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2nd Year Outlines 2016/7


FRIDAY 0900-1300 G53

25% - Practice-based assessment
25% - Critical Review (2500 words)
50% - Practical examination

The Theatre in the Community module provides an exploration of theoretical and practical strategies that are currently in evidence within contemporary community theatre practice. The work ranges through theoretical studies of the key political or social philosophies that have informed community theatre practice. This stage of the module includes a particular emphasis on how theories of criminology have informed theatre work with offenders. It continues through an examination of practical strategies which encompass games and exercises for use with community groups. Within this there is reference to group dynamics, community contexts and the primary objectives achievable within practice of this kind. The module leads towards the devising of a project which will take place in a community context. In the final part of the module, the students get to plan, devise and perform a performance or series of workshops within a community context in the Coventry or Staffordshire area.



FRIDAY 1430-1730 G53

25% - Practical Exam
25% - Portfolio
50% - Practical Exam

The goal of this module is to introduce students to different dramaturgical approaches and creative processes embodied in a range of textual forms–from traditional dramatic writing to performance scenarios. The main purposes of the module are to enable students to develop their practical and creative skills in playwriting and also their critical skills in exploring the strategies and processes involved in their own work and that of notable practitioners.

Through a combination of writing workshops, critical seminars, and discussions students will be exposed both to traditional dramaturgical thinking rooted in cause and effect logic and to nonlinear writing based on principles of montage, association and intuition. Constituent elements of the dramatic text such as action, character, dialogue, space and ways in which they function within different dramatic structures will be explored simultaneously with more experimental and interdisciplinary approaches to playwriting rooted in visual art and popular culture. The relationship between the playwright and the context within which she/he writes will also be taken into account.



WEDNESDAY 1100-1300 G56

25% Essay (2500 words)
25% Seminar Presentation
50% Written Assignment 5000 words

This module will provide an overview of the theory and practice of strategic marketing and audience development for theatre, with a special emphasis on practical application. Over the course of module we will look at general marketing theory, the special challenges of marketing creative products and the use of market intelligence and data. We will also look at different organisational approaches to being audience focused, and associated implications for programming, resource management, internal communications and organisational structures. Other specific areas to be covered will include marketing events on tour, festival marketing, using social media and audience research.

The taught section of the module focuses on general marketing theory as it applies to arts organisations, specifically theatres and theatre companies. We will start by looking at the role of marketing in arts organisations, moving on to marketing as a strategic management tool. Later we will move onto the tactical marketing tools in common use in arts organisations, including social media. At the end of the course we will cover the role of the marketer and how contracting effects marketing activity and planning. The last two taught sessions will include case studies and sample marketing plans (both strategic and campaign), in preparation for the project that students will undertake from February.

After the taught portion of the course, students will be required to work on a specific project within an existing arts organisation, using them as a case study for an audience-focused or marketing project. This will be assessed against specific criteria and will be shared with the organisation with a view to it being of practical use to them. A written assignment of the project will comprise 50% of the overall mark.



MONDAY 1500-1800 G53

One essay (2500 words) – 25%, due end of Autumn Term.
Practice-based exam – 50% (small groups), Week 9, Spring Term.
Critical review of process and performance (2500 words) 25%, due early in Summer Term.

What does it mean to bleed in front of an audience? Or to invite spectators to do to your exposed body whatever they may desire? Can a performance last a whole year? Or eighteen years? And what are the implications of walking around Chicago with a transparent polythene bag over your head? Questions, questions. Which reminds me: did I tell you about the 24-hour durational performance based entirely on one red-nosed performer asking another random and bizarre questions? Drawing on a range of international artists, solo performers and companies as examples, this module considers the enormously varied practices of contemporary live art and performance from five main points of view:

  • differing explorations of time, taking into account such factors as durational time, repetition, chance, failure and real time events.
  • the uses and dynamics of space, including questions around site-specificity, situation and context, public and private space, and displacement.
  • the utilisation of bodies as sites of experimentation and/or expression.
  • the re-evaluation and implementation of text in contemporary practices.
  • the changing role of spectatorship in contemporary performance.

The module proceeds under ‘laboratory’ circumstances. Alongside seminars, essay writing and workshops (including some run by professional practitioners), students are involved in sustained and intensive practical group work focusing on, and experimenting with, the dynamics of live performance. The module component takes its lead from the immediate practices of artists, performers and companies, and the following is a pool from which a selection will be singled out for particular attention during the course of the term: Marina Abramovic, Tehching Hsieh, Francis Alÿs, Sophie Calle, Lone Twin, Ontroerend Goed, Gob Squad, Forced Entertainment, the Wooster Group, Pina Bausch, Franko B, Tomoko Takahashi, Mark Dion, Roman Ondák, Tino Sehgal, Martin Creed, Antony Gormley, Adrian Howells and Richard Dedominici.


TH235 30 WIRED

SPRING THURSDAY 1230-1430 Edit Suite/G52

30% Practical Exam (video)
70% Practical Exam (video)

You make a film. And then you make another film. The first project involves responding to an assigned text in pre-determined groups, the second arises from a proposal for a video that you prepare in a group of your choosing. Working alongside scriptwriter John Costello, the module introduces you to camera techniques, script development, editing (Adobe Premiere Pro) and post-production. The module attracts students from a range of disciplines and is suitable for those with little or indeed considerable familiarity with video production. Please see where you will find a link to previous works created on this module.



MON 0900-1300 G53 (TWO TERMS)


MON 0900-1300 G53 (AUTUMN TERM ONLY)

30 CAT
25% - Essay (2500 words)
25% - Critical Review
50% - 3 hour exam

15 CAT
50% - Essay (2500 words)
50% - 1.5 hour exam

This module explores the history of avant-garde sound, film, video, 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 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. During the module we will likely encounter ‘expanded cinema’, remix and appropriation, video art, intermedial performances, live video feeds, installation art, experimental film, and subversive interruptions of broadcast TV.

The module is split into two distinct sections, and students can choose to take just the Autumn term by itself (15 CATs), or to take both the Autumn and Spring terms (30CATs). The Autumn term of the module will introduce the complex network of audiovisual art in the twentieth century, and the Spring term will include an extended case study of a particular form, movement or moment in the history of the audiovisual avant-garde. The second term also involves a number of practical projects for you to choose from, focussing around the recreation of key sound, video and installation works. These projects will be presented to the group as a form of practical research into the decision-making process behind the work in question.




50% - Essay (2500 words)
50% - Written exam (1.5 hours)

The aim of this module is to trace South African Theatre from pre-colonial performance by indigenous peoples, through the process of colonisation, urbanisation, and Apartheid, to the post-Apartheid period. It will particularly focus on how the socio-historic and economic changes have affected the development of theatre in South Africa. In seminars, with some practical engagement, we will look at play-texts and visual material where possible, to trace these developments and their effects on artists’ and theatrical forms that have developed.



THURSDAY 1000-1200 G52

Essay (3000 words) 60%
Project Work/Presentation (1500 word report) 20%
Portfolio (1500 words) 20%

This module option will commence with a discussion of pantomime today. We will then look at the origins of the British pantomime tradition in the commedia del arte, the development of English pantomime in the eighteenth century, Regency pantomime (when the clown, Grimaldi, became prominent), and Victorian pantomime, when the modern form we know today began to emerge from music hall, melodrama and burlesque. Finally, we will return to the twentieth-twenty-first centuries. A particular emphasis of this option will be on pantomime’s social, cultural and ideological functions and on its treatment of issues such as race, gender and class. A workshop on pantomime by a professional pantomime dame will take place towards the end of the module and the last seminar of the module will be devoted to practical presentations on pantomime.




100% - Essay (5000 words)
70% - Project-based assessment
30% - Critical Review (1500 words)

This module offers an opportunity for students to pursue a piece of independent or group work that develops a particular line of investigation. The open brief would enable students to embark on theatre research, practice-based, creative writing, curatorial, design, video, technical or web-projects with supervision from a member of staff. At the point of choosing options, student(s) would submit an idea for a project that outlined aims, research questions and outputs. Staff would review these proposals and allocate a supervisor if the project was feasible and appropriate for honours level study.




40% Portfolio (2x1000 words)
60% Essay 3000 words

This module examines the following:
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
Beginning at the beginning of the 20th Century with the foundation of the Abbey Theatre, the module looks at how nationhood was rehearsed, imagined and critiqued through a range of plays by playwrights such as Yeats, Synge, O’Casey, Murphy, Friel, McGuiness, Carr, Reid and Mitchell. Working from Christopher Murray’s idea of Irish Theatre as being ‘mirror up to nation’ and Benedict Anderson’s concept of ‘Imagined Community’, the module traces the relationship between the Irish stage and the ever-changing Irish socio-political landscape.



AUTUMN TUESDAY 1130-1330 G56

10% Assessed Seminar Presentation
40% Essay (2000 words)
50% 1.5 hr exam

This inter-disciplinary course explores the ways in which theatre, performance and film intervene into debates about religion, secularity, and affect in the modern world. Even a cursory look at recent world events such as the storm over the sex abuse scandals within the Catholic Church, the ire over the Danish cartoons of Prophet Muhammad, the demolition of the Babri mosque in India by right-wing Hindu groups, the hijab (heardscarf) controversy in Europe, the protests within the Sikh community in Birmingham around Gurpreet Kaur Bhatti’s play Behzti (2004) exposes the fragility of claims of a secular public sphere.

The increasing public contestations of the secular ideal mobilize passionate performances through claims and counter-claims that confirm the importance of religion in public life. Our increasingly globalized world has not rendered religion irrelevant but rather ever more powerful. How do we understand this seeming paradox? What do we mean by “secular”? How has the category of “secular” been historically constructed in opposition to religion? What role does religion play in the shaping of national identity? Why is our increasingly globalized world confronted with the concurrent rise in religious extremism? How are progressive sexual politics in Western democracies instrumentalised to discriminate against religious minorities? We will consider how a variety of artists and scholars tackle these questions.



SPRING TUESDAY 1130-1400 G56

One 2000-word (or equivalent) project-based assessment (40%)
One 3000-word essay (60%)

This module will address the theatrical treatment of issues that have been at the heart of the British nation in the twenty-first century and subject to widespread public debate, media campaigns, political controversy and legislation: migration, Gypsies and Travellers, riots and the north/south divide. As such, the module will address many of the pressing issues that are informing contemporary political debate about how the nation, national life and national citizenship are currently conceived, imagined and represented. The module is concerned with questioning how and why playwrights, theatre-makers and performance companies have engaged with and responded to these issues as forms of political intervention and commentary. However, where appropriate, I am also keen to take a longer historical perspective in order to argue that many twenty-first century anxieties have their origins in an earlier post-war period and can be traced to legacies of empire, colonialism, post-war reconstruction and long-standing concerns with class, regionalism and race in Britain.

The module will highlight the ways in which theatrical practice has contributed to national debate by creating alternatives to dominant narratives and images of stigmatization evident in political campaigns, media discourse and popular debate. This approach functions in recognition of Jacques Rancière’s call to generate moments of dissensus in the perceptual and aesthetic field, ‘a fresh sphere of visibility’, which effectively serves to question the logics of othering, marginalization and social abjection. Hence, the module will explore how theatre and theatricality has played a part in reframing events through its storying of issues as a way to trouble reductive perceptual framing and to insert a counter-mediation in the public sphere. As such, the module will address a range of different theatrical contexts and forms from large-scale plays for major theatres, to smaller-scale community pieces that encompass various styles including musicals, dance theatre, verbatim and monologues.

Illustrative works to be studied include: John Arden’s Live Like Pigs (1958), Claire Bayley’s The Container (2007), Jez Butterworth’s Jerusalem (2011), Jim Cartwright’s Road (1986), Andrea Dunbar’s Rita, Sue and Bob too (1982), David Greig’s Glasgow Girls (2011), Trevor Griffith’s Oi for England (1982), Lee Hall’s The Pitmen Painters (2007), Bryony Lavery’s Goliath (1997), Anders Lustgarten’s Lampedusa (2014), Gillian Slovo’s The Riots (2011) and Alecky Blythe’s Little Revolution (2014).




Essay (3000 words) 60%
Project Work/Presentation (1000 word report) 20%
Portfolio 20%

Melodrama was one of the most popular forms of entertainment ever. Once dismissed as a meaningless example of mass culture, it has increasingly attracted critical attention in recent years. This course explores the genre, paying attention to the diversity of nineteenth-century melodrama, its changing role in society and its theatrical realization. Commencing with Gothic melodramas such as Frankenstein the module will also consider melodrama as a form of social protest, its representation of women, its increasing obsession with spectacle and its gradual absorption into film and television. The last session of the module will be devoted to class presentations based around melodrama.




100% - Essay (5000 words)
70% - Project-based assessment
30% - Critical Review (1500 words)

This module offers an opportunity for students to pursue a piece of independent or group work that develops a particular line of investigation. The open brief would enable students to embark on theatre research, practice-based, creative writing, curatorial, design, video, technical or web-projects with supervision from a member of staff. At the point of choosing options, student(s) would submit an idea for a project that outlined aims, research questions and outputs. Staff would review these proposals and allocate a supervisor if the project was feasible and appropriate for honours level study.




Practice-based portfolio 40%
· Two to four image and/or word-based entries that represent forms of play analysis

Project-based assessment 60%
· Education packet for one play. It includes multiple sections, including play analysis as well as contextual and background research for the play. (e-submission)

In this practice-based module, we will focus on two key tasks of the dramaturg: detailed play analysis and background research that help theatre practitioners answer questions of form, content, action, character, theme and context. We will experience what a dramaturg does primarily through creative practice using writing, research, art, and imagination as we develop diagrammatic scene breakdowns, image boards, rhythm analyses, programme essays, and study guides, and explore background research presented in written text, images, music, and more. We will interrogate the connection between the dramatic text and the live performance and will investigate different methods of performance analysis that can result in various possible interpretations and page-to-stage approaches. We will work on various dramaturgical techniques in and out of class that will receive oral feedback in class and are structured to be preparation for the practice-based portfolio entries.




50% - Project-based assessment
50% - Essay

What freedoms do we relinquish for the opportunity to participate in social networks online? How much of ourselves do we upload and what is the relationship between our online self and that which remains offline? What are the possibilities and dangers of virtual worlds? This module looks at the interventions of theatre practitioners and artists who consider these questions as well as interrogating posthuman and cyborg futures, culminating in small group projects that explore what it means to perform online. Topics considered include the cult of technology, flavours of reality, post-human futures, gaming and social media.



2nd Year

CLASS LISTS (late May)

Forms Deadline
4pm Friday Wk 2
(6th May 2016)

2nd Year Single Honours
2nd Year English & Theatre
2nd Year other Joint Students

3rd Year

CLASS LISTS (late May)

Forms Deadline
4pm Friday Wk 2
(6th May 2016)

3rd Year Single Honours
3rd Year English & Theatre
3rd Year other joint students

External Students

If you are not taking a Theatre Studies Single/Joint degree you can still apply for a selection of our modules. All students, including those from Film wishing to take Wired or AVAG should use the form below to see the modules we offer as External options (please note that places are limited and first choice is assigned to Theatre Single/Joint Honours Theatre students.

Form Deadline
4pm Friday Wk 2
(6th May 2016)

External Students Form

Visiting Students

This form is for those students who are joining us for 1 or more terms from overseas institutions. Please refer to the info on the other pages for details of the modules on offer and, should you have any queries please contact t dot white at warwick dot ac dot uk

Form Deadline
4pm Friday Wk 2
(6th May 2016)

Visiting Students Form

External Modules

If you wish to take modules in another department (single honours students can take up to 30 CATS per year externally) you should make contact with the department concerned and determine whether this is possible, whether the module clashes with others you have chosen in Theatre and also discuss suitability with your Personal Tutor. Please also see the list to the left showing suggested external modules.