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BA Connect IN Performing Arts Studies First Year 2016 2017 Semester 1 KEY DATES for 1BA DTP STUDENTS Introductions to Years 1BA PS – Thursday 1 September 2-4 (BOI) Other Important Dates Start of semester 1 teaching – 5 September Auditions for 1BA and 2BA play, to be directed by Ian Walsh in semester 2, will take place this month. Monday 31 October – bank holiday (no classes) End of semester 1 teaching – 25 November Study week – 28 Nov – 5 December Semester 1 exam/essay submission period : 5-16 December Start of teaching semester 2 – 9 January Friday 17 March – bank holiday (no classes) End of teaching – 30 March Study week 3-8 April Exams 24 April-10 May LAYOUT All students take Theatre Histories. They then choose ONE module from the list below: DT1102: COMEDY in performance DT1101; Building Skills for the Actor DT1107: The Body in Performance TIMETABLE TP108: Theatre Histories DT1102: Comedy in performance DT1107: The Body in Performance DT1101: Building Skills for the Actor Tuesday 11-1 Room 101 Friday 10-12 BOI Theatre (not available to students taking subjects in Group 3) Thursday 1-3 BOI Theatre OR Wednesday 5-7 (not available to students with subjects in group 2) Wednesday 10-12 (not available to students taking subjects in Group 1) BOI Theatre Second Semester Modules: Core: Theatre Histories continues Options: Improvisation, Devising, Staging text; Theatre Production (full timetable and details will be released in November) Theatre History Module Nelson Barre The class is designed to introduce you to the study of modern theatre history. Through reading plays, in-class discussion and practical projects, we will explore script analysis, practical interpretation, and dramaturgical research. Over the course of the semester, you will be introduced to several major works of theatre, their historical context, and production histories. Along with the weekly readings and discussions, there will be weekly engagement with the practical application and staging of these texts. Texts: Antigone by Sophocles Everyman by Anonymous A Servant of Two Masters by Carlo Goldoni The Tragical History of Doctor Faustus by Christopher Marlowe Tartuffe by Moliere OPTIONS Comedy in Performance Emer McHugh This course aims to explore the major periods in theatre history by considering the development of comedy, especially in the English-speaking tradition. We begin in Ancient Greece and Rome before moving to Shakespeare’s England. From there, we encounter the great comic dramatists of the English dramatic tradition (many of which were written by Irish writers), before exploring comedy in the last century. Each week, we’ll meet to discuss and work with a play using physical exercises, improvisation, and rhythm. We will explore major themes in comedy, including such issues as gender politics, national stereotyping, the relationship between comic performance and movement, and the audience. The class will conclude with the public performance of scenes from some of the plays studied during the semester. Core textbook: John Wright, Why Is That So Funny? (Nick Hern Books). Plays (*available to read through Drama Online/accessible through Blackboard): *Aristophanes, Lysistrata *Plautus, The Haunted House *William Shakespeare, Twelfth Night *Oliver Goldsmith, She Stoops To Conquer *Oscar Wilde, The Importance Of Being Earnest *Eugene Ionesco, The Bald Soprano Building Skills for the Actor Mary McPartlan “The Awakening” Michael Chekhov, (1891-1955) was one of Russia’s most outstanding actors and directors. He developed a renowned technique in acting which is now pioneered all over the world. This acting technique is a “psycho-physical approach” in which transformation, working with impulse, imagination and inner and outer gesture are central. The aim of the module is to explore at a foundation level the relationship between the inner life and the outer world through the senses, movement and space to include gestures, qualities and centre. We will use material from a series of scripts, applied in a simple and practical manner, to demonstrate the working of the techniques and to build confidence in improvisation and performance in solo and group projects throughout the semester. We will experiment with music and song to assist in text analysis and performance and we will work from a specially prepared Course Handbook (all students must purchase) which will be mainly the scripts that are allocated to this course outlined below: Reading List Anderson, Hans Christian, The Mother, (available online and class Handbook) Brecht, Bertolt. Mother Courage. N.p.: Penguin Classics, 2007. Print. Chekhov, Michael, To the Actor. New York: Routledge, 2002. Print. Church Hill, Carl, Seven Jewish Children, (an online source and available in class Handbook) Euripides. Medea. London: Vintage, 2008. Print. Friel, Brian. Translations. London: Faber and Faber, 1981. Print. The Body in Performance Aisling Smith This is a practical course that focuses on developing the skills of the actor in performance: language, interpreting a script, movement, working in space, and devising. Classes will be given in workshop format, incorporating warm-up exercises and games, discussion and rehearsal techniques. Students will work towards an end of year performance in the Bank of Ireland Theatre for a live audience. This course is designed to give students a greater understanding and appreciation of theatrical performance through direct experience. Students will engage with and enjoy the process of taking a play from the page to the stage. Reading Major Barbara, by G.B. Shaw The Playboy of the Western World, By J.M Synge Excerpts of the following will be made available Aristotle, Poetics Diderot, Paradox of the Actor Richard Eyre, Talking Theatre Phillip. B. Zarrilli (ed), Acting (Re)Considered: A theoretical and practical Guide