Download Drama: Theatre and Performance

Drama: Theatre
and Performance
Undergraduate Handbook 2015 Entry
Contents
Welcome from Head of School ................................................................................. 1
Staff Contact Details and Research Interests ............................................................ 2
Contact and Welfare Information ............................................................................. 3
Attendance ................................................................................................................ 7
Frequently Asked Questions..................................................................................... 8
Your Degree: Aims and Objectives .......................................................................... 11
Table of Modules ..................................................................................................... 13
Assessment and Examination Information ............................................................. 15
Assessment Criteria ................................................................................................. 18
Teaching and Learning Methods ............................................................................. 24
First Year Module Outlines ...................................................................................... 26
Appendix: Guide on Essay Referencing ................................................................... 29
Please Note:
Although every effort is made to ensure that all information contained in this handbook is correct at
the time of going to press (September 2015), the University cannot accept responsibility for errors or
omissions. The University also reserves the right to introduce changes from the information given,
including the addition, withdrawal or restructuring of courses and/or modules. The terms and
conditions on which the University makes offers of places on its courses of study, including those
covered in this handbook, may be found in the University of Sussex Undergraduate Prospectus, copies
of which can be obtained from the Admissions Office in Sussex House.
An online version of this handbook is available at
http://www.sussex.ac.uk/english/internal/forstudents/uginformation/ughandbooks
You can use this version to access the weblinks included.
From Professor Tom Healy, Head of School
A very warm welcome to the School of English. Through BA degrees in English Literature, English
Language, American Studies, and Drama, we engage with the historical, creative, performed,
theoretical, and linguistic aspects of English as a world language and literature. The School is
committed to providing our students with teaching of high quality, founded on the expertise of over
45 members of academic faculty whose research has overwhelmingly been celebrated as
internationally excellent. Our aim as a School is to provide you with a supportive and intellectually
stimulating environment as you work in your chosen degree course.
I hope that you will take full advantage of what Sussex University has to offer you. All the School's staff
wish to help you to make the most of your time here. Studying in the School you become a part of an
academic community that explores how language, whether read or performed, is the foundation of
the investigations we undertake about the human place in the world. We want to work with you in
helping you further your development into independent, informed and questioning thinkers. Yet how
much you get out of your time here depends on how much you put in, and I encourage you to be an
enthusiastic participant in your degree course. Above all, studying with us should be rewarding and
enjoyable. If you feel at any point that is not the case, let us know and we will try to help.
I very much hope that you have a pleasurable and productive time with us at Sussex.
Tom Healy
Head of School
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Drama Staff Contact Details and Research Interests
English School Office: Arts B133, University of Sussex, Falmer, Brighton BN1 9QN
Tel: (01273) 877303
E-mail: [email protected]
Dr Sara Jane Bailes (Head of Drama)
Room B220, tel: 01273 876608, email: [email protected]
Contemporary performance and live art (UK, US and Europe); critical theory;
theatre composition; feminism; writing and performance
Dr Augusto Corrieri
Room B349, tel: 01273 873699, email: [email protected]
Contemporary European performance and dance; conceptual art; ecology
and performance; critical and performative writing
Benjamin Fowler
Room B337, tel: TBC, email: [email protected]
Contemporary theatre directing; adaptation and experimental approaches to classical
text; performance and new media
Dr William McEvoy
Room B351, tel: 01273 876609, email: [email protected]
Contemporary British and European theatre and performance; site-specific
performance; theatre and ethics; theatre criticism
Lisa Peck
Room B319, tel: 01273 873681, email: [email protected]
Acting and theatre-making pedagogies; theatre in education; feminist theatre;
approaches to directing and devising
Dr Jason Price:
Room B346, tel: 01273 877204, email: [email protected]
Popular, radical and applied theatre practices; dramaturgy and directing methods;
theatre and social change
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Lee Kennedy (Drama Technician)
Room B310, tel: 01273 873128, email: [email protected]
Sarah Ayliff (Course Coordinator for Drama)
Room B133, tel: 01273 872650, email: [email protected]
Please refer to individual staff members’ websites or look on individual office doors for office hours
during which members of faculty are available for consultation.
Contact and Welfare Information
Where do I go for Information?
The English School Office is located in Arts B133 on the first floor of the Arts B Building and the staff
there are happy to help you with any queries you may have. The office is open 9am – 5pm Monday to
Friday. The office phone number is (01273) 877303 and the office e-mail is: [email protected].
English Faculty contact details can be found at:
http://www.sussex.ac.uk/english/internal/people/peoplelists/group/academic-faculty
Email
You will be registered for an email account here at the University of Sussex, and it is important that
you check this account regularly during the week in term times, as much communication is done by
email. University emails will automatically be sent to your University account rather than other
personal accounts, such as gmail.
The Web
The School of English website has lots of useful information including faculty contact details, module
and course information and up-to-date news and events in the School:
http://www.sussex.ac.uk/english/internal/
Study Direct
You will have access to Study Direct, our Virtual Learning Environment (VLE) where you will be able to
engage with academic resources and activities created and shared by your tutors and peers. The main
page will give an overview of your course and provide links to individual module sites where you will
typically find module documents, library reading lists and (where available) lecture recordings. For
modules with on-line essay submission, Study Direct is the portal for submission.
You will find the links to Sussex Direct and Study Direct at http://www.sussex.ac.uk/students/
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Sussex Direct
When you arrive you will be registered to Sussex Direct, which is your personalised online gateway to
university information. The system will provide you with your study timetable information, as well as
help you track your marks, assessment deadlines, exams timetable and attendance. Behind the scenes,
Sussex Direct helps your Academic Adviser, and Student Advisers, to support your studies.
You will also be able to access your library account and personal information pages, including; contact,
financial, printing and training course information.
Notice boards
Some key information may be displayed on student notice boards in the Arts B Building (in the lobby
area outside the English School Office, B133), so it’s important that you familiarise yourself with where
they are located and check them regularly.
Pigeonholes
Undergraduate pigeonholes for students in the School of English are located on level 2 of Arts B
opposite B237 and these should be checked regularly. The pigeonholes contain post and
coursework/feedback from assessments. Students will be emailed when coursework is ready to be
collected.
Undergraduate Examinations Handbook
There is some information about examinations and assessments in this handbook, but more detailed
information can be found in the Undergraduate Examinations Handbook, which is published on-line by
the University’s Academic Development and Quality Enhancement Office:
http://www.sussex.ac.uk/adqe/documents
Essay manuals
The School publishes manuals on the planning and writing of essays. While much of the information in
the manuals for different courses is the same, it is important for joint degree students to note that
there are differences, particularly in citation and referencing styles for English Language/Linguistics
and English Literature. So, for English Language modules, please use the English Language manual and
for Literature modules, please use the English Literature manuals. If you’re ever uncertain about
questions of essay-writing process, style or format for a module, be sure to ask your tutor for more
information. The manuals can be found on the School of English undergraduate handbooks page:
http://www.sussex.ac.uk/english/internal/forstudents/uginformation/ughandbooks
Event Booking System
The event booking system is used by the School Office to invite students to events within the School.
The event will appear in your Sussex Direct timetable as either compulsory or something that requires
a request of acceptance. Typical events include book launches, extra workshops and Drama
performances.
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Who can I talk to?
Your Academic Adviser
The role of your Academic Adviser is to monitor your academic progress and to give you advice and
help on academic or personal issues that may be affecting your studies. You will meet your Academic
Adviser during the first term, and they will be available during their office hours for you to talk to
should you need their help and advice. You will also meet with them each year to review together how
your studies are progressing.
Student Life Centre
The Student Life Centre is based in Bramber House, and is open every weekday 9am – 5pm. The
Student Life Team are there to help with the following issues:
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Personal concerns
Student funding: Access to Learning Fund, all scholarships, bursaries and Vice Chancellors
loans.
Student mentoring
Information about taking a temporary break (temporary withdrawal) or withdrawing from
the University.
Student complaints
Student discipline
Submission of mitigating evidence
Help with understanding University procedures
Specialist financial advice services are provided by the Student Union Advice and Representation
Centre.
You can contact the Student Life Centre by: telephoning 01273 87 6767; emailing
[email protected]; or texting ‘slcentre’ to 88020.
Further details about the Centre are available at: http://www.sussex.ac.uk/studentlifecentre
Student Mentors
Student mentors are current students who are here to help you settle into university life. They can
show you how different systems work (e.g. Sussex Direct), advise you on time management and
revision skills and a range of other issues – no question is too small. Drop-in sessions are open to
anyone or you can e-mail one of the mentors and they will arrange a time to see you. See the website:
http://www.sussex.ac.uk/studentlifecentre for more information on Student Mentors or contact the
Student Life Centre.
Student Representatives and the School Student Experience Group
The Student Representative Scheme is run jointly by the Students Union (USSU) and the University.
Student reps provide an essential link between students, the University and the Students' Union.
Because reps are themselves students, fellow students are happy to seek assistance from them when
they have concerns or opinions about their education and experience at the University.
Each student cohort year elects both subject-area reps and School-level reps. Subject-area reps liaise
with and represent students at the local level. School-level reps take forward relevant issues to School-
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and University-level committees. All reps meet once a term at the School Student Experience Group
to exchange information and ideas.
Further information on the student representation scheme including voting dates can be found at:
http://www.sussexstudent.com/student-reps/
The University of Sussex Students’ Union (USSU)
The Students’ Union offers a wealth of resources to help you during your time at Sussex, as well as
numerous clubs and societies that cater for your extra-curricular interests. The Union’s Student Advice
Centre offers free, confidential advice on a range of academic and non-academic issues, including
housing, finance, counselling and sexual health. The USSU is located in Falmer House.
http://www.sussexstudent.com/
The Careers and Employability Centre
To help you with your academic development, the Library and the Careers and Employability Centre
have created the Skills Hub. It brings together all the workshops, web resources and services at
Sussex to help you develop a wide range of skills including:
 Writing and Referencing
 Library and Research
 IT Skills
 Employability
 Exams and Assessments
 Personal Development
The Skills Hub also has a live event feed so you can find out about workshops and events to help you
develop your skills: www.sussex.ac.uk/skillshub
The Careers and Employability Centre is located in the Library and is there to help you with all
aspects of career development and employment, both during your studies and after you have
graduated. They offer study skills support, such as workshops and individual tutorials for more
effective learning and developing better study habits and have online resources such as Study
Success at Sussex. http://www.sussex.ac.uk/s3/
They can also help with finding a part-time job during your studies or in the vacation, putting
together a CV, finding work experience, information about postgraduate opportunities, and a range
of other career related areas. Don’t wait till your final year to visit — they have services for students
at every level of study. www.sussex.ac.uk/careers/
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Attendance
The School of English takes your attendance at seminars, workshops and lectures seriously. Our
overwhelming experience is that a casual approach to preparation for, attendance at, and participation
in, these classes leads both to a far poorer result in your degree than you are capable of achieving and
to poor preparation for your future after university. Poor attendance and preparation is also unfair on
your fellow students who are working to make these classes stimulating and effective.
We expect a minimum of 80% attendance at seminars and workshops. Attendance is also taken in
some lectures.
If you are ill or cannot attend classes for any other reason you should email
[email protected]. If you find that ill health or other circumstances are affecting your
studies we strongly recommend you drop into the Student Life Centre and speak to one of the team.
http://www.sussex.ac.uk/studentlifecentre
If your attendance becomes poor without notified good cause, the School’s progress boards may
withdraw you from your degree course and you will have to leave the University. The School’s
Director of Student Experience and the School Office monitor attendance registers and will warn you
if your attendance starts to become unsatisfactory. Failure to rectify this may result in you not being
able to complete your modules and your degree.
Photo: Stuart Robinson
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Frequently Asked Questions
What are the University’s term dates?
2015-16
Arrival Weekend
Freshers' induction
Autumn Term#
New Undergraduates attend
Teaching induction (all attend)
Teaching starts
Teaching finishes
Christmas vacation
Private study period
Attendance only if required*
Mid-year assessment period
Attendance only if required*
starts
Mid-year assessment period
Attendance only if required*
ends
Inter-session week
Spring Term#
Teaching starts
Teaching finishes
Winter Graduation
Easter teaching break and Spring Vacation
Private study period
Attendance only if required*
Year-end assessment period
starts
Year-end assessment period
ends
Summer vacation
Summer Graduation
Resit period
Attendance only if required
Summer Term#
# Term dates for all students:- UG, PGT and PGR
Sat 12 Sep 2015
Mon 14 Sep 2015
Thur 17 Sep 2015
Mon 21 Sep 2015
Fri 11 Dec 2015
Sat 12 Dec 2015 – Sun 03 Jan
2016
Mon 04 Jan - Wed 06 Jan 2016
Thu 07 Jan 2016
Fri 22 Jan 2016
Sat 23 - Sun 31 Jan 2016
Mon 01 Feb 2016
Fri 06 May 2016
Tue 19 - Fri 22 Jan 2016
Sat 19 Mar – Sun 03 Apr 2016
Mon 09 - Wed 11 May 2016
Thur 12 May 2016
Fri 10 Jun 2016
Sat 11 Jun 2016
Mon 18 - Fri 22 July 2016
Late August - early Sep: tbc
* exams may be scheduled on Saturdays
Where can I see my timetable?
On Sussex Direct (which you are automatically registered to when you are registered at the university);
go to the Study page and click on Study Timetable.
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What happens if I can’t hand my work in due to illness/other circumstances?
If you believe you have a good reason why you cannot hand in work on time you can submit Mitigating
Evidence (MEC). Information on how you can do this can be accessed here:
http://www.sussex.ac.uk/studentlifecentre/mitigation
Your MEC statement should be completed as early as possible, either before or normally within 7 days
of the assessment deadline. This should be supported by independent documented MEC evidence
submitted within 21 days of the assessment deadline. An early submission of your claim may also
speed up an assessment of entitlement to additional support should your circumstances indicate ongoing health or support issues.
Where do I hand in my work?
Your Sussex Direct webpages will give all assessment details, including whether the assessment is to
be submitted via e-submission through Study Direct or in hard copy via the School Office.
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Electronic submissions
For assignments that need to be submitted electronically, please refer to the frequently
asked questions available on the following webpage for further information:
www.sussex.ac.uk/adqe/standards/examsandassessment/esubmission
You are encouraged to use the internet-based text-matching service, Turnitin, prior to
submitting your assessments. This may help you identify problems with your referencing.
Turnitin is also used during the marking process as a means of checking the originality of
submitted work.
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School Office submissions
If your assignment needs to be handed in to the School Office, please make sure that you
submit 2 copies of your assessed work. The two copies must be individually stapled and one
cover sheet stapled to one copy. Cover sheets are available from the School Office throughout
the year. Please include your candidate number and the module code at the top of each page
of all work submitted.
What happens if my work is late?
Work submitted late will be subject to the following penalties:
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Up to 24 hours after the deadline - a penalty deduction of 5 percentage points, so, for example,
an original mark of 65% will be reduced to 60%.
After 24 hours and up to 7 days (1 week) late - a penalty deduction of 10 percentage points.
Work will not be accepted more than 7 days after the original deadline. A mark of 0 and a nonsubmission will be recorded.
It is extremely important therefore, that you do hand all of your work in on time. Losing marks for
lateness can have a significant impact on your degree classification.
Where do I collect marked work?
Marked work that has been electronically submitted will be returned by the same method. Work that
has been handed in to the School Office will be returned by the tutor.
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Where can I see my marks?
Your marks can be viewed on Sussex Direct, along with progress reports written by your tutors. Marks
and feedback will be returned within 15 working term time days.
Where do I get a photocopy card from, and where is the nearest photocopier?
You can purchase a photocopy card (and recharge it) in the Library. The nearest photocopiers and
printers are in the Library.
Where is the nearest computer cluster?
A small number of computers are available off the English Social Space (B274) on the second floor in
Arts B. Computers are also available in the Shawcross Building and in the Library.
Where do I update my contact details?
If your contact details change you should update them on your Sussex Direct account.
Where can I find information about modules?
Information about modules that you are registered in can be found on Sussex Direct, including the
modes of assessment, assessment deadlines, weightings and credit details. For modules that you are
not currently taking, please see the School of English website:
http://www.sussex.ac.uk/english/internal/coursesandmodules/ugcourses
What is Study Direct?
Study Direct has a range of on-line academic resources to help you with your studies. Each of your
modules has its own site on Study Direct, and it is the chief means by which your tutors will interact
with you outside classroom time. Some modules also have readers and lecture outlines which will be
available for you to download and print.
I want to transfer to a different degree course – what should I do?
You should talk it through with your Academic Adviser if you want to change your degree course. If
you decide to transfer to a different degree course this is only possible at certain times of the year,
and you should contact Anne Woodbridge, Curriculum and Assessment Officer, Arts B138 (opposite
the School Office). She will give you a transfer form and explain the procedure to you.
What do I do in an emergency?
If there is an accident or emergency you should phone the campus emergency hotline on 3333 (from
a mobile or external line call 01273 873333). Do not dial 999. If you hear a fire alarm, leave the building
straight away by the nearest exit and go to the local building assembly point.
…and remember, the staff in the English School Office (Arts B133) are here to help you with
any queries you may have.
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Your Drama Degree: Aims and Objectives
Photo: Stuart Robinson
The Drama course at Sussex introduces students to a range of academic and performance-based skills
in their first year and develops them in the second year. By your second and final year, you will be able
to pursue your own interests under the supervision of your tutors. Theory and practice are considered
complementary throughout this course and while you take both seminar and studio-based modules,
you will find yourself considering the implications of practical work in discussion while theoretical
issues are explored through workshop practice. Your studies will focus on a range of theatre practices,
plays and issues of relevance to the Modern and Postmodern period, reflecting the research strengths
of the Drama staff and preparing you for a professional career in the arts and other related areas. Areas
and approaches you cover include textual and performance analysis, making performance, critical
theory and theories of drama and creative writing. You will find that you engage with many different
aspects of the theatre process and from a range of perspectives. While studying for a degree is
primarily a solo endeavour, our modes of assessment actively encourage group work and collaborative
skills, independent research, developing your own creative voice and your self-confidence.
By the end of the degree course you will be able to confront complex ideas and arguments relating to
theatre and performance more generally, and develop opinions and perspectives informed by
evidence and suitable intellectual frameworks. You will also understand a good deal about theatre–
making and theatre practitioners from the contemporary and historical periods. You will learn how to
conduct research, write clearly, and work and communicate with others. In addition, you will be able
to transfer your extensive skills in group and collaborative work, and in the practical and academic
workings of theatre, to a range of possible careers both in and beyond the creative industries.
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Our students
Drama students at Sussex either take Single Honours or Joint Honours degrees (which means they have
a diverse range of additional material that they can bring to Drama classes). Some students come
straight from school or college, while others have had a gap year or are returning to education after a
longer period. We also attract international students from Europe and further afield. This means that
student interaction is varied and lively, drawing on diverse experiences and perspectives.
What You Achieve
 Knowledge of different kinds of theatre in text and performance from a range of periods and
contexts
 Understanding of key theories of drama, theatre and performance
 Practice-based skills in analysing, exploring, making and devising theatre
 The ability to present ideas clearly and analytically in group and oral presentations
 The skills to interact successfully with small or large groups and to communicate creatively
and with confidence.
 Research skills and IT competence
In addition you will be able to
 Set yourself ambitious goals for your study at Sussex and improve on existing skills
 Plan how you will manage your time to achieve these goals
 Develop a critical awareness of your work and your working methods
 Articulate your strengths to employers
 Take control of your own career development
Drama Courses at Sussex
Drama Studies at Sussex can form part of a range of Joint Honours modules, allowing you to combine
your study of texts, theorists and theatre practice with other subjects such as English, Film Studies and
Modern Languages.
BA Courses in Drama at Sussex:
BA Drama: Theatre and Performance
BA Drama Studies and English
BA Drama Studies and Film Studies
BA Drama Studies and Languages (French, Italian and Spanish)
Each degree courses aims and learning outcomes can be found on the web. Go to:
http://www.sussex.ac.uk/english/internal/coursesandmodules
Please note: if you are a joint honours student, you will need to refer to the relevant department
handbook for the other part of your degree e.g. English or Film Studies.
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What modules will I take during my degree course?
The table below shows you which Drama modules you will take as part of your degree course. To see
what modules you will take from your joint subject, please look up the relevant course structure at:
http://www.sussex.ac.uk/english/internal/coursesandmodules/ugcourses
If you have any doubt about what modules you are taking please ask in the English School Office, Arts
B133.
Drama: Theatre and Performance (Single Honours)
First Year
Term
Autumn (core)
Autumn (core)
Autumn (elective)
Spring (core)
Spring (core)
Spring (elective)
Second Year
Term
Autumn (core)
Autumn (core)
Spring (core)
Spring (option choice:
choose 1 of 2 options)
Spring (elective)
Third Year
Term
Autumn (core)
Autumn (core)
Spring (option choice:
choose 2 of 3 options)
Module
Q3255
Q3256
Q3258
Q3259
Module
Q3260
Q3107
Q3004
Q3026
Q3261
Thinking Through Theatre
Theories and Contexts in Drama
Elective
Credits
30
15
15
Reading and Staging Theatre Texts
Theatre and Performance Analysis
Elective
30
15
15
Critical Theory and Performance
Approaches to Contemporary Performance
Modern and Postmodern Drama
Writing for Theatre
Performance: Directing and Composition
Elective
Credits
15
30
15
30
30
15
Module
Q3262 Issues and Perspectives
in Contemporary Performance
Q3109 Final Year Performance Project
Q3263 IRP: Dissertation
Q3264 IRP: Practical
Q3265 Professional Placement
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Credits
30
30
30
30
30
Your Drama Degree: Assessment and Examination
Drama and English (Joint Honours)
Drama and Film Studies
Drama and a Language
First Year
Term
Autumn (core)
Module
Q3255
Spring (core)
Q3258
Second Year
Term
Autumn (core)
Module
Q3107
Spring (option choice:
choose 1 of 2 options)
Q3026
Q3261
Third Year
Term
Autumn (core)
Module
Q3262
Spring (option choice:
choose 1 of 2 options)
Q3263
Q3264
Thinking Through Theatre
Modules from your joint subject
Reading and Staging Theatre Texts
Modules from your joint subject
Credits
30
30
30
30
Approaches to Contemporary Performance
Modules from your joint subject
Writing for Theatre
Performance: Directing and Composition
Modules from your joint subject
Credits
30
30
30
30
30
Issues and Perspectives on Contemporary
Performance
Modules from your joint subject
IRP: Dissertation
IRP: Practical
Modules from your joint subject
Credits
30
30
30
30
30
PLEASE NOTE: While the above module tables are accurate at the time of printing this handbook
(September 2015), the curriculum may have changed by the time you are in your second and final years –
i.e. some new modules may be running and some modules may not be offered depending on staffing and
research leave. The English website will always have the most up-to-date degree course structures – please
go to http://www.sussex.ac.uk/english/internal/coursesandmodules/ugcourses
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The Credit System
Each module has a certain number of credits. Degree courses at Sussex are modular, with each
academic year being a largely ‘self-contained’ unit of study. Full-time students are expected to spend
at least 30 working weeks on their studies - a grand total of at least 1,200 student-hours per year.
Sussex, like other Universities, uses a measure called “credit” which reflects this input of time. In the
system used here, each academic year contains at least 120 credits (i.e. a credit is equivalent to 10
hours of student effort). These credits are divided amongst the modules. By knowing the number of
credits for each module, you will have a guide to the relative amount of work required - i.e. a 15- credit
module should require only half the total amount of work needed for a 30-credit module. The credit
allocated to a module is meant to indicate the total amount of effort required over the duration of the
module. This can include time spent on many relevant learning activities such as reading background
material, preparing and writing essays, attending lectures and tutorials and revision for exams.
These figures can only be an approximate guide. The most important reason for this is that individual
students come with different backgrounds and have different strengths, and this affects the amount
of effort (and time) that will be needed to cope with the various modules in the degree course. If you
find yourself spending much more, or much less, time on a module than is appropriate for that credit
loading, then you should talk to your module tutor and your academic adviser to make sure that you
are spending your time effectively. Time management is an important part of studying for your degree.
Modes of Assessment
Drama assesses your work in a variety of ways and seeks to assess the many skills and areas of
knowledge present in the course. The following section considers our main assessment modes and
what they ask of you.
Essays
You will be asked to write a number of essays over the three years spent in Drama. The most important
assessed quality of an essay is the extent to which it analyses the object(s) of your inquiry. You also
need to be able to construct cogent arguments that are solidly based on and supported by evidence.
Generalization and assertion are virtually meaningless as they lack argumentative support. Every
paragraph should aim to address the essay’s title.
An essay should not recycle opinions from classes but rather probe them for their strengths and
weaknesses while developing your own perspective and ideas. You should consult books, scholarly
journals, and other learning resources to give your work depth, and so that you can compare your
thoughts with those of others. All materials must be referenced correctly to avoid the risk of
plagiarism. For information about referencing, please refer to the appendix at the end of this booklet
(page 29 onwards). Essays vary in length but should always include an introduction and a conclusion
unless otherwise stipulated. By omitting either of these, you make it more difficult for your reader to
navigate through your argument/discussion and to understand what your final positions are.
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Group Presentations
You will also be asked to work in groups to demonstrate certain aspects of your learning. Such
assessments often involve a performance presentation and a reflection on what you have done and
why you have done it. Much like an essay, research is required and you will need to work
collaboratively in order to process all the group’s ideas.
While the virtuosity of your performance is not marked directly, the strength of your ideas and your
ability to convey them clearly are. You will also need to be self-reflective when analysing and
accounting for your ideas, and so critical distance from your work is essential in order to consider what
you have created with due rigour.
Oral/Seminar Presentations
You will also be asked to give presentations in class, either individually or as part of a small group.
Usually you will be given a time limit and a topic and you will be expected to present an informed
response to the task set. Presentations should be well researched and cogently argued. Supporting
materials, such as power points and hand-outs, may be appropriate, but don’t allow presentation to
replace content.
Practical Assessment
In the final year performance project and in other modules with performance elements, marks will be
awarded for the way in which you approach the objectives of the project and the ways in which you
execute them. Your development of ideas and their implementation, ongoing attendance and active
participation, your interaction with the tutor, and your engagement with the learning objectives of the
module all contribute to your final mark.
Critical Reflection
In performance project modules you will document and record your experiences, and keep other
documents drawn from your process, such as notes taken from secondary materials, sketches for set
design or costumes, photographs relating to ideas, etc. Along with readings and other materials, this
documentation provides the raw material for your critical reflections on the process. You may, for
example, consider the way your own performance developed and refer back to two important sessions
in your notebook, as well as the theoretical texts read for the class. Again, much value is placed on
analytical skills and the ability to be able to stand back and offer a considered critical appreciation of
your own process.
Useful assessment information
Writing well and avoiding academic misconduct
Plagiarism, collusion, and cheating in exams are all forms of academic misconduct which the University
takes very seriously. Every year, some students commit academic misconduct unintentionally because
they did not know what was expected of them. The consequences for committing academic
misconduct can be severe, so it is important that you familiarise yourself with what it is and how to
avoid it.
The University's guide to study skills gives advice on writing well, including hints and tips on how to
avoid making serious mistakes. Visit http://sussex.ac.uk/s3/writingwell and make use of the resources
there. You will also find helpful guides to referencing properly and improving your critical writing skills.
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If you are dealing with difficult circumstances, such as illness or bereavement, do not try to rush your
work or hand in something which may be in breach of the rules. Instead you should seek confidential
advice from the Student Life Centre.
The full University rules on academic misconduct are set out in the Undergraduate Examination and
Assessment Handbook; see: http://www.sussex.ac.uk/adqe/documents
Handing in formally-assessed work
It is important that you are quite clear about where and when work must be handed in. Deadline dates
for coursework are shown on your study pages on Sussex Direct
(http://direct.sussex.ac.uk).
End-of-year results
At the end of each academic year, the English Undergraduate Progression and Award Board meets to
determine your progression to the next year of your course, or, in the case of final-year students, the
degree class you will be awarded. Details of your results, including examination results, will be available
on your Sussex Direct study pages following the meeting of the board, and a ‘pass list’ will be published
on the notice board in Arts B listing the students who have progressed to the next year. If at the end
of year 1 or year 2 you have not passed enough modules to progress to the next year, you will be asked
to resit in September some or all of the modules you have failed. You will be contacted by letter if this
is the case. More detailed information regarding examinations and resits is in the Undergraduate
Examination Handbook, which will be available in the autumn term, and is also available at:
http://www.sussex.ac.uk/adqe/documents
The pass mark for all undergraduate modules is 40%.
At the end of the year, you must have achieved 120 credits’ worth of modules in order to progress to the next
year of your degree course. Marks for the 1st year do not contribute towards your degree classification (final
degree result), but you must pass the first year in order to progress to the second year. For a three-year
degree course your 2nd year marks contribute 40% to your degree classification, and the final year contributes
60% to your degree classification.
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Assessment Criteria
Assessment Criteria for written work:
0-19 A mark in this range is indicative that the work is far below the standard required at the current
level of your degree course. It indicates that the work is extremely weak, unstructured and seriously
inadequate. This will be because either the work is far too short, is badly jumbled and incoherent in
content, or fails to address the essay title or question asked. It will show very little evidence of
knowledge or understanding of the relevant module material and may exhibit very weak writing and/or
analytical skills.
20-39 A mark in this range is indicative that the work is below, but at the upper end is approaching,
the standard required at the current level of your degree course. It indicates weak work of an
inadequate standard. This will be because either the work is too short, is very poorly organized, or is
poorly directed at the essay title or question asked. It will show very limited knowledge or
understanding of the relevant module material and display weak writing and/or analytical skills. Essay
work will be poorly structured, exhibit no clear argument, may have very weak spelling and grammar,
very inadequate or absent references and/or bibliography and may contain major factual errors.
Quantitative work will contain significant errors and incorrect conclusions.
40-49 A mark in this range is indicative that the work is of an acceptable standard at the current level
of your degree course. Work of this type will show limited knowledge and understanding of relevant
module material. It will show evidence of some reading and comprehension, but the essay or answer
may be weakly structured, cover only a limited range of the relevant material or have a weakly
developed or incomplete argument. The work will exhibit weak essay writing or analytical skills. It may
be poorly-presented without properly laid out footnotes and/or a bibliography, or in the case of
quantitative work, it may not be possible to follow the several steps in the logic and reasoning leading
to the results obtained and the conclusions reached.
50-59 A mark in this range is indicative that the work is of a satisfactory to very satisfactory standard
at the current level of your degree course. Work of this quality will show clear knowledge and
understanding of relevant module material. It will focus on the essay title or question posed and show
evidence that relevant basic works of reference have been read and understood. The work will exhibit
sound essay writing and/or analytical skills. It will be reasonably well structured and coherently
presented. Essay work should exhibit satisfactory use of footnotes and/or a bibliography and in more
quantitative work it should be possible to follow the logical steps leading to the answer obtained and
the conclusions reached. Arguments and issues should be discussed and illustrated by reference to
examples, but these may not fully documented or detailed.
60-69 A mark in this range is indicative of that the work is of a good to very good standard for the
current level of your degree course. Work of this quality shows a good level of knowledge and
understanding of relevant module material. It will show evidence of reading a wide diversity of
material and of being able to use ideas gleaned from this reading to support and develop arguments.
Essay work will exhibit good writing skills with well-organized, accurate footnotes and/or a
bibliography that follows the accepted ‘style’ of the subject. Arguments and issues will be illustrated
by reference to well documented, detailed and relevant examples. There should be clear evidence of
critical engagement with the objects, issues or topics being analysed. Any quantitative work will be
clearly presented, the results should be correct and any conclusions clearly and accurately expressed.
70 – 84 A mark in this range is indicative that the work is of an excellent standard for the current
level of your degree course. The work will exhibit excellent levels of knowledge and understanding
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comprising all the qualities of good work stated above, with additional elements of originality and flair.
The work will demonstrate a range of critical reading that goes well beyond that provided on reading
lists. Answers or essays will be fluently-written and include independent argument that demonstrate
an awareness of the nuances and assumptions of the question or title. Essays will make excellent use
of appropriate, fully referenced, detailed examples.
85 - 100 A mark in this range is indicative of outstanding work. Marks in this range will be awarded
for work that exhibits all the attributes of excellent work but has very substantial elements of
originality and flair.
Assessment Criteria for Presentations:
0-19 A mark in this range indicates that the presentation is far below the minimum standard
expected. It indicates an extremely weak presentation that is unstructured and well below the
minimum standard expected. This will be because either the presentation is far too brief, very poorly
organised and incoherent in content, or fails to address the issue, topic or theme required. The
presentation will exhibit minimal evidence of knowledge or understanding of the material, may contain
major factual errors and presentation or speaking skills may be extremely weak.
20-39 A mark in this range indicates that the presentation is below, but at the upper end of the range
is approaching, the minimum standard expected. It indicates a weak presentation below the
minimum standard expected. This will be because either the presentation is too short, poorly
organized, poorly structured and difficult to comprehend, or is poorly focussed on the issue, topic or
theme required. It will exhibit minimal knowledge or understanding of the material covered and may
display very weak presentation or speaking skills, or contain substantial factual errors.
40-49 A mark in this range indicates that the presentation meets the minimum standard expected.
A presentation of this quality will show limited knowledge and understanding of the material covered.
It will show evidence of some preparation and comprehension, but the presentation may be weakly
organised, cover only a limited range of the relevant material or develop a weak theme or argument.
It may exhibit weak presentation or speaking skills, lack appropriate visual aids and may contain some
significant factual errors. It may not be possible to follow several steps in the logic and reasoning or in
any conclusions reached.
50-59 A mark in this range indicates that the presentation is of a satisfactory to very satisfactory
standard. A presentation of this quality will show clear knowledge and understanding of the material
covered. It will be focussed and show evidence of thoughtful preparation and clear comprehension of
the material delivered. The material will be reasonably well structured, coherently presented and
exhibit clear speaking skills supported, if relevant, by adequate use of clear visual aids. There may be
some omission of relevant material or limited develop of a topic, theme or argument, it may contain
minor factual errors and it may not be possible to follow all steps in the logic and reasoning or in any
conclusions reached.
60-69 A mark in this range indicates a good or very good presentation. A presentation of this quality
will show a good level of knowledge and understanding of the material covered. It will be well focussed,
show evidence of very thoughtful preparation and a very clear comprehension of the material
delivered. The material will be well structured, accurate, very coherently delivered and exhibit high
level presentation and speaking skills well supported, if relevant, by good use of clear visual aids. Most
or all relevant material will be included, any relevant topic, theme or argument will be clearly
developed and it will be possible to follow all steps in the logic and reasoning and in the conclusions
reached. There should be clear evidence of critical engagement with the theme, issue or topic being
presented.
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70+ Such marks are given for an excellent or outstanding presentation. A presentation of this
standard will exhibit excellent levels of knowledge, understanding and presentation skills comprising
all the qualities stated above, with additional elements of originality and flair. It will exhibit a critical
engagement with the material presented and include independent argument regarding the theme,
issue or topic being presented. It will be excellently presented in a fluent speaking style supported if
relevant by excellent visual aids.
Assessment Criteria for practical work:
0-39 A mark in this range indicates that the work has not reached the necessary standard. Little or
no evidence of preparation, of rehearsal and/or creative engagement. The work is messy, untidy,
undisciplined and fails to reflect original project goals. Little thought given to staging or audience
perspective/experience. Creative ideas (such as are present) are superficial, misconceived; does not
understand the form of the work or its relation to content; expression is at best simple or unclear.
Focus of task and approach to task lacking in appropriate ambition. Performance is poor to adequate.
Attention to the group and overall structural developments are poor; marked by inattention; failure to
respond to or work with other performers in a respectful/supportive way.
40-59 A mark in this range indicates satisfactory to very satisfactory work. Some evidence of
preparation, of rehearsal and creative engagement. Some thought given to staging and audience
perspective/experience. Keeps reasonably close to original project goals. Creative ideas are
simple/predictable, possibly somewhat derivative or reliant on formulaic approaches, and rather safe;
genre understood and related to content; expression largely clear; execution supports intentions;
individual performances competent to good. Attention to the group and overall structural
developments are variable; periods of attention mixed with a lack of focus or engagement and lapses
in concentration or clarity.
60-69 A mark in this range indicates a very good piece of performance work. Clear evidence of
sustained preparation, of rehearsal and creative engagement. Staging is thoughtful and appropriate,
and shows careful consideration. Keeps to original project goals. Creative ideas are
sophisticated/imaginative; focus of task and approach are appropriately ambitious and demanding;
communicative potential of creative ideas understood; relationship of form and content fully
understood; individual performances are expressive and well delineated. The ensemble playing is of a
good to high standard (few lapses of concentration); focus on the piece’s coherence is mostly excellent;
very good overall responsiveness to and awareness of objectives and other performers.
70+ A mark in this range indicates excellent performance work. High quality in staging and structure
of work reflects sustained and rigorous preparation in all regards. Fulfils all original project goals and
objectives. Creative ideas are innovative, highly sophisticated; focus of task and approach to
assignment are highly ambitious but measured and complex; context of work fully understood and
integrated. The form of the work may be challenging; communicative demands of creative choices fully
understood. Individual performances are focused, eloquent and compelling. The ensemble playing is
of the highest order, displaying sustained concentration, focus, and responsiveness to other
performers.
As practical work is concerned with processes, marks may be awarded for the extent to which students
have engaged with the various tasks set over the weeks in workshops and in the production project
module (Final Year). Students who are consistently responsible and active, well prepared, and able to
reflect critically on their contributions tend to be awarded higher marks. Their work will be focused,
informed by a range of contextual considerations that affect both performance and its reception, and
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committed to the expansion and development of the skills required to participate in a major theatrical
project.
Grid Marking
The School of English uses a grid system for marking for written work. This makes our marking precise
and transparent. It also provides students with detailed feedback, helping you to see where your
strengths and weaknesses lie and how you need to improve.
We consider three main elements when marking your work: 1) Argument and Analysis, 2) Knowledge
and Research, and 3) Writing and Presentation. Your written assignments must address all three areas
to be successful and your overall mark takes all three areas into consideration.
In the feedback that you receive on your written work, your tutor will inform you of how you have
performed in each of these three areas. Your tutor will also offer suggestions for how you can improve
your work in future.
Argument and Analysis:
Your work should contain a coherent and accurate main thesis/argument that is built around strong
ideas and high quality thinking. Your work should perform thorough and considered textual
analysis/close reading and pay appropriate attention to the formal levels of the text(s) under
consideration.
Knowledge and Research:
Your work should show excellent and thorough comprehension of any texts that you discuss. It should
also engage with primary texts in a sophisticated way and make use of relevant historical, intellectual,
or literary contexts. Where appropriate it should also demonstrate wide and critical reading of
secondary sources.
Writing and Presentation:
Your work should be well structured and organized and should be written in a clear and persuasive
manner. Your referencing should accurately and consistently follow scholarly conventions, as should
your formatting and presentation. Your essay should also avoid mistakes in spelling, punctuation and
grammar.
Please refer to the information overleaf for further detail on marking criteria.
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KNOWLEDGE &
RESEARCH
ARGUMENT & ANALYSIS
Marking Criteria
0-39
40-49
50-59
60-69
70-74
75-79
80-85
86-100
Very limited textual
analysis; no
argument or
incoherent
argument; fails to
focus on topic(s)
addressed; below the
standard required at
the current level of
course.
An elementary or
incomplete
analysis; no
argument or
incoherent
argument; some
attempt to focus
on topic(s)
addressed, but
prone to stray
from point or lose
focus.
In general, analysis
demonstrates
adequate
interpretation of the
material, although
there may be some
lapses; fairly
coherent argument;
in general, maintains
focus on topic(s)
addressed, although
there may be some
lapses.
Sound analysis of
the material, with
some awareness
of the complexity
of the issues
discussed;
argument is clear,
focused and
scholarly.
Advances a wellconsidered
analysis or
interpretation;
argument is
clear, focused
and scholarly;
presents an
original approach
to the material
that questions
established
views.
Advances a welldeveloped and
striking analysis
or interpretation;
argument is
clear, focused
and scholarly;
presents a fresh
and original
approach to the
material that
questions
established
views.
Advances an
outstandingly
bold analysis or
interpretation;
argument is
clear, focused
and scholarly;
presents a fresh
and original
approach to the
material that
questions
established
views.
As for 70-85;
analysis and
argument
transcend the
expectation of
the level of the
assessment.
Very limited use of
primary and
secondary reading;
very limited
awareness of
relevant contexts;
poor textual
comprehension;
below the standard
required at the
current level of the
course.
Limited use of
primary and
secondary
reading;
inadequate
awareness of
relevant contexts;
poor textual
comprehension.
Some use of primary
and secondary
reading; some
awareness of
relevant contexts;
adequate textual
comprehension but
there may be some
limitations or lapses.
Strong
engagement with
primary and
secondary texts;
good awareness
of relevant
contexts; good
textual
comprehension.
Wide use of and
close
engagement with
primary and
secondary
reading;
evidence of
independent
research;
detailed
knowledge of
relevant
contexts;
excellent textual
comprehension.
Wide and
penetrating use
of primary and
secondary
reading;
evidence of
independent
research;
detailed
knowledge and
sophisticated use
of relevant
contexts;
excellent textual
comprehension.
Wide and highly
sophisticated use
of primary and
secondary
reading;
evidence of
independent
research;
detailed
knowledge and
highly
sophisticated use
of relevant
contexts;
excellent textual
comprehension.
As for 70-85; use
and treatment of
primary and
secondary
reading and
knowledge and
use of relevant
contexts
transcends the
expectation of
the level of the
assessment.
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WRITING & PRESENTATION
0-39
40-49
50-59
60-69
70-74
75-79
80-85
86-100
Writing that is poorly
structured and
organised, with
inadequate
expression and
frequent errors in
grammar, spelling,
and punctuation;
presentation and
citation/ referencing
does not follow
guidelines; below the
standard required at
the current level of
the course.
Writing that is
sometimes poorly
structured and
organised, with
some inadequate
expression and
some errors in
grammar, spelling
and punctuation;
presentation and
citation/
referencing does
not follow
guidelines.
Writing that shows a
basic but limited
command of
structure,
organisation, and
expression; few
errors in grammar,
spelling, and
punctuation;
presentation and
citation/ referencing
mostly follows
guidelines, with
some lapses.
Writing that is
well organised
and structured
and shows a sure
command of
expression; strong
grammar, spelling,
and punctuation,
although there
may be a small
number of minor
errors;
presentation and
citation/
referencing in line
with guidelines.
Writing that is
extremely well
organised and
structured and
shows an
excellent
command of
expression;
flawless
grammar,
spelling, and
punctuation;
presentation and
citation/
referencing in
line with
guidelines.
As for 70-74;
overall, writing
shows a high
degree of
sophistication
and assurance.
As for 70-79;
overall, writing is
distinguished by
nuance,
sophistication,
complexity and
regard for style.
As for 70-85;
writing is
distinguished by
a command of
style and
exposition that
transcends the
expectation of
the level of the
assessment.
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Teaching and Learning Methods
Photo: Stuart Robinson
Teaching in Drama at Sussex is based on the complementarity of theory and practice. Students will
engage with major practitioners, performances, plays and performance projects around the table for
seminars in discussion, watching work (live and recorded) and in the studio for workshops. Theory can
never encompass the complexities of performance, yet approaching the stage without theoretical
preparation can lead to naive or aimless work. At Sussex, practice is treated as a form of embodied
learning; students make discoveries in the studio which will be informed by and relate to theoretical
positions and ideas. Students can expect to split their contact hours between theory and practice.
Drama is mainly taught through seminars and practical workshops, and you will be expected to prepare
for both outside of class. All teaching and learning methods are designed to promote independent
thought and autonomous work.
Seminars
Seminars are discussion-based classes, and you will therefore need to have read (and sometimes
watched) the performance, play, theory or set texts under discussion in order to contribute and allow
the seminar to cover areas important to the group. Your tutor is a facilitator of discussion and will not
spend the class talking only for you to take copious notes. Your ideas and verbalised responses are key
to the success of a seminar. Seminars help you develop the skills required to convincingly articulate
arguments, to defend your opinions but also to acknowledge the validity of other people’s views and
possibly integrate them into your own. Opinions change as we learn more. The seminar format can
involve open discussion or allow for small groups to formulate points of interest and ideas before
relaying them to the group as a whole. Seminars exist for your benefit and you will only be able to
make the most of them if you play an active role on a regular basis. Attendance is critical.
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Practical Workshops
Workshops allow you to approach issues related to performance, whether these involve exploring the
strategies, games or propositions of a practitioner or theatre group; investigating or realizing a text in
order to understand more about its possible meanings; responding to each others work creatively, or
devising scenes, characters or actions. Workshops can involve being set practical exploratory exercises
or they function as laboratories for performance projects or performative presentations that will be
assessed. In all of these cases, you should arrive prepared for physical work and dress appropriately.
Clothing should be comfortable and allow free movement. Shoes should have a soft rubber sole.
Like seminars, workshops are about experimenting with ideas, only this time your arguments are
conveyed through the body and the voice, through movement, gesture, text, space and time. Because
work is often carried out in pairs or groups, you will have to learn how to negotiate, to give and take,
to listen as well as contributing (listening often is a way of contributing) and to articulate a common
approach to the task you have been set.
Practical Facilities
The Debating Chamber (Falmer House, Student Union) – The Debating Chamber in Falmer House was
upgraded in 2008 and is one of Drama's teaching and production spaces. The upgrade transformed it
into a professional standard working theatre space that accommodates a wide range of performance
possibilities. The DC contains a full lighting rig and sound system. Seating is fully flexible and can be
arranged in a variety of configurations to suit the work undertaken.
The Silverstone Drama Studio (Silverstone Building, Room 125) – Silverstone Studio has, over the last
5 years, become one of our primary teaching and production spaces. It is a dedicated ‘black-box’ space
suitable for workshops, seminars and the practical exploration of theatre. It has a control room (for
operating lights and sound), lighting storage, an adjacent green room and a costume and props
cupboard. The studio has a powerful stereo PA system and an efficient lighting rig. It can be configured
in all sorts of imaginative ways and students are encouraged to rehearse their own projects here.
The Creativity Zone (Pevensey III) - Drama also has access to the Creativity Zone, a unique, white, hightech multimedia lab space, a cross between a theatre studio and a ‘white cube’ art gallery. Some of
your classes will be timetabled here. The space includes flexible walls (the space can break down into
smaller rooms), a sophisticated system of data projectors, “live feed” video projection, wall-mounted
plasma screens, and a surround -sound and visual system. Performance projects take place in all of the
above 3 spaces as does all of your assessed practical work.
Attenborough Centre for the Creative Arts (ACCA) – This year the ACCA will reopen. A purpose built
multi-disciplinary arts centre designed as part of the original campus, the building has been closed for
a number of years for refurbishment. A new Artistic Director has recently been appointed and in Spring
2016 Drama is expected to begin sharing space in the building. This new arts centre will provide all
Drama students with exciting opportunities to become involved and to see, participate in and
contribute to different creative projects.
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Photo: Stuart Robinson
First Year Module Outlines
The following pages give brief outlines and learning outcomes for Year One modules in the
Drama degree course. The information is only a summary and will be supplemented by
module-specific materials.
Year 1, Autumn Term
Q3255: Thinking Through Theatre (30 credits)
Thinking Through Theatre will introduce students to a range of analytical, critical, and practical issues
and approaches that have an impact on how theatre is thought about and composed. The module
seeks to broaden students' understanding of what theatre is, how it can be made, and the challenges
and opportunities encountered in making theatre. In seminars, students will discuss some of the
important key terms, debates and ideas that inform and delimit theatre-making as a political, social
and ideological arena of aesthetic practice; in parallel workshops they will explore and extend those
ideas practically; screenings of performances complement and support your learning. Throughout the
module students will be encouraged to develop a critical attitude to viewing, experiencing and making
theatre. They will also be introduced to skills and techniques for developing socially responsible studio
practice. Alongside seminars and workshops, students will attend performances (usually scheduled
outside of class time) and these will inform weekly discussions. By working collaboratively in order to
think through issues and develop material throughout the term, students gain relevant critical and
practical skills necessary for working together effectively and generously for the duration of their
degree course.
The module aims to embed a fundamental idea that permeates the rest of the degree as a whole: that
theatre 'thinks' and is a way of thinking; that it processes concepts and issues in a way in which essays,
for example, do not. Over the course of the module, students will be introduced to a number of
different ways in which theatre 'thinks' about the world and the means it has at its disposal for effecting
this.
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Learning Outcomes:
 Demonstrate a knowledge of the issues and contexts involved in making contemporary
theatre
 Recognize and explain how performance 'thinks' when processing issues and themes
 Map theory onto practice and practice onto theory
 Demonstrate practical and group-work skills by means of performance
Q3256: Theories and Contexts of Drama (15 credits) (Single Honours students)
This module will introduce students to a range of key concepts and contexts that have been used to
think critically and theoretically about drama, theatre and performance. Indeed, the distinction
between these three terms will be the starting point of the module. By presenting a range of
philosophical, theoretical and conceptual categories for thinking about art in its historical and aesthetic
contexts, the module will allow students to engage with fundamental debates around the nature,
purpose and function of drama, reflecting on the various social, cultural, aesthetic and ideological ways
of thinking about the medium. The module will deal both with generic concepts such as mimesis and
representation, as well as more specific cultural and artistic categories such as ‘modernity’,
‘realism/naturalism’ and the ‘avant-garde’. At the same time, it will contextualise these concepts and
movements philosophically and historically by linking the work of theatre theorists with wider
movements and historical developments, such as the exploration of modernity in the context of the
avant-garde, existentialism and absurdism, or postmodernity in relation to liveness, the ephemeral
and performance art. The overall aim of the module is to promote a series of lateral connections
between drama, theatrical movements and concepts, and wider social, cultural, historical and
philosophical currents.
Learning Outcomes:
 Reflect on a range of theories of theatre and performance
 Express critical and theoretical ideas clearly
 Contextualise and historicise theoretical ideas
 Make links between different theorists of theatre and performance
Year 1, Spring Term
Q3258: Reading and Staging Theatre Texts (30 credits)
This module will introduce students to approaches to reading and staging theatre texts taken from a
range of historical periods. The module will interrogate the structure of dramatic texts, their cultural
and historical frame, and question the impact of performance and its material conditions on the
chosen works. Furthermore, it will introduce students to practical techniques for translating a text
from page to stage. Weekly seminars will explore the issues, historical and cultural contexts of these
plays, while accompanying workshops will focus on exploring the status of the text in relation to
performance, asking whether it is a blueprint, a set of instructions, a springboard or a resource for
performance. In workshops, students will also explore different staging practices, from original
practices to the stylised, from radical, postmodern approaches to ones that draw on the techniques of
theatre practitioners such as Brecht, Bogart and Stanislavsky. The module will lead students to
understand how they may prepare a text for performance, how practical approaches to the text bring
new ways of understanding its composition, form and meaning. The overall aim is to broaden the
student’s understanding of the complexity of the text’s relationship with performance and encourage
them to think about practice as a form of embodied theory: experiential, critical, evolving and dynamic.
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Learning Outcomes:
 Demonstrate understanding of the relationship between theatre texts and their performance
contexts
 Demonstrate understanding of the various ways in which dramatic texts can be staged or
performed and the consequences of these processes
 Use critical vocabulary effectively to discuss the creation of performance from dramatic texts
 Demonstrate understanding about the relationship between theatre as a material practice
and theatre texts as one element of performance
Q3259: Theatre and Performance Analysis (15 credits) (Single Honours students)
This module introduces students to a variety of ways through which they might understand and
analyse theatre and performance, with an emphasis on the particularities of the two (as opposed to
film or television). It draws attention to the difficulties involved in the process and in doing so asks
what can be achieved through analysis and for whose benefit analysis might be undertaken. How we
analyse performance is dependent on a number of important factors, such as the differences between
experiencing a piece live, watching a recording or reconstructing work through reviews and other
documents. The ways we receive a performance can also be fundamentally influenced by other
important contexts (where and when both the performance and the analysis take place, for example)
and these have to be built into our understanding of the work under discussion. The theatrical event
is made up of performers and spectators, yet the latter can often be ignored. This module will ask
questions of the audience, too: who makes up a theatre audience, what might be expected of it, and
how might that affect theatre-makers themselves. Students will also be introduced to questions
surrounding theatre documentation, of how something as ephemeral as live performance might be
preserved and to what ends.
Primarily, the module aims to equip students with both tools and sensitivities that will help them
respond confidently and eloquently to (live) theatrical events. Students will develop a critical
vocabulary that will allow them to consider different types of theatre and performance through
exposure to a varied selection of screenings and live productions. In addition, students will acquire
skills that will allow them critically to engage with their own creative output over the course of the
degree as a whole.
Learning Outcomes:
 Identify and evaluate the different ways in which theatre and performance communicate
with an audience
 Identify and evaluate the different strategies theatre and performance groups employ to
communicate with an audience
 Identify and summarize the factors that affect the reception of a piece of theatre
 Demonstrate understanding of the problems and issues relating to the documentation of live
performance
Second and Final Year Modules
The tables on page 13-14 of this handbook indicates which drama modules you will take in the second
and final years of your degree course. You can view details of all the modules run by the School of
English, as well as the structure of each degree course, on the website: www.sussex.ac.uk/english. Or
you can go to the link on the School of English website:
http://www.sussex.ac.uk/english/internal/coursesandmodules/ugcourses
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Appendix: Guidance on Essay Referencing
The English Manual: Guide to Writing Essays and Dissertations has been prepared to give you basic
information on the planning and writing of your essays and dissertations, on using the styles of
reference and of citation and on avoiding the most common errors in undergraduate writing. This
manual is available on-line on the School of English website
(http://www.sussex.ac.uk/english/internal/forstudents/uginformation/ughandbooks)
Photo: Sara Jane Bailes
NOTES on REFERENCING
Referencing is the practice of acknowledging books, articles or other resources (such as films,
performances or internet sites) that you have referred to in your essay or that have informed your
ideas. If you use other people’s arguments or thoughts without acknowledgement, you are guilty of
plagiarism. The University takes plagiarism very seriously and the result of this is that your work will
be taken to a disciplinary hearing. The outcome could have serious consequences for the successful
completion of the module and your degree. While there are many referencing systems available,
Drama requires students to use the Modern Humanities and Arts Research Association (MHRA) style.
A few basic bibliographic examples appear below, but the full style guide can be found online at:
http://www.mhra.org.uk/Publications/Books/StyleGuide/download.shtml. Essays that fail to
reference accurately according to this style will be penalised. It’s important to be consistent in the style
of referencing you adopt.
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How to reference:
References are best acknowledged in the form of a footnote.
e.g.
As Simmons suggests, ‘Strindberg’s early theatre is founded on the
increased attention paid to psychology in the nineteenth century’.1
In the footnote, the format of the reference should be as follows:
Books: author, full title [in italics] (place of publication: publisher, year), p. x
e.g.
Martin Jenkins, Irony in Marlowe. An Investigation into Power
(London and New York: Haymarket Press, 1986), p. 28
Articles in journals:
author, ‘title’, journal name [in italics], volume
no. (year in brackets), pp. x-y (p. z)
e.g.
Angela Mumford, ‘The Mother-Figure in Brecht’, New Theatre
Quarterly, 85 (1987), pp. 12-26 (p. 15)
Articles or chapters in books:
e.g.
author, ‘title’, in editor’s name(s), full title [in
italics] (place of publication: publisher, year), pp.
x-y, (p. z)
Sarah Miller, ‘Understanding Beckett’, in Andrew
Evans (ed.), Beckett in Context (Baltimore: Johns
Hopkins Press,1991), pp. 71-99, (p. 76)
Internet Sites: author or ‘anon’, ‘site title’, <web address>, [date accessed] (para. x of xx)
e.g.
For films:
e.g.
Lucy Timkins, ‘Online Biography of Caryl Churchill’, date of publication
when specified or ‘n.d.’ (short for ‘no date’ when not
<http://www.onlineliteratureresearch.com/churchill/biog.html>, [accessed 20
July 2007] (para. 3 of 23)
the reference should include, as a minimum, title, director, distributor/company,
date:
The Grapes of Wrath, dir. by John Ford (20th Century Fox, 1940).
Names of artists may be given after that of the director. First names may be omitted
if not deemed necessary. If a video reference is available, it should be added at the
end.
Live performances:
the reference should include title of performance, author of script (if
relevant), director(s) or name of company, venue, location, date of performance:
e.g.
Lysistrata, Aristophanes, dir. by Barbara Karger and Michael Preston, The Dome,
Brighton, 20 April 2010.
Tomorrows Parties, Forced Entertainment, dir. by Tim Etchells, Battersea Arts Centre,
London, 15 November 2013.
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Referencing the same work more than once:
Once you have referred to a work once, you only need give the author’s name and the page
number in subsequent footnotes, e.g. Miller, p. 77. BUT, if you are using different works by
the same author or two authors have the same surname, add the title or an abbreviated title,
e.g., Miller, ‘Understanding Beckett’, p. 77.
A ‘reference-within-a-reference’:
If you find a useful quotation which is itself a quotation within a book or article you are reading,
you can reference it thus:
Bertolt Brecht, quoted in [standard reference format]
Bibliographies:
The bibliography is the place where you tell the reader which books, articles, performances
(live and recorded) or films you have read/watched in order to write the essay. Every work
should appear there, even the ones which are not directly referenced in the essay itself.
The bibliography should be formatted like the above, yet without the specific page references.
Authors should be listed alphabetically, surname first, as in the following example:
Lyon, James K., ‘Brecht in Postwar Germany: Dissident Conformist, Cultural Icon, Literary
Dictator’, in James K. Lyon and Hans-Peter Breuer (eds.), Brecht Unbound: Presented
at the International Bertolt Brecht Symposium held at the University of Delaware
February 1992 (Newark: University of Delaware Press, 1995), pp. 76-88
Marber, Patrick, Closer, edited by Daniel Rosenthal (London: Methuen, 2007)
McConachie, Bruce, Theatre and Mind (Basingstoke: Palgrave, 2013)
McDowell, W. Stuart, ‘Verfremdung... be damned! Putting an End to the Myth of Brechtian
Acting’, Communications from the International Brecht Society, 38 (2009), pp. 158-68
Merlin, Bella, The Complete Stanislavsky Toolkit (London: Nick Hern, 2007)
NOTES on PRESENTATION OF ESSAYS
General:
1.
2.
All essays must be double-spaced and should have sufficient margins to allow markers to add
comments. Please insert page numbers.
Students should use font size 11 or 12 point, preferably Times New Roman, Helvetica or
Arial.
Please note: marks will be deducted for not adhering to the word limit, the absence of a bibliography
and/or references, and poor presentation (syntax, sentence structure, clarity of meaning, punctuation,
etc.)
Titles:
Complete works of art are italicized
e.g. Shakespeare’s Macbeth, Brecht’s The Mother, etc.
Poems and short stories are put into single inverted commas
e.g. Kafka’s ‘Metamorphosis’, Tennyson’s ‘The Charge of the Light Brigade’, etc.
How to Structure Essays and Research
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Introduction
1. Question the categories and meaning of the title. This may mean taking the title apart and asking
yourself what the essay title is asking, how ideas relate to each other, and/or discussing the
implications of the title if it is more straightforward.
2. Introduce any theoretical ideas, theorists or critical frameworks that are relevant to your
discussion.
3. Briefly discuss the stance you will be taking in your essay towards the issues raised by the title.
4. Briefly outline the arguments you will be deploying in the course of the work (that is, set out your
stall)
The Main Body of Your Essay
1. Make sure that arguments are logically ordered, and make the links between the major ones
transparent.
2. When considering each argument or opinion, assess it from many sides, taking into account all the
contradictions found in the text(s) under discussion. If these contradictions undermine your
original ideas, then let them be modified.
3. Be circumspect, thus be aware that texts are not about uncomplicated matters. Take the
complexity of characters or events into account when discussing them. The result can lead to a
more rounded analysis. Don’t be reductive and avoid generalising (eg. statements such as “All
theatre is expressive and creative” are both obvious and overly general.)
4. Test the validity of your arguments by trying to argue against yourself before writing. Again, the
result is a fuller appreciation of what you may have previously considered an open and shut case.
The essay is not an attempt to prove something but rather to consider it persuasively.
5. Don't labour points or keep referring to them. They become repetitious and ultimately affect the
way an examiner may assess your work.
6. Your arguments should resemble an intellectual journey from a place of relative ignorance,
through a thorough examination, to a conclusion at the end of each argument or the essay as a
whole. Your conclusion should bring you to a different place than where you started.
7. Take material from the text as a whole: don't be strait-jacketed by a work's chronology.
8. In the case of comparative essays: attract material from all your relevant sources. For example, do
not write two half essays - write one essay on the two texts, continually contrasting your sources
and weaving them together for productive similarities and divergences around arguments.
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Conclusion
1. Tie together the conclusions from the arguments presented in the main body of the essay into a
more all-encompassing conclusion, that is, a conclusion of the conclusions.
2. Tell the reader what you have learned through the process of writing the essay. Your engagement
with the text(s) you have discussed may have opened your eyes to new facets which have surprised
you. These need to be reported in the conclusion.
3. Don't skimp: a conclusion is there to show the reader that the essay was worthwhile and that you
have learned something by applying rigorous criticism to texts.
4. But don't go overboard either: keep it concise yet full of points derived from the essay's main body.
5. Don't merely repeat what you have already said either: draw what you have already said together
and deduce interesting points. Your conclusion should connect back to your introduction, so
remember where you started.
The Function of Quotations:
1.
The main function of a quotation is to tell the reader something a paraphrase cannot and to
support an idea or thought of your own.
You can also quote for reasons of STYLE, if use of language or syntax is of interest, for example,
or a way of phrasing that is sophisticated strikes you as being useful/relevant.
2.
Don't quote superfluously: if you have just told the reader precisely what is to follow, or if the
information is factual (and something you could as easily say yourself), then it is probably better
to forget the quote and stick to a paraphrase. You must reference the source, however, which
should be given thus:
The line in your essay reads: Martin discusses the Restoration’s passion for asides at length in his
book. [Footnote is inserted here]. The footnote should be preceded by ‘See [bibliographical
detail]’ as it is not a direct quotation.
The footnote would thus read: See Roland Martin, The Restoration (London: Routledge, 1997),
pp. 34-51.
3.
Do not over-quote. Use quotation selectively and to further your argument, develop an idea, or
evidence your thinking (ie. help to validate your ideas). Do not simply insert quotation in order to
reach your word count! If quotes are superfluous your essay will lose marks.
The Form for Quotations:
1.
Make sure you introduce and integrate quotation properly. Avoid simply throwing quotations into
a paragraph without considering how they sit within your own argument and the larger context
of the paragraph you are writing. Use introductory pointers such as ‘As Higgins says,’, or ‘This can
be seen clearly in the following quotation from Crick’.
2.
All quotations start in single inverted commas. Inverted commas within quotations become
double. Full stops or other punctuation are placed outside of the quotation, e.g. Stern says that
‘Müller’s “conceptual breakthrough” was a mere flash in the pan’.
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3.
Quotations may be included in the paragraph itself if they are of thirty words or less. Otherwise
they form their own indented paragraph (a ‘block’ quote) and are not enclosed by inverted
commas.
Paragraphs:
Opening paragraphs of essays, headings or subheadings start without indentation. Paragraphs that
follow are indented for the first sentence. DO NOT leave a line space between paragraphs.
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