DOCSLIB.ORG

Dissertation Edits3.2 Gradschooleds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dissertation Edits3.2 Gradschooleds PLAGUE AND MIRROR: METAPHORS OF EMOTIONAL TRANSFER AND THEIR EFFECT ON THE ACTOR-AUDIENCE RELATIONSHIP IN THEATRE by ROBERT JAMES VRTIS A DISSERTATION Presented to the Department of Theater Arts and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy June 2011 DISSERTATION APPROVAL PAGE Student: Robert James Vrtis Title: Plague and Mirror: Metaphors of Emotional Transfer and Their Effect on the Actor-Audience Relationship in Theatre This dissertation has been approved and accepted in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Theater Arts by: Dr. John B. Schmor Chair Dr. Theresa May Member Dr. John Watson Member Dr. Lisa Freinkel Outside Reader and Dr. Richard Linton Vice President for Research and Graduate Studies/ Dean of the Graduate School Original Approval Signatures are on file with the University of Oregon Graduate School. Degree Awarded June 2011 ii © 2011 Robert James Vrtis iii DISSERTATION ABSTRACT Robert James Vrtis Doctor of Philosophy Department of Theater Arts June 2011 Title: Plague and Mirror: Metaphors of Emotional Transfer and Their Effect on the Actor-Audience Relationship in Theatre Approved: _____________________________________________________ Dr. John B. Schmor In the last two decades the discovery of mirror neurons led to a flurry of investigations into the role these action recognition cells play in a range of interpersonal exchanges, including emotional transfer. The ability of one person to “infect” another with emotion through their actions, sounds, and words should be no surprise to a theatre practitioner. Indeed, this ability seems like a theatrical given: both the primary purpose and central difficulty of performance. Yet, while this ability may be a theatrical given, it is under-examined. Prompted by the surge of studies into mirror neurons in recent years, this dissertation provides a framework for discussing and analyzing emotional communication in the theatre. Specifically, this study focuses on emotional transfer between actors and audience and how theatre practitioners metaphorically construct this transfer. While there are many potential metaphors that can describe this emotional exchange, two metaphors frequently persist in theatre: metaphors of infection and reflection. Locating these metaphors as employed by a theatrical practitioner or theorist to describe the emotional exchange between actors and audience is an important step in iv illuminating the expected acting style, the relationship an actor must seek with the audience, and the function of emotions in theatre. Once these guiding metaphors are located they must be understood in that artist’s cultural context, as a part of the emotional values and norms of expression of their historical moment. This understanding provides nuance to our understanding of a single metaphor’s distinctly different use by different artists. This dissertation begins by examining metaphors of infection at two distinctly different historical and cultural moments. These chapters illuminate the function of metaphor in shaping the early modern theatre of William Shakespeare and the theatre of plague proposed by Antonin Artaud. Chapter IV will bring to bear on acting theory the science that could explain emotional transfer and its inherent metaphor of reflection, demonstrating how cognitive studies and theatre can productively interact. Finally, this dissertation outlines how theatrical practices can be more fully understood by analyzing the metaphorical structures that practitioners use to shape the emotional relationship between actor and audience. v CURRICULUM VITAE NAME OF AUTHOR: Robert James Vrtis GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon: Eugene, Oregon Longwood University: Farmville, Virginia DEGREES AWARDED: Doctor of Philosophy, Theatre Arts, June 2011, University of Oregon Master of Arts, Theater Arts, September 2007, University of Oregon Bachelor of Fine Arts, May 2003, Longwood University AREAS OF SPECIAL INTEREST: Acting and Directing Theory Cognitive Science and Performance Early Modern Theatrical Performance Post Colonial Theatre Eco-Criticism Avant Garde Performers and Theorists PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Department of Theater Arts, University of Oregon, 2006-2011 Teacher and Director, Lord Leebrick Theatre Company, 2010-2011 Actor and Director, Prairie Fire Children’s Theatre, 2004 Guest Director, Longwood University, 2004 vi ACKNOWLEDGMENTS I would like to express my gratitude and give my heartfelt thanks to Dr. John Schmor for his invaluable assistance in preparing this work. As well, I would like to offer my thanks to Dr. Theresa May, Dr Lisa Freinkel and Dr. Jack Watson. Their guidance and input shaped this inquiry in unexpected and necessary ways. I also owe thanks to Dr. Sara Freeman and Jennifer Schleuter whose well-timed provocations enriched my work. Finally, I would like to acknowledge my fellow students whose sincere interest and encouragement motivated me to continue pursuing this project. vii To my beloved wife Christina Vrtis. Without your encouragement I would not be where I am. You are a source of constant inspiration. viii TABLE OF CONTENTS Chapter Page I. INFECTION AND REFLECTION: INTRODUCTION .................................. 1 Metaphorical Conceptualization and Emotional Communities ......................... 15 Areas of Focus: A Plague of Players ................................................................ 23 Artaud’s Plague of Theatre .............................................................................. 28 Reflection and Other Possibilities .................................................................... 31 II. PLAYERS, PLAGUE AND EMOTIONAL INFECTION: THE TEMPEST TOSS’D SHIP ............................................................................... 36 The Great Disorders of Stage Plays .................................................................. 47 An Emotional Refuge ...................................................................................... 62 Take Thou Some New Infection to the Eye ...................................................... 66 III. A CONTAGIOUS, EMOTIONAL ABBERANCE .......................................... 79 The Cenci ........................................................................................................ 101 The Failure of the Plague ................................................................................. 111 IV. MIRRORS IN THE FLESH ............................................................................ 117 Mirror Neurons ................................................................................................ 127 Dissonance with the Mirror Metaphor: Rapport ............................................... 135 Meaningless Arm Movements ......................................................................... 143 Inexact Transfers ............................................................................................. 147 V. METAPHORS OF COMMUNICATION ........................................................ 152 Mirror Work .................................................................................................... 165 REFERENCES CITED ........................................................................................... 172 ix CHAPTER I INFECTION AND REFLECTION: INTRODUCTION At the end of a lesson on emotional preparation Sanford Meisner decides that he will take “a few legitimate questions” from his students. The class has been learning about how to come into a scene full of emotion rather than letting it build during the scene itself. One student asks whether the goal of the work they did earlier was meant to help them enter on to the stage as full as they could be with emotion “because we’re in a theater, as opposed to being in a film, where acting is much more contained?” Meisner chooses to answer the question somewhat indirectly by speaking about the force of emotion saying “I’ll tell you this: you cannot escape the impact of emotion, whether it’s in a big theater or a tiny one. If you have it, it inflates you,” abruptly he corrects himself noting that his metaphor of inflation does not completely convey his meaning. He continues, “If you have it, it infects you and the audience” (Meisner 87). His corrected metaphor of infection broadens the scope of the exercise of emotional preparation. The purpose of the work done before entering a scene doesn’t only swell the actor’s emotional presence as in the metaphor of inflation; it also spreads that suffusion of emotion into the audience as part of an inescapable force. The actor becomes a carrier of an emotion capable of spreading that same (or associated) feeling into the audience. For Meisner, 1 without this infectious emotion the actor appears empty and the audience’s experience diminishes by the absence of a shared emotional experience. This very purposeful use of emotion as infection is not unique to Meisner. Decades earlier, Constantin Stanislavski wrote very similarly on the infectious force of an actor’s emotions. Addressing what he saw as a common mistake made by actors, specifically that only what can be seen and heard on the stage is “of scenic quality,” he explained that something invisible and inaudible also permeates the theater during a performance. He wrote “the irresistibility, contagiousness, and power of direct communion by means of invisible radiations of the
Load more

Recommended publications
  • Stage Violence, Power and the Director an Examination
    STAGE VIOLENCE, POWER AND THE DIRECTOR AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE by Jordan Matthew Walsh Bachelor of Philosophy, University of Pittsburgh, 2012 Submitted to the Faculty of the University of Pittsburgh in partial fulfillment of the requirements for the degree of Bachelor of Philosophy. The University of Pittsburgh May 2012 UNIVERSITY OF PITTSBURGH ARTS & SCIENCES This thesis was presented by Jordan Matthew Walsh It was defended on April 13th, 2012 and approved by Jesse Berger, Artistic Director, Red Bull Theater Company Cynthia Croot, Assistant Professor, Theatre Arts Department Annmarie Duggan, Assistant Professor, Theatre Arts Department Dr. Lisa Jackson-Schebetta, Assistant Professor, Theatre Arts Department 2 Copyright © by Jordan Matthew Walsh 2012 3 STAGE VIOLENCE AND POWER: AN EXAMINATION OF THE THEORY AND PRACTICE OF CRUELTY FROM ANTONIN ARTAUD TO SARAH KANE Jordan Matthew Walsh, BPhil University of Pittsburgh, 2012 This exploration of stage violence is aimed at grappling with the moral, theoretical and practical difficulties of staging acts of extreme violence on stage and, consequently, with the impact that these representations have on actors and audience. My hypothesis is as follows: an act of violence enacted on stage and viewed by an audience can act as a catalyst for the coming together of that audience in defense of humanity, a togetherness in the act of defying the truth mimicked by the theatrical violence represented on stage, which has the potential to stir the latent power of the theatre communion. I have used the theoretical work of Antonin Artaud, especially his “Theatre of Cruelty,” and the works of Peter Brook, Jerzy Grotowski, and Sarah Kane in conversation with Artaud’s theories as a prism through which to investigate my hypothesis.
    [Show full text]
  • The Role of Stanislavsky and the Moscow Art Theatre's 1923 And
    CULTURAL EXCHANGE: THE ROLE OF STANISLAVSKY AND THE MOSCOW ART THEATRE’S 1923 AND1924 AMERICAN TOURS Cassandra M. Brooks, B.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Olga Velikanova, Major Professor Richard Golden, Committee Member Guy Chet, Committee Member Richard B. McCaslin, Chair of the Department of History Mark Wardell, Dean of the Toulouse Graduate School Brooks, Cassandra M. Cultural Exchange: The Role of Stanislavsky and the Moscow Art Theatre’s 1923 and 1924 American Tours. Master of Arts (History), August 2014, 105 pp., bibliography, 43 titles. The following is a historical analysis on the Moscow Art Theatre’s (MAT) tours to the United States in 1923 and 1924, and the developments and changes that occurred in Russian and American theatre cultures as a result of those visits. Konstantin Stanislavsky, the MAT’s co-founder and director, developed the System as a new tool used to help train actors—it provided techniques employed to develop their craft and get into character. This would drastically change modern acting in Russia, the United States and throughout the world. The MAT’s first (January 2, 1923 – June 7, 1923) and second (November 23, 1923 – May 24, 1924) tours provided a vehicle for the transmission of the System. In addition, the tour itself impacted the culture of the countries involved. Thus far, the implications of the 1923 and 1924 tours have been ignored by the historians, and have mostly been briefly discussed by the theatre professionals. This thesis fills the gap in historical knowledge.
    [Show full text]
  • IMPOSSIBLE STAGE DIRECTIONS a Thesis Presented to the Faculty of the School of Theatre and Dance University of Houston in Part
    IMPOSSIBLE STAGE DIRECTIONS A Thesis Presented to The Faculty of the School of Theatre and Dance University of Houston In Partial Fulfillment of the requirements for the Degree Master of Arts By Chelsea M. Taylor May 2017 IMPOSSIBLE STAGE DIRECTIONS An Abstract of a Thesis Presented to The Faculty of the School of Theatre and Dance University of Houston In Partial Fulfillment of the requirements for the Degree Master of Arts By Chelsea M. Taylor May 2017 ABSTRACT Stage directions that defy singular interpretation and do not, in fact, direct staging have been underexplored by simplistic theories which describe didascalia as fundamentally instructional. This thesis aims to develop methods of defining, interpreting, and staging impossible stage directions in modern and post-modern plays. I use textual analysis in tandem with the historical context of selected plays to elucidate the purpose of the stage direction within the text. Then, I use the purpose of the stage direction within the text to discover a responsible way of presenting the playwright’s work onstage. Three case studies reconstruct an impossible stage direction from a different genre, movement, or style of theatre. The first study discusses how Anton Chekhov’s breaking string in The Cherry Orchard breaks the traditional semiotic model of interpretation by combining realism and symbolism. The second study explores affect theory, as opposed to semiotics, as a means of interpreting Antonin Artaud’s nauseating apocalypse in Spurt of Blood. Lastly, I use concepts from trauma studies to hypothetically stage Heiner Müller’s radiating breast cancer in Hamletmachine as a traumatic memory.
    [Show full text]
  • UNIVERSITY of CALIFORNIA Los Angeles Staging Mysteries
    UNIVERSITY OF CALIFORNIA Los Angeles Staging Mysteries: Transnational Medievalist Performance in the Twentieth Century A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Theater and Performance Studies by Carla Neuss 2021 ã Copyright by Carla Neuss 2021 ABSTRACT OF THE DISSERTATION Staging Mysteries: Transnational Medievalist Performance in the Twentieth Century by Carla Neuss Doctor of Philosophy in Theatre and Performance Studies University of California, Los Angeles, 2021 Professor Sean Metzger, Chair This dissertation traces adapted forms of the medieval mystery cycle tradition within different transnational moments of social, political, and cultural crisis. In redirecting the spiritually didactic aims of medieval performance, the modern mysteries that constitute this project illuminate how medieval theatre functions as an historical imaginary for the transformative potential of performance. This project investigates three twentieth-century adaptations of the medieval mystery cycle tradition: Alexander Scriabin’s unfinished multi-genre performance, Mysterium (c. 1910); Jean Paul Sartre’s first play, Bariona (1940); and a South African production of the Chester Mystery Cycle, Yiimimangaliso (2000). Chapter 2 demonstrates how Mysterium sought to enact a distinctly medieval imaginary of spiritual unity epitomized by the Russian religious value of sobornost.’ In analyzing its Russian Symbolist aesthetics, I argue that the Mysterium was designed phenomenologically to enact social transformation on the eve of the Soviet revolution ii through "affective atmosphere.” Chapter 3 discusses Jean-Paul Sartre's relatively unknown play Bariona as an adaptation of the medieval French nativity play tradition produced during World War II. This chapter situates Bariona within the longstanding tradition of French medievalist performance as a contested political site within the national consciousness.
    [Show full text]
  • The Use of Brechtian Devices in Howard Brenton's Hitler
    Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Master’s Thesis Ankara, 2019 THE USE OF BRECHTIAN DEVICES IN HOWARD BRENTON’S HITLER DANCES, MAGNIFICENCE AND THE ROMANS IN BRITAIN Ozan Günay AYGÜN Hacettepe University Graduate School of Social Sciences Department of English Language and Literature English Language and Literature Master’s Thesis Ankara, 2019 In memory of my aunt Zehra Aygün, who always treated us as one of her own. v ACKNOWLEDGEMENTS First and foremost, I would like to express my deepest gratitude to my supervisor, Prof. Dr. A. Deniz Bozer, for her patience, support and invaluable academic guidance. She was always understanding throughout the writing process of this thesis, and she encouraged me in times of stress and guided me with her wisdom. Without her, I would not be able to complete this thesis and I am most grateful and honored to have studied under her supervision. I am also indebted to the head of our department, Prof. Dr. Burçin Erol, for her patient guidance whenever I was unsure of how to proceed with my studies during my time as a student at Hacettepe University. I would also like to extend my gratitude to the distinguished members of the jury, Prof. Dr. Aytül Özüm, Assoc. Prof. Dr. Şebnem Kaya, Assoc. Prof. Dr. Sıla Şenlen Güvenç, Asst. Prof. Dr. İmren Yelmiş and Asst. Prof. Dr. F. Neslihan Ekmekçioğlu for their valuable feedback and critical comments which had an immense effect in the development of this thesis.
    [Show full text]
  • Applied Theatre: History, Practice, and Place in American Higher Education
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2013 Applied Theatre: History, Practice, and Place in American Higher Education Joseph A. Obermueller Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/3151 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. © Joseph A. Obermueller 2013 All Rights Reserved Applied Theatre: History, Practice, and Place in American Higher Education A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Theatre Pedagogy at Virginia Commonwealth University. by Joseph A. Obermueller BA Theatre Pepperdine University, 2003 MFA Theatre Pedagogy Virginia Commonwealth University, 2013 Director: Dr. Noreen C. Barnes Director of Graduate Studies, Associate Professor Department of Theatre Virginia Commonwealth University Richmond, Virginia July, 2013 Acknowledgement I would like to acknowledge the support and generosity of several people in the writing of this thesis and the completion of the MFA program at Virginia Commonwealth University. To Cathy Thomas‐Grant for years of friendship, mentorship, and collaboration, without whose encouragement this process would not have come to pass. Neil Packham and Elly Goodman from Citizens Theatre, Glasgow, Scotland, for opening my eyes to what community theatre should be and inspiring the writing of this paper. Dr.
    [Show full text]
  • Physical Theatre: Brecht and Berkoff
    Year 10 Knowledge DRAMA Organiser Autumn 2 Physical Theatre: Brecht and Berkoff In the end, you will be able to: Section A: Physical Theatre Identify and use the conventions of status and tension within other people performances and your own performances. Physical Theatre • A style which uses choreographed Be able to develop effective and appropriate body language for different movement and dancing to tell a story. characters. • These movements can be combined with traditional dialogue or used on their own. To understand and be able to manipulative your physicality to express • Minimal set and props are used so that the different emotions, concepts and ideas. audience can focus on the physical action. • Sometimes the actors’ bodies are used as To understand and use Brecht's theory of Gestus in both your own objects onstage. performances and recognise it in other peoples’ performances. • There is nothing realistic about this way of movement and so this style can be To understand and use Berkoff’s style of Total Theatre in their associated with Brecht and Artaud. performances. • Performers can communicate emotion to the audience that would be difficult to Section B: Bertolt Brecht and Steven Berkoff convey using dialogue. Steven Berkoff A British theatre practitioner (born 1937) who is known Non-naturalistic Epic Theatre – BERTOLT BRECHT for his experimental style. His plays often use physical • Opposite of naturalism – it aims to distance the audience from the theatre techniques like mime, exaggerated movement story by reminding them it isn’t real. and improvisation. He believes that actors’ bodies • This encourages the audience to focus on the play’s message or should convey the story rather than relying on sets.
    [Show full text]
  • An Undergraduate Theatre History Course Design Utilizing Problem-Based Learning
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 An Undergraduate Theatre History Course Design Utilizing Problem-Based Learning Mary Alice Blackwell Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Theatre and Performance Studies Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1188 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Mary Alice Blackwell 2005 All Rights Reserved AN UNDERGRADUATE THEATRE HISTORY COURSE DESIGN UTILIZING PROBLEM-BASED LEARNING A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts at Virginia Commonwealth University. by MARY ALICE BLACKWELL Bachelor of Arts, Old Dominion University, 1993 Master of Fine Arts, Virginia Comnlonwealth University, 2005 Director: DR. NOREEN C. BARNES HEAD OF GRADUATE STUDIES, THEATRE Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgement I wish to thank the many people that aided and encouraged me through this process, including my friends, family, and my colleagues at The American Theatre for their support and understanding for the past three and a half years. I would especially like to thank my teachers and the members of my thesis committee, Dr. Noreen Barnes, Dr. Aaron Anderson, and Dr. Erlene Hendrix, who guided me through this process, taught me a great deal about the theatre, and about myself. Table of Contents Page .
    [Show full text]
  • Investigating Responsivity in the Expertise of Applied Theatre Practitioners
    OPENING THE SPACE: INVESTIGATING RESPONSIVITY IN THE EXPERTISE OF APPLIED THEATRE PRACTITIONERS A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2017 ELIZABETH K HEPPLEWHITE SCHOOL OF ARTS, LANGUAGES AND CULTURES Contents Page number Prologue Proposing Responsivity 8 Chapter 1 (Un)Naming practitioners in applied theatre: reviewing the role in written and live literatures 25 Chapter 2 Reflective dialogue and practice-responsive method: researching the expertise of the ‘__’ 64 Chapter 3 Artists in Education: grafted expertise and the search for the golden nugget 94 Chapter 4 The personal is political: predetermined responsivity 127 Chapter 5 The beautiful mistake and the __ as clown 159 Chapter 6 Responsivity and the art of doing little 192 Chapter 7 Responsivity as a theory of the practices of the __ 212 Chapter 8 A conclusion of responsivity 256 Bibliography 275 Appendices: 1. Live Theatre Undercroft event, 2008 292 2. Short self-reflective video 2010, exploring modes of operating in practice, inspired by the film Zidane 294 3. A teaching and learning project 2011, using reflective video and images with Facilitation undergraduates 296 4. First stage conversations, 2011, research participant details and interview questions 300 5. Alchemists at Work symposium, 2012 302 6. Reflective dialogues, 2012-14, research participant details and stimulus questions 307 7. Reflective Dialogue films on Wordpress site 309 Final word count: 79,840 2 ABSTRACT This thesis investigates the expertise of applied theatre practitioners and proposes a concept of ‘responsivity’ to define their skills, knowledge, qualities and understanding. Practice-responsive research methods were devised to analyse how artists make decisions in-action in a range of applied theatre practice in community, education and health contexts.
    [Show full text]
  • Drama & Theatre Studies a Level
    Bridging work for Sept 2020 DRAMA & THEATRE STUDIES A LEVEL Welcome to Drama & Theatre studies A Level Year 11 > Year 12 Bridging work booklet Aims of the Booklet: To prepare you for the expectations in studying Drama and Theatre Studies at A Level. To introduce you to an overview of the course. To expand your knowledge of Theatre history and Theatre practitioners. To engage in playtexts and current 21st theatre practitioners through written and practical activities. Drama & Theatre studies A Level This booklet will lead you through a four week programme of Drama & Theatre Studies. By the end of the this booklet, you will be in a prepared and strong position to begin your A Level.This booklet is divided into four sections: WeeK One: An introduction to Component 1 – exploring theatre history & 20th century theatre practitioners with the opportunity to apply their methodologies to devising tasks Week two: An introduction to component 2 – preparing and performing from script(part 1) Week three: An Introduction to component 2 – preparing and performing from script (part 2) Week four: An introduction to component 3 (Section A): preparing and writing a critical live theatre review A Level in a Nutshell… Component 1 Component 2 Component 3 Devising Performing from a script Text analysis - written exam • Devise an original group ● Study two ● Section A: Live Review ● Section B: Explore performance using a contrasting plays staging a play as the play text as stimulus ● Perform a monologue from one play actor and designer. and performed in the ● Section C: Modernise a ● Perform a group piece style of a key theatre text as the director practitioner.
    [Show full text]
  • Drama and Theatre Studies Name of Student
    Bridging work for new starters 2020 Course: Drama and Theatre Studies Name of student: Bridging Work This booklet contains a number of tasks that students are expected to complete to a good standard in order to be able to be enrolled in this subject. Please complete these tasks on A4 paper (or Drama journal/notebook, as per the task instructions) and bring them with you to your enrolment interview. The work handed in should be: written in full sentences with no copying and pasting from external sources. have all tasks completed have students full names on each sheet multiple sheet should be connected together This booklet also contains significant additional information and a range of optional tasks. We would encourage you to complete all the tasks but you do not need to bring any optional tasks to your enrolment interview. Accidental Death of an Anarchist by Dario Fo Trojan Women by Euripides The Curious Incident of the Dog in the Night-time by Simon Stephens 1 Contents Page no. Welcome and introduction 3 – 4 Set Text research 5 Theatre practitioner and company research 6 Live Theatre 7 Wider Reading 8 Further Reading 9 - 12 HE & Careers 13 Glossary 14 2 Welcome to Drama and Theatre Studies A level Drama and Theatre Studies is an exciting and inspiring course which prepares you for further study in Higher Education. A-Level Drama and Theatre also provides transferable skills such as confidence, group-work, organisation and management of workload, useful in any chosen career path. This highly practical course provides you with the opportunity to work as either performers and/or designers on three different performances.
    [Show full text]
  • Bachelor of Arts in Theatre and Screen Arts: Acting
    Bachelor of Arts in Theatre and Screen Arts: Acting Core Requirements: 26–30 units THEA 100 Concepts in Design (3) THEA 201 Introduction to Theatre Research (3) THEA 240 Stagecraft (4) THEA 311 History of the Theatre I (PS, RM, WI) (3) THEA 312 History of the Theatre II (PS, RM, WI) (3) THEA 313 Theatre as Social Action: Class, Race, Gender and Sexuality in Drama and Performance (3) THEA 493 Senior Thesis/Seminar (2) THEA 495 Theatre Internship (0–4) A total of four semesters of THEA 215, at 0 units per semester, is required of all theatre arts majors: THEA 215 Career Skills for the Theatre Practitioner (0) A total of five semesters of play production, at one unit per semester, is required of all theatre arts majors: THEA 250 Play Production (two semesters) (2) and THEA 450 Play Production (three semesters) (3) Acting Sequence: 25–28 units THEA 210 Acting I: Introduction to Acting Part I (GE) (2) THEA 211 Acting I: Introduction to Acting Part II (2) THEA 220 Voice and Movement I (2) THEA 221 Voice and Movement II (2) THEA 243 Stage Makeup (2) THEA 315 Advanced Movement (2) THEA 320 Acting II: Role Development Part I (2) THEA 324 Acting II: Role Development Part II (2) THEA 420 Acting III: Period Styles (4) Select two of the following courses: THEA 226 Dance for Musical Theatre (2) THEA 310 Stage Management (3) THEA 321 Acting for the Camera (3) THEA 322 Improvisation (3) THEA 329 Comedic Styles (3) THEA 330 Stage Directing I (4) CRWR 440 Topics in Creative Writing (when taught as Playwriting) (4) THEA 430 Stage Directing II (4) THEA 100 Concepts in Theatrical Design (3) A survey course of the ideas and practices of theatrical designers.
    [Show full text]