Performance Skills 2 (9712.5)
|Available teaching periods||Delivery mode||Location|
|View teaching periods|| On-Campus
|| UC - TAFE Queensland, South Bank
|0.125||3||Faculty Of Arts And Design|
|Discipline||Study level||HECS Bands|
|School Of Arts And Communications||Level 1 - Undergraduate Introductory Unit|| Band 1 2013-2020 (Expires 31 Dec 2020)
Band 2 2021 (Commenced After 1 Jan 2021)
Band 2 2021 (Commenced Before 1 Jan 2021)
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
Prerequisites9711 Performance Skills 1 AND 9717 Production Theatre Skills
|Year||Location||Teaching period||Teaching start date||Delivery mode||Unit convener|
|2021||UC - TAFE Queensland, South Bank||Semester 2||02 August 2021||On-Campus||Ms Lisa O'Neill|
|2022||UC - TAFE Queensland, South Bank||Semester 2||01 August 2022||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. 13-20 , 42-63
Bartow, A. (Ed.). (2008). Handbook of acting techniques. Nick Hern Books, pp. 51-92, 127-164, 223-246.
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). Currency Press, pp. 36-41& 46-84.
Hagen, U. (1991). A challenge for the actor. Scribener, pp. 100-122.
Hodge, A. (Ed.). (2010). Twentieth century actor training. Routledge, pp. 86-91,129-149.
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. 104-125, 188-207.
Schechner, R. (1997). Theatre in the 21st century. TDR (1998-), Vol. 41. No. 2 (Summer, 1997), pp. 5-6.
Spolin, V. (1999). Improvisation for the theatre: A handbook of teaching of directing techniques (3rd ed.). Northwestern University Press, pp.318-321, 348-352.
Set Plays (in any edition):
Chekhov, A. The Seagull
Gray, O. The Torrents
Jacobs-Jenkins, B. Appropriate
Letts. T. August, Osage County
Mulvaney, K. Jasper Jones
Purcell, L. The Drover's Wife
Shanley, J. P. Doubt
Williams, T. The Glass Menagerie
Wilson, A. Fences
Bond, E. The Sea
Bovell, A. When the Rain Stops Falling
Hellman, L. The Children's Hour
Jacobs-Jenkins, B. An Octoroon
Miller, A. A View from the Bridge
Price, N. Barking Dogs
Resa, Y. Art
Shanley, J. P. Danny and the Deep Blue Sea or Savage in Limbo
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, East Brisbane: Frank Theatre press. Pp. 147-156
Carruthers, I. (2006). Reading Suzuki Tadashi's The Chronicle of Macbeth in Australia, Japan: Tsukuba University Comparative. Pp 60-62.
Potter, N. (ed) (2002). Movement for Actors, New York: Allworth Press.
Hodge, A. (2010) Actor Training, London and New York: Routlege.
Callery, D. (2001). Through the Body, London: Nick Hern. Pp 19-22.
Allain, P., & Harvie, J. (2014). Theatre and Performance. New York: Routledge. Pp.94-95.
Students are encouraged to attend all sessions to successfully complete the theortecial and practical requirements.
Students who attend campus for class or other purposes must play their part in keeping our campus and community safe by following these basic guidelines to reduce the risk of COVID-19 transmission:
- Practise good hand hygiene, washing hands regularly;
- If you do happen to cough or sneeze, please do so into the crook of your elbow, dispose of tissues immediately and wash hands immediately
- Practise effective physical distancing;
- Follow all directions of teaching and other UC staff regarding safety measures;
- Stay off campus if you are unwell and get tested according to ACT Government guidelines, and
- Follow University communications about campus arrangements https://www.canberra.edu.au/coronavirus-advice
Required IT skills
Students will be required to use the online student management system Canvas
Work placement, internships or practicums