University of Essex

EA141-4-FY-SO:
Producing Skills

The details

Year: 2023/24

Department: East 15 Acting School

Campus: Southend Campus

Term: Full Year

Level: Undergraduate: Level 4

Status: Current

Start date: Thursday 05 October 2023

End date: Friday 28 June 2024

Credits: 15

Last updated: 14 March 2023

Requisites for this module

Pre-requisites: (none)

Co-requisites: (none)

Pre and / or co-requisites: (none)

Prohibited modules: (none)

Key module (requisite for): (none)

Key module for

BA W900 Creative Producing (Theatre and Short Film),
BA W900MV Creative Producing (Theatre and Short Film)

Module description

This module will introduce the fundamentals of the creative and business practices of the creative producer in the theatre and film industries. The unit will introduce current critical debates, concepts and discourses in producing. This unit will equip you with practical skills and knowledge to develop, record and present business and strategic thinking. Students will also hone their communication and presentational skills.

Module aims

No information available.

Module learning outcomes

By the end of this module, students will be expected to:

Have developed the ability to confidently research, structure and deliver a presentational pitch for a project;

Understand the different facets of the role of a producer and creative producer in theatre and film;

Have developed the ability to read a production budget and raise issues to challenge a draft budget and work on its improvement;

Have developed the ability to identify the many different roles required to create a theatre and filmed production;

Have developed the ability to develop an idea and present information in a variety of ways, and in appropriate formats;

Have developed the ability to manage and drive a range of software that will assist with planning and budgeting;

Understand and have experience of the different stages of creating a live or filmed production from the concept stage, to production, to evaluation.

Module information

No additional information available.

Learning and teaching methods

These lessons will be lecture and seminar based, with practical workshops and independent study. The module will also require students to undertake group-based, project-focused activities outside of class.

Bibliography

Trouble with accessing resources? (no date). Available at: https://essex.libwizard.com/id/0ca0192f0d51b4c22469d6030fd1306f.
Ayckbourn, A. (2004) Crafty Art of Playmaking. London: Faber. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=30260756.
Edgar, D. (2009) How plays work. London: Nick Hern Books. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=689972.
Gooch, Steve. (2004) Writing a Play (Writing). Third edition. A & C Black. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/611698.
Peter Ansorge (no date) From Liverpool to Los Angeles. Faber & Faber.
LaBelle, B. (2010) Acoustic territories: sound culture and everyday life. New York: Continuum. Available at: http://dx.doi.org/10.5040/9781501336225?locatt=label:secondary_bloomsburyCollections.
David Sonnenschein (2001) Sound Design: The Expressive Power of Music, Voice and Sound Effects in Cinema. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=6188352.
Nisbett, A. (2003) The sound studio: audio techniques for radio, television, film and recording. 7th ed. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/66000.
Banham, M. (1995) The Cambridge guide to theatre. Cambridge: Cambridge University Press.
Bentley, E. (2008a) The theory of the modern stage: from Artaud to Zola, an introduction to modern theatre and drama. [New ed.]. London: Penguin. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/1095981.
Bentley, E. (2008b) The theory of the modern stage: from Artaud to Zola, an introduction to modern theatre and drama. [New ed.]. London: Penguin. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/1095981.
Cowgill, L.J. (2005) Writing short films: structure and content for screenwriters. 2nd ed. Los Angeles, CA: Lone Eagle Pub. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=739969.
Booker, C. (2004) The seven basic plots: why we tell stories. London: Continuum. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/571060.
Cooper, P. and Dancyger, K. (2004) Writing the short film. 3rd ed. Boston, Mass: Focal. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=232109.
Donald C Farber (2006) Producing theatre. New York: Limelight Editions.
Shore, A., Carfora, J.M. and SMRO. (2011) The art of funding and implementing ideas: a guide to proposal development and project management. London: SAGE. Available at: http://sk.sagepub.com/books/the-art-of-funding-and-implementing-ideas.
Mitchell, K. and Hytner, N. (2009) The directors craft?: a handbook for the theatre. London: Routledge. Available at: https://doi-org.uniessexlib.idm.oclc.org/10.4324/9780203889701.
Figgis, M. (2014) Digital filmmaking. Revised edition. New York: Faber and Faber. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=30270939.
Thompson, R. and Bowen, C.J. (1998) Grammar of the shot. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?docID=421062.
Bordwell, D., Thompson, K. and Smith, J. (2019) Film Art: An Introduction. 12th edition. New York, NY: McGraw-Hill. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/387523.
Bruce A. Bergner (30AD) The Poetics of Stage Space: The Theory and Process of Theatre Scene Design. McFarland & Co. Available at: https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=576885.
Donnellan, D. (2005) The actor and the target. London: Nick Hern Books. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=1128729.
Edgar, D. (1999) Playwrights on playwriting. London: Faber.
Radosavljevic, D. and Palgrave Connect (Online service) Theatre and Performance 2013 (2013) Theatre-making: interplay between text and performance in the 21st century. Basingstoke: Palgrave Macmillan. Available at: https://link.springer.com/book/10.1057/9781137367884.
Thurlow, M. and Thurlow, C. (no date) Making short films: the complete guide from script to screen. Third edition. London: Bloomsbury Publishing. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/931714.
Thurlow, C. (2005) Making short films: the complete guide from script to screen. Oxford: Berg. Available at: https://app.kortext.com/Shibboleth.sso/Login?entityID=https://idp0.essex.ac.uk/shibboleth&target=https://app.kortext.com/borrow/931714.
Weston, J. (1996) Directing Actors. Seattle, WA: Michael Wiese Productions. Available at: https://ebookcentral.proquest.com/lib/universityofessex-ebooks/detail.action?pq-origsite=primo&docID=6188351.
Mamet, D. (1992) On directing film. New York: Penguin.
Crispin Raymond (1998) Essential theatre. London: Arts Council of England.
Marshall, K. (1998) Theatre Management: A Successful Guide to Producing Plays on Commercial and Non-Profit Stages. Studio City, USA: Scarecrow Press.

The above list is indicative of the essential reading for the course.
The library makes provision for all reading list items, with digital provision where possible, and these resources are shared between students.
Further reading can be obtained from this module's reading list.

Assessment items, weightings and deadlines

Coursework / exam	Description	Coursework weighting
Coursework	Log Book	40%
Coursework	Budget	20%
Practical	Pitch / Presentation	20%
Practical	Practical producing project (event) and logbook	20%

Exam format definitions

Remote, open book: Your exam will take place remotely via an online learning platform. You may refer to any physical or electronic materials during the exam.
In-person, open book: Your exam will take place on campus under invigilation. You may refer to any physical materials such as paper study notes or a textbook during the exam. Electronic devices may not be used in the exam.
In-person, open book (restricted): The exam will take place on campus under invigilation. You may refer only to specific physical materials such as a named textbook during the exam. Permitted materials will be specified by your department. Electronic devices may not be used in the exam.
In-person, closed book: The exam will take place on campus under invigilation. You may not refer to any physical materials or electronic devices during the exam. There may be times when a paper dictionary, for example, may be permitted in an otherwise closed book exam. Any exceptions will be specified by your department.

Your department will provide further guidance before your exams.

Overall assessment

Coursework	Exam
100%	0%

Reassessment

Coursework	Exam
100%	0%

Module supervisor and teaching staff

Supervisor:

Teaching staff:

Contact details:

Availability

Available to incoming Essex Abroad / Exchange students: No

Available to Outside Option: No

Available to Audit: No

External examiner

Name: Ms Rosalind Maddison

Institution: Royal Conservatoire of Scotland

Academic role: Head of Production

Resources

Teaching materials: Available via Moodle

Lecture recording: No lecture recording information available for this module.

Further information

Department website: East 15 Acting School

Disclaimer: The University makes every effort to ensure that this information on its Module Directory is accurate and up-to-date. Exceptionally it can be necessary to make changes, for example to programmes, modules, facilities or fees. Examples of such reasons might include a change of law or regulatory requirements, industrial action, lack of demand, departure of key personnel, change in government policy, or withdrawal/reduction of funding. Changes to modules may for example consist of variations to the content and method of delivery or assessment of modules and other services, to discontinue modules and other services and to merge or combine modules. The University will endeavour to keep such changes to a minimum, and will also keep students informed appropriately by updating our programme specifications and module directory.

The full Procedures, Rules and Regulations of the University governing how it operates are set out in the Charter, Statutes and Ordinances and in the University Regulations, Policy and Procedures.

Module Directory

EA141-4-FY-SO:Producing Skills