Drama and Theatre and Art History - BA (Hons)

This is a module about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre’. Students will be invited to see beyond their own default assumptions about theatre, and introduced to a diverse range of methods of devising their own performances. In practical workshops, they will learn about professional practice, warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminars, students will be introduced to such concepts as theatre spaces, traditional play texts, non-traditional theatre texts, historical approaches to characterisation (e.g. Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 ‘Theatre Forums’ within which students experience a short piece of performance by Theatre Companies/Performers who have emerged from the department, followed by an ‘open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation to their current practice. Students will be assessed by a short in-class performance and an essay. This module (together with Making Performance 2) will offer a solid foundation for all modules in years two and three which involve creative performance work.

Like Making Performance 1, this module is about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre'. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expanded range of methods of devising their own performances. In practical workshops, they will learn more about warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a further range of starting points, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be longer than in Making Performance 1, to allow for a more developed engagement. Not only will this allow more time for discussion of the assigned reading, but it will also allow students to start engaging with technical aspects of theatre-making. Students will be encouraged to develop their own ideas about theatre and performance through a series of lectures in which different Drama lecturers talk to the students about their ideas of what theatre is and could be, and how these ideas have been shaped by their encounters with theatre as audience members, theatre makers, and academics. This module (together with Making Performance 1) will offer a solid foundation for all modules in years two and three which involve creative performance work.

The module is intended as an introduction to the History of Art, as a body of visual artefacts and as an academic discipline. It is intended to be accessible to those with little or no previous experience, but also stimulating and informative to students with more background knowledge. The approach is chronological, focusing on a sequence of so termed 'canonical' works of art produced within the Western tradition. Such works provide a frame for introducing students to many of the basic analytical concepts and terms routinely deployed by art historians in describing, analysing and interpreting works of art: period, style, iconography, meaning, material/medium, technique, composition, creative process, representation, tradition, social function, patronage, genre etc

This course aims to provide students with an introduction to aesthetics and the philosophy of art. The first part of the course focuses on some of the major texts in the history of the philosophy of art in the western tradition (e.g., Plato's Republic, Aristotle’s Poetics, Hume’s Of the Standard of Taste and Kant’s Critique of Judgement). The second part of the course focuses on central contemporary debates in the philosophy of art (e.g., What is Art? Artistic and Aesthetic Evaluation and the problem of forgery, Intention and Interpretation, Ethical criticism of art, Art and Emotion, Art and Feminism.) The student will be encouraged to see connections between the two parts of the module and to understand how contemporary debates (both philosophical and those found in the public opinion and art criticism) can be traced back to or even helpfully illuminated by old and contemporary philosophical debates.

This course aims to provide students with an introduction to aesthetics and the philosophy of art. The first part of the course focuses on some of the major texts in the history of the philosophy of art in the western tradition (e.g., Plato's Republic, Aristotle’s Poetics, Hume’s Of the Standard of Taste and Kant’s Critique of Judgement). The second part of the course focuses on central contemporary debates in the philosophy of art (e.g., What is Art? Artistic and Aesthetic Evaluation and the problem of forgery, Intention and Interpretation, Ethical criticism of art, Art and Emotion, Art and Feminism.) The student will be encouraged to see connections between the two parts of the module and to understand how contemporary debates (both philosophical and those found in the public opinion and art criticism) can be traced back to or even helpfully illuminated by old and contemporary philosophical debates.

This module provides students with a broad introduction to the history of photography over the first 150 years of its existence, together with some of the prehistory of the medium. It begins by looking at the origins and invention of photography, as well as reactions to, and early uses of, the medium. Following this background, a number of photographic genre are explored along with key contributors to their development. While the genre explored may change from year to year, the genre covered are likely to include portraiture, documentary photography and landscape photography, but the greatest focus will be given to the various styles and movements giving shape to the history of photographic art.

This module provides students with a broad introduction to the history of photography over the first 150 years of its existence, together with some of the prehistory of the medium. It begins by looking at the origins and invention of photography, as well as reactions to, and early uses of, the medium. Following this background, a number of photographic genre are explored along with key contributors to their development. While the genre explored may change from year to year, the genre covered are likely to include portraiture, documentary photography and landscape photography, but the greatest focus will be given to the various styles and movements giving shape to the history of photographic art.

Students will explore the historical and cultural contexts through which the genre of musical theatre dance developed. Learning will be organised around detailed examinations of particular periods of musical theatre dance including its interface with popular dance forms in the 1920s and the emergence of variety and Vaudeville theatre; the integration of Latin, Indian and African influences through the 1940s, 1950s and 1960s; the standardization of jazz in the 1970s; and the influences of ballet, cabaret, and burlesque theatre across the century's period styles. Weekly workshop sessions will include a comprehensive isolation-based musical theatre/jazz warm-up, followed by movement studies focused in specific periods and the learning of a section of musical theatre dance repertory. In addition, students will view filmed musicals and other performances from specific periods and present critical analyses of these in small groups during seminar classes. Attendance at three live musical performances will also be required. These tasks will lead towards a research essay focused on a period, artist, or musical of the students’ choice.

Recent theatrical productions as diverse in form as experimental performance, new writing, musicals and live art have shown a recurring fascination with adapting existing works by other artists, writers, filmmakers and stage practitioners. The transition of an existing source or stimulus to the stage – be it film, book, play, artwork, or other performance – is not a smooth one. It implies negotiations of numerous kinds, such as interlingual and intercultural, but also ideological, ethical, aesthetic and political. Drawing on the work of contemporary international theatre-makers, this module will explore specific approaches to stage adaptation, study adaptation methodologies and develop an understanding of the implications of adaptation. Through seminar discussions, practical and creative work, the module will prompt a reflection on performance's near-obsessive desire to return, rewrite and repeat, establishing a dialogue across languages and cultural identities.

During lectures, students will study several adaptation projects and strategies, which will form the basis for an essay. During seminars, students will experiment with a source of their choice and produce a simple, tech-light group performance based on this source, for which they need to be able to rehearse in the classroom, without any technical assistance. The presentation of the group performance will be followed by a reflective essay on the chosen source and its afterlife, an analysis of the group’s performance, and any other supporting material. The students are expected to keep their performance time and tech to a minimum, and will not be provided with technical support or extra rehearsal space for this module.

This module addresses issues that are central to performance studies and to contemporary social and political debates through its focus on the representation and performance of sex, gender and identity. The module explores these ideas in relation to a diverse range of trans-historical performance examples.

Students will explore changing concepts of gender and sexuality and will consider how performance and performers have engaged with these social changes by examining both contemporary and historical case studies. The module explores questions of self, authenticity, performing difference and identities in transition. Students will interrogate performance using a range of theoretical approaches drawn from gender and sexuality studies in dialogue with practical experimentation. Drawing on this knowledge, students will have the opportunity to develop contemporary performance inspired and shaped by the models of practice which they have encountered. Issues of risk and ethics will be core concerns as students develop understanding of how sex, gender and identity can create a performance aesthetic

This module studies different approaches to physical training for performance. It covers examples from around the world, though developments in Europe during the twentieth century provide a focus for the module. The module is oriented towards training for 'physical theatre' – a term which emerged at the end of the twentieth century and refers to a shift away from script, playwright and linear narrative. As such naturalism and the work of Stanislavski do not fall within the remit of this module.

Students will gain valuable practical experience of physical training in weekly workshops where they will explore the fundamental principles of training the body. Indicative areas include:

• Posture, centre, balance, energy, space, tension, relaxation, sound within the body.

• Precision and clarity in movement

• Presence, spontaneity and improvisation

The module makes elementary investigations into the relationship between training and performance composition, an aspect which will be further explored in Physical Theatre 2.

Practice will be contextualised by historical and theoretical reading that explores the landscape from which the term 'Physical Theatre' emerged in the twentieth century. Key historical figures include: Jacques Copeau, Antonin Artaud, Edward Gordon Craig, Jerzy Grotowski, Eugenio Barba, and Jacques Lecoq, among others. Grotowski's term 'Poor Theatre’ is a crucial starting point for the module, and we explore how a performer might be prepared for a performance style that focuses so fully on the performer’s body in space, and the demands that come with that style. Eugenio Barba’s ideas about ‘pre-expressivity’ and the study of performer training across different cultures and disciplines are also important.

This module will introduce students to the emergence and development of 'site specific' performance through the 20th Century and into the 21st Century, interrogating what has progressively become a generic label applied to a range of theatre/performance forms which embrace ‘site’ however tenuous this relationship might be. The module explores the context in which ‘site’ becomes the determining feature in the creation of artistic and theatrical works in the mid-20th Century, specifically considering the development of site/land art, installation art, celebratory community theatre and the subsequent influence of this work on the emergence of ‘site specific’ performance and current practice. The module will introduce students to a range of practitioners who explore the ‘site’ of performance from a number of perspectives, and the theoretical contexts in which these approaches might be considered.

This module addresses the influence of the early avant-garde on later experimental performance forms such as performance art and multimedia performance. It examines the impact of new technologies on performance and representation throughout the last century, and explores the relationship between media culture and theatre practice. Key modernist and postmodernist practitioners are discussed as the module traces the evolution of multimedia theatre and performance art. Students analyse how time, space and bodies manifest within a diversity of contemporary media art and performance art, and focus is placed on the nature of audience engagement. The module also considers questions concerning the live and mediated aspects of performance, and explores concepts such as 'liveness', ‘the body’, ‘intermediality’, ‘posthumanism’ ‘public space’ and ‘participation’.

The course will introduce basic skills related to the craft of acting, predominantly within naturalist and realist idioms. This acting course will provide a core practical introduction to mainstream acting techniques descended from the teachings of Stanislavski and his heirs, as well as providing an introduction to contrasting practice and theories from other significant practitioners.

The course will introduce students through practical means, to basic terms and concepts in mainstream rehearsal-room practice. The students will develop a practical and usable understanding of a contemporary approach to the Stanislavskian system. Students will explore approaches concerning the use of detailed textual analysis when preparing a naturalistic role for performance and concepts to be introduced will include text analysis and uniting, actions and activities, objectives, obstacles, stakes, and given circumstances. On some level, this course will allow the student to explore varied and contradicting ideas from the world of actor training.

All of these concepts will be explored in practice through a combination of physical and text exercises, improvisation and close textual analysis. Students will be encouraged to adopt a critical overview of the work and to evaluate for themselves, both via class discussion and through reflective analysis on paper, the strengths and weaknesses of the techniques to which they are introduced.

Students' learning will be organised around research-based performance projects. These will be

based on detailed examinations of particular popular performance genres (for example, variety theatre, slapstick, cabaret, pantomime, radio comedy). Initially, students develop relevant performance skills, which might include, for example, addressing an audience, developing a stage persona, dance, singing, and/or simple acrobatics. In addition to this, they will be set weekly research tasks relevant to the particular genre they are studying. These tasks will lead towards a research essay, which will typically relate to the piece they go on to perform in the final assessed show. They will work independently on devising and rehearsing material related to both the research and the skills acquired in workshops, testing this material in front of an audience made up of other students on the module in their weekly all student practical session. Subsequently, they will develop their material to create a show in the style of the assigned popular performance genre, which will be performed to a public audience.

This module engages with the plays of Shakespeare and his contemporaries as texts for performance; approached through a variety of critical, theoretical and practical methods. It considers the theatrical, cultural and historical conditions that produced and shaped them; examines the role played by the drama in a violent, volatile and rapidly-changing society; investigates and applies the principles of early modern playing spaces and performance practices, and considers the variety of ways in which these works have been encountered and reinvented in the modern period.

This module will look at disability in the arts, covering theatre, film and visual art. The students will engage with the historical representation of disability within the arts and the way in which disability scholars have critically engaged with it. The students will also look at arts institutions (i.e. theatres, cinemas and galleries) and the disabling barriers within those institutions that prevent the full participation of people with impairments in the arts. This will culminate in an 'accessibility review', whereby the students analyse the adjustments made by arts institutions for people with impairments and the extent to which they are effective. Finally, the students will engage with examples of contemporary disabled artists whose impairments informs the aesthetic qualities of their work.

This is a practice-based module exploring the photographic medium and the contexts of its use through the production of photographs in response to a project brief and group-based critical discussion of the work produced. Students investigate how the context in which photographs are made affect how the world is represented, and how in turn these images shape perception. Students choose three practical project briefs that are designed to enable them to explore the medium creatively and through informed and reflective practice. The emphasis of the module is upon this creative practice rather than the acquisition of specific technical skills, and as such students are at liberty to use any photographic production and post-production technologies they wish to experiment with or find appropriate. A camera phone and access to a computer and printer are all that is needed for this module, though students who wish to make use of digital image processing or analogue processes, including use of a darkroom, are encouraged to do so. Each of the practical project briefs will be supported through a series of lectures closely examining various genres, styles and other contexts of photographic production through the work of those who have shaped them. In addition students will present the work they have produced in response to their project briefs, and engage in a broad critical discussion or their own and other's work.

Many pictures, still and moving, in Western society and globally, in high art and demotic culture, incorporate sexual imagery and themes. This module will explore different aesthetic perspectives and theoretical approaches to such images, including those typically classified as pornography and erotica around which much of the existing philosophical literature focuses.

Here are some of the indicative questions this module will investigate:

• What is erotic art?

• In which respect and to what extent is it different from pornography?

• Is 'pornographic art' an oxymoron?

• What is the relation between erotic experience and aesthetic experience and are they at all compatible?

• What are the differences and similarities between voyeurism and aesthetic interest?

• What is the role of transgression in art?

• Are obscenity and art mutually exclusive?

To answer these questions certain fundamental issues in the philosophy of art will need to be addressed. We will therefore engage with current research on the definition of art, the nature of aesthetic value, aesthetic experience, aesthetic properties, the relation between art and morality, the psychology of picture perception, and the role of imagination in art. However, more is involved than just an abstract philosophical problem. The sexual and the erotic have often caused controversy in the history of art, and especially in the contemporary world of art (construed in the broadest sense) there are many works that consciously explore the boundaries between erotic art and pornography. Any investigation of our central theme would not be complete without a careful examination of such works. Thus, the module will draw on a variety of sources and disciplines (art history, film studies, literary theory, sociology and cultural theory) to study the sexually charged work of traditional, modern and contemporary artists, such as: Titian, Boucher, Courbet, Hokusai, Schiele, John Currin, Robert Mapplethorpe, Thomas Ruff, Nan Goldin, Larry Clark, Nagisa Oshima, Michael Winterbottom, Virginie Despentes, Nicholson Baker, Catherine Millet, Alan Moore.

This module raises questions about the relationship between western and non-western cultural traditions. The course revolves around a series of discussions about 'encounters' between western and non-western traditions, as well as the appropriations from and differences between their traditions of representational and non-representational art. In examining the influences, appropriations and cross-fertilizations of western and non-western art and culture the course will also place these issues in a broader political and social history of the rise of nationalism, continental trade relations, advents of war, tourism, colonialism and imperialism.

It will look at the nature of 'dialogue' from a critical and art historical perspective, and thus also consider the terms and even the failures of dialogue between the west and non-western traditions; the exclusions, altercations, violations and marginalization of other cultures and their traditions.

The course begins with an analysis of Raphael's frescoes in the Stanza della Segnatura of the Vatican Palace, as a means of introducing the key themes which will be considered throughout: proportion in architecture, the body and the geometry of vision; rhetoric, both verbal and visual, and the related concepts of variety, decorum, and composition; poetic inspiration, emulation and imitation; and the revival of antiquity. These themes are then reviewed as they occur in the writings of Leon Battista Alberti, the most evolved theoretical texts on the visual arts of the period. Alberti’s works raises the question of whether he was describing current practice or setting out an ideal, and also whether he was writing principally for artists or for their patrons? Alberti’s elevated claims for painting, architecture and, to a lesser extent, sculpture as liberal arts, are then compared with the contemporary status of artists, whether operating from a workshop or employed at court. The course continues by looking in detail at the works of four key Italian artists – Leonardo da Vinci, Michelangelo, Raphael and Titian – to assess how far they engaged with, or departed from, the Albertian paradigm. Albrecht Dürer, a northern European artist excelling in the less "noble" medium of printmaking, but also profoundly interested in issues of perspective and proportion, is considered to provide a non-Italian point of view on the Renaissance. Interspersed with these studies of single artists lectures may consider in greater detail particular themes raised by these artists’ works, such as the extent of artists’ knowledge of anatomy, the influence of the ruins of Rome, the Renaissance ideal of love, the creation of new styles by transgressing architectural rules for playful effect or to achieve “grace”, and the development in Venice of the genre of pastoral landscape. Alternatively, the work of other major artists may be considered such as Correggio, Parmigianino, Bandinelli etc. Having, broadly speaking, covered the period 1470-1550 chronologically, the course concludes by looking at the mid sixteenth-century reassessment of these artistic achievements in the writings of Dolce, Varchi and Vasari.

This innovative module examines artistic creation from historical, philosophical and practice-based perspectives. It examines topics such as the development of the idea of genius in ancient Greece and Renaissance Italy, the Romantic and Kantian conceptions of genius, and the "democratisation" of the notion, culminating in the idea that everyone has the capacity for artistic creativity, as expressed in the work of mid-twentieth century thinkers such as John Dewey and Erich Fromm. It looks at how the concepts of genius and creativity came under attack from “theory” later in the twentieth century, and considers the recent resurgence of interest in creativity, in academia and the broader culture. Students will also take part in exercises designed to foster artistic creativity. These will include a selection of approaches such as Surrealist, Bauhaus and Oulipo methods for encouraging creativity. These different perspectives will allow students to develop a well-rounded, critical and active understanding of the topic, and to understand – and perhaps develop – their own capacity for creativity.

This module will explore the impact of Surrealism on the visual arts. It will focus in detail on a small group of key surrealist artists, such as Man Ray, Max Ernst, and Salvador Dali; while also, in order to understand the scope and definition of Surrealism, considering further artists in some detail who were associated with Surrealism but who denied that they were indeed surrealists, such as Frida Kahlo or Pavel Tchelitchew. In addition the module will survey the work of those artists formally associated with the Surrealist group, and the contribution of Dadaist precursors and contemporary artists who exercised a profound influence on Surrealism. While hardly feminist, Surrealism did provide a supportive forum for a number of innovative female artists, arguably enabling the artistic careers of more women than other avant-garde movements in the first half of the Twentieth Century. The relationship of women artists to Surrealism will, therefore, be a key theme of the course. Surrealism was not, however, principally a phenomenon of the visual arts, or a conventional artistic movement: the surrealists sought to reconnect moral and artistic forces, to achieve liberation through emotional intensification ('a systematic derangement of the senses'), and by this means to revolutionize society. They drew inspiration from Sigmund Freud’s psychoanalytical theories to explore the workings of the unconscious and the ‘over-determined’ symbolism of dreams, and also what Gaston Bachelard called the new scientific spirit of the ‘why not’. Characteristic methods included pure psychic automatism, objective chance, the paranoiac-critical method, the double image, dislocation, and collage. Particularly at Level 6, this module will explore the broader implications of these surrealist themes, for example the question of whether myth is an expression of society, or constitutive of it, which was a key concern for the Surrealists. Indeed, André Breton described Surrealism as ‘a method of creating a collective myth’ in 1933. These thematic aspects of the module should make it an interesting wild option for students studying literature, twentieth-century history or cultural history, in addition to history of art students.

This module will provide a critical survey of the problematic position of sculpture within the history of art: sculpture has often been seen as a lesser art form, subsidiary to architecture or inferior to painting, and lacking theoretical definition. Sculpture's monumental or cultic functions place it nearer to the idol or votive offering than to the 'work of art’ conceived of by aesthetic theories. At the beginning of the modern era Baudelaire dismissed sculpture as ‘boring’, and yet since the Second World War various developments have led to a situation where sculpture, more broadly conceived (often in relation to performance), is leading artistic developments. The module will explore this dynamic while also touching on several of the themes which have characterised the study and appreciation of sculpture (such as the relation of sight to touch, the absence or presence of colour, the materials of sculpture etc.). The work of a number of key artists will be discussed as representative case studies from across the history of art.

This module seeks to investigate some of the most pressing ethical issues in contemporary media culture and the mediated arts. Topics may include: violence in video games, nudity on the screen and in advertising, anti-heroes and villains in fiction, propaganda and manipulation, sexism and racism in humor, shock value in the news and in contemporary art. To answer the many moral questions that arise in this context students will examine basic notions such as truth, objectification, voyeurism, exploitation, offence, harm, gender, and stereotype.

The module gives School of Arts students across a range undergraduate programmes the opportunity to undertake a written independent research project at stage 3.

Students who wish to take the module must approach a permanent academic member of staff with a proposal, typically in advance of module registration, during the Spring term of the previous year. Students pick a research topic of their choice; however, students are only allowed to register for the module with the permission of a staff member who has agreed to supervise the project, and who has the expertise to do so. Potential supervisors must also ensure before they agree to supervise a project that the resources required to complete the project will be available to the student, and that adequate supervisory support will be available to the student throughout their study on the module.

Students will be supported in the preparation and submission of their work by their supervisor, although a central expectation of the module is that students will take increasing responsibility for their learning, consistent with expectations of Level 6 study.

Students will engage in a work-based situation of their choice. The student will be responsible for finding the work-based situation, though support from the School and CES will be available. The internship should bear relevance to their subject of study or a career they expect to pursue upon graduation. The total of 300 hours will be divided as required for purposes of preparation, attendance of work placement and reflection/completion of required assessment.

This interdisciplinary course will examine historical and current theoretical ideas and research on the ways in which art is created and perceived. Artforms that will be considered include visual arts (painting, sculpture, architecture, popular art), performing arts (dance and theater), music, and film. Readings will interface with subdisciplines of psychology such as perception, psychoaesthetics, neurophysiology, social psychology, and studies of emotion. Principal areas of focus will include aesthetics, arts-experimental design, perception of art, meaning in art, the psychology of the creative process, social and cultural issues, and the ramifications of arts-sciences research. The primary focus will be on Western art forms, though other world art traditions and aesthetics will be discussed. Assessment methods will test understanding through a summary and critical reflection on a selected text and the proposal, research, and design and oral presentation of a potential interdisciplinary research project.

The module will offer students the chance to work on an independent creative project of their own devising, which will be a culmination of practical elements of their degree programme. Performance, workshop, design, stagecraft, producing or other creative skills encountered in earlier modules will be developed, extended and explored in autonomous work, which will be supported by regular group supervision sessions. Projects will also involve research which will contextualise the practical elements.

Supervision will take place in timetabled teaching slots, in which students involved in several projects will be supervised together. Practical outcomes might take the form of performances, workshops or public interventions.

Through weekly lectures, seminars and practical workshop sessions, the course will allow students to write scenes and experience the results and effects of their playwriting as performed by others. In the context of on-going discussions about the practice and characteristics of playwriting students will develop an understanding of the importance of revision and development of evolving work as mediated by the constructive criticism of group and convenor response.

This module introduces the applied theatre form, and considers the historical and social context in which the form developed. It offers students the opportunity to both understand and apply workshop techniques, planning, facilitation and management of projects within an Applied Theatre context. Practical work is based on a theoretical understanding and grounding in the historical and social contexts of Applied Theatre. The module will be structured in 2 distinctive parts:

The first introduces and considers the historical development of applied theatre, current debates, methodologies and case studies within the field. This stage of the module will include a range of lectures, seminar discussions, and exploratory/task based workshops.The second stage will focus on developing associated practical skills to include project planning, management, workshop and facilitation skills.

The aim of this course is to introduce students to the specific acting challenges presented by the classical texts of Shakespeare and his contemporaries and to facilitate, through practice, an in depth examination of proven analytical and practical approaches to these challenges. Instruction in the analysis of language structure and verse forms, verse structure, style, metre, imagery and language texture forms a key component to this course.

Through a classical repertoire, the student will be taught a systematic analysis of verse structure which, they will learn, is an integral part of an actor's development. This work on unambiguous structural matters will enable the student actor to articulate experience in time, avoiding the risk of leaving performance at the level of the pursuit of feeling and expression. Focus will also be placed on how this analysis can direct the performer, facilitating discovery in both action and character.

The course will also create an awareness of the vocal, physical and emotional demands placed on the performer when working with these plays and through practice, promote knowledge of how the actor’s instrument can meet these demands.

The module will run in two parts, the first part focusing on the demands of the verse monologue and its performing challenges, culminating in a solo performance assessment. The second part will explore performance text analysis when working with group scenes and how this analysis can direct the performer. The course will close with assessed practical scene performances taken from classical texts accompanied by a written scene analysis for later submission.

This module explores critical and creative approaches to working with real lives in performance. You will examine how auto/biographical and documentary material is used and manipulated to construct identity in and through performance. You will question the concept of the 'true story' and explore the ethics and practicalities of using the personal in performance. You will also work creatively to produce a practical project on auto/biographical theatre. In this module you will work with a range of dramatic material and forms, studying, for example, play texts, performance art, verbatim and documentary theatre. You will also engage with a range of theoretical approaches and perspectives.