Performance Skills 3 (9713.4)
|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 2 - Undergraduate Intermediate 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 developing intermediate level;
2. Apply the key applied techniques of vocal training to the performance of Shakespearean texts;
3. Employ acting techniques in the presentation of Shakesperean and heightened text; 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
The University has five generic skills for coursework courses. By the end a course, graduates will have developed the following skills and attributes in:
1. Communication - The ability to present knowledge, ideas and opinions effectively and communicate within and across professional and cultural boundaries.
2. Analysis and Inquiry - The ability to gather information, and to analyse and evaluate information and situations in a systematic, creative and insightful way.
3. Problem Solving - The ability to apply problem-solving process in novel situations; to identify and analyse problems then formulate and implement solutions.
4. Working independently and with others - The ability to plan their own work, be self-directed and use interpersonal skills and attitudes to work collaboratively.
5. Professionalism & Social Responsibility - The capacity and intention to use professional knowledge and skills ethically and responsibly, for the benefit of others and the environment
Prerequisites9712 Performance Skills 2
|Year||Location||Teaching period||Teaching start date||Delivery mode||Unit convener|
|2021||UC - TAFE Queensland, South Bank||Semester 1||08 February 2021||On-Campus||Ms Lisa O'Neill|
|2022||UC - TAFE Queensland, South Bank||Semester 1||07 February 2022||On-Campus||Ms Lisa O'Neill|
Bala, S. (2017). Decolonising Theatre and Performance Studies: Tales from the classroom. Tijdschrift voor Genderstudies, 20(3), 333-345. https://doi.org/10.5117/TVGN2017.3.BALA
Basil, J. & Gunning, S. (2006). Will power: How to act Shakespeare in 21 days. Applause Theatre and Cinema Books.
Barton, J. (1984). Playing Shakespeare. Methuen.
Chekhov, M., Gordon M. (Ed.). (1991). On the technique of acting. Harper Perennial.
Dickson, A. (2016, March 15). Multiculturalism in Shakespeare's plays. British Library. https://www.bl.uk/shakespeare/articles/multiculturalism-in-shakespeares-plays#
Dickson, A. (2015). Worlds elsewhere: Journeys around Shakespeare's globe. Henry Holt and Company.
Donnellan, D. (2005). The actor and the target. Theatre Communications Group, Inc.
Gay, P. (1998). The history of Shakespeare's unruly women. In J. de Gay & L. Goodman (Eds.), The Routledge reader in gender and performance (pp. 41-46). Routledge.
Gielgud, J. (1988). Stage directions. Hodder & Stoughton.
Greenblatt, S. (2004). Will in the world: How Shakespeare became Shakespeare. W. W. Norton Company.
Kermode, F. (2005). The age of Shakespeare. Modern Library.
Linklater, K. (2009). Freeing Shakespeare's voice. Nick Hern Books.
Rodenburg, P. (2002). Speaking Shakespeare. Methuen Publishing Ltd.
Shakespeare, W., & Dusinberre, J. (2006). As you like it. Arden Shakespeare.
Walter, H. (2016). Brutus and other heroines: Playing Shakespeare's roles for women. Nick Hern Books.
Wilson, J. (1995). The Shakespeare Legacy: the material legacy of Shakespeare's theatre. Bramley Books.
Recommended works by Shakespeare: King Lear, Othello, The Tempest, Henry V , Measure for Measure, Love's Labours Lost, Hamlet, Antony and Cleopatra, Richard II, The Winter's Tale, The Sonnets.
Other recommended works:
Behn, A. The Rover
Fry, C. The Lady's Not For Burning
Hewett, D. The Chapel Perilous
Marlowe,C. Doctor Faustus, Edward II
Spender, S. Trial of a Judge
Webster, J. The Duchess of Malfi, The White Devil
Wilde, O. Salome
Yeats, W. B. The Countess Cathleen
Additional Reference texts:
Adler, S. (1988). The technique of acting. Bantam Books.
Moss, L. (2006). The intent to live: Achieving your true potential as an actor. Bantam Dell.
Stern. T. (2007). Rehearsal from Shakespeare to Sheridan. Oxford University Press.
Fry, S. (2006). The ode less travelled: Unlocking the poet within. Gotham Books.
Freeman, N. (1999). Shakespeare's first texts. Applause Books.
Weingust, D. (2006). Acting from Shakespeare's First Folio: Theory, text and performance. Routledge.
Students to purchase the following texts:
Berry, C. (2000). The actor and the text. Virgin Books. (Or other edition).
Students must have access to William Shakespeare's play, Hamlet, and his sonnets. The following versions are recommended:
Shakespeare, W. (2009). Shakespeare's sonnets. Penguin.
Shakespeare, W., Taylor, N., & Thompson, A. (2007). Hamlet: the texts of 1601 and 1623. The Arden Shakespeare.
Weekly readings extracted from the following texts and online sources:
Amulya, J. (n. d.). What is reflective practice? The Center for Reflective Community Practice at MIT. http://www.itslifejimbutnotasweknowit.org.uk/files/whatisreflectivepractice.pdf.
Barton, J. (1984). Using the verse in playing Shakespeare. Methuen.
Carson, C. Holloway, R., & Karim-Cooper, F. (2008). Shakespeare's Globe a theatrical experiment. Cambridge University Press.
Gussow, M. (2000). An innovative season at Stratford-upon-Avon. In W.B. Worthen (Ed.). The Harcourt Brace Anthology of Drama (3rd ed.). Harcourt Press.
Davies, A. (1988). Filming Shakespeare's plays: The adaptations of Laurence Olivier, Orson Welles, Peter Brook, and Akira Kurosawa. Cambridge University Press.
Hammond, P. (2012). An original-spelling text. Oxford University Press.
Linklater, K. (2009). Freeing Shakespeare's voice: The actor's guide to talking the text. Nick Hern Books.
Linklater, K. (2006). Freeing the natural voice. Nick Hern Books.
Mabillard, A. (2000). Words Shakespeare invented. Shakespeare online.
Poets.org. (2021). Sonnet. http://www.poets.org/poetsorg/text/poetic-form-sonnet
Shewell, C. (2009). Voice work: Art and science in changing voices. Wiley-Blackwell.
Tucker, P. (2002). Secrets of acting Shakespeare: The original approach. Routledge.
Worthen, W. B. (Ed.). (2000). The Harcourt Brace Anthology of Drama (3rd ed.). Harcourt Press.
Students are to purchase the following text:
Keefe, J., & Murray S. (Ed.). (2007). Physical theatres: A critical introduction. Routledge.
Additional Reference texts:
Bogart, A., & Landau, T. (2005). The viewpoints book. Theatre Communications Group.
Eugenio, B., & Nicola, S. (1991 and 2005). A dictionary of theatre anthropology: The Secret art of the performer. Routledge.
Gaulier, P. (2007). The tormentor. Editions Filmko.
Hodge, A. (2010). Actor training (2nd ed.). London.
Leabhart, T., Chamberlain, F. (2008). The Decroux sourcebook. Routledge.
Littlewood, J. (1994). Joan's book: Joan Littlewood's peculiar history as she tells. Methuen.
Murray, S. (2003). Jacques Lecoq. Routlege.
Pagneux, M., & Golden, R. (2012). Inside/outside: Theatre/movement/being. Robert Golden Pictures Ltd.
Shevstova, M. (2004). Dodin and the Maly drama theatre: Process to performance. Taylor & Francis Ltd.
Many of the activities that occur in this class involve group work and physical contact with other students. This is the nature of acting. Classes will, at times, be quite physically vigorous and students need to be willing to participate in all activities. Students need to wear comfortable clothing to each class and should bring a hard copy journal to take notes during and after classes in order to be able to write the second assessment item in voice.
Required IT skills
Students must be familiar with the LMS Canvas as they will be required to download all lecture notes and readings and submit assessment tasks.
Work placement, internships or practicums