Module Information
Module Identifier
TP21020
Module Title
Contemporary European Theatre
Academic Year
2017/2018
Co-ordinator
Semester
Semester 2
Pre-Requisite
Successful completion of Part 1
Other Staff
Course Delivery
| Delivery Type | Delivery length / details |
|---|---|
| Lecture | 10 x 2 Hour Lectures |
Assessment
| Assessment Type | Assessment length / details | Proportion |
|---|---|---|
| Semester Assessment | Essay (2,500 words) | 50% |
| Semester Assessment | Portfolio (equivalent to 2,500 words) | 50% |
| Supplementary Assessment | Written essay (2,500 words) - (to a new title) | 50% |
| Supplementary Assessment | Portfolio (equivalent to 2,500 words) | 50% |
Learning Outcomes
On successful completion of this module students should be able to:
1. Demonstrate a clear understanding of key developments in European theatre, drama, performance and directing over the last 50 years.
2. Locate and critically assess these developments in their artistic, political and cultural contexts.
Brief description
The aim of this module is to introduce students to key developments in European theatre, drama, performance and directing over the last fifty years and to situate these developments in their artistic, political and cultural contexts.
Content
Course delivery:
10 x 2-hour lecture/seminars
1. The European context: history, politics, culture, theatre
2. Offending the Audience, offending the Nation: Peter Handke
3. Songs of the Century: Jan Lauwers and Needcompany
4. Europe after Ibsen: Elfriede Jelinek, Thomas Ostermeier, and Jan Pappelbaum
5. The Brechtian legacy: Heiner Müller, Germania 3 Ghosts at Dead Man
6. The avant-garde legacy: Jérôme Bel, subtraction and formalisation
7. The Persistence of democracy: Rimini Protokoll and relational aesthetics
8. The Soviet Legacy: Alvis Hermanis and East European cultural memory
9. Postcolonial European Theatre: Faustin Linyekula and the leftovers of history
10. Staging Contemporary Europe: Socìetas Raffaello Sanzio
10 x 2-hour lecture/seminars
1. The European context: history, politics, culture, theatre
2. Offending the Audience, offending the Nation: Peter Handke
3. Songs of the Century: Jan Lauwers and Needcompany
4. Europe after Ibsen: Elfriede Jelinek, Thomas Ostermeier, and Jan Pappelbaum
5. The Brechtian legacy: Heiner Müller, Germania 3 Ghosts at Dead Man
6. The avant-garde legacy: Jérôme Bel, subtraction and formalisation
7. The Persistence of democracy: Rimini Protokoll and relational aesthetics
8. The Soviet Legacy: Alvis Hermanis and East European cultural memory
9. Postcolonial European Theatre: Faustin Linyekula and the leftovers of history
10. Staging Contemporary Europe: Socìetas Raffaello Sanzio
Module Skills
| Skills Type | Skills details |
|---|---|
| Application of Number | This element is not assessed |
| Communication | The ability to communicate ideas effectively in written form is directly assessed. The work done in seminars develops oral communication skills although this is not directly assessed. |
| Improving own Learning and Performance | Self-regulation, motivation and time-management skills are developed through the module and are demanded for the successful completion of its assignments. |
| Information Technology | The ability to utilize information technology both in research for and delivery of assignments is assessed directly in Assessment 1 and 2. |
| Personal Development and Career planning | Transferable skills (managing personal workloads and meeting deadlines, designing and realizing research project) are developed through the completion of assessment tasks 1 and 2. |
| Problem solving | Analytical problem solving, outcome recognition and the identification of appropriate strategies and procedures are encouraged and assessed. |
| Research skills | Appropriate personal research and the development of effective personal research practices are directly assessed through Assessment 1 and 2. |
| Subject Specific Skills | See QAA Dance, Drama and Performance Subject Benchmark Statement (Version 2007) The following subject specific skills are developed and partly assessed: 1. Describing, theorising, interpreting adn evaluating performance texts and performance events from a range of critical perspectives. 2. Developing skills of observation and visual, aural and spatial awareness. 3. Considering theories of spectatorship and developing an awareness of the audience or client group for performance and an ability to respond and adapt to it through flexible means. 4. Engaging in research, whether independent, group or performance-based. 5. Identifying and interpreting and cultural frameworks which surround performance events and on which these events impinge, and taking these into account in creating and/or interpreting performances. Making records of performance, using skills in notation and/or documentation. |
| Team work | Effective group work through negotiating ideas and opinions is addressed through the seminars. Seminar discussions demand the application of skills necessary to conduct collaborative activity. This will be indirectly assessed through work included in the creative portfolio. |
Notes
This module is at CQFW Level 5