PERF07018 2013 Performing Arts Portfolio of Experience

General Details

Full Title
Performing Arts Portfolio of Experience
Transcript Title
PA Portfolio of Experience
Code
PERF07018
Attendance
80 %
Subject Area
PERF - Performing Arts
Department
COMP - Computing & Creative Practices
Level
07 - NFQ Level 7
Credit
30 - 30 Credits
Duration
Semester
Fee
Start Term
2013 - Full Academic Year 2013-14
End Term
9999 - The End of Time
Author(s)
Una Mannion, Rhona Trench, Bernie Meehan, Jo Conway, Agnes Pallai, Frank Conway
Programme Membership
SG_APERF_H08 201300 Bachelor of Arts (Honours) in Performing Arts SG_APERA_B07 201700 Bachelor of Arts in Performing Arts (Acting) SG_APERT_B07 201700 Bachelor of Arts in Performing Arts (Theatre Design)
Description

This module introduces learners to an independent self-learning portfolio of experience related to the field of the performing arts. The aim of this module is to provide opportunities for learners to develop skills and professional experience to develop their identity as creative practitioners. Learners will participate in an individual and/or group project related to the performing arts and will be advised to take an approved work placement relevant to the field. Projects might include design/acting for film, documentary, performance art/ live performance, puppetry, creative writing, etc. Learning experiences available include the opportunity to design, plan and deliver a collaborative and inter-disciplinary creative project over the duration of the semester. Interdisciplinary exploration of skills and practices are core to the development of the project.  Learners can also develop a programme in self-managed teams which explores a range of skills across creative and contextual disciplines, practices and studies in a highly collaborative environment. Self motivation, project management, communication, critical thinking and research in performing arts-related contexts are developed. The programme develops creative leadership, authorship and ownership of the participants work.

Learning Outcomes

On completion of this module the learner will/should be able to;

1.

undertake a project that will develop individual identity as a creative practitioner

2.

have reflected on the interchange between theatre, performance,art, film, digital media and other disciplines

3.

further develop digital and media skills

4.

complete and report on professional work placement in the creative arts

5.

communicate and liaise with industry practitioners, e.g. media, funding bodies, community organisations and others.

6.

adhere to the professional requirements of a practitioner in the field of performing arts

7.

demonstrate best practice in productivity, time management and planning

8.

have enhanced awareness of theatre and interdisciplinary disciplines to explore the wider landscape of performance related disciplines

Module Assessment Strategies

The Semester Six Performing Arts team will collaborately assess the learner's overall experience:

Learners must comply with the following:

Continous Assessment: attendence and professional practice.

Performance related (design/acting/creative writing/film/directing for example) project and presentation.

Log book

 

 

 

Indicative Syllabus

Syllabus should be directly related to the learner's chosen project(s) which might include some of the following:

Designing a play for the theatre

Film Project

Acting for stage and/or screen

Creative Writing (and realisation)

Technical designs - lighting/soundscapes

Erasmus -relevant to Performing Arts

Work experience relevant to Performing Arts


Self Directed Learning

Develop individual pathway. Special interest subject. Expanding the boundries of performance related to chosen project.


The process for creative projects should include appropriate environments for producing designs/the acting process/creative writing workshops etc. The process involves (for Design) performance design ideas, visual material, model making, costume renditions, technical drawing, colour application, digital and media skills,  measurement, recording and drawing and assessing the venue.; (for Acting) acting techniques and styles, rehearsal time and space, workshops, characterisation, theories about acting etc, (for creative writing) workshops in writing genres (particularly play writing), readings, realisations for example.

 

All students should be fully aware of Health and Safety issues when working with specific equipement/.

 

Coursework & Assessment Breakdown

Coursework & Continuous Assessment
100 %

Coursework Assessment

Title Type Form Percent Week Learning Outcomes Assessed
1 Presentation Continuous Assessment UNKNOWN 40 % OnGoing 1,2,3,4,5,6,7,8
2 Continuous Assessment Project Continuous Assessment UNKNOWN 60 % OnGoing 1,2,3,4,5,6,7,8
             

Full Time Mode Workload


Type Location Description Hours Frequency Avg Workload
Seminar Flat Classroom student directed learning 9 Weekly 9.00
Workshop Black Box Acting 04 Weekly 4.00
Workshop Design Studio design 4 Weekly 4.00
Practical Flat Classroom coordination 2 Weekly 2.00
Total Full Time Average Weekly Learner Contact Time 19.00 Hours

Module Resources

Non ISBN Literary Resources

Adler, Stella. The Art of Acting. Ed. Howard Kissel. NY: Applause, 2000.

Barker, Clive. Theatre Games. London: Methuen Drama, 1977.

Bartow, Arthur. ed. Handbook of Acting Techniques. London: Nick Hern Books, 2008.

Beam, Lisa Sonora, The Creative Entrepreneur: A DIY Visual Guidebook for Making Business Ideas Real, (US: Quarry Books, 2008)

Benedetti, Jean. Stanislavski and the Actor. London: Methuen Drama, 2008. 

Benedetti, Jean. The Art of the Actor. NY: Routledge, 2007.


Benjamin, Walter and Michael W. Jennings (eds.s), The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Harvard: Belknap Press, 2011.

Berger.John   Ways of seeing Penguin Modern Classics   2008

Bilton, Chris, Management and Creativity: From Creative Industries to Creative Management, Blackwell Publishing, 2007

Boal, Augusto. Games for Actors and Non-Actors. London: Routledge, 1992.

Brook.Peter  The Empty Space, Penguin Modern classic   2008

Burnell. Kate. Editor  Collaborators. UK Design For Performance  2003-2007, The Society of British Theatre Designers

Cameron, Julia, The Right to Write: An Invitation and Initiation into the Writing Life, Basingstoke: Macmillan, 2000.

Chaikin, Joseph. The Presence of the Actor. NY: Theatre Communications Group, 1991.

Chekhov, Michael. To the Actor. New York: Harper & Row, 1953.

Dodd, Pamela and Sundheim, Doug, The 25 Best Time Management Tools & Techniques: How to Get More Done Without Driving Yourself Crazy, Dodd and Sunheim 2005-2009.

Giannetti, Louis, Understanding Movies, UK: Prentice Hall, 2007.

Gombrich.Ernst Hans The Story Of Art, Thames and Hudson 1978

Griessman, B. Eugene, Time Tactics of Very Successful People, US: McGraw Hill, 1994.

Hagen, Uta. Respect for Acting. New York: Wiley Publishing 1973.

Henry, Colette, Entrepreneurship in the Creative Industries: An International Perspective,UK: Edward Elgar, 2007.

Hodge, Alison ed. Twentieth Century Actor Training. London: Routledge, 2000.  

Howard. Pamela  What is Scenography? Second edition, Routledge Press 2009

Iglesias, Karl, Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, and Fascinate the Reader from Beginning.  US: Wingspan Press, 2005

Johnston, Chris. House of Games. London: Nick Hern Books, 1998.  

Johnstone, Keith. Impro. London: Methuen Drama, 1994.

Leland, Karen and Bailey, Keith, Time Management in An Instant, USA: Book Mart Press, 2008.

Snead, G. Lynne and WycoffTo, Joyce, Do Doing Done: A Creative Approach to Managing Projects & Effectively Finishing What Matters Most, New York: Fireside, 1997

Schneider, Pat, Writing Alone and with Others, Oxford University Press, 2003

Stanislavski, Constantin. An Actor Prepares. London: Methuen Drama, 1937/1988.

Vogler, Christopher, The Writer's Journey: Mythic Structure for Storytellers & Screenwriters, US: Michael Wiese Publications,  1998.

Willett.J ohn Editor Brecht on Theatre The development on an aesthetic, Methuen press   1964. 

Zarilli, Phillip B. ed. Acting (Re)Considered. London: Routledge, 1995.

Zeller, Dirk, Successful Time Management For Dummies, Indiana: Wiley Publishing, 2009

Other Resources

range of art materials and model making equipment

resources to attend performances and field trips

Guest creative practitioners

Additional Information

None