Full Title Performing Arts Portfolio of Experience

Short Title PA Portfolio of Experience

Code PERF07018
Level 07
Credit 30

Author Conway, Jo
Department Computing & Creative Practices

Subject Area Performing Arts
Attendence 80%
Fee

Description
This module introduces learners to an independent self-learning portfolio of experience related to the field of the performing arts. The aim of this module is to provide opportunities for learners to develop skills and professional experience to develop their identity as creative practitioners. Learners will participate in an individual and/or group project related to the performing arts and will be advised to take an approved work placement relevant to the field. Projects might include design/acting for film, documentary, performance art/ live performance, puppetry, creative writing, etc. Learning experiences available include the opportunity to design, plan and deliver a collaborative and inter-disciplinary creative project over the duration of the semester. Interdisciplinary exploration of skills and practices are core to the development of the project. Learners can also develop a programme in self-managed teams which explores a range of skills across creative and contextual disciplines, practices and studies in a highly collaborative environment. Self motivation, project management, communication, critical thinking and research in performing arts-related contexts are developed. The programme develops creative leadership, authorship and ownership of the participants work.

Indicative Syllabus
Syllabus should be directly related to the learner's chosen project(s) which might include some of the following:

Designing a play for the theatre

Film Project

Acting for stage and/or screen

Creative Writing (and realisation)

Technical designs - lighting/soundscapes

Erasmus -relevant to Performing Arts

Work experience relevant to Performing Arts




Self Directed Learning

Develop individual pathway. Special interest subject. Expanding the boundries of performance related to chosen project.




The process for creative projects should include appropriate environments for producing designs/the acting process/creative writing workshops etc. The process involves (for Design) performance design ideas, visual material, model making, costume renditions, technical drawing, colour application, digital and media skills, measurement, recording and drawing and assessing the venue.; (for Acting) acting techniques and styles, rehearsal time and space, workshops, characterisation, theories about acting etc, (for creative writing) workshops in writing genres (particularly play writing), readings, realisations for example.



All students should be fully aware of Health and Safety issues when working with specific equipement/.


Learning Outcomes
On completion of this module the learner will/should be able to
  1. undertake a project that will develop individual identity as a creative practitioner

  2. have reflected on the interchange between theatre, performance,art, film, digital media and other disciplines

  3. further develop digital and media skills

  4. complete and report on professional work placement in the creative arts

  5. communicate and liaise with industry practitioners, e.g. media, funding bodies, community organisations and others.

  6. adhere to the professional requirements of a practitioner in the field of performing arts

  7. demonstrate best practice in productivity, time management and planning

  8. have enhanced awareness of theatre and interdisciplinary disciplines to explore the wider landscape of performance related disciplines


Assessment Strategies
The Semester Six Performing Arts team will collaborately assess the learner's overall experience:

Learners must comply with the following:

Continous Assessment: attendence and professional practice.

Performance related (design/acting/creative writing/film/directing for example) project and presentation.

Log book






Assessment Facilitites


Rehearsal space/studio space/writing workshop facilitators/fight coordinator/voice and movement specialists

Specialists in the selected fields: a film producer, director, script writer, editor, production designer, costume designer and screen-actor. Related facilities for filming, sound recording, editing etc. as well as studio facilities, workshops and technical support may be required.

Community theatre projects: a training-for-special-needs coordinator/specialist, puppet theatre people, artists, movement specialists and youth theatre facilitator

Design projects will need studio facilities with individual equipped work station, storage facilities for three dimensional and model two dimensional drawing and graphic work, general storage space for materials and equipment, drawing boards and equipment,

Module Dependencies
Pre Requisite Modules
None
Co Requisite Modules
None
Incompatible Modules
None

Coursework Assessment Breakdown %
Course Work / Continuous Assessment 100 %

Coursework Assessment Breakdown

Description Outcome Assessed % of Total Assessment Week
Presentation 1,2,3,4,5,6,7,8 40 OnGoing
Continuous Assessment Project 1,2,3,4,5,6,7,8 60 OnGoing


End Exam Assessment Breakdown

Description Outcome Assessed % of Total Assessment Week


Distance Learning Mode Workload

Type Location Description Hours Frequency Avg Weekly Workload

Total Average Weekly Learner Workload 0.00 Hours

Part Time Mode Workload

Type Location Description Hours Frequency Avg Weekly Workload

Total Average Weekly Learner Workload 0.00 Hours

Full Time Mode Workload

Type Location Description Hours Frequency Avg Weekly Workload
Seminar Flat Classroom student directed learning 9 Weekly 9.00
Workshop Black Box Acting 04 Weekly 4.00
Workshop Design Studio design 4 Weekly 4.00
Practical Flat Classroom coordination 2 Weekly 2.00

Total Average Weekly Learner Workload 19.00 Hours

Online Learning Mode Workload

Type Location Description Hours Frequency Avg Weekly Workload

Total Average Weekly Learner Workload 0.00 Hours

Resources
Book Resources
Adler, Stella. The Art of Acting. Ed. Howard Kissel. NY: Applause, 2000.

Barker, Clive. Theatre Games. London: Methuen Drama, 1977.

Bartow, Arthur. ed. Handbook of Acting Techniques. London: Nick Hern Books, 2008.

Beam, Lisa Sonora, The Creative Entrepreneur: A DIY Visual Guidebook for Making Business Ideas Real, (US: Quarry Books, 2008)

Benedetti, Jean. Stanislavski and the Actor. London: Methuen Drama, 2008.

Benedetti, Jean. The Art of the Actor. NY: Routledge, 2007.


Benjamin, Walter and Michael W. Jennings (eds.s), The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media, Harvard: Belknap Press, 2011.

Berger.John Ways of seeing Penguin Modern Classics 2008

Bilton, Chris, Management and Creativity: From Creative Industries to Creative Management, Blackwell Publishing, 2007

Boal, Augusto. Games for Actors and Non-Actors. London: Routledge, 1992.

Brook.Peter The Empty Space, Penguin Modern classic 2008

Burnell. Kate. Editor Collaborators. UK Design For Performance 2003-2007, The Society of British Theatre Designers

Cameron, Julia, The Right to Write: An Invitation and Initiation into the Writing Life, Basingstoke: Macmillan, 2000.

Chaikin, Joseph. The Presence of the Actor. NY: Theatre Communications Group, 1991.

Chekhov, Michael. To the Actor. New York: Harper & Row, 1953.

Dodd, Pamela and Sundheim, Doug, The 25 Best Time Management Tools & Techniques: How to Get More Done Without Driving Yourself Crazy, Dodd and Sunheim 2005-2009.

Giannetti, Louis, Understanding Movies, UK: Prentice Hall, 2007.

Gombrich.Ernst Hans The Story Of Art, Thames and Hudson 1978

Griessman, B. Eugene, Time Tactics of Very Successful People, US: McGraw Hill, 1994.

Hagen, Uta. Respect for Acting. New York: Wiley Publishing 1973.

Henry, Colette, Entrepreneurship in the Creative Industries: An International Perspective,UK: Edward Elgar, 2007.

Hodge, Alison ed. Twentieth Century Actor Training. London: Routledge, 2000.

Howard. Pamela What is Scenography? Second edition, Routledge Press 2009

Iglesias, Karl, Writing for Emotional Impact: Advanced Dramatic Techniques to Attract, Engage, and Fascinate the Reader from Beginning. US: Wingspan Press, 2005

Johnston, Chris. House of Games. London: Nick Hern Books, 1998.

Johnstone, Keith. Impro. London: Methuen Drama, 1994.

Leland, Karen and Bailey, Keith, Time Management in An Instant, USA: Book Mart Press, 2008.

Snead, G. Lynne and WycoffTo, Joyce, Do Doing Done: A Creative Approach to Managing Projects & Effectively Finishing What Matters Most, New York: Fireside, 1997

Schneider, Pat, Writing Alone and with Others, Oxford University Press, 2003

Stanislavski, Constantin. An Actor Prepares. London: Methuen Drama, 1937/1988.

Vogler, Christopher, The Writer's Journey: Mythic Structure for Storytellers & Screenwriters, US: Michael Wiese Publications, 1998.

Willett.J ohn Editor Brecht on Theatre The development on an aesthetic, Methuen press 1964.

Zarilli, Phillip B. ed. Acting (Re)Considered. London: Routledge, 1995.

Zeller, Dirk, Successful Time Management For Dummies, Indiana: Wiley Publishing, 2009
Other Resources
range of art materials and model making equipment

resources to attend performances and field trips

Guest creative practitioners
Url Resources
Additional Info