EA233-5-FY-SO:
Skills 2
2023/24
East 15 Acting School
Southend Campus
Full Year
Undergraduate: Level 5
Current
Thursday 05 October 2023
Friday 28 June 2024
30
08 April 2021
Requisites for this module
(none)
(none)
(none)
(none)
(none)
BA W900 Creative Producing (Theatre and Short Film),
BA W900MV Creative Producing (Theatre and Short Film)
This module will introduce students to the working practices in the theatre and film, allowing them a better understanding of the various roles in a production and at the same time developing further skills that will fuel their creative work.
In year two students look at a different role in each term: the dramaturg, the theatre director and the film director. Much of the sessions will be through seminar, but students will get the opportunity to test their theoretical knowledge through practical workshops. In the directing units students will gain experience of working from a text, communicating with actors, and plotting action for a given space. Students will also explore the role of the dramaturg as a facilitator between different aspects of rehearsals and planning, as mediator between the script and the actors/director, as 'outside eye' and 'critical friend', and as representative of the audience during the rehearsal process.
1. Understand the basic terminology and vocabulary used by directors and performers
2. Understand the different demands of directing for different mediums
3. Develop methods of problem solving, negotiation, and personal management
4. Develop the ability to work effectively both independently and collaboratively
5. Experience the overall process of staging a short scene and filming a short scene
6. Apply previous experience as a leader of a team
7. Develop reflective and analytical approaches in order to engage with performance making as a process of investigation, reflection and exploration
8. Understand the range of influences on an audience’s perception of a production
9. Understand how to create an original dramatic performance that emotionally engages your audience
1. Understanding of the role and functions of the dramaturg, director and crew members
2. Understanding of a range of theatrical staging techniques
3. Ability to prepare story boards for a film shoot
4. Development of the core skills and concepts necessary to manage a theatrical space, film crew and performers
5. Ability to identify problems and produce practical solutions within a given framework
6. Ability to analyse selected performance examples in their use of space, text, and audience engagement
7. Demonstrate an ability to employ creative resources (texts, images, objects, environments, scenarios etc.) effectively in rehearsals and performance
8. Demonstrate an awareness of the ramifications of historical, political and cultural contexts on the aesthetic form andfunction of theatre-making / film-making practice
9. Understanding to differing narrative demands in film and theatre productions
No additional information available.
The contact hours for this module will be 2 hours a week, with the expectation of another 6 hours spent in independent rehearsals and research. Classes will be structured as a series of seminars and practical workshops. Students will be expected to prepare material and work with others outside of the contact hours.
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Peter Ansorge (no date) From Liverpool to Los Angeles. Faber & Faber.
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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.
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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.
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Banham, M. (1995) The Cambridge guide to theatre. Cambridge: Cambridge University Press.
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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.
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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.
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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.
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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.
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Donald C Farber (2006) Producing theatre. New York: Limelight Editions.
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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.
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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.
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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.
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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.
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Edgar, D. (1999) Playwrights on playwriting. London: Faber.
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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.
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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.
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Mamet, D. (1992) On directing film. New York: Penguin.
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Crispin Raymond (1998) Essential theatre. London: Arts Council of England.
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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 |
Deadline |
Coursework weighting |
| Coursework |
Portfolio of research, exploration and supporting docs |
|
30% |
| Coursework |
Storyboard, footage and reflective docs |
|
40% |
| Practical |
Practical Theatre Direction |
|
30% |
Additional coursework information
Storyboard and 4 minutes of filmed footage and reflective documents about the process: End of Term 1, Beginning of Term 2, 2000wds (40%)
Practical theatre direction of a 5 minute scene: Term 2, 30%
Portfolio of dramaturgical research, concept exploration and supporting documents for the performers for a set play: Term 3 (40%)
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
Reassessment
Module supervisor and teaching staff
No
No
No
Ms Rosalind Maddison
Royal Conservatoire of Scotland
Head of Production
Available via Moodle
No lecture recording information available for this module.
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