Theatre History & Theory (9719.6)
|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. Identify the theatre practices and writing of various historical eras, and place them within their social political and historical contexts;
2. Identify and evaluate historical genres and theatrical techniques and compare them to contemporary theatre practices;
3. Critically examine and evaluate play-texts, productions, reviews and theoretical writings for the purposes of engaging in performance at an introductory level; 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
Prerequisites10432 Introduction to Performance Skills AND 9708 Critical Performance
|Year||Location||Teaching period||Teaching start date||Delivery mode||Unit convener|
|2021||UC - TAFE Queensland, South Bank||Semester 2||02 August 2021||On-Campus||Mr Anatoly Frusin|
|2022||UC - TAFE Queensland, South Bank||Semester 2||01 August 2022||On-Campus||Mr Anatoly Frusin|
Nellhaus, T. (Gen ed.). (2016). Theatre Histories: an introduction (3rd ed.). London and New York: Routledge
NB. It must be this 3rd Edition
Brockett, O. G., and Hildy, F. J. (2008). History of the Theatre (10th Edition) Boston, MA: Pearson Education - Allyn & Bacon. (Or any edition)
Cole, T. and Chinoy, H. K. (Eds). (1970). Actors on Acting: The Theories, Techniques, and Practices of the World's Great Actors, Told in Their Own Words. New York: Crown Publishers, Inc.
Gale, M. B. & Deeney, J. F (eds). (2010). The Routledge Drama Anthology and Sourcebook: from modernism to contemporary performance. London and New York: Routledge.
Nagler, A. M. (1952). A Source Book in Theatrical History. New York, NY: Dover Publications.
Nicol, A. (1976). World Drama. London, UK: Barnes & Noble.
Akhtar, A. An Antidote to Digital Dehumanization? Live Theater. New York Times 29/12/2017 Retreived 18/01/2018 from https://www.nytimes.com/2017/12/29/theater/ayad-akhtar-steinberg-award-digital-dehumanization-live-theater.html
Beard, M. and Henderson, J. (1995). The Classics. New York/London: Sterling. Pp. 111-118
Casey, M. & Craigie, C. (2011). A Brief History of Indigenous Australian Contemporary Theatre. Hobart, TAS: The Australian Script Centre.Retrieved on 18/1/2018 from
Forbes, B. (1980). That Despicable Race: A History of the British Acting Tradition. Great Britain: Elm Tree Books. Pp 92-98
Garfein H. and Gordon, M. (1978). The Adriani Lazzi of the Commedia Dell'Arte. The Drama Review: Italian Theatre Issue. Vol 22, no.1. Pp 3-12
Pascoe, J. (2014). The Sarah Siddons Audio Files: Romanticism and the Lost Voice. The United States of America: The University of Michigan Press. Pp. 57-64.
Sheperd, A. What is the Future of Theatre in the Digital Age?2/09/2013 retrieved on 18/1/2018 from https://www.spektrix.com/us/blog/what-is-the-future-of-theatre-in-the-digital-age-us/
Tatsumi Hijikata: Man, once dead, crawl back! In Huxley, M. and Witts, N. (Eds). (2002) The Twentieth-Century performance Reader (2nd Edition). New York, NY: Routledge. Pp. 225-228
Vineberg, S. (1991). Method Actors: Three Generations of an American Acting Style. New York: Schirmer Books. Ch. 1
Wangka, M.M. (1997). Mudrooroo: The Indigenous Literature of Australia. Australia: Hyland House. Ch. 10
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 Cavas as they will be required to download all lecture notes and readings and submit assessment tasks.
Work placement, internships or practicums