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PERFORMANCE PRACTICES 1 AND 2
THE BODY, SPACE AND SPECTATOR
30 CATS
Convenor Marie-Gabrielle Rotie
TUTORS: Dafne Louzioti, Vanio Papadelli, Simonetta Alessandri, Seke
Chimutengwende, Nick Parkin
ASSESSMENTS:
AUTUMN TERM ONE PERFORMANCE AND ONE ESSAY
SPRING TERM: ONE PERFORMANCE AND ONE ESSAY
‘I can take any empty space and call it a bare stage. A man walks across this empty
space whilst someone else is watching him, and this is all that is needed for an act of
theatre to be engaged.’ Peter Brook The Empty Space
This module introduces you to working on the performer’s presence in relation
to the basic elements of live performance as articulated in Brook’s famous
quote above – physical action, space and the spectator – as a foundation for
all your Theatre Making during your studies on the degree programme. The
three essential elements we focus on are:
• Live Performance: the physical presence/expressiveness of the
performer;
• Composition and space: the performer’s relationship to space and
time;
• Spectatorship: the performer-spectator proxemics relationship;
Aims
The two modules encourage you to handle these elements in a ‘no frills’
(I.e. no costume and general lighting/natural light) collaborative approach,
discovering how simple composition, play and physical interaction, in which
the performance space – indoors and out – and the spectator point of view,
proximity and role, all combine to create the meaning of any performance act.
From this you begin to ask important basic questions about Theatre Making to
explore in your own work across your 3 years of study. Via practical and
theoretical research, the module encourages both physical adventurousness
and intellectual awareness.
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Aims:
• to develop via praxis an understanding of the basic elements of
performance;
• to develop confidence and basic competence in physical
performance;
• to develop collaborative skills;
• to provide a technical basis for creative development;
• to develop compositional skills;
• to develop awareness of space/time in the performance context;
• to explore the artist-spectator relationship;
• to provide a theoretical and practical framework;
• to develop analytic spectatorship: the ability to read, interpret and
evaluate live performance/event as text;
• to contribute a foundation for your studies in Theatre Making.
You will be encouraged to relate this module to your Scenography and
Dramaturgy modules.
Teaching and Learning Methods
Teaching focuses on developing your physical, compositional, conceptual and
intellectual skills within a diverse cultural context.
In the Autumn Term you work in practical sessions x 2 hours in 4 groups on
Monday Mornings. The emphasis throughout is on personal and group
research. You also work in Seminars in 2 Groups on Wednesday Mornings
in the Autumn Term only. In these you explore key periods of innovation
and the work of pioneering practitioners. These are student-research-centred:
you work in small research groups towards oral-audio-visual presentations.
In the Spring Term you work in practical session x 2 hours in 4 groups on
Monday mornings and rehearse for Site-Specific led works, with tutor
facilitation in the afternoon.
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In the Monday afternoons of both terms space is booked for you to rehearse
for your practical assignments, with tutor-led facilitation.
Practical and Theoretical study takes place in an inter-relational dialogue
through consistent referencing between the lectures and seminar content and
the discoveries in an embodied and practice-based context.
Methodologies introduced enable you to progress at your own level, whether
you have previous training in movement/physical theatre or not. You will
study individually, in pairs and in group ensemble exercises. You will be
introduced to a diversity of approaches to physical ensemble training, Contact
Improvisation and somatic approaches, Growtowksi, and non-western
approaches drawing upon Black movement heritages such as capoeira, and
Asian influences from Butoh. In the Spring Term you enrich these legacies
with further approaches to ensemble training, Devising and site-specific
practices. Tutors deliberately provoke questions around our aesthetic
assumptions and performative habits so as to stretch both the mind and the
body, including the voice, beyond the safety of received ideas. The Lectures
and Seminars broaden your knowledge of theatre and performance
historically in which the body is central and/or where the performer-spectatorspace relationship has been disrupted and challenged. Performance Analysis
is introduced at the outset in Lectures and applied in a range of spectating
exercises leading to your analytic writing. Autumn Term seminar study refers
to Antonin Artaud’s legacy, to scenographic innovation, to modern and postmodern dance-theatre, to hip hop, and to environmental performance, within
and beyond the European tradition.
Teaching and Learning methods
Takes place through studio sessions, lectures and seminars.
Teaching involves specialist Tutors, as well as student-centred learning,
individual and group research.
Performance Analysis
Approaches to critical performance analysis will be introduced in the Autumn
Term prior to your first written assignment in the New Year. This component
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is to enable you to begin to acquire a critical vocabulary with which to ‘read’
the entirety of a performance and be able to articulate your responses to it
accordingly. You can then apply such a methodology to the development of
your own practical performance and the critique of others’
Learning Outcomes
At the end of the module you should be able to demonstrate:
•
comprehension of theoretical approaches to the physical elements of
performing and the ability to discuss these;
•
the ability to communicate ideas - practical and theoretical – through
writing and performance, both individually and in groups;
•
an appropriate level of understanding of contemporary performance in
a wide cultural context;
•
the ability to analyse personal practice in relation to theoretical
precepts;
•
confidence in your own physical presence in performance;
•
the ability to take responsibility for planning, organising and structuring
practical work;
•
the ability to work collaboratively, creatively and efficiently in groups;
•
confidence in evaluating critically and analytically live performance
material;
•
competence in the basics of group composition, including some
experience of basic direction.
Transferable Skills
• research management: the gathering of an archive of exercises, ideas
and principles from which to undertake projects in the future.
• confidence in and ability to communicate complex ideas effectively;
• the ability to take responsibility in group contexts;
• the ability to synthesise research from a wide range of source material
including artefacts, live performances, audio-visual archives as well as
theoretical writing;
• the ability to motivate yourself to create and compose communicable
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material in self-directed processes.
Assessment
There are 2 types of assessment tools comprising 4 Assignments: 2
Performance and 2 Written:
Assignment 1
25%
Short theatre based ensemble performance (5 minutes)
A ‘no frills’ ensemble piece created with nothing but the performers, one
table and four chairs. Groups of around eight people will be assigned. A
running order on the day will be organised by the Convenor. You can choose
to work in one of two ways:
i)
A physical theatre approach that focuses on creating
character/situation/narrative/ through vocal-physical action.
ii)
A non-narrative movement-led piece that focuses on the body in space
and time;
Assessment date: Monday 30th November 10am to 1pm
Assignment 2
25%
Performance Analysis 1 (1,000 words)
Hand in deadline: January 11th
This should demonstrate your individual research and analytic and critical
reflection developed over the term’s work in Lecture/Seminar learning
(Wednesday Seminars and Analytic Vocabularies) as applied to one of the
Performance Research Forum events, using the Performance Analysis
Questionnaire as a guide, and considering where the event you chose
relates to any historical or contemporary genre/movement.
The Essay Question is:
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'Performance Analysis is an essential analytic and critical tool for decoding
Live performance events. Discuss, with specific reference to no more than
three works by ONE practitioner featuring in the Performance Research
Forum (PRF).’
You may refer to the chosen artists works you have seen live, or online and to
what they presented in the PRF, but you must give clear accredited links and
references and include a comprehensive bibliography. This essay must
demonstrate a close reading of Whitmore, reference to Counsell and Wolf and
a confident grasp of how to apply the Towards a 21st Century Performance
Analysis Questionnaire by Furse.
Assignment 3
25%
A Short 10 minute Group Site Specific Performance on Campus
Assessment date: 14th March 10am to 1pm
This piece will be devised in response to your chosen site. You will perform
without any props or costume, unless a colour for visibility is necessary.
Risk Assessment
The chosen site must be thoroughly checked and passed for Health and
Safety and Risk Assessment via Gareth Jenkinson and you must ensure that
the individual responsible for the site and its users is in full agreement with
your project. You are encouraged to be creative. However, according to
professional and legal standards with regard to public artwork, please be
sensitive to the normal use of the site and its environs – for example do not
block doorways or pathways nor make excessive and disturbing noise.
People are working everywhere on campus! You can consult your Tutor with
regard to your ideas here.
Assignment 4
25%
Performance Analysis 2 (1,000 words)
Hand in deadline: April 25th
‘Research the impact of site-specific contexts on the three elements of Body,
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Space, Spectator with reference to one work by your peers (Group X) and a
one complimentary or contrasting work by a historical or contemporary
professional company.’
(This could be a relevant practitioner from the PRF series, a company
covered in the Wednesday Seminar series, or a company or individual in the
course bibliography reading list. For Example, Judson School, Meredith Monk,
Punchdrunk, Peter Brooks etc.).
This must be accompanied by a Bibliography. See Department Handbook.
General guidelines for Practical Assignments:

You will be assessed individually in both your performance and how
you work collaboratively within your company during the research and
preparation weeks. This individual mark will count for 50% of the
total/i.e. 50% will be for the group composition as a whole.

Each individual’s contribution as well as the entire company’s
performances should demonstrate an assimilation, development and
creative application of the various methodologies and approaches
studied during the course as a whole.

Evidence of an understanding of space, composition and structure is
an important consideration. Awareness of the use of time allotted is
key, including sequencing, flow, pace, rhythm and appropriate
strategies for commencing and concluding the performance.

Performances should not depend on any additional electrically
produced lighting or sound or musical instruments other than sounds
created from your own bodies and natural/found light and the
conditions of the site.

The use of black, white or primary colour in clothing to enhance
visibility is permissible.

Performances should demonstrate an awareness of and relationship
with the specific environment (theatre or site) in which they take place,
including nature, architecture, atmosphere and spectator relationship.
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Performances must be accompanied by:

A typed one-page statement of intent, collectively written and
signed, detailing the company’s preoccupation in creating your
performance. (500 words)

Hand in Date: Autumn Term November 27th 12noon

Hand in Date: Spring Term March 10th 12noon.

Hardcopy c/o MG Rotie, Drama Office or by scan to
[email protected]
It is vital your statement accurately reflects your company’s intent, as
this will inform the examiners understanding of the practice
presentations.
Assessment Criteria
The module will be assessed as above, with reference to the Departmental
Grading Criteria.
Written Assessment guidelines
It is essential to present your essays according to the Advice on Style in the
Handbook. Please read this carefully.
Attendance at live performances in London of particular relevance is
expected. Attendance at the Department’s Performance Research Forum
(PRF Dis-Play) on certain Wednesday evenings is compulsory.
This events programme – now in its 24th season - is designed to
support the teaching and learning environment in the Department at
both undergraduate and post-graduate levels. Open to the public, the
PRF invites you to engage with influential and significant live
practitioners in a range of disciplines from both the UK and abroad. You
must to attend all these events. You are encouraged to contribute to the
discussions. These events will be used as the subject of your
Performance Analysis assignment 1.
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Theatre visits
The autumn is always an exceptional period for theatre in London. Look out
especially for the BITE Festival at The Barbican, LIFT (London International
Festival of Theatre) the DANCE UMBRELLA FESTIVAL, and work
programmed at BAC, The ICA, Riverside Studios, The South Bank, Sadlers
Wells and The Chelsea Centre Theatre in particular.
Class notes
You are encouraged to get into the habit of taking notes, sketching diagrams
etc. of exercises and ideas covered in class as well as those that arise from
your own reflection. Please always bring your notebook and pen to sessions,
even practical ones.
Guidelines for Rehearsal for Performance Work
Please be considerate of your overall work load and avoid lengthy or frequent
rehearsals. You should aim to rehearse for the 3 hours per week on the Monday
afternoons, per practical assessment. You should then allow no more than an
additional 5 hours per week for reading, essay preparation, and self-led
learning and any unsupervised, additional rehearsal time.
You can book additional spaces at other times via our online booking system.
Please note the Department Space Coordinator is Jen Payne
([email protected]). See Department Handbook for booking procedure
advice. Don’t leave rehearsing to the last minute (!) and be aware of the whole
year group’s need/use of space. Remember, space is always available to you
on Mondays at 9am to 10am and 2pm to 5pm
Attendance
100 percent attendance is expected on all sessions, unless valid medical or
mitigating circumstances are submitted. Where attendance is not explained, and
where it results in a negative impact on the practice based group collaborative
process through non attendance of allocated time-tabled rehearsal or
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practical teaching sessions, then the student may receive a significant
adjustment to the final overall collective group grade in the practice
based summative assessments. This adjustment will reflect their consequent
lack of contribution to the group, and therefore failure to attain the required
course assessment criteria and will reflect upon their impact on the group to
properly collaborate in a suitably all-inclusive process. You are therefore advised
to attend all practice sessions and timetabled rehearsals.
Each group will be allocated a Group representative who must make it known to
the course convenor at the earlier possible opportunity if a group member is not
fully attending rehearsal sessions, so that appropriate positive action can be
taken to avoid penalty marking. Students with very poor attendance may find
themselves on ‘probation’. See Department Handbook for an explanation of this
procedure.
Ensemble Contracts
Each working group will be asked to draw up and sign an ensemble contract.
You choose the content of this, but guidelines and samples will be given by the
course convenor. This is your pledge to work in an ethical, collaborative and
respectful way to achieve the best results for both yourself and others.
Alternative formats and adaptations
Please let the tutor know if you require any of the materials for this option in
alternative formats or larger font sizes or if you need any exercises/methods
adapted to your needs.
Injury
Please let your tutor know of any injury or illness prior to the class warm-ups
or rehearsals. It is not advisable to work through any unreported injury
without discussing it with the tutor as this could cause further problems and
exercises can always be adapted to your needs.
Suitable Clothing and Footwear
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You need to wear appropriate clothes to all workshops and rehearsals for this
course. Clothes should be loose and easy to move in, jeans, skirts and
dangling jewellery are not permitted in these classes. Underwear should not
be exposed. You will be required to work barefoot/or socks, in most of the
workshops.
BIBLIOGRAPHY
Primary Reading List
Artaud, Antonin, The Theatre and its Double (London: Calder, 1970)
Auslander, Phillip, From Acting to Performance: Essays in Modernism
and Post Modernism (London: Routledge 1997)
Berger, John, Ways of Seeing (London: Penguin, 1972)
Barthes, R “The Death of the Author’’, Image,Music,Text (London:
Fontana, 1977)
Banes, Sally, Terpsichore in Sneakers (Hanover; NH: Wesleyan
University Press, 1987)
Brook, Peter, The Empty Space (Middx: Pelican Books, 1968)
Campbell, P. (ed), Analysing Performance: A Critical Reader
(Manchester: Manchester University Press, 1996)
Counsell, Colin & Wolf, Laurie, Performance Analysis (London, New
York, Routledge 2001)
Furse, Anna, Performance Analysis Questionnaire – Questions Towards
a 21st Century Performance Analysis. On the VLE.
Goldberg, Rose Lee, Performance Art (London: Thames and Hudson,
1999)
Grotowski, Jerzy, Towards A Poor Theatre (London, Methuen, 1976)
Innes, Christopher. Avant-Garde Theatre 1892-1992 (London and New
York: Routledge, 1993)
Lecoq, Jacques, The Moving Body, (London: Methuen Drama, 2009)
Martin, John, The Intercultural Performance Handbook (London:
Routledge, 2004)
Schechner, R. Performance Studies: An introduction, (London/New York:
Routledge, 2002)
Whitmore, Jon, Directing Post Modern Theatre, Shaping Signification in
Theatre (USA: University of Michigan, 1994)
Complete Bibliography for Seminar Research and Essay writing is on
the VLE site: https://learn.gold.ac.uk
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NB: Use this in conjunction with reading e.g. especially Jon Whitmore, as well
as Patrice Pavis, Patrick Campbell, Colin Counsell, Mike Huxley, Janet Adshead
etc. Obviously not all questions apply to every performance; finding out which
ones do will help you contextualise your critical and analytical appraisal of all
kinds of performances you attend. Eventually, by using such questions you will
also begin to become conscious of your own strategies in making your own
work - whether devised, dance, live art or text-based. The purpose throughout is
to develop your critical awareness by starting to ask – in more and more detail –
questions of how something was made and what is it made of before addressing
your judgemental reception of a piece of work and your enjoyment (or not). It
also asks that your presence/role as a spectator in meaning-making of any
performance experience be included in your responding, thus note questions
pertaining to e.g. how did it make you feel and/or how you got to hear about it,
how you conformed or not to the majority of the audience, whether this was
familiar in genre to you etc. Finally, you can use the way you approach relevant
questions to help you arrive at a summary of your interpretation of the
performance as a whole.
For timetables, lecture seminar programme, complete Bibliography,
assessment guidelines and notes please consult the VLE and notice
board. It is your responsibility to remain fully informed. The convenor
will introduce various important issues in cohort meetings during the
course.
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