Registry

Module Specifications

Current Academic Year 2012 - 2013
Please note that this information is subject to change.

Module Title	Introduction to Performance
Module Code	CM289
School	School of Communications
Online Module Resources
Module Co-ordinator	Semester 1: Martin Molony Semester 2: Martin Molony Autumn: Martin Molony
Module Teacher	Martin Molony
NFQ level	8	Credit Rating	10
Pre-requisite	None
Co-requisite	None
Compatibles	None
Incompatibles	None

Description

This module is devised as an introduction to a set of four modules, comprising a performance strand, within the BA in Communication Studies at Dublin City University.The aim of the module is to introduce students to the concept of performance through a variety of historical and contemporary cultural forms and artistic practices.The module seeks to demonstrate the importance of integrating performance theory and practice.The module seeks to open up a platform for students to create original, imaginative, artistic and cultural performances.

Learning Outcomes

1. Demonstrate an understanding of the fundamentals of performance preparation, i.e. fitness to practice;
2. Demonstrate a grasp of the interrelation between the various disciplines of performances genres;
3. Analyse and critique a performance piece;
4. Respond to a range of introductory improvisational tasks;
5. Devise and perform a group performance;
6. Maintain a journal on practical and analytical studies.

Workload	Full-time hours per semester
*Type*	*Hours*	*Description*
Lecture	30	Weekly class contact and tutor consultation
Assignment	20	Case Study Assignment
Group work	50	Group Performance
Directed learning	30	Performance attendance and critique
Independent learning time	20	Reflective Journal
On-line learning	30	Use of course-related material on Moodle
Independent learning	70	General research and attendance at performances outside class
Total Workload: 250

All module information is indicative and subject to change. For further information,students are advised to refer to the University's Marks and Standards and Programme Specific Regulations at: http://www.dcu.ie/registry/examinations/index.shtml

Indicative Content and Learning Activities

What is Performance?.
Broadening our perception of performance..

Types of Performance.
Burlesque,Circus,Dance,Drama,Fairground,Flash Mobs,Graffiti,Magic,Mime,Music,Music Festivals,Music Hall,Oratory,Pantomime,Presentation,Puppetry,Showbands,Stand-up Comedy,Street Theatre,Theatre,Ventriloquism..

The Fundamental Disciplines of Performance.
Outlining the parameters of activities recognised within the field fo performance..

Performance Art.
What distingushes performance art from art and from other forms of performance? What are the communication characteristics of a piece of perormance art?.

Mime, Movement and Mask.
The use of rhythm and timing within performance. The importance of non-verbal communication. Working with the body by means of mime, movement and mask..

Improvisation.
"Making it up as you go along...""Improvisation is the practice of acting, singing, playing musical instruments, talking, creating artworks, problem solving, or reacting in the moment and in response to the stimulus of one's immediate environment and inner feelings."What is the importance of improvisation as a form of performance? How should we consider improvisation as a form of communication?.

Commedia dell'Arte.
Improvisation comedy originating in Italy in the 16th Century. What is distinctive about this type of performance? In what ways has Commedia dell'Arte influenced other forms of performance over the last 400 years..

Comedy Writing.
What are the essential elements of effective comedy writing? What is the relationship between the comedy writer and the performer?.

Circus.
What distingushes circus as a unique form of performance?.

Guest Practitioners.
Award-winning performance artist, Amanda Coogan; Movement Director of the Lir Theatre, Sue Mythen; Other practitioners to be confirmed..

Assessment Breakdown
Continuous Assessment	100%	Examination Weight	0%

Course Work Breakdown
Type	Description	% of total	Assessment Date
Reflective journal	A written account and response to the weekly sessions	25%	Every Week
Essay	Case Study on a chosen performance, or type of performance	30%	Week 5
Group assignment	Group performance exercise and presentation - assessed on an indvidual basis.	45%	Sem 1 End

Reassessment Requirement
Resit arrangements are explained by the following categories; 1 = A resit is available for all components of the module 2 = No resit is available for 100% continuous assessment module 3 = No resit is available for the continuous assessment component
This module is category 1

Indicative Reading List

Devlin, Diana: 1989, Mask and Scene: An Introduction to a world view of theatre, Scarecrow Press, London,
Dolar, Mladen: 2006, A Voice and Nothing More, MIT Press, Cambridge, Massachusetts,
Hahlo, Richard & Reynolds, Peter: 2003, Dramatic events, Faber & Faber, London, 0571191614
Hartnoll, Phyliss: 1998, The Theatre: a consise history, 3rd edition, Thames & Hudson, London,
Hughes-Freeland, Felicity: 1997, Ritual, Performance, Media, Routledge, London,
Johnston, Chris: 1998, House of Games: Making a Theatre from Everyday Life, Routledge,
Johnstone, Keith: 1999, Improv for Storytellers: Theatresports and the Art of Making Things Happen, Faber and Faber,
Morash, Christopher: 2004, A History of Irish Theatre: 1601 - 2000, 2nd edition, Cambridge University Press,
O'Hara, Michael & Sebesta, Judith: 2010, Explore Theatre, Pearson Education,
Reynolds, Peter & Hahlo, Richard: 2003, Dramatic Events: How to Run a Successful Workshop, Faber and Faber,
Schechner, Richard: 2006, Performance Studies: An Introduction, 2nd edition, Routledge, London & New York,
Striff, Erin (editor): 2003, Performance Studies, Palgrave Macmillan, Baskingstoke,
Williams, Raymond: 1991, Drama in performance, Open University Press, Milton Keynes, 9780140214598