportunities: Practical Workshops (inc.playreadings, discussion, group work) Lectures, Study groups, Group tutorials, Individual and Group - directed study Rehearsals. Performance-Presentations, Theatre visitsContact: Lecture/workshops 40 hours Tutorials/presentations 20 hoursNon Contact; Study groups/research/rehearsals 140 hours.

ASSESSMENT METHODS: There will be 2 assignments:Assessment 001 A written assignment in relation to the area of study (2,000 words). 40%. LOs K1,S2,.Assessment 002 A collaborative project culminating in presentation/performance to peers. 60%. LOs K1,S2,S3


Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 40 35 40002 CW UG 60 35 40

PROGRAMMES USING THIS MODULE AS CORE OR OPTION: BA (Hons) DramaBA (Hons) English and Drama BA (Hons) English Education BA (Hons) Performing Arts Combined Subject Programmes

INDICATIVE READING:Mitter, Shomit (1992) Systems of Rehearsal, London RoutledgeLeach R. (2004) Makers of Modern Theatre, London Routledge.PROGRAMMES USING THIS MODULE AS A CORE OR OPTIONFDA Performing Arts FDA Performing Arts (Dance)FDA Drama

FRANCHISED Yes





JACS Code: W403

TITLE: Directing for the StageCODE: DRA 223LEVEL: 2CREDITS: 20SCHOOL: Arts Design Media and CultureMODULE BOARD Performing Arts PRE-REQUISITES: NONECO-REQUISITES: NONE LEARNING HOURS: 200 (60 contact, the exact nature of which is specified in

the module guide) LEARNING OUTCOMES: Upon successful completion of this module, students will have: Knowledge:

K1 Researched the work and directorial approaches of 2 contemporary theatre directors, analysed their impact on theatre and presented their findings (PL K2)

K2 explored and documented a range of directorial approaches and techniques (PL K1,2)

Skills:S1 created and sustained a productive working relationship with actors (PL S 5)S2 applied a range of directorial methods and approaches to a short extract of their choice (PL S 1, 4, 7, 8, 10)S3 planned and conducted rehearsals with actors and produced a short directed

performance (PL S 1,2, 3, 5, 6, 10)

S4 evaluated the effectiveness of the rehearsal process and directed performance (PL S 6, 7, 9)

MODULE SUMMARYCONTENTThis module will introduce you to the role of the director and the processes necessary to successfully direct a piece of theatre. You will take part in a series of practical workshops exploring and examining the methods, approaches and skills of directing. You will undertake research into two 20th C. contemporary theatre directors (to be chosen from the list provided) you will analyse their work, approach and skills and present your findings . The practical workshops and research task will form the foundation, knowledge and skill to enable you to undertake the role of: Director. You will direct an extract of your choice lasting between 15-30 minutes using a minimum of 3 actors within creative constraints. You will plan and conduct rehearsals with actors and liaise with lectures and technical staff regarding production ideas and demands. You will maintain a director’s working log to enable you to plan and facilitate rehearsals and document the directing process. The module will culminate with the performance of your directed extract and evaluation of the directing process.

TEACHING AND LEARNING METHODS: There will be a variety of teaching and learning opportunities: Practical Workshops (including discussions and collaborative work), seminars, Study groups, Group and individual tutorials, 60 hoursIndependent study and rehearsal 140 hours

ASSESSMENT METHODS:There will be 2 assignments: 001) Presentation on 2 contemporary theatre directors- chosen from list provided and directors working log book including evaluation of directing process (40%) LOs K1 2,. 002) Performance of short directed performance-15-30 minutes (60%) LOs S 1,2,3,4.Sequence Assessment

TypeMarking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG FdA 40 35 40

002 CW UG FdA 60 35 40

INDICATIVE READING LIST:

Bloom, M. Thinking Like a Director (Faber, 2002)Brook, P . The Empty Space . (Penguin, 1988)Brook, P . The Shifting Point . (Methuen, 1998)Brook, P . There Are No Secrets . (Methuen, 1995)Irvin, P. Directing for the Stage (RotoVision, 2003)McCaffery, M . Directing a Play . (Phaidon, 1998)Miller, J . Subsequent Performances . (Faber & Faber, 1986)Mitchell, K. The Director’s Craft: A Handbook for Theatre.. (Routledge, 2009)Mitter, S . Systems of Rehearsal . (Routledge, 1992)Mitter, S and Shevtsova, M (editors). Fifty Key Theatre Directors (Routledge ,2005)

PROGRAMMES USING THIS MODULE AS CORE OR OPTION: FdA Drama

FRANCHISED: NO



MODULE LEADERNigel Watson, ext. 2182 Priestman Building C15 [email protected]

LEAD DELIVERSheree Snowdon. SC. [email protected]

JACS Code: W4


MODULE TITLE Performing Arts Production 2Code FPA 213Credits 20 Level 2School Arts, Design and MediaModule Board Performance Arts StudiesPre-requisite NoneCo-requisite NoneLearning Hours 200 (including about 60 contact hours, the exact nature of which is

specified in the module guide)LEARNING OUTCOMESUpon successful completion of this module, students will have demonstratedKNOWLEDGEK1 A critical perspective of issues surrounding different cultural contexts for

performance.

SKILLS1 The ability to work independently and select appropriate performance/working methods in a cross-arts context S2 Ability to critically reflect upon working processes in relation to enhancing professional practice

CONTENT SYNOPOSISThis module will focus on the devising and presenting of a cross-arts group performance. Students will be involved in creating and performing work in their major subject area in collaboration with other members of the module group. Students will be expected to engage in independent research to inform their work.

LEARNING and TEACHING METHODS

Lectures, regular group tutorials, seminars, rehearsals, technical consultationsThe indicative breakdown of learning hours is:Practical workshops 60 Rehearsals/Meetings 60 Directed Study Tasks 30Rehearsals/feedback 10 Tutorials/Seminars 10 Tech dress/Assessment Research (read/view)30

ASSESSMENT METHODSAssessment 001Devising/Performance 60%Assessment 002Written Assignment/Research 40%Sequence

Assessment Type

Marking Scheme

Weighting%

Qualifying Mark

Pass Mark

001 CW UG 60 35002 CW UG 40 35INDICATIVE READING LIST – Typical Texts may include:Anderson, P (2006) Dance Composition Basics Human Kinetics (London)Bial H (2004) The Performance Studies Reader. Routledge.

Dean,P (2002) Production Management, Making Shows HappenCrowood Press LTD

PROGRAMMES USING THE MODULE AS CORE OR OPTIONFdA Performing Arts StudiesFdA DanceFdA DramaFdA MusicFranchised YesWORK BASED LEARNING: NoPROFESSIONAL ACCREDITATION: NoMODULE LEADER: Sheree SnowdonJACS Code W500

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