Dr Nicholas Monk (GO4a, The CAPITAL Centre)
Tuesdays, 3-5 pm, CAPITAL Studio
This module provides an option for students to expand their theoretical, methodological, and creative understanding and appreciation of drama and performance. It seeks also to explore fully the learning potential of the ensemble and the rehearsal room, and employs to this end a method of assessment based upon a group performance.
Unit 1: Intellectual and Theoretical Background
Week 1: The 1950s. Beckett and the Modernist “I”. Session on reflective journals
Unit 2: Racial Identity
Week 2: The 1960s. Jean Genet, Adrienne Kennedy
Unit 3: Towards Postmodernism
Week 3: The 1970s. Beckett and the Postmodernist “I”
Week 4: The 1980s. Heiner Muller
Unit 4: Postmodernism
Week 5: The 1980s/90s. Suzan Lori-Parks, Caryl Churchill, Anthony Neilson
Week 6 : Reading Week
Unit 5: Capitalist Identitities, Border/Transgressive Identities
Week 7: The 1990s and beyond. Mark Ravenhill, Sarah Kane. Please note that there will be screenings you will be expected to attend on both Tuesday and Thursday of this week from 5pm- 8pm
Week 8: The 1990s and beyond. First of two devising workshops on Tony Kushner's Angels in America
Week 9: The 1990s and beyond. Second devising workshop on Angels in America. Please note that there will be an additional session from 5-8 designed to allow students to show their work
Week 10: The 1990s and beyond. Guillermo Gomez-Pena, Orlan
Term Two: Practical and Independent Study
In order to develop their own performance project, students will be encouraged to develop their practical skills through reference to the theoretical materials from the 1st term. Students will attend tutorials consisting of project review and journal monitoring. The final element in the assessment process is the viva: a discussion of up to 30 minutes of the project, and the individual’s contribution to it, with the student and seminar tutor. Final grades are calculated from the various marks received for the performance, viva, and essay.
Week 1: Submission of assessed essay. Meetings with groups to finalise performance proposals
Week 2: Individual Monitoring
Week 3: Individual Monitoring
Week 4: Individual Monitoring
Week 5: Project Review. Each group’s performance to be discussed with the tutor
Week 6: Reading Week
Week 7: Individual Monitoring
Week 8: Further guidance
Week 9: Further guidance
Week 10: Final Project Review and guidance on performance videos, and conducting vivas
Term 3: Final Assessment
Week 1: Recorded performances. Vivas
Week 2: Submission of reflective journals
Beckett, Samuel. Collected Shorter Plays, Endgame.
Churchill, Caryl. Plays 2, The Skriker.
Genet, Jean. The Blacks: A Clown Show.
Gomez-Peña, Guillermo. The New World Border .
Kennedy, Adrienne. Adrienne Kennedy in One Act.
Lori-Parks, Suzan. The America Play and Other Works.
Müller, Heiner. Hamletmachine and Other Texts for the Stage.
Neilson, Anthony. "The Wonderful World of Dissocia" and "Realism".
Ravenhill, Mark. Shopping and Fucking.
SELECTED CRITICISM ON THE PRIMARY TEXTS
Adorno,Theodor. “Trying to Understand Endgame.”
Butler, Judith. Excitable Speech: A Politics of the Performative.
Descartes, Rene. Meditations.
Kojève, Alexandre. Introduction to the Reading of Hegel.
Lacan Jacques. Écrits: A Selection.
Schneider, Rebecca. The Explicit Body in Performance.
Senghor, Leopold. The Foundations of Africanite, Negritude, and Arabite.
SELECTED CRITICISM ON THE PRACTICAL ASPECTS OF PERFORMANCE
Allain, Paul, and Jen Harvie. The Routledge Companion to Theatre and Performance.
Boal, Augusto. Games for Actors and Non-actors.
Goldberg, RoseLee. Performance Art from Futurism to Present.
Schechner, Richard. Performance Theory.