Performance Skills 4 (9714.5)
|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 2 - Undergraduate Intermediate Unit|| Band 2 2021 (Commenced After 1 Jan 2021)
Band 2 2021 (Commenced Before 1 Jan 2021)
The students will continue to refine their acting through the exploration of contemporary texts. They will be introduced to the theory of various 20th century models of actor training techniques.
The students will continue to refine their vocal technique through the extensive exploration of vocal range and the handling and presentation of classical text through performances of Moliere.
The students will continue to engage in physical performance training to study the use of the body as an instrument of expression and power for acting and stage performance. They will be introduced to various concepts and ideas about the body as discussed by a range of performance practitioners.
Learning outcomesOn successful completion of this unit, students will be able to:
1. Employ acting, vocal and physical training techniques at a developed intermediate level;
2. Apply the key applied techniques of vocal training to the performance of Moliere texts;
3. Employ acting techniques in the presentation of contemporary texts; 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
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
2. UC graduates are global citizens - understand issues in their profession from the perspective of other cultures
Prerequisites9713 Performance Skills 3
Corequisites9718 Screen and TV Studies
|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|
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
Boal, A. (1990). The cop in the head: Three hypotheses. The Drama Review, 34(3), 35-42.
Boal, A., & Jackson, A. (2005). Games for actors and non-actors. Routledge, pp. 29-47.
Bogart, A. (2007). And then, you act: Making art in an unpredictable world. Routledge, pp.106-125.
Brecht, B. & Willett, J. (1986). Brecht on theatre: The development of an aesthetic (2nd ed.). Methuen; Hill and Wang, pp. 91-99, 121-129, 136-147.
Casey, M., & Craigie, C. (2011). A brief history of Indigenous Australian contemporary theatre. Australian Script Centre.
Donnellan, D. (2005). The actor and the target. Theatre Communications Group, Inc., pp. 60-74.
Gammage, B. (2012).The biggest estate on earth: How Aborigines made Australia. Allen & Unwin, pp.123-138.
Gilbert, H., & Tompkins, J. (1996). Post-colonial drama: Theory, practice, politics. Routledge, pp.15- 52.
Grotowski, J. (2001). Towards a poor theatre. In R. Schechner & L. R. Wolford (Eds.), The Grotowski sourcebook (pp. 28-37). Routledge.
Miller, A. (1994). The Last Yankee: With a new essay about theatre language and Broken Glass. The Fireside Theatre, pp.58-75.
Mudrooroo. (1997). The Indigenous literature of Australia: Milli milli wangka. Hyland House, pp. 1-32.
Pascoe, B. (2018). Dark emu. Magabala Books, pp. 177-208.
Ridout, N. (2009). Theatre and ethics. Palgrave Macmillan, pp.1-24.
Stowell, S. (2010). Rehabilitating realism. In M. B. Gale, & J. F. Deeney (Eds.), The Routledge drama anthology and sourcebook: From modernism to contemporary performance (pp. 481-486). Routledge.
Weekly readings/recordings extracted from the following texts and online sources:
Baldwin, J. (2013). The Accidental Rebirth of Collective Creation in A History of Collective Creation (Edited by Syssoyeva K., & Proudfit, S.). New York, NY: Palgrave MacMillan. Retrieved from http://www.palgraveconnect.com/pc/doifinder/10.1057/9781137331304
Bermel, A. (1990). Moliere's Theatrical Bounty: A New View of the Plays. Carbondale, Illinois: Southern Illinois University Press.
Blumenfeld, R. (2000). Accents – A Manual for Actors. New York, NY: Limelight Editions (pages 1-10; 94, 96-97).
Bruder, M., Cohn, L., Olnek, M., Pollack, N., Previto, R., Zigler, S., (1986). A Practical Handbook for the Actor. New York, NY: Vintage Books (pages 8-10).
Everything Theatre. (2013). School for Wives, White Bear Theatre (Review) 16.3.16 Retrieved on 1.10.14 from http://everything-theatre.co.uk/2013/03/school-for-wives-white-bear-theatre.html
Feral, J., Mnouchkine, A., & Husemoller, A. (1988). Building up the Muscle: An Interview with Ariane Mnouchkine. In TDR (1988) Vol. 33, No. 4 (Winter, 1989), pp 88-97. Published by The MIT Press.
Hall, P. (2003) Shakespeare's Advice to the Players. London, UK: Oberon Books (pages 47-51).
Hemmings, F. (1987). The Training of Actors at the PARIS Conservatoire during the Nineteenth Century in Theatre Research International Volume 12 Issue 03 Augumn 1987, pp 241-253. DOI http://dx.doi.org/10.1017/S0307883300013705 (About DOI),
Houseman, B. (2008). Tackling Text – a step-by-step guide for actors. London, UK: Nick Hern Books (pages 71-2; 127-150).
International Archive of Accents and Dialects at http://www.dialectsarchive.com/ The American Southern Dialect. (Recommended: Texas, Louisiana & Tennersee accents).
Keller, S. (2009), Chapter 13: The Benefits of Rhetorical Analysis in The Development of Shakespeare's Rhetoric – a study of 9 plays. Tubingen, Germany: Franke/Verlag, (pages 249-269).
Lawrence, KS: Paul Meier Dialect Services.Polydorou, E. (2011). Chapter 3: Lorca as the Romantic Figure in Spain and Abroad in The Reception of Federico Garcia Lorca and His Rural Trilogy in the UK and Spain after 1975 (a thesis submitted to the University of Birmingham - Department of Hispanic Studies). Retrieved on 1.10.14 from http://etheses.bham.ac.uk/3058/1/Polydorou11MPhil.pdf
Linklater, K. (2006). Freeing the Natural Voice. London, UK: Nick Hern Books.
McCallion, M. (1988). The Voice Book. London, UK: Faber and Faber (pages 74-85).
McCarthy, P. & Hatcher, C. (2002) Chapter 3: Persuasive Strategies in Speaking Persuasively. Milton, QLD Allen & Unwin.Meier, P. (2012).
Pressley, J.M. & The Shakespeare Resource Centre. (2014). Rhetorical Devices retrieved on 21.6.17 from http://www.bardweb.net/grammar/02rhetoric.html
Richardson, H. (2010 ). Ariane Mnouchkine and the Theatre du Soleil; Theatricalising History; The Theatre as Metaphor; The Actor as Signifier in Actor Training (Edited by A. Hodge. 2nd Edition). Abingdon, UK: Routledge (pages 237-249).
Rodenburg, P. (1997). The Actor Speaks. London, UK: Methuen (pages 193-223).
Rudlin, J. (1994). Commedia Dell'Arte: An Actor's Handbook. London, UK: Routledge (pages 1-12 & 48-66).
Scott, V. (2000). Moliere A Theatrical Life. Cambridge, UK: Cambridge University Press.
Sharpe, E. & Rowles, J. H. (2009). Chapter 3: The Foundations in How To Do Accents. London, UK: Oberon Books. Pages 9-10 & 33-46.
Sitwell, E. (2009). British Library – Edith Sitwell (British Library Sound Archive) (CD- Audio). London, UK: British Library Publishing division.
Sitwell, E. (n.d.). Edith Sitwell's poems or related articles, which can be located at the following websites:
Small, B. (1979). Shaw on Standard Stage Speech in The Shaw Review. Vol. 22, No. 3 (September, 1979), pp 106-103. Published by Penn State University Press.)
Whitehead, C. (2012). The School for Wives (Review) in The Age 14.9.12 Retrieved on 1.10.14 from http://www.theage.com.au/entertainment/theatre/the-school-for-wives-20120913-25usv.html
Worthen, W. B. (2000). Moliere. In The Harcourt Brace Anthology of Drama (3rd Edition). Boston, MA: Thomson/Heinle, (pages 432 – 439).
Students are required to purchase the following texts;
Keefe, J., & Murray S. (eds.) (2007) Physical theatres: A critical reader. Routledge.
Marshall, L. (2008) The body speaks (2nd Ed). Bloomsbury Methuen Drama.
It is advised that students attend all sessions to sucessfully complete the unit.
Required IT skills
Students will need access to the student management system Canvas
Work placement, internships or practicums