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Exchange Students 2018-9

This page provides information on modules we are able to offer Exchange students in 2018/9. If you have any queries please contact Tim White - t dot white at warwick dot ac dot uk

FIRST YEAR

TH113 30 FULL YEAR Contemporary Performance Practices

Anna Harpin

TUE 0900-1800 - G52+G53

25% - Practical Exam

25% - Practical Exam

50% - Practical Exam

Module outline

Through tutor-led workshops, seminar discussions, and presentations, this first-year core module will introduce you to a range of contemporary devised performance practices, such as site-specific performance, performance art, physical theatre, autobiographical performance, performance interventions, walking performance, and various forms of multi-media performance. You will explore these practices through your own practice, through watching DVDs and examining web-based and written documentation of theatre and performance, and, where possible, through theatre visits and artist-led workshops. During the year, you will experiment with various approaches to creating devised performance, and you will improve your own critical and creative responses to work seen and discussed.

Learning Outcomes

The module proceeds through discussions, hands-on practical work, and collaborative devising processes. By the end of the module you will have:

Considered the inter-relationship between theory and practice in creative making processes
Developed an awareness of key conceptual and creative processes that underpin the realisation of creative projects
Contributed to the generation and realisation of a range of creative projects through an understanding of appropriate practical skills, techniques and performance vocabularies
Developed skills in verbal communication, collaborative working and problem-solving.


TH114 30 FULL YEAR Introduction to Theatre & Performance Studies

Wallace McDowell

LECTURE: MON 1500-1700 - SO.21

SEMINAR A: WED 0930-1100 - G52

SEMINAR B: FRI 1130-1300 - G52

SEMINAR C: FRI 1330-1500 - G52

SEMINAR D: FRI 1500-1630 - G52

25% - Research Poster

25% - Essay (2500 words)

50% - Two hour written examination

TH114 Introduction to Theatre & Performance Studies 'Because the study of canonical plays and their production processes and histories by no means exhausts the range of performance genres and practices, the performance studies department picks up where the theatre department stops' (Conquergood, 1995: 139).

In the light of Conquergood's comment above, this new module will enable all students to grasp the clear links between these two inter-related disciplines of theatre studies and performance studies ,allowing a greater understanding of how one informs the other.
The module will:

Equip the students with a broad understand of the key issues and theoretical concepts underpinning the study of theatre and performanceInvestigate how theatre and performance studies can throw particular light in issues raised by questions of identityExplore the role played by the places, spaces and environments of theatre and performanceExamine how politics and culture intersect with the study of theatre and performance.


TH115 30 FULL YEAR From Text to Performance

Silvia Jestrovic (Autumn) Andy Lavender (Spring)

THU 0900-1800 - G53+G55

25% - Assessed Group Presentation

25% - Assessed Group Presentation

50% - Practical Exam

Module Description:

This module explores the process of taking the text from page to performance. Through a programme of lectures and practical exploration of a number of selected plays/performance texts, the module will examine the relationship between performance and society, considering how it reflects, responds to and has the potential to influence its wider political, social, cultural and artistic contexts. Giving students the opportunity to experiment practically with realising texts in performance the module will also consider aspects such as staging, genre, narrative structure, performance strategies, dramaturgical thinking and directorial conceptualization as well as the changing role and function of the audience.

Module aims:

To examine the process the material undergoes in its journey from page to stage

To consider the changing relationship between text and socio-cultural context

To investigate various ways of dramaturgical thinking and different modes of “reading” a text

To explore the relationship between theory and practice through the practical exploration and presentation of representative plays/performance texts.

Learning Outcomes:

By the end of the module, students should be able to:

Demonstrate an understanding of some of the key aspects of the creative and research process involved in the journey from text to performance

Show an awareness of the ways in which playwrights and theatre-makers have used theatre to respond to, intervene in and debate society and political processes.

Describe and evaluate some of the textual, staging and theatrical strategies deployed in the works studied during the module.

Articulate how practical engagement with a play or performance text has enriched their understanding of its form, narrative, use of character, stylistic traits, etc.

Undertake research tasks using appropriate research tools and communicate what they have learnt through performance and written forms.


TH116 30 FULL YEAR Performance Analysis

Yvette Hutchison

LECTURE: FRI 0930-1100 - SO.13

SEMINAR A: MON 1000-1130 - G52

SEMINAR B: MON 1200-1330 - G52

20% - Performance Review (2000 words)

20% - Portfolio (1000 words)

60% - Essay (3000 words - draft + 3000 words - final essay)

This module aims to help students to gain the necessary critical,
conceptual and writing skills to be able to

- ‘read’ various kinds of performances,

- analyse how other people have ‘read’ these performances, in reviews and
academic articles

- write critical reviews and analyses of performance themselves

It will also introduce students to the range of performances that staff
consider in their modules in years 2 & 3 of the degree.


2nd & 3rd Year

TH210 15 AUTUMN TERM Audience Development & Marketing

Caroline Griffin

Wednesday 1100-1300 G56

50% - Essay (2500)

50% - Assessed Sem.Pres.

This module will provide an overview of the theory and practice of strategic marketing and audience development for the arts, with a special emphasis on practical application. Over the course of the module we will look at general marketing theory, the use of market intelligence and data and the special challenges of marketing creative products. There will be an emphasis on exploring the concept of audience development as it is understood in the arts. We will also look at different organisational approaches to being audience focused, and associated implications for programming, resource management, internal communications and business planning. Other specific areas to be covered will include creating marketing materials, using social media, budgeting and evaluating marketing activity.

The taught section of the module breaks into 3 main sections:

an overview of the application of marketing techniques in the arts and evidence-led marketing

exploration of marketing as a strategic management tool

practical application of marketing tools in practice.

Through the course we will also look at associated areas such as how the arts are funded and how that affects audience engagement, the role of marketing and marketers in organisations and basic consultancy skills. In each session we will consider how the topics under discussion work in practice, with a particular emphasis on preparing for the placement project that forms the basis for the final written assessment. To bring the subject to life we will be using live case-studies, industry resources and presentations from industry professionals.

Through the course, students will be expected to develop a full understanding of the following:
1) the concepts of marketing and audience development and their application in arts organisations
2) practical tools of theatre marketing and the processes of strategic development, tactical planning and evaluation
3) the nature of arts audiences in the subsidised and commercial theatre sectors, and techniques for gathering and using information on consumer behaviour, economic trends and the funded environment
4) the relationships between the needs of the market and artistic provision, within the framework of an arts organisation


TH226 15 AUTUMN TERM 20th Century Irish Theatre

Wallace McDowell

Tuesday 0930-1130 G56

40% - Portfolio (2 x 1000)

60% - Essay (3000)

The module will investigate:

• How ‘Irishness’ was depicted in a range of plays and performances in the 20th Century

• How the staging of Irish plays are affected by concepts such as landscape, memory, history and myth

• How the Irish theatre reflected the formation of an Irish nation and was used to both rehearse and critique Ireland after the English

• How Irish playwrights have used major historical events to reflect on contemporary events

• How Irish plays and performances have engaged with the wider international world


TH222 15 AUTUMN TERM Theatre in the African Context

Yvette Hutchison

Thursday 1000-1200 G56

50% - Essay (2500)

50% - 1.5 Hour Written Exam

The aim in this module is to trace the diversity of theme and form of theatre in Africa in the post-colonial context. It will particularly focus on the influences on the development and changes (social, political and economic) that have affected the development of theatre in Africa. It will look at a diversity of cultural and linguistic contexts (North, West, East and Southern African), where necessary looking at plays in translation.

By the end of this module you should be able to articulate the role colonialism has played on the development of post-colonial theatre in Africa.analyse the range of forms and foci that have developed in various theatrical practices across the continent; critically evaluate the impact socio-political, historic and economic changes have made on the theatre-makers and audiences of the plays; while being able to undertake independent primary and secondary reading to articulate your research both orally (as presentational work) and in writing.


TH237 15 SPRING TERM Audio-Visual Avant-Gardes

Michael Piggot

Monday 0900-1300 G53

50% - Essay (2500)

50% - 1.5 Hour Written Exam

This module explores the history of avant-garde film, video, sound, and installation work from the early twentieth century up to the present day. It will allow you to engage both conceptually and practically with a wide range of forms, movements and practices, and to explore the persistent currents of interaction and exchange between avant-garde and popular cultures. It will examine the contexts from which the term ‘Avant-garde’ emerges, and the ways in which the description has been employed in various periods and places, by considering it in relation to alternative descriptors such as: ‘underground’, ‘experimental’ and ‘subcultural’. The module operates as a broad survey that will help you to make connections amongst a variety of disparate movements and trends, from the 'high art' domain of 1920s avant-garde film to the popular eruptions of early 80s hip-hop, while also providing the opportunity for detailed analysis of a number of key works.


TH2XX NEW 15 SPRING TERM Theatre and the Creative Industries

Margaret Shewring

Wednesday 0900-1200 G53

50% - Case Study

50% - Project Portfolio

This module aims to position theatre and performance amid the wider scene of the creative and cultural industries. It explores socio-cultural and political contexts of arts production. It introduces students to principles, practices and considerations in running an arts venue; programming, commissioning and presenting work; supporting artist development; marketing work to audiences and undertaking further outreach and engagement activities; setting up and running a small theatre/performance company; conceiving programmes of work; making touring arrangements; and identifying opportunities for funding and other sorts of professional development and support.
The module will be delivered in association with Warwick Arts Centre, building on close engagement between the Department and WAC, and drawing on previous delivery of teaching in this area by WAC on the Department’s MA Theatre Consultancy course.

Learning Outcomes
The module will enable students to understand the pressures, contexts and informing principles that apply to theatre production, management and marketing. It will enable consideration and planning concerning specific company-based and individual projects. It will entail close consideration of specific producing situations and environments, and develop skills in producing, managing and marketing theatre and performance (in conceptual and emergent practical settings). It will facilitate an engagement with theatre and performance as disciplines that have effect within the wider sphere of the creative arts and cultural production.


TH245 15 SUMMER TERM Immersive

Tim White

Weeks 1,6,7, 8 summer term (intensive)

50% - Assessed Pres.

50% - Critical Review

The module aims to introduce students to technologies that reject the physical and critical distance of a viewer in favour of experiences that draw in the participant. Though the focus of the module will be be given over to exposing students to a number of platforms - virtual reality, 360 degree video, motion tracking, proxemics and binaural sound - the introductory sessions will locate current immersive practices within the context of work including environmental theatre, immersive theatre, immersive cinema and surround sound. During week one of the summer term there will be five days split between contextualising lecture and workshop. Following this, students will submit a proposal in week 3 and, in conjunction with the convenor, undertake familiarization and research that feeds into the intensive work sessions in weeks 5,7 and 8, culminating in a presentation of their work on Wednesday of week 8 (50%) and a subsequent critical review week 9 (50%).


TH320 30 FULL YEAR Intercultural Performance Practice

Yvette Hutchison

Tuesday 1330-1530 G55

30% - Essay (3000)

50% - Research Pres.

20% - Critique

This module sets out to look at the implications of contemporary intercultural performance practice in the context of globalisation in terms of form, focus, ideological and ethical implications.
The learning outcomes of the module
On successful completion of the module students should be able to:
- demonstrate a critical analysis of cultural differences and to examine the processes of their mediation through the various cultures;
- articulate an understanding of the concepts of (1) cultural in relation to identity and aesthetics, (2) the difference between inter- and multiculturalism, and (3) the impact of cultural imperialism and globalisation in relation to theatre production
- analyse how theatre as a form can both reflect and challenge ideas of cultural representation and expression
- engage in research-led investigation of these ideas in both primary and secondary material and communicate their findings both orally and in writing.
We will explore the course through
• focussed reading of primary and secondary material for each tutorial session
• group discussion and presentation, including visual material and textual analysis
• research in small groups for presentation in class
• some practical class work
• Two written assessments (essay & critique) over the two semesters and an examination in the form of a research presentation
Questions we will explore in seminars will include
• What is culture, and how is it constructed? (This will include exploring the construction of cultural hegemony, a collective ideology and aesthetics). Here we will specifically be looking at Patrice Pavis’s introduction to the Intercultural Performance Reader, looking at the various approaches to culture and exploring the implications of these approaches, particularly in relation to globalisation.
• We then turn to looking at the implications of such construction of culture for the way we represent ourselves as a group – either as an essentialist discourse (exclusively) or as a constructivist discourse (inclusively). This notion of representation includes the negotiation of identity – both personal and collective. This, in turn, leads us to ask how a multi-cultural context, as the world has become in the global context, affects the expression of this complex identity in performance?
• If we are working across cultures, languages and contexts, how do the issues of translation, appropriation, and representation affect intercultural performance practice?
• What is the relationship between the postcolonial and intercultural in the context of globalisation and media?
These ideas will be explored against actual examples of interactions between Asia, Africa and Europe in twentieth century film and theatre.
Pre-read - Ric Knowles, 2010. Theatre & Interculturalism. (Palgrave Macmillan) – overview.


TH319 30 FULL YEAR Interpreting the Theatrical Past: Approaches to Theatre Historiography

David Coates / Jim Davis

Monday 0930-1130 G55

10% - Written Portfolio 1

10% - Written Portfolio 2

30% - Project-based Ass.

50% - Assessed Sem. Pres.

In recent years there has been a growing interest in the ways in which we study theatre history. Why do we privilege some periods over others? Why are some aspects of theatre history neglected by scholars? What are the assumptions behind our interpretation of documentary evidence? What choices do we make about the theoretical models we use? How did theatre history emerge as an academic discipline? What sorts of narrative inform our study of theatre history? What factors determine the ways in which we write about theatre history? This module aims to investigate the ways in which the historical study of acting, audiences, theatres and performance are heavily influenced by the assumptions, prejudices and ideological beliefs of those who have written about it. A strong emphasis will be placed on the close reading of set texts and on project work applying historiographical methods and methodologies.

By the end of the module, students should be able to:
engage in research-based investigation of appropriate primary and secondary material
communicate what they have learned both orally and in writing
engage critically with the ways in which theatre historians use and present evidence
demonstrate an understanding of the ways in which social and cultural contexts influence the way theatre history is written.
Students will achieve these outcomes through

close reading of primary and secondary texts
seminar discussion and presentations, essays and written examinations
tutor-guided research for seminar presentation
practical application of historiographical principles to tasks set in class and for assessment


TH3XX NEW 15 AUTUMN TERM Sound Walks, Site and Landscape

Nicholas Drofiak

Tuesday 1600-1800 G56

65% - Assessed Practice

35% - Essay

The module is concerned with practices of interpreting and engaging with the specificities of potential sites of performance, and with the production of sound works designed to augment or radically alter the embodied experience of place. Both its chief subject of study and its principal investigative / pedagogical tool are the walk, or practices of walking.

Walking as a critical tool by which to destabilise conventional interpretations of our surroundings, and allow a heightened consciousness of our relations to them and conduct within them, has a history in western Performance Art that runs from the figure of the flâneur as theorized by Walter Benjamin, through Guy Debord and the Situationists to late twentieth-century performance artists such as Mona Hatoum, Richard Long and Richard Wentworth, concerned with ideas of landscape, the city and modernity, and the ways in which humans negotiate their relationships to them. It has in recent decades been theorised as a tool of critical analysis in urban and landscape studies by Lucius Burckhardt and his followers at the ETH in Switzerland, and in the twenty-first century with an increasing focus on the aural experience and audio imaginaries of cities. We will address these canonical case studies, whilst at the same time moving beyond them to find alternative embodied histories of walking practices in feminist and indigenous traditions, exploring subversive and activist possibilities offered by walking that go beyond introspection and aesthetic disruption.

Through the work of walking artists such as the Stalker / Osservatorio Nomade and walkwalkwalk collectives, we will site territory as an encounter, and walking as an engaged and agentive act, capable of rendering an increasingly alienating and discontinuous world once more a place: known, having associations in history, community and memory, and in which we feel actively empowered. We will become familiar with the diverse ways in which performance artists such as Francis Alÿs, as well as indigenous and dissident communities such as Tohono O’odham and the Zapatistas, and researchers in Performance Studies (including practitioner-researchers such as Deirdre Heddon and Cathy Turner) have variously used walking as a tool of investigation and provocation with respect to their spatial, cultural and political surroundings. We will explore case studies in which collective walking builds community through the creation of shared memories and narratives surrounding routes and sites, and the imbuing of abandoned ground with imaginaries — and in the process enables its participants (or co-researchers) to experience a sense of agency and ownership. We will explore theoretical writing on the place of walking in indigenous knowledge production — as a performance productive of spatialized memory and spiritual geographies, that inscribes cultural lives into territory and forms, by extension, a tool of empowerment, or means of staking claim to agency, ownership or rights over land — and extend this learning to the ways we move about (or are restricted access to) space in Coventry.

The module will feature seminar discussions based on case studies and critical readings of primary and secondary materials, but the course is also practical. It builds on core elements of first year modules that touch on immersive sound design as well as site-specific performance and performance art. We will explore the efficacy of sited and ambulant learning, as well as of walking as a tool of research (generating knowledge from our surroundings) and means of situating ourselves in and performing the landscape: this will feature group walking, peripatetic discussion (also through social histories with local guides), and the collective, podiatric cold-reading of various urban sites and terrains vagues in and around Coventry. We will collectively scrutinise and discuss what we might infer (as well as creatively misread) of the social and cultural history of a district from what we see around us as we walk. These practical activities will allow students to develop critical attitudes towards their environments, as well as to express those attitudes through curated audio interventions, for we will simultaneously be exploring practical techniques in field sound recording and the construction / curation of soundscape accompaniments to planned or unplanned routes.


TH334 15 SPRING TERM Love: Performance, Theory & Criticism

Milija Gluhovic

Tuesday 1600-1800 G56

15% - Assessed Sem. Pres.

35% - Essay (1750)

50% - Practical Examination

Love remains an ever intriguing and complex emotion. Representations of love have been idealised, romanticised and formalised as part of theatre and performance tradition over centuries. In recent years love has also become visible (again) as a contested theoretical problem and political issue. The module addresses the “love question” as an open and exciting interdisciplinary field – one that traverses the arts, the humanities and the sciences. The module aims to explore this new, wide-ranging interest in love by looking into the ways in which the twentieth and twenty-first century artists have dealt with the subject of love as material for their work (e.g. Anski, Bergman, Pinter, Kane, Cavani, Haneke), while investigating a wide range of theories that explore changing ideologies, representations and practices related to the subject (Freud, Kristeva, Butler, Berlant and others). We will ask questions such as: What is love? Why/how is love interesting now? Can we study love historically? What does it mean about love that its expressions tend to be so conventional, so bound up in institutions like marriage and family, property relations, and stock phrases and plots? How can we re-envision love so that it creates different kinds of intimately social (rather than intimate vs. social) bonds that embrace difference (vs. sameness) and are transformative of the self? Finally, what does love bring to the study of theatre and performance? How do performances of love in theatre or cinema deconstruct or confirm its social and political coding? How do theatre and performance recreate and subvert social scenarios of love? The topics to be covered will range from ethics and politics of love, gendered interests in love, to love as a force in radical transformations of society.

Learning outcomes:
By the end of the module students should be able to demonstrate a critical understanding of a broad constellation of contemporary plays, performances, and visual art references in the light of cultural, political, historical, and philosophical debates on the analysis, ethics and politics of love in the modern world. Furthermore, students should come away from this seminar with a new set of conceptual models and analytic tools to make use of in thinking about this complex and rich body of art. Students will achieve these learning outcomes through close reading of primary and secondary material, seminar discussions based around prescribed texts and seminar papers on specific topics. In addition to film screening, performance recordings will be used to illustrate the theatrical dimensions of the plays.


TH316 15 SPRING TERM Theatre & National Identity

Nadine Holdsworth

Wednesday 1100-1300 G56

40% - Essay

60% - Portfolio

This module’s overarching question relates to how English, Scottish, Welsh and Northern Irish theatre institutions, playwrights, theatre-makers and performance artists have engaged with conceptions of the nation, nationalism and national identity during the twentieth and into the twenty-first centuries. The 15 CAT version of the module will explore how theatre has contributed to the construction and reappraisal of the nation and national identities through the sites it occupies, the stories it tells and the representations it offers. The module will look at theories on the nation and national identity before looking at plays and performances hailed as seminal ‘state of the nation’ works or celebrated as offering a distinct national identity by reclaiming histories, local dialects and indigenous cultural traditions. This will be followed by a focus on the idea and different manifestations of ‘national theatres’.

Learning Outcomes
By the end of the module, students should be able to

Discuss the ways in which late twentieth century and twenty-first century performance artists, theatre practitioners and playwrights have explored ideas around nation and national identity in England, Scotland, Wales and Northern Ireland.
Identify key themes and theatrical strategies that reoccur in plays and performances emanating from England, Scotland, Wales and Northern that are concerned to explore, negotiate and contest ideas of nationhood.
Demonstrate an understanding of how key conceptual frameworks can inform the creation and analysis of contemporary theatre/performance.
Analyse a wide range of plays and performances in relation to their historical and cultural contexts.
Engage in research-based investigation of appropriate primary and secondary source material.
Communicate what they have learnt both orally and in writing