Performance Skills 2 (9712.5)
|Available teaching periods||Delivery mode||Location|
|View teaching periods|| On-Campus
|| South Bank, QLD
|0.125||3||Faculty Of Arts And Design|
|Discipline||Study level||HECS Bands|
|School Of Arts And Communications||Level 1 - Undergraduate Introductory Unit|| Band 2 2021 (Commenced After 1 Jan 2021)
Band 2 2021 (Commenced Before 1 Jan 2021)
The students will continue to develop their understanding of fundamental concepts of acting as theorised by Stanislavsky and other related practitioners through practical and written work.
The students will continue to explore and develop a free voice and vocal flexibility by performing a wide variety of texts and will extend their understanding of different voice training methodologies.
The students will continue physical performance training to condition and strengthen the body. They will be introduced to the theory and philosophy of specific training methodologies.
This subject will also focus on developing communication skills in academic and creative contexts.
Learning outcomesOn successful completion of this unit, students will be able to:
1. Employ acting, vocal and physical training techniques at a developed basic level;
2. Apply learned vocal technique when speaking and when performing a variety of dramatic and literary texts;
3. Employ acting techniques specifically to a range of theatrical texts and begin to explore dramatic theorists; and
4. Apply communication skills in an academic/creative context.
Graduate attributes1. UC graduates are professional - communicate effectively
1. UC graduates are professional - display initiative and drive, and use their organisation skills to plan and manage their workload
1. UC graduates are professional - employ up-to-date and relevant knowledge and skills
1. UC graduates are professional - take pride in their professional and personal integrity
1. UC graduates are professional - use creativity, critical thinking, analysis and research skills to solve theoretical and real-world problems
1. UC graduates are professional - work collaboratively as part of a team, negotiate, and resolve conflict
2. UC graduates are global citizens - adopt an informed and balanced approach across professional and international boundaries
2. UC graduates are global citizens - behave ethically and sustainably in their professional and personal lives
2. UC graduates are global citizens - communicate effectively in diverse cultural and social settings
2. UC graduates are global citizens - make creative use of technology in their learning and professional lives
2. UC graduates are global citizens - think globally about issues in their profession
2. UC graduates are global citizens - understand issues in their profession from the perspective of other cultures
3. UC graduates are lifelong learners - adapt to complexity, ambiguity and change by being flexible and keen to engage with new ideas
3. UC graduates are lifelong learners - be self-aware
3. UC graduates are lifelong learners - evaluate and adopt new technology
3. UC graduates are lifelong learners - reflect on their own practice, updating and adapting their knowledge and skills for continual professional and academic development
Prerequisites9711 Performance Skills 1 AND 9717 Production Theatre Skills
|Year||Location||Teaching period||Teaching start date||Delivery mode||Unit convener|
|2023||South Bank, QLD||Semester 2||31 July 2023||On-Campus||Ms Lisa O'Neill|
|2024||South Bank, QLD||Semester 2||29 July 2024||On-Campus||Ms Lisa O'Neill|
Adler, S. (2000). The art of acting. Applause Books, pp. 138-159.
Alfreds, M. (2012). Different every night: Freeing the actor. Nick Hern Books, pp. 42-63.
Bella, R. (2008). Practical aesthetics: An overview. In A. Bartow (Ed.), Handbook of acting techniques (pp. 223-246). Nick Hern Books.
Bogart, A. (2015, May 13). The role of storytelling in the theatre of the Twenty-First Century. Howlround Theater Commons. http://howlround.com/the-role-of-storytelling-in-the-theatre-of-the-twenty-first-century#disqus_thread
Borny, G. (2013). Interpreting Chekhov. ANU Press, pp. 127-141.
Carey, D. (1995). Masterclass: The actor's audition manual (Vol. 2, pp. 36-41, & pp.46-84). Currency Press.
Hagen, U. (1991). A challenge for the actor. Scribener, pp. 100-122.
Hart, V. (2008). Meisner Technique: Teaching the work of Sanford Meisner. In A. Bartow (Ed.), Handbook of acting techniques (pp. 51-92). Nick Hern Books.
Hodge, A. (Ed.). (2010). Twentieth century actor training. Routledge, pp. 86-91, & pp.129-149.
Mamet, D. (1998). True and false: Heresy and common sense for the actor. Faber and Faber, pp. 75-97.
Morris, E. (1985). Irreverent acting. Ermore Enterprises, pp. 188-207.
Rosenfeld, C. (2014). Acting and living in discovery: A workbook for the actor. Hackett Publishing Company, Inc., pp. 1-70.
Rosenfeld, C. (2008). Uta Hagen's technique. In A. Bartow (Ed.), Handbook of acting techniques (pp. 127-164). Nick Hern Books.
Spolin, V. (1999). Improvisation for the theatre: A handbook of teaching of directing techniques (3rd ed.). Northwestern University Press, pp.318-321, & pp. 348-352.
Set plays to include:
Anton Chekhov The Seagull (a contemporary or recent translation)
Douglas Stewart Ned Kelly
Tennessee Williams The Glass Menagerie
Maria Irene Fornes -selected plays
Martin Sherman Bent
Harold Pinter The Homecoming
Edward Bond The Sea
Arthur Miller A View from the Bridge, Death of a Salesman
John Patrick Shanley –selected plays
Athol Fugard Master Harold and the Boys
Lorraine Hansberry A Raisin in the Sun
Aleksei Arbuzov The Promise
Polly Stenham That Face
Lucy Prebble Enron
David Williamson The Removalists
Berry, C. (1973). Voice and the Actor. London, UK: Harrap Limited. ISBN: 0-245-52021-X. (Any reprint of this book can be used.)
McCallion, M. (1988). The Voice Book (1988). London, UK: Faber & Faber. ISBN: 0-571-19525-3.
Rodenburg, P. (1993). The Need for Words. London, UK: Methuen Drama. ISBN: 0 413 681060 2.
Boston, J. Ed. (2007)). Voice and Speech in the Theatre by Clifford Turner (1950). (6th Edition). London, UK: Methuen Drama. ISBN: 978-0-7136-8188-8.
Yukihiro, G. (1988) Suzuki Tadashi: Innovator of Japanese theatre, Ph.D. Dissertation, Honolulu: University of Hawaii.
Nobbs, J. (2006). Frankly acting. Frank Theatre press. Pp. 147-156
Carruthers, I. (2006). Reading Suzuki Tadashi's the chronicle of Macbeth in Australia. Tsukuba University Comparative. Pp 60-62.
Potter, N. (ed) (2002). Movement for actors. Allworth Press.
Hodge, A. (2010) Actor training. Routlege.
Callery, D. (2001). Through the body. Nick Hern. Pp 19-22.
Allain, P., & Harvie, J. (2014). Theatre and performance. Routledge. Pp.94-95.
Sant, T. (2003). Suzuki Tadashi and the Shizuoka company in New York, The Drama Review, 47(3) (T 179).
Students are required to attend all sessions to successfully complete the theortecial and practical requirements.
Required IT skills
Students will be required to use the online student management system Canvas
Work placement, internships or practicums