International practice practitioners
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INTERNATIONAL PRACTICE & PRACTITIONERS . MODULE AIMS AND LEARNING OUTCOMES. - “To increase knowledge of a range of theatre practices across Europe and rest of the world” i.e. What Theatre is being practiced outside of the UK? . MODULE AIMS AND LEARNING OUTCOMES.

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INTERNATIONAL PRACTICE & PRACTITIONERS

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International practice practitioners

INTERNATIONAL PRACTICE & PRACTITIONERS


Module aims and learning outcomes

MODULE AIMS AND LEARNING OUTCOMES

- “To increase knowledge of a range of theatre practices across Europe and rest of the world”

i.e. What Theatre is being practiced outside of the UK?


Module aims and learning outcomes1

MODULE AIMS AND LEARNING OUTCOMES

- “Enhance understanding of what might constitute performance”.

i.e. What is Performance?How do we define it? How do we recognise it? What makes a theatrical performance?


Module aims and learning outcomes2

MODULE AIMS AND LEARNING OUTCOMES

- “A working knowledge of key international practitioners”.

i.e. What is an ‘international practitioner’? Who are the directors, playwrights, actors, performers and dramaturges currently influencing theatre worldwide?


Module aims and learning outcomes3

MODULE AIMS AND LEARNING OUTCOMES

- “Enhance understanding of a range of performance practices”.

i.e. How do these key international practitioners work? What is their approach? What are their methodologies?


Module aims and learning outcomes4

MODULE AIMS AND LEARNING OUTCOMES

- “Enhance understanding of a range of performance practices”.

i.e. How do these key international practitioners work? What is their approach? What are their methodologies?


International practice practitioners

MODULE CONTENT: “...aims to explore the many differing approaches to and definitions of what makes a theatrical performance”

so, in other words....

...How might these newly discovered practices enhance our own understanding of Theatre and Performance?

.... This is our overall aim.

We will be asking this question of every practitioner.

This allows us to stay focused.


How will we do this

HOW WILL WE DO THIS?

Context (Where do they fit within the parameters of Theatre? of Performance? Social and/or Political context?)

Influences (Who do did they learn from? Are there artistic and theatrical inspirations which have had an impact on their practice? What aspects of their work might we already be familiar with?)  

Seminal Work (What is their distinct practice? With a focus on key productions, rehearsal methodologies and approach we can seek a critical perspective.)

Reception (How are they received by audiences? By Critics? By their contemporaries? What have been the arguments both for and against the integrity or validity of the work?)

Legacy (What imprint will they leave behind on future practices? How will their work influence (affect) future Theatre Practices? Has their work helped establish new forms and conventions in performance making?)


So in other words

So in other words ...

...we want to think critically, interrogate practitioner's work and offer a critical response.

What is your own understanding of how current international practitioners work?


How will we be learning

HOW WILL WE BE LEARNING?

  • Lectures

  • Live performance

  • Videos

  • Practical work allowing you to experience the

    methodologies of practitioners

  • Most importantly through your own reading

    and research


Course outline

COURSE OUTLINE

Week 1: 20 January INTRODUCTION

Week 2: 27 January PETER BROOK & ARTAUD

Week 3: 3 February MALY DRAMA THEATRE

Week 4: 10 February THÉÂTRE DE COMPLICITÉ

___________________________Reading Week____________________________

Week5: 24 February CIRCLE DE SOLEIL

Week6: 3 MarchWOOSTER GROUP (Elizabeth LeCompte) & FORCED ENTERTAINMENT (Tim Etchells)

Week 7: 10 March ROBERT LEPAGE/ Ex Machina, The Blue Dragon


Course outline1

COURSE OUTLINE

Week 8: 17 March CHEEK BY JOWL

Week 9:24 MarchAZ THEATRE

Week 10: 31 March GROTOWSKI / KANTOR &

ESSAY BRIEFING

Week 11: 7 April AUGUSTO BOAL

Week 12:14 April ESSAY DUE


International practice practitioners

VLADIMIR: Come, let's get to work! In an instant all will vanish and we'll be alone once more, in the midst of nothingness!


International practice practitioners

Read this book:

Kenneth PickeringKey Concepts in Drama and Performance Palgrave Macmillan (2005) isbn: 1403934363St Mary’s library or second hand on Amazon


International practice practitioners

PRODUCTIONS to see. A few suggestions ...

BARBICAN THEATRE

Compagnie MPTA / Mathurin Bolze, Du Goudron et des Plumes: A physical production, combining acrobatics,

lighting, music and design. Bolze: “original and brilliant young circus creator”. (26 - 29 January)

(**) SEE THIS: Class discussion on 10 March: Robert Lepage / Ex Machina, The Blue Dragon (17 - 26 February)

Chekhov International Festival production in association with Cheek by Jowl , The Tempest, 7-16 April 2011

(**) SEE THIS:On and Off Stage: Experimental Theatre and Visual Art Performance: Insights from practitioners and thinkers

across theatre and visual art performance. (21 April )

CIRQUE DU SOLEIL

(**) SEE THIS: Class discussion on 24 February

London Royal Albert Hall (until 17 February 2011)

KNEEHIGH Theatre Company

The Umbrellas of Cherbourg , Gielgud Theatre, London (March - October 2011) 

Young Vic/ Théâtre de la Ville-Paris co-production

I Am the Wind, Collaboration between ‘three of the biggest names in European theatre’: Jon Fosse, Patrice Chéreau, and Simon Stephens (26 April - 21 May)


Week 1 review worksheet

Week 1: review worksheet


Questions to ask when studying the work of practitioners

QUESTIONS TO ASK WHEN STUDYING THE WORK OF PRACTITIONERS:

Context (Where do they fit within the parameters of Theatre? of Performance? Social and/or Political context?)

Influences (Who do did they learn from? Are there artistic and theatrical inspirations which have had an impact on their practice? What aspects of their work might we already be familiar with?)

Seminal Work (What is their distinct practice? With a focus on key productions, rehearsal methodologies and approach we can seek a critical perspective.)

Reception (How are they received by audiences? By Critics? By their contemporaries? What have been the arguments both for and against the integrity or validity of the work?)

Legacy (What imprint will they leave behind on future practices? How will their work influence (affect) future Theatre Practices? Has their work helped establish new forms and conventions in performance making?) 


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