Performance Skills 6 (9716.2)
|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 3 - Undergraduate Advanced Unit|| Band 2 2021 (Commenced After 1 Jan 2021)
Band 2 2021 (Commenced Before 1 Jan 2021)
The students will continue to consolidate their acting through the exploration of contemporary and modern texts and explore important theoretical topics on the art of acting. They will develop professional auditioning skills by focusing on the technical and creative aspects of presenting monologues and scenes.
The students will continue to refine their vocal technique through extensive exploration of vocal range and the handling and presentation of a variety of texts in different performance contexts, including 'voice acting'.
The students will continue to engage in physical performance training. They will be introduced to various theatrical concepts, theories and practices associated with physical theatres.
Learning outcomesUpon successful completion of this unit, students will be able to:
1. Employ acting, vocal and physical training techniques at an advanced level;
2. Apply the key applied techniques of vocal training to the performance of a range of performance texts and when performing in a variety of performance contexts, including when doing voice acting and voice-over;
3. Employ acting techniques in the presentation of audition monologues and scene work; 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
3. UC graduates are lifelong learners - be self-aware
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
Prerequisites9715 Performance Skills 5
|Year||Location||Teaching period||Teaching start date||Delivery mode||Unit convener|
|2023||UC - TAFE Queensland, South Bank||Semester 2||31 July 2023||On-Campus||Ms Lisa O'Neill|
MODULE 1: ACTING
Benedetti, J., & Stanislavsky, K. (2017). An actor's work. Routledge Classics, pp. 561-577.
Brown, C. (2015). Using punctuation to facilitate comedy in the plays of George Bernard Shaw and beyond. In C. J. Olsen (Ed.), Acting comedy (pp.48-51). Routledge.
Chekhov, M. (1991). On the technique of acting. Harper Perennial, pp. 159-172.
Gielgud, J. (1988). Stage directions. Hodder and Stoughton, pp. 72-84.
Gilbert, H & Tompkins, J. (1996). Post-colonial drama: Theory, practice, politics. Routledge, pp.203-221.
Haggard, S., & Seyler, A. (1981). The craft of comedy. Theatre Arts Books, pp. 7-26.
Haase, C. (2003). Acting for film. Allworth Press, pp. 99-112.
Johnstone, K. (1979). IMPRO: Improvisation and the theatre. Faber and Faber, pp. 33-41.
Kaplan, S. (2015). Straight line/wavy line. In C. J. Olsen (Ed.), Acting Comedy (pp.25-36). Routledge.
Kohlhaas, K. (2005) The monologue audition: A practical guide for actors. Limelight Editions, pp. xv-xxiii.
Lui, N. (2014, June 12). Is Australian theatre racist? The Guardian. https://www.theguardian.com/stage/australia-culture-blog/2014/jun/12/is-australian-theatre-racist
Meltzer, S. (2015). The secret of great comedy. In C. J. Olsen (Ed.), Acting comedy (pp.136-139). Routledge.
Rand, R. & Scocia, L. (2007). Acting teachers of America: A vital tradition. Allwood Press, pp. 230-234.
Robinson, D. R. (2015). Physicalizing farce. In C. J. Olsen (Ed.), Acting comedy (pp.72-75). Routledge.
Academy of Achievement. (2016, November 16). Lloyd Richards, Academy Class of 1987, Full Interview. [Video]. YouTube https://www.youtube.com/watch?time_continue=3239&v=_Y9tUIfSGbs&feature=emb_title
Lanthimos, Y. (Director). (2018).The favourite [Film]. Scarlet Films; Element Pictures; Arcana; et al.
Scorsese, M. (Director). (1982). The king of comedy [Film]. Embassy International Pictures.
MODULE 2: VOICE
Bordwell, D. & Thompson, K. (2012) Film Art – An Introduction. (4th Edition). New York, NK: McGraw-Hill. (See Chapter 8 – Sound in the Cinema). Pages 318-323.
Llewellyn, M. (2014). Secrets of a Great Radio Voice Revealed' from http://www.abc.net.au/science/articles/2014/07/15/4042624.htm. Accessed on 21.6.15.
Leon Thurman, Axel Theimer, Graham Welch, Patricia Feit and Elizabeth. (2000). What Sounds are Made Of. In Thurman, Leon & Welch, Graham. (Eds.) Bodymind & Voice – foundations of voice education. Volume 2. Minneapolois, Minnesota: The Voice Care Network.
Rabinger, Michael. (2008). Directing – Film Techniques and Aesthetics. Ox,UK: Focal Press. Pages 400-409
Warmup-up 3# : Opening Up –National Theatre Discover at https://www.youtube.com/watch?v=7_MvlGKwLh0
Agnew, Melissa. (2008). "Here is the [Australian] News". Brisbane, Qld: Wenga Books.
Chapter 1, pages 1-11.
Mills, Jenni. (2004). The Broadcast Voice. Oxford, UK: Focal Press. Chapter 1 - So What is a Good Broadcasting Voice pp 2-7.
Wilder, Billy. (1950). Sunset Boulevard [Motion Picture]. LA, CA: Paramount (Video).
Cane, Michael. (1990). Acting in Film. NY, NY: Applause. Pages 74-82.
ABC News 5.12.2014. James Earl Jones and His Unmistakable Voice https://www.youtube.com/watch?v=l2LkdNls4bw
http://www.liu.edu/CWPost/About/News/Press-Releases/2011/December/CWP-PR-Dec15-2011 accessed on 25.6.15.
Swann, D.(Director) (2007). The Sounds of Aus (The Story of the Aussie Accent). Melbourne, VIC: Princess Pictures. (Video).
Schafer, Elizabeth. 2011. ‘A Ham Funeral: Patrick White, Collaboration and Neil Armfield.' Australian Studies 3: 1-24.
Armfield, Neil. (2012). Patrick White: A Centenary Tribute in Meanjin Volume 71, number 2, 2012. Accessed at http://meanjin.com.au/essays/patrick-white-a-centenary-tribute/ on 25.6.15.
The website for Black Sequin Productions at http://www.blacksequin.com and the opening webpage explanation about the work of the company, Black Sequin Productions – accessed on 28.6.15.
Haynes, Phillios Interview with Kristin Linklater on Studio 1 uploaded onto You Tube on 18.10.10 accessed at https://www.youtube.com/watch?v=L4X5gVENkn4 on 24.6.15.
Voiceclasses at the Guildhall at https://www.youtube.com/watch?v=r9vtOTZtgLY (Accessed 25.6.15).
MODULE 2: BODY
Required text: The students must purchase the following two texts:
Keefe, J., & Murray S. (eds.) (2007) Physical theatres: A critical introduction. Routledge.
Allain, P., & Harvie, J. (2014). Theatre and performance. Routledge.
Participation in all sessions is encouraged due to the practical and theortecial requirements of the modules.
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