Visiting and Erasmus Students’ Sophister Course Book
2013-14
1
Module Code:
Module Title:
DR3020
Contemporary Irish Theatre in Context 1
ECTS Allocation: 5
Module Co-ordinator:
Teaching Staff:
TBC & Guest Speakers
Semester:
1
Aims:
This module aims to develop the students’ awareness, analysis, and critical
evaluation of contemporary Irish theatre, with specific reference to the
programme of productions taking place in Dublin during the course of the
module. Upon completion, all students should be conversant with issues of
representation, approaches to theatre-making, matters of directorial strategy, and
ways of speaking and writing about those practices in contemporary Irish theatre.
Learning Outcomes:
On successful completion of this module students should be able to:



recognise, analyse and compare the works of practitioners currently
working in Ireland;
discuss contemporary Irish theatre in an international context;
provide oral and written critical reponses to contemporary theatre practice.
Working Methods:
The module will be taught through lecture/seminars, critical reading, public
interviews, and theatre visits. Each student is obliged to attend a number of
designated productions in Dublin theatres at their own cost, and to discuss these
performances with invited practitioners, and with other students on the module.
A series of lectures and public interviews with practitioners will form the basis of
the weekly schedule.
Syllabus:
Designated critical reading and theatre visits.
Assessment:
The module is assessed through submission of three reviews of 500 words (15%
each) and one essay of 1,500 words (55%).
2
Module code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3411
Principles of Devising (elective)
5
Chrissie Poulter
Chrissie Poulter
1
Aims:
This module is the first of three and is designed as an introduction to the practice
of group-created theatre, with a focus on the process of developing an ensemble
and negotiating the balance between individual and group creativity.
Learning Outcomes:
On successful completion of this module students should be able to:





recognise and compare different approaches to group creativity;
translate ideas, research materials and theoretical concepts into theatre;
understand the processes and practices of professional theatre-making
through devising from a historical perspective;
work within a group to present a 7-10 minute piece of group-created
theatre;
document and analyse theatre practice from a devising perspective.
Working Methods:
 The module will be taught through practical workshops.
 There are eleven 2-hour sessions, in the last of which the students
present 7-to-10-minute performance pieces, devised in groups during the
second half of the semester.
 Small group discussion, peer-learning and reflective analysis form the
core teaching and learning strategies.
Assessment:
Group-created performance of no more than 10 minutes (50%)
Reflective portfolio (50%)
3
Module code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3431
Applied Devising (elective)
10
Professor Brian Singleton
Professor Brian Singleton
2
Aims:
This module is the second of three designed to develop, in stages, a student’s
ability to devise a piece of theatre – with the involvement of a group at some
point in the creative process, leading to the pre-rehearsal scripting/scoring of the
piece to be performed. The focus is on the creative, research and production
processes involved in the development and production of a 20-minute piece of
group-devised theatre, based on or inspired by the history, geography or
architecture of the site of Trinity College.
Learning Outcomes:
On successful completion of this module students should be able to:







recognise and compare different approaches to group creativity;
develop their ability to create and lead drama/theatre activities as part of
the devising process;
engage in personal and group research as part of the ongoing process of
catalysing and responding to each other’s ideas and the developing
performance possibilities;
translate ideas, research materials and theoretical concepts into theatre;
develop their experience and facility for group-work through the teaching
and learning strategies used to deliver this module;
work within a group to present a 20-minute piece of group-created theatre;
document and analyse practice in a reflective report.
Working Methods:
 The module will be taught through practical workshops.
 After a series of formal workshop classes students will devise and present
a 20-minute piece of group-devised theatre, in a site of their own choosing
(dependent on relevant permissions being granted).
Assessment: devised piece of no more than 20 minutes (60%); reflective
portfolio (40%)
Pre-requisite: successful completion of DR3450 Principles of Devising.
4
Module code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3495
Principles of Directing 2 (elective)
5
TBC
TBC
2
Aims:
This module is designed to equip students with the basic skills of the
theatre director. The module will offer practical engagement with the role ofthe
theatre director and her/his relationship with a text in a workshopenvironment.
The discipline of directing will be considered in turns as an interpretive, a
pragmatic and a creative art. NB: This module is aimed particularly at those
students who do not intend to take Applied Directing. Students hoping to take
Applied Directing should opt for Principles of Directing 1.
Working Methods:
The module operates throughout the second semester in a series of workshop
classes. This course focuses on some of the more fundamental aspects of
drama. Looking individually at composition, rhythm, stages, convention, subtext,
articulation, play and stage properties, the course asks at all times: what is it, in
each of these things, that we find interesting? What is dramatic? And how does
that effect decisions for a director? A certain amount of time and space in these
classes will be allotted for demonstration and/or practical engagement with the
exercises, methodologies and approaches raised in class-time.
Learning Outcomes: On successful completion of this module students should
be able to:
 conceive and work toward theatricalisation of a concept based on a
dramatic text;
 identify and work with actors toward a realisation of objectives in a text;
 conceptualise action scenically;
 arrange and populate the stage space with an eye toward signification;
 choose appropriate dramaturgical strategies for embodiment;
 utilise techniques for the motivation of actors;
 identify textual and character trajectories and work with actors toward their
realisation.
Syllabus:This module is primarily practical in nature and students should come
to class prepared for practical work and with any supplementary reading covered.
Throughout the module students should be prepared to present work and to
comment critically upon each other’s work. In the final week of the module each
student will direct and present a ten-minute scene (duologue) from a text of their
own choosing. All text choices must be approved by the module tutor.
5
Assessment: Direction of 10-minute duologue (65%) and a 2,500-word reflective
practice document (25%), attendance, preparation and participation (15%)
6
7
Module Code:
Module Title:
ECTS Allocation:
Module Co-ordinator:
Teaching Staff:
Semester:
DR3408
Principles of Theatre Management
5
Chrissie Poulter
Chrissie Poulter
1
Overview:
This module is designed as an introduction to the field of administration and
management as it applies to small and medium-scale arts organisations and
companies. Students wishing to undertake an individual practical project in this
area may go on to Applied Theatre Management if they successfully complete
the Principles module.
Objectives:
This module aims to:
 develop the student’s awareness and understanding of personal and
organisational management;
 introduce a range of practices that are relevant to the field;
 develop the student’s awareness and understanding of good practice.
Learning Outcomes
On successful completion of this module students will be able to:
 recognise and compare administrative and management practices;
 review a particular aspect of organisational practice, communicating
findings and recommendations through a report and a presentation;
 develop their experience of and facility for consultation, group-work and
presentation skills through the teaching and learning strategies used to
deliver and assess this course.
Working Methods
The course will be taught through seminars and the undertaking of supervised
project-work. Small-group discussion, peer-learning and the examination of case
studies form the core teaching and learning strategies.
Assessment
There are two assignments:
1. A timed “in-tray” exercise:
This exercise is intended to demonstrate the student’s ability to deal quickly and
efficiently with a range of instructions and tasks in the same way as s/he would if
working in the field. The exercise relates solely to work covered in class over the
term and will take place during class time.
2. A consultative report:
8
This will comprise of a review of an aspect of practice of a business or
organisation, and of three recommendations for improving the relevant business
practice. The report is to be presented in an appropriate format, including:
 An introduction to the context for the review
 A summary of current practice
 An identification of aspects of that practice which could be improved
 Recommendations for improving the practice
To be submitted by the Friday of Week 3 of Hilary Term. Before the final
submission each student will give a 15-minute presentation of the document and
its findings, taking questions from the floor.
Assessment
In-tray exercise – 40%
Consultative report – 60%
(Evaluation will focus on the student’s ability to conduct a review and to
present an appropriate document.)
9
10
Module Code:
Module Title:
ECTS Allocation:
Module Coordinator:
Teaching Staff:
Semester:
DR3419
Principles of Drama & Community (elective module)
5
Chrissie Poulter
Chrissie Poulter
1
Aims:
This module is the first of three in a cycle and is designed as an introduction to
the growing field of drama and theatre practice known as Applied Theatre or
Socially Engaged Theatre. Applied Theatre uses techniques from theatre and
drama, applying them to non-theatre contexts including Educational drama &
Theatre-in-Education (T.I.E.), Youth Theatre, Community theatre and drama,
Theatre Outreach & Education projects, Prison drama/ theatre, Arts and Health,
Disability Arts, Theatre of the Oppressed, and more.
Learning Outcomes:
On successful completion of this module students should be able to:
 recognise and compare Applied Theatre practices;
 design and develop a theatre workshop;
 research a particular aspect of Applied Theatre practice;
 demonstrate a facility to participate constructively and productively in
group-work.
Working Methods:
The module will be taught through seminars, some of which will include practical
engagement in active workshops for the purpose of exploring and analysing
different elements of Applied Theatre practice.
Assessment:
Essay – 50%
Workshop design – 50%
11
Module Code:
Module Title:
ECTS Allocation:
Module Coordinator:
Teaching Staff:
Semester:
DR3464
Applied Drama & Community (elective module)
5
Chrissie Poulter
Chrissie Poulter
Observational Placement
Aims:
This module is the second of three in a cycle and is designed as an observational
work placement of the growing field of drama and theatre practice known as
Applied Theatre or Socially Engaged Theatre.
The aim of this second level of the module is that students undertake a study of
Applied Theatre in action as a participant observer of a group or project led by an
experienced practitioner and evaluate these experiences within the context of a
developed knowledge and understanding of the field.
Learning Outcomes:
Upon successful completion of this module students should be able to:



document, analyse and evaluate practice as observed in the field;
research and compare particular aspects of Applied Theatre practice in
order to contextualise their placement;
write a reflective portfolio on of their experiences.
Working Methods:
The module centres on a placement, to be negotiated by the student, in which
the student observes the work of an experienced drama/theatre facilitator. As a
participant-observer the student may be invited to assist the project leader or to
simply participate as a member of the group.
Fieldwork, small-group discussion and reflection, and reflective journaling form
the core teaching and learning strategies.
(Note: approval for the placement must be given by the course tutor in advance
of it taking place.)
Assessment:
The portfolio as a reflective document, including the use of appropriate
contextual material (60%)
Evidence, demonstrated through the portfolio, group reflection and individual
tutorials of: engagement, participation and commitment with regard to their
placement and understanding of practice (40%)
Pre-requisite:
Successful completion of DR3419 Principles of Drama and Community.
Acceptance for the placement (Applied) is dependent on having a Garda
Clearance certificate specifically for this module. This is now a legal requirement
12
for all placements which involve students having access to young people or
vulnerable populations. The Admissions Office deal with student applications for
Garda vetting. Any student notified of a provisional place on the module should
immediately contact the TCD Admissions Office for the relevant application form.
In the case of a placement or project not involving young people or vulnerable
populations the student should contact the module co-ordinator directly to seek
approval.
13
Module Code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3491
Performance Studies (elective module)
5
Gabriella Calchi-Novati
Gabriella Calchi-Novati
2
Aims:
Performance Studies, by being an interdisciplinary scholarly practice,
investigates the embodiment of both conscious and unconscious performances
within different social and political contexts, such as rituals, art, folklore and
popular culture, to name a few. In this module, by employing ‘performance’ as a
critical lens, students will study a wide range of practices ‘as performances’: from
war to videogames, from autobiography to photography, from journalism to
fashion, from advertisement to blogging and social networking. Issues of
icon/commodity, body/identity, presence/absence, knowledge/power, as well as
reality/virtuality will be problematised in their supposedly exclusive stability,
particularly in the analysis of specific case studies that will range from the War in
Iraq to the Occupy Wall Street Movement. Students will interrogate the politics,
ethics and aesthetics of the performances under scrutiny through a broad range
of conceptual writings both in performance studies (Richard Schechner, Jill
Dolan, Diana Taylor, Peggy Phelan, Joseph Roach) and in critical theory (Roland
Barthes, Elaine Scarry, Michel Foucault, Marc Augé, Mario Perniola, Giorgio
Agamben and Slavoj Žižek).
Working Methods:
This module is delivered through a series of weekly two-hour sessions. The first
hour of the session will consist of a lecture, while the second hour will be an
exploratory interactive seminar/workshop. A number of issues and
performance/events will be investigated every week in addition to assigned
theoretical and critical readings. The second hour will be dedicated to a creative
exploration of the texts with group discussion, in which students will be invited to
bring additional material related to the topic of the week. Images (PowerPoint),
videos and other material will be shown in the first hour. The day before each
session students will be required to submit via turnitin.com a short written
response (not more than 400 words, that is, one page) to the material studied for
the week as a spur to class discussion.
Learning Outcomes:
On successful completion of this module students should be able to:


demonstrate a knowledge of the key concepts of performance studies;
display an awareness of performance studies as a scholarly field, and of
“performance” as a critical lens of investigation, and the difference
between the two;
14

demonstrate an ability to apply different theories of performance studies to
investigate critically the politics, ethics and aesthetics of artistic, social and
cultural events studied “as performance”.
Syllabus:
Performances will range from pieces of performance art such as those by Adrian
Piper, Marina Abramović, Philip Toledano, Gerard Mannix Flynn, and the most
cutting edge bio-artists, to social and metaphorical performances such as those
that happen in photographs, advertisement, shopping centers and airports.
Readings will include Richard Schechner, Jill Dolan, Diana Taylor, Peggy
Phelan, Joseph Roach, Elaine Scarry, Roland Barthes, Susan Sontag, Michel
Foucault, Giorgio Agamben, Roberto Esposito, Jacques Rancière, Slavoj Žižek,
Marc Augé, Mario Perniola, Costas Douzinas, Wendy Brown, and Gayatri
Chakravorty Spivak.
Assessments:
Ongoing Contribution – 20%
Oral Presentation – 20%
3,000-word essay – 60%
15
Module Code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3476
Theatre and Ireland 1 (elective module)
5
Dr. Melissa Sihra
Dr. Melissa Sihra
1
Aims:
This module introduces a range of Irish plays and practices from the Melodrama
of Dion Boucicault up to the mid-twentieth century. The module explores the
founding of the Irish Literary Theatre (ILT) at the turn of the twentieth century and
plays by Lady Gregory, W.B. Yeats, J.M. Synge, G.B. Shaw, Oscar Wilde, Sean
O’Casey, Teresa Deevy and Mairead Ni Ghrada. The module considers the plays
in the light of diverse cultural, political and historical contexts relating to gender,
sexuality, class, nation, colonialism and post-colonialism.
Working Methods:
The module is composed of a series of weekly one-hour lectures and seminars.
A number of plays are covered each week with prescribed critical readings.
Lectures explore the plays in-depth as well as the socio-political and cultural
climates of the time. Weekly seminars allow for discussion of the plays and the
themes and issues that they raise.
Learning Outcomes:
On successful completion of this module students should be able to:



demonstrate knowledge of Irish playwrights and related historical and
cultural contexts through the mid-twentieth century;
demonstrate knowledge of themes, traits and tropes emerging in Irish
theatre during the period;
analyse and interrogate notions of ‘Irishness’ and cultural identity as
represented in Irish theatre, with regard to a range of theoretical and
political approaches.
Syllabus:
Plays include The Colleen Bawn, The Shaughran, Dion Boucicault; The Pot of
Broth, Spreading the News, Kathleen ni Houlihan, Lady Gregory; At the Hawk’s
Well, Purgatory W.B. Yeats; Riders to the Sea, When the Moon has Set, The
Playboy of the Western World, J.M. Synge; John Bull’s Other Island, G.B. Shaw;
The Importance of Being Earnest, Salome, Oscar Wilde; Juno and the Paycock,
Sean O’Casey; Katie Roche, The King of Spain’s Daughter, Teresa Deevy; On
Trial, Mairead Ni Ghrada.
Assessment:
One 3,000-word essay (60%); class participation including a presentation (40%).
16
Module Code:
Module title:
ECTS allocation:
Module coordinator:
Teaching Staff:
Semester:
DR3477
Theatre and Ireland 2 (elective module)
5
Dr. Melissa Sihra
Dr Melissa Sihra
2
Aims:
This module introduces students to the major playwrights of Irish theatre from
Samuel Beckett to Marina Carr. The module explores a number of recent and
contemporary companies such as Field Day, Charabanc and Operating Theatre.
Students will study the work of Samuel Beckett, Brian Friel, Tom Murphy, Frank
McGuinness, Anne Devlin, Christina Reid, Tom Kilroy, Mark O’Rowe, Stella
Feehily, Martin McDonagh and Marina Carr. The module will consider key works
within socio-cultural contexts as well as their histories of production and
reception.
Working Methods:
The module is composed of a series of lectures and seminars. A number of plays
are covered each week with prescribed critical readings. Lectures explore the
plays in depth as well as the socio-political and cultural contexts of the time.
Seminars allow for discussion of the plays and the themes and issues that they
raise. In class students will view DVD and VTR interview and film footage
throughout the semester.
Learning Outcomes:
On successful completion of this module students should be able to:
 demonstrate knowledge of Irish playwrights and related historical and
cultural contexts from the latter twentieth century through the early twentyfirst century;
 demonstrate knowledge of themes, traits and tropes emerging in Irish
theatre during the period;
 analyse and interrogate notions of ‘Irishness’ and cultural identity as
represented in Irish theatre, with regard to a range of theoretical, sociocultural and political approaches.
Syllabus: Plays include Waiting for Godot, Endgame, Krapp’s Last Tape, Not I,
Samuel Beckett; Faith Healer, Translations, Dancing at Lughnasa, Brian Friel;
Observe the Sons of Ulster Marching Towards the Somme, Baglady, Frank
McGuinness; Bailegangaire, Tom Murphy; Ourselves Alone, Anne Devlin; The
Belle of Belfast City, Christina Reid; Double Cross, Tom Kilroy; Somewhere Over
the Balcony, Charabanc Theatre Company; Duck, Stella Feehily; Made in China,
Terminus, Mark O’Rowe; The Mai, Portia Coughlan, On Raftery’s Hill, Marina
Carr.
Assessment:
17
One 3,000-word essay (60%); class participation including a presentation (40%).
18
Module Code:
Module title:
ECTS allocation:
Module coordinator:
Teaching staff:
Semester:
DR3496
Women in Theatre (elective module)
5
Dr. Melissa Sihra
Dr. Melissa Sihra
1
Aims:
This module introduces students to a selection of women playwrights,
performance artists and lesbian and feminist political theatre. Students will
consider issues of gender, sexuality and embodiment in cultural, historical and
theatrical contexts in light of feminist and queer theories. Additionally, students
will interrogate the politics of canon formation and gendered issues of authorship
and representation as well as the theoretical and practical developments of
Feminism(s) in relation to the history of women in theatre and contemporary
practice. Playwrights explored are Marina Carr, Simone Benmussa, Eve Ensler,
Sarah Daniels, Paula Vogel, Sarah Kane and Caryl Churchill, and performance
artists Orlan, Carolee Schneeman and Holly Sprinkle as well as feminist theatre
group the Guerrilla Girls on Tour and lesbian theatre companies WOW, Split
Britches and the raunch culture of new burlesque. Popular culture and media will
also be discussed, including ‘post-feminism’ and the third-wave feminism of ‘Sex
and the City’. Students will analyse plays and performance pieces in light of
contemporary feminist criticism and theories of performance by Elin Diamond,
Peggy Phelan, Elaine Aston, Sue Ellen Case and French feminist theory, among
others.
Working Methods:
This module is composed of a series of weekly two-hour sessions. The first hour
of the session consists of a lecture and the second hour is an exploratory
interactive seminar/work-shop. A number of plays are explored every week in
addition to prescribed theoretical and critical readings. Students frame the plays
in short presentations during the workshop hour and explore the texts through
group scene work and open discussion. Each week is regarded as an ongoing
continuation of explorations into gender politics, female subjectivity and
feminism(s), and students are encouraged to think holistically and reflexively
throughout the nine weeks. Productions images (PowerPoint), video and DVD
footage are shown in the first hour.
Learning Outcomes:
On successful completion of this module students should be able to:



demonstrate knowledge of key plays by women dramatists, performance
artists and feminist and lesbian theatre groups;
display an awareness of the complexities of feminisms, the history of
gender, sexuality and the body;
demonstrate an ability to apply diverse feminist and queer theories to
theatrical and cultural contexts.
19
Syllabus:
Plays include: Low in the Dark, The Mai, Portia Coughlan, Marina Carr;
Masterpieces, Byrthrite, Sarah Daniels; Hot n’Throbbin’, Paula Vogel; The
Singular Life of Albert Nobbs, Simone Benmussa; The Vagina Monologues, Eve
Ensler; Blasted, 4.48 Psychosis, Sarah Kane; Top Girls, Vinegar Tom, Cloud
Nine, Caryl Churchill. Performance Art by Orlan, Carolee Schneeman and Holly
Sprinkle, Raunch Culture and the new Burlesque, and political theatre by the
Guerrilla Girls on Tour, lesbian theatre Company WOW and Split Britches among
others. Popular culture; Sex and the City. Theorists include Judith Butler, Helene
Cixous, Luce Irigaray, Elin Diamond, Julia Kristeva, Peggy Phelan, Elaine Aston,
David Savran and others.
Assessment:
One 3,000-word essay (60%); class participation including a presentation (40%).
20
Module code:
Course Title:
ECTS Allocation:
Course Co-ordinator:
Teaching Staff:
Term:
DR3445
Studies in Samuel Beckett (elective module)
5
Dr. Nicholas Johnson
Dr. Nicholas Johnson
1
Aims:
This course will survey the work of Samuel Beckett with an emphasis on
performance strategies. A broad spectrum of texts will be considered, including
examples of Beckett’s drama, prose, poetry, and works for screen and radio.
Critical readings will emphasise Beckett’s contribution to drama and to world
literature, introducing many of the philosophical and political dimensions
articulated or suggested by the works. Students will participate in the creation of
performances for the end of term, taking any role they wish (director, dramaturge,
designer, or actor) to work on a piece by Beckett in performance.
Working Methods:
Weekly reading assignments will be required, and will ground the theoretical and
practical explorations. Seminar-style discussion will be used in combination with
practical experimentation. Students will be required to participate in
presentations, both academically and theatrically, as part of this course. Ongoing
contributions in class will be assessed formally as part of the final mark in the
form of regular response papers.
Learning Outcomes:
On successful completion of this module students should be able to:
 demonstrate in-depth knowledge of key texts by Samuel Beckett,
particularly the drama;
 exhibit an awareness of historical and contemporary performance
practices in Beckett;
 be conversant with critical traditions associated with contemporary
“Beckett Studies”;
 demonstrate an ability to analyse ethical, political, and aesthetic issues at
stake in Beckett;
 demonstrate the ability to engage in performance with a Beckett text.

Syllabus:Plays will include Waiting for Godot, Endgame, Not I, Play, and a
number of other “shorts,” as well as some of Beckett’s prose, criticism, film
scripts and radio plays. Students should purchase the Faber edition of Beckett’s
Complete Dramatic Works. Key critical authors (to be read in parallel with
Beckett texts) will include James Knowlson, Jonathan Kalb, Ruby Cohn, Enoch
Brater, H. Porter Abbott, and Andrew Gibson.
Assessment:
One 3,000-word Essay (70%)
21
Ongoing Assessment — 10 parts: 7 response papers, 1 in-class presentation, 1
final performance, 1 participation mark (30% total)
22
Module Code:
DR3412
Module Title:
Comedy and the Comic (elective module)
ECTS Allocation: 5
Module Co-ordinator: Dr Eric Weitz
Teaching Staff:
Dr Eric Weitz
Semester:
2
Aims:
This module will undergo a certain reconfiguration in light of the fact that next
year’s JS students will have had a JF module in ‘Comedy: The Basics’ (unlike
either of this year’s JS or SS students) and next year’s SS students will not. The
focus from the start will be on ‘comedy and the comic’ – in dramatic texts and in
film, television, stand-up and online contexts – in its various guises, as it
infiltrates and inflects other generic territories, and as it takes on ‘serious’
projects. The module throughout will engage with issues of comedy and the
comic with regard to performance, context and political implications.
Working methods:
The module will revise some of the basics of comic form and humour theory in
the first two weeks – again, SS students will not previously have had this, but it
will do no harm for JS students to refresh their memories. It will then move on to
explore a range of critical readings and texts from all the above performance
modes, looking also at areas of comedy studies including farce, satire, ‘cringe
comedy’ and other kinds of laughter-related interrogation in live and recorded
performance.
Learning Outcomes:
Students should be able to:
 demonstrate a grasp of humour mechanisms and comic forms as they
relate to text and performance, as well as the ways in which their
operations differ amongs performance modes (e.g., stage v film);
 demonstrate insight into the play, texture and discursive powers of genre
with regard to comedy and the comic in a range of contexts;
 demonstrate an increased awareness of the potential vectors at work in
and between the lines of comic text, humour and performance;
 identify common comic strategies and how they have been and can be
reconfigured in actual performance contexts and to what effects;
 engage in thoughtful critical analysis of the manners in which
contemporary stage, film, television, video, stand-up and non-dramatic
performance have appropiated and exploited comic practices and to what
ends.
Working Methods: Classes meet once a week for two hours, and will be
comprised of theoretical exploration, close readings of dramatic and recorded
texts and seminar discussion. All students will have to make a presentation on
the assigned reading and/or text for a given week. Ongoing contribution to class
23
discussion constitutes a formal part of the Ongoing Assessment component, as
does submission of three response papers.
Assessment:
Essay – 50%
Presentation plus ongoing assessment, including response papers – 50%
24
25