1 AUTUMN Core 20 CORA140 - Performer Training FHEQ level: 4 & 5 For: FdA Contemporary Storytelling and Performance P/T Route Year When in Year? (i.e. Autumn, Spring etc) Core or Option Module Credits Module 2 SPRING Core 20 CORA141 - Adapting Narratives 2 SPRING Core 20 CORA142 - Applied Storytelling and Performance 1 2 AY Core 20 CORA227 - Storytelling, Performance and Interpretation 2 2 AUTUMN Core 20 CORA228 - Solo Storytelling and Performance FHEQ level: 5 For: FdA Contemporary Storytelling and Performance P/T Route Year When in Year? (i.e. Autumn, Spring etc) Core or Option Module Credits Module 3 AUTUMN Core 20 CORA229 - Applied Storytelling and Performance 2 3 SPRING Core 20 CORA230 - Autobiographical and Biographical Storytelling 3 AY Core 20 CORA231 - Reflective Practitioner Portfolio 3 SPRING Core 20 CORA232 - Performance Enterprise
1. have developed skills in self-management, demonstrating the ability to set goals, manage workloads, work under pressure and meet deadlines Directed independent study and research Practical performance Skills workshops Secondary Case studies Problem-solving exercises CORA232 3. be able to work in a group or team and to have the skills needed for the realisation of collaborative project-based work 4. have an ability to manage creative, personal and interpersonal issues 5.have acquired skills in communication and presentation with the ability to articulate and communicate ideas and information in a variety of forms, as appropriate to content 6. have an ability to select, employ and adapt digital media and information technologies . Teaching and learning will take place in a variety of continually evolving contexts, including an appropriate balance of workshops, rehearsals, productions, practical classes, laboratory/studio-based practice, screenings, lectures, seminars, tutorials and web-based interactions between students and teachers. Assessment within performance enables students to demonstrate their level of attainment and the full range of abilities and skills. A diverse range of assessment types are used in drama and performance as reflects the discipline and curriculum design ensures that students are appropriately prepared. Modes of assessment and related feedback strategies are designed to be part of the learning experience and ensure that the learning outcomes identified by programme components can be met. It is expected that on completion of a Foundation degree in drama and performance graduates should: Primary Lectures and tutorials Directed independent study 3,4,5 1,2,5,6 Reports, essays, performances, presentations, vivas, case studies, portfolios CORC1013C CORA139 CORA142
Degree benchmarking and QAA Subject benchmarking documents from the following subject areas: Dance, Drama and Performance- July 2015 1. have developed skills in critical engagement, demonstrating the ability to operate and think reflexively, creatively and critically, to develop ideas and to construct and present arguments in appropriate ways 2. have developed information skills and be able to critically retrieve information, and to gather, sift, manipulate, synthesise, evaluate and organise material 3. to describe, theorise, interpret and evaluate performances and events 4. be able to engage in independent research, whether investigating past or present performances or as part of the process of creating and/or critically responding to performance 5. be able to identify the cultural and contextual frameworks of performance 6.be able to investigate performance environments to determine the influence of spatial relationships. Lectures, seminars and tutorials Directed independent study and research Practical performance Skills workshops Case studies Problem-solving exercises 1,2,3,4 2,3,4 Reports, essays, performances, presentations, vivas, case studies, portfolios CORA227 CORA228 CORA229 CORA230 CORA231 The level 5 expectation of this programme is to produce students with the capacity to develop abilities and skills as creative and critical artists and thinkers, capable of independently evaluating and engaging practically and conceptually with performance and, as appropriate, being capable of demonstrating
5 (FdA Contemporary Storytelling and Performance) Performance planning, rehearsal and delivery Devise, develop, rehearse and perform to an identified audience 1,2,3,4,5 1,2,3,4,5,6 Numerous performance opportunities throughout the programme CORA142 CORA229 CPRA228 CORA230 CORA232 Research and analysis skills Determine stimuli for story and performance development. Researching and mapping the needs of an organisation. 1,2,4 3,4 Numerous opportunities CORA141 CORA139 CORA227 CORA230 Industry relevant commissions Engage with appropriate external agencies and organisations as commissioners 1,2,3,4,5, 1,2,5,6 Performance outcome for a specific audience / purpose CORA142 CORA229 CORA232 This is not a comprehensive list of applicable and relevant opportunities for students to gain real world experience. It is planned that all module leaders will endeavour to embed as much interaction with relevant practitioners and guest lecturers into their modules to offer the best possible experiential and networking opportunities to students in order to improve employability prospects.
on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes. ACADEMIC YEAR: 2016-17 NATIONAL COST CENTRE: 144 MODULE LEADER: Sarah McCourt OTHER MODULE STAFF: None SUMMARY of MODULE CONTENT Through lectures and seminars this module looks at ways of approaching contemporary storytelling, performance and interpretation as art and cultural practice. The module will introduce students to different ways of talking and thinking about cultural events in the light of contemporary theoretical and analytical approaches. SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions] Scheduled Activities Hours Comments/Additional Information Lectures 17 Seminars 25 Guided individual study 158 Total 200 (NB: 1 credit = 10 hours or learning; 10 credits = 100 hours, etc) Category Element Component Name Component Weighting Comments include links to learning objectives Coursework C1 Essay 1 Essay 2 40% 60% Total = 100% 1,500 words - LO1, LO2, LO3, LO4 2,000 words - LO1, LO2, LO3, LO4 Practice P1 Pair Presentation 100% Total = 100% 15 minutes - LO1, LO2, LO3, LO4 Updated by: Sarah McCourt Date: 25/06/16 Approved by: HE Operations Date: 25/06/16 Recommended Texts and Sources: Balme, Christopher B. (2008) The Cambridge Introduction to Theatre Studies, Cambridge: Cambridge University Press Booker, Christopher (2005) The Seven Basic Plots: Why We Tell Stories. London: Bloomsbury Davis, Tracy C. (ed.) (2008) The Cambridge Companion to Performance Studies, Cambridge: Cambridge University Press. Carlson, Marvin (2004) 2nd edition. Performance: A Critical Introduction. London: Routledge. Counsell, Colin and Wolf, Laurie (2001) Performance Analysis. An Introductory Handbook. London: Routledge. Elam, Keir (2002) 2nd edition. The Semiotics of Theatre and Drama. London: Routledge. Greetham. Freeman Tilden (2007) 4th edition. Interpreting Our Heritage. North Carolina: The University of
The module will culminate in a final adaptation project that encourages students to integrate selected aspects of the module into their own practice. Students will critically reflect on the process, approach, concept and outcome of the project in an individual viva. SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions] Scheduled Activities Hours Comments/Additional Information Weekly staff led studio sessions 65 Weekly independent group-led studio sessions 24 Guided independent study 111 Total 200 (NB: 1 credit = 10 hours or learning; 10 credits = 100 hours, etc) Category Element Component Name Component Weighting Comments include links to learning objectives Coursework C1 Individual Viva 100% Total: 100% 15 minutes - LO4 Practice P1 Performance of Adapted Narrative 100% Total: 100% 30 minutes- LO1, LO2, LO3 Sarah McCourt 25/06/16 HE Operations 25/06/16 Booker, Christopher (2005) The Seven Basic Plots: Why We Tell Stories. London: Bloomsbury Carlson, Marvin (2003) The Haunted Stage: Theatre as a Memory Machine. Ann Arbor: University of Michigan Press Genette, Gerard (1997) Palimpsests, Literature in the Second Degree. Lincoln: University of Nebraska Press. Hutcheon, Linda (2006) A Theory of Adaptation. London: Routledge Kristeva, Julia (1980) Desire in Language: A Semiotic Approach to Literature and Art. Oxford: Blackwell. Murray, Simon (2012) The Adaptation Industry: the Cultural Economy of Contemporary Literary Adaptation. London: Routledge. Propp, Vladimir (1968) 2nd edition. Morphology of the Folktale. Austin: University of Texas. Sanders, Julie (2006) Adaptation and Appropriation. London: New Critical Idiom Series Routledge. Turner, Cathy and Synne Behrndt (2008) Dramaturgy and performance. Basingstoke: Palgrave Macmillan.
SECTION B: DETAILS OF TEACHING, LEARNING AND ASSESSMENT Items in this section must e considered annually and amended as appropriate, in conjunction with the Module Review Process. Some parts of this page may be used in the KIS return and published on the extranet as a guide for prospective students. Further details for current students should be provided in module guidance notes. 2016-17 144 Sarah McCourt The first part of the module will involve studio sessions during which students will develop a toolkit of practical approaches with which to make autobiographic and biographic storytelling performance work. Practical approaches may include verbatim performance, visual/object driven narrative, reflexive writing, and site-specific work. Structured group seminars will facilitate the development of research around autobiographical and biographical approaches to storytelling. The module will culminate in solo or small group performance that encourages students to integrate selected aspects of the module into their own practice. Students will critically reflect on the process, approach, concept and outcome of the project in an evaluative essay. SUMMARY OF TEACHING AND LEARNING [Use HESA KIS definitions] Scheduled Activities Hours Comments/Additional Information Weekly staff led studio sessions 65 Weekly independent group-led studio sessions 36 Guided independent study 99 Total 200 (NB: 1 credit = 10 hours or learning; 10 credits = 100 hours, etc) Category Element Component Name Component Weighting Comments include links to learning objectives Coursework C1 Evaluative Essay 100% Total 100% 2,500 words- LO1, LO4 Practice P1 Autobiographical/ Biographical Storytelling Performance 100% Total 100% 10 minutes per group member - LO1, LO2, LO3 Sarah McCourt 25/06/16 HE Operations Date: 25/06/16 Recommended Texts and Sources: Forsyth, Alison and Megson, Chris (2011) (eds) Get Real: Documentary theatre past and present. Basingstoke: Palgrave Macmillan. Gale, Maggie and Gardner, Viv (2004) (eds.) Auto/Biography and Identity: Women, Theatre and Performance. Manchester: Manchester University Press