PERF07037 2019 Voice and Movement 3

General Details

Full Title
Voice and Movement 3
Transcript Title
Voice and Movement 3
Code
PERF07037
Attendance
80 %
Subject Area
PERF - Performing Arts
Department
YADA - Yeats Academy Art Dsgn & Arch
Level
07 - NFQ Level 7
Credit
05 - 05 Credits
Duration
Semester
Fee
Start Term
2019 - Full Academic Year 2019-20
End Term
9999 - The End of Time
Author(s)
Declan Drohan, Niall Colleary, Rhona Trench, Bernie Meehan, Agnes Pallai, Marketa Formanova
Programme Membership
SG_APERF_H08 201900 Bachelor of Arts (Honours) in Performing Arts SG_APERA_B07 201900 Bachelor of Arts in Performing Arts (Acting)
Description

This module aims to provide students with the capacity to analyse and evaluate their individual vocal, physical and emotional inhibitors.  They will work with appropriate vocal and physical exercises and techniques, applying them to text and choreography to develop creative and original responses. They will be expected to design and deliver appropriate warm-ups, increase self-awareness and perform to a high professional standard.

Learning Outcomes

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

1.

 Devise and deliver vocal and physical warm-ups that focus on the physical, technical, emotional, and psychic needs of a given role.

2.

Use the body and voice effectively in a creative, imaginative, expressive way, appropriately synthesising training in both voice and movement.

3.

Explore and apply presented physical and vocal principles to create appropriate individual and group responses to creative stimuli and complicity.

4.

Perform with spontaneity, physical, psychic, emotional and vocal clarity, playfulness, awareness of space, dynamic, rhythm, empathy and presence.

5.

Advance their intellectual, emotional and performance competencies through actively changing acquired physical, vocal and psychological habits, reflective journalling and integrating the training process into their professional and personal lives.
 

6.

Apply, compose and evaluate tools of improvisation and compositional devices within the creative process and performance of duet/trio composition study.

7.

Utilize research and appropriate literature to support and extend their knowledge of voice and movement training.

Teaching and Learning Strategies

Student-centred strategies for teaching Voice and Movement.

Student learning incorporating aspects as following:

  1. Kinaesthetic – motor development (moving and learning)
  2. Aesthetic -  personal (artistic) growth
  3. Cognitive – intellectual (thinking, perceiving and processing)
  4. Psychological – social (feeling and interacting)

Module Assessment Strategies

100% Continuous Assessment: attendance, observation of student work during the class and performance within the combination of formative feedback during the creative process of project making.

Repeat Assessments

Individual Project: Solo Project and Research Essay. 

Attendance if required. 

Indicative Syllabus

The main emphasis on students’ development is driven from:

  1.  Creative Improvisation, Contact Improvisation and other related and supportive techniques and fundamentals from Martial Arts, gymnastics and Somatic Practice providing new combinations and cross-fading in given styles. The work is based on:
  • explorative ways of working with greater personal authenticity same as partnering and group work to initiate, analyse, examine and attain students’ learning of “creative”, “practicing” and “knowing” body and voice
  • physical principles of touch, momentum, shared weight, point of contact, balance and coordination, relaxation and grounding
  • developing awareness of physical limits and possibilities, deepening sensory awareness, emotional tone, precision, spontaneity, expanding visual stimuli
  • movement phrasing and sequencing, its length, shape, dynamic, quality and rhythm
  • Score for Duet Improvisation - Composition Study: use of Chance compositional structure to decide on the order of the performance, applying tools of contact and dance improvisation and other compositional devices.

     2. The voice in performance - strategies for preparation and characterization. Balancing the sound, resonance, articulation and the text, breathing, muscularity of tone from applied consonant and vowel work, appropriate projection through precise placing of word and tone, pitch, intonation, emotional recall, floor work and visualisation, character work, heightened listening and original, creative response to words, emotions, stimuli, working with habits and limitations.

     3. Theoretical framework within the practised topic supporting students' learning.

     4. Integration of voice and movement through continued application.

Coursework & Assessment Breakdown

Coursework & Continuous Assessment
100 %

Coursework Assessment

Title Type Form Percent Week Learning Outcomes Assessed
1 Observation of Working Process Continuous Assessment Practical Evaluation 60 % OnGoing 1,2,3,5,6,7
2 Duet/Trio Composition study Continuous Assessment Performance Evaluation 30 % End of Term 3,4,6
3 Research and Reflective Journal Continuous Assessment Individual Project 10 % OnGoing 5,7

Full Time Mode Workload


Type Location Description Hours Frequency Avg Workload
Practical Black Box Movement 2 Weekly 2.00
Practical Black Box Voice 2 Weekly 2.00
Total Full Time Average Weekly Learner Contact Time 4.00 Hours

Required & Recommended Book List

Required Reading
1973 Voice and the Actor London: Harrap

Required Reading
2008 The Vocal Arts Workbook : A Practical Course for Developing the Expressive Range of Your Voice London: Metheun

Required Reading
2002 The Articulate body: The physical training of the actor New York: Drama Book

Required Reading
2006 Freeing the Natural Voice London: Nick Hern Books

Required Reading
2006 Contact Improvisation: An Introduction to a Vitalizing Dance Form North Carolina: McFarland & Company, Inc., Publishers

Required Reading
2015 Dance and the Body in Western Theatre: 1948 to the Present Palgrave Macmillan

Recommended Reading
2013 Perspectives on Contemporary Dance History: Revisiting Impulse, 1950-1970, Cambria Press, USA

Required Reading
2006 Dance anatomy and kinesiology Human Kinetics

Required Reading
1988 The Moment of Movement: Dance Improvisation University of Pittsburgh Press

Required Reading
1999 Improvisation for the Theater: A Handbook of Teaching and Directing Techniques (Drama and Performance Studies) North-western University Press

Recommended Reading
2019 Etienne Decroux London and New York: Routledge

Recommended Reading
2002 Devised and Collaborative Theatre: A Practical Guide Wiltshire: Crowood Press

Recommended Reading
2004 Somatics: Reawakening The Mind's Control Of Movement, Flexibility, And Health Cambridge: De Capo Press

Recommended Reading
2013 Dance Imagery for Technique and Performance United States: Human Kinetics

Module Resources

Non ISBN Literary Resources

via book list

 

 

Journal Resources

 

Kate Kahler Amory, Acting for the Twenty-first Century: A Somatic Approach to Contemporary Actor Training, Perfformio Volume 1, Number 2 │ Spring 2010 │ pp5-20 ISSN 1758-1524

Steve Paxton, Contact Improvisation, The Drama Review: TDR, Vol. 19, No. 1, Post-Modern Dance Issue (Mar., 1975), pp. 40-42

URL Resources

none

Other Resources

none

Additional Information

Appropriate flat space: studio/ hall/ room without carpet but best with sprung floor

Hume Hall/ Black Box/ MPC Studio/ alternative suitable space

Access to sound system, PC with projector/screen

Portable white board

Yoga Mats (for each student)