- UCAS course code
- UCAS institution code
BA Drama / Course details
Year of entry: 2024
- View tabs
- View full page
Course unit details:
Cultures of Performance Training
|Unit level||Level 2|
|Teaching period(s)||Semester 2|
|Available as a free choice unit?||No|
In this module students will investigate and practically explore approaches to performer training and the social, cultural and economic contexts that produces them. Engaging in weekly practical workshops, students will critically investigate a series of historical techniques that have been developed to train the performer, understanding their emergence in relation to social processes. Alongside developing practical, hands-on skills to support performance practice, students will have the opportunity to unpack, interrogate and critique canons of training, positioning their experiences in relation to their own sense of identity, culture and ethics.
|Unit title||Unit code||Requirement type||Description|
|Performance Practices 1||DRAM10101||Pre-Requisite||Compulsory|
|Performance Practices 2||DRAM10102||Pre-Requisite||Compulsory|
Students must have taken DRAM10101 or DRAM10102 in year one.
- To introduce and explore key practices and cultures of performer training.
- To critically examine the social, political and cultural contexts of performer training, discussing the relationship between training, industry and society.
- To reflect on individual and group experiences of training practice in order to challenge existing processes.
- To develop a training praxis that responds to ethical, political and cultural dilemmas
Teaching and learning methods
Three hours workshops = 33 hrs
Viewings of recorded material/reading/research - approx. 12 hours
Knowledge and understanding
- Understand, adapt, and embody key performance training practices.
- Understand the social, cultural, economic, and historical contexts in which training practice emerges.
- Identify key debates, questions, and critiques within the process of performance training and understand in theory and practice significant discourses within the field.
- Outline and critique practical training processes in relation to social discourse.
- Evaluate and critically reflect on personal and group response to undertaking training techniques, exercises or to specific practitioners.
- Draw critical connections between training programmes and the creative industries more broadly.
- Key practical skills in preparation for performance in the areas of voice, body, improvisation and approaching text.
- Plan and deliver a performance training workshop, adapting techniques for a specific context.
- Facilitate training exercises with a group of peers.
- Evaluate and critically reflect on embodied learning and group workshop processes
Transferable skills and personal qualities
- A practical toolkit of performance skills.
- Group collaboration and enhanced team working skills.
- Ability to facilitate, lead and deliver group workshops.
- Evaluation and critical reflection on the experiences of the self and others.
- An understanding how to plan practice that is safe, ethical, accessible, and takes into consideration the diverse needs of a range of participants.
- Group/team working
- Ability to work independently and as part of a team, often as part of creative and critical projects that present unpredictable and challenging scenarios
- Project management
- Project management – our teaching environment demands that students plan, undertake, manage and evaluate projects independently and as part of teams
- Oral communication
- Advanced communication skills – verbal, written; prepared/rehearsed and ‘off the cuff’/improvise
- Problem solving
- Creative thinking – our teaching environment enables students to develop creative and critical approaches to problem-solving
- Understanding of professional cultures/environments – our students are supported to develop professional approaches to timekeeping, peer support/review, self reflection/evaluation and dealing with sources of concern/complaint.
|Project output (not diss/n)||40%|
- Informal feedback through sharing and discussion throughout the course
- Written formative feedback for the portfolio, workshop rationale and plan.
- Aural feedback in response to demonstrations of workshop exercises
- Evans, M. (2014). “Playing with history: personal accounts of the political and cultural self in actor training through movement.” Theatre, Dance and Performance Training, 5 (2), pp. 144-156.
- Gee, E and Hargrave, M. (2011). “A proper actor? The politics of training for learning disabled actors.” Theatre, Dance and Performance Training, 2 (1), pp. 34-53.
- McAllister-Viel, T. (2018). Training Actors' Voices: Towards an Intercultural/Interdisciplinary Approach. Oxon: Routledge.
- Mitra, R. (2022). “Unmaking Contact: Choreographic Touch at the Intersections of Race, Caste, and Gender.” Dance Research Journal, 53 (3), pp. 6-24.
- Peck, L (2021). Act as a Feminist: Towards a Critical Acting Pedagogy. Oxon: Routledge.
|Scheduled activity hours|
|Practical classes & workshops||33|
|Independent study hours|
|Sarah Weston||Unit coordinator|