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Theatre Practice & Production (MA)
Course Overview
This full-time MA programme aims to prepare students for professional-level work in the theatre and/or other creative industries—or to deepen the knowledge of people who are already working in those fields. Students take modules in many different aspects of theatre practice, including ensemble performance, direction, acting, and so on. An optional internship with an Irish theatre company forms part of the course. During hte summer months, students complete a practice-based project, involving the staging of their own plays and/or performances, which they write about in the form of a final dissertation.
The course is suited to anyone with an interest in Drama and Theatre, especially theatre practitioners who wish to gain a formal qualification for their work, and amateur/student performers who wish to enhance and develop their skills. Candidates who do not hold a primary degree may apply on the basis of relevant experience.
Central to the programme is the work of the Druid Academy. It allows students to benefit from NUI Galway’s partnership with Druid Theatre—recently described by the New York Times as “one of the world’s great theatre companies”. Students work directly with the Druid Director-in-Residence and participate in master classes and workshops with members of the company, including artistic director Garry Hynes, the first woman to win a Tony Award for directing.
There are some scholarship opportunities available for this programme. Please visit the MA (Humanities) Scholarships website for more information.
Applications and Selections
Who Teaches this Course
- Professor Patrick Lonergan
- Dr Charlotte McIvor
- Dr Miriam Haughton
- Garry Hynes, Artistic Director of Druid and Associate Professor
- Thomas Conway, Druid Director-in-Residence
- Max Hafler
Requirements and Assessment
Key Facts
Entry Requirements
Additional Requirements
Duration
1 year full-time
Next start date
September 2018
A Level Grades ()
Average intake
15
Closing Date
Next start date
September 2018
NFQ level
Mode of study
Taught
ECTS weighting
90
Award
CAO
PAC code
GYA24
Course Outline
Students choose six modules (three in each semester) from the following list:
- Ensemble Acting and Devising
- Writing about Theatre and Performance
- Irish Theatre in Practice
- Theatre Theory
- Theatre for Children and Yound People
- New Approaches to Performance
- Performance Lab
- Directing for Stage
- Fieldwork and Theatre Business (includes intership)
Each module is worth 10 ECTs, giving a total of 60 ECTs.
In addition, students complete a dissertation, worth 30 ECTs. The dissertation involves the staging of a theatre production or performance, which students then write about reflectively.
Modules for 2017-18
Curriculum information relates to the current academic year (in most cases).Course and module offerings and details may be subject to change.
Glossary of Terms
- Credits
- You must earn a defined number of credits (aka ECTS) to complete each year of your course. You do this by taking all of its required modules as well as the correct number of optional modules to obtain that year's total number of credits.
- Optional
- A module you may choose to study.
- Required
- A module that you must study if you choose this course (or subject).
- Semester
- Most courses have 2 semesters (aka terms) per year.
Year 1 (90 Credits)
Required DT6120: Ensemble Acting and Devising
DT6120: Ensemble Acting and Devising
Semester 1 | Credits: 10
A practical and theoretical introduction to twentieth-century acting and performance techniques with special emphasis on Artaud, Grotowski, and Peter Brook.
(Language of instruction: English)
Learning Outcomes
- Engage in practical ensemble-based activities for devising theatre practice.
- Describe and put into practice modern and contemporary theories of ensemble
- Describe and put into practice the ideas of key practitioners, such as Boal, Brook and Chekhov.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- THOMAS CONWAY:
Research Profile |
Email
Reading List
- "The Empty Space" by Peter Brook
- "Towards a Poor Theatre" by Jerzy Grotowski
Note: Module offerings and details may be subject to change.
Required DT6108: Exploring Michael Chekhov Technique
DT6108: Exploring Michael Chekhov Technique
Semester 1 | Credits: 10
This is a course for actors and directors exploring Chekhov technique through practice, journal and essay. Following a thorough practical introduction to certain key concepts of Qualities, Psychological Gesture, Centres and Atmosphere, the student will move on to working on scenes and speeches. The experiential component will be backed up by discussion of various chapters of ‘To The Actor’ by Michael Chekhov, and analysis of the training DVDs of the Michael Chekhov Association.
(Language of instruction: English)
Learning Outcomes
- Demonstrate theoretical knowledge of the theory of Chekhov's work academically and its placement in the the history of actor training.
- Have some ability in the practise of the technique, in particular, but not exclusively, Qualities, Radiating and Receiving, Centres, General and Personal Atmosphere, Psychological Gesture and Composition.
- Select and apply at least two of Chekhov's concepts to a scene from a given play.
- Execute written self assessment response of the practical work.
- Practically apply the techniques to directing theatre.
- Assess the technique by comparing it to at least one other practical performance technique they know about or of which they have experience.
Assessments
- Continuous Assessment (55%)
- Department-based Assessment (45%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- MAX HAFLER:
Research Profile |
Email
Reading List
- "To the Actor" by Michael Chekhov
- "On the Technique of Acting" by Michael Chekhov
- "Lessons for the Professional Actor" by Michael Chekhov
- "Three Sisters" by Anton Chekhov (trans. Michael Frayn)
Note: Module offerings and details may be subject to change.
Required DT6122: Performance Lab
DT6122: Performance Lab
Semester 2 | Credits: 10
This course explores the relationship between theory and practice in a laboratory format that combines making and staging work with critical investigation. The purpose of this course is to provide students with a critical vocabulary for approaching practice as research that will result in the creation of new devised or staged work guided by student's shared intellectual and artistic interests. The first part of the semester will be focused on a survey of divergent approaches to the creative process in contemporary performance practice by way of artist accounts, film viewings and performance outings, and engagement with critical theory focused in theatre and performance studies. In the second half of the semester, students will work in groups with instructor supervision to create or stage a collective work that engages a research problem or question resulting in public performance of these works. Students will also complete a final research paper locating their performance project and its desired interventions in genealogies of theatre and performance practice. Assessment: Weekly written assignments, practical classroom exercises, group performance project and final research paper.
(Language of instruction: English)
Learning Outcomes
- Compare and contrast varying methods of contemporary theatre making
- Experiment actively with contemporary physical theatre and devising techniques in a collaborative workshop format
- Create an original performance or stage an original interpretation of a piece for performance
- Demonstrate advanced skills of group collaboration
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "Frantic Assembly Book of Devising Theatre" by Frantic Assembly
ISBN: 978-113877701. - "A Director Prepares" by Anne Bogart
ISBN: 978-041523832. - "Postdramatic theatre" by Hans-Thies Lehmann; translated and with an introduction by Karen J?urs-Munby
ISBN: 0415268133.
Publisher: London ; Routledge, 2006.
Note: Module offerings and details may be subject to change.
Required DT6121: Fieldwork And Theatre Business
DT6121: Fieldwork And Theatre Business
Semester 2 | Credits: 10
This module is focussed on professionalisation strategies and processes in the field of drama and theatre at large. Topics including long-range professional career planning in a variety of theatre and performance disciplines, producing, project preparation, grant writing, tax law for artists and more will be covered through interactive workshops.
(Language of instruction: English)
Learning Outcomes
- Identify a range of roles and professional areas in the field of theatre and performing arts.
- Exhibit knowledge of the scope and interrelationship of major organisations in the field of theatre and performing arts in Ireland.
- Create and implement a plan for individual professional development in the field of theatre and performing arts.
- Critically reflect on a work experience with an organisation in the field of theatre and performing arts.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- MARIANNE NÍ CHINNÉIDE:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "So You Want To Be A Theatre Producer?" by James Seabright
ISBN: 978185459537. - "How To Start Your Own Theatre Company" by Reginald Nelson
ISBN: 978155652813.
Note: Module offerings and details may be subject to change.
Required DT6100: Dissertation
DT6100: Dissertation
Semester 2 | Credits: 30
(Language of instruction: English)
Learning Outcomes
- tbc
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- DEIRDRE QUINN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- DAVID CLARE:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- IAN WALSH:
Research Profile |
Email
Note: Module offerings and details may be subject to change.
Optional DT6102: Irish Drama and Theatre from Wilde to O'Casey
DT6102: Irish Drama and Theatre from Wilde to O'Casey
Semester 1 | Credits: 10
This course explores the history of Irish drama and theatre from 1890 to 1930
(Language of instruction: English)
Learning Outcomes
- Identify, describe and analyse key moments in Irish theatre history from 1890 to 1930, with special focus on the Irish literary revival.
- produce a substantial research paper that deploys the skills of archival research, textual analysis and performance analysis.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "Modern and contemporary Irish drama" by edited by John P. Harrington
ISBN: 0393932435.
Publisher: W.W. Norton & Co. - "The Irish Dramatic Revival: 1899-1939" by n/a
ISBN: 978-140817528.
Note: Module offerings and details may be subject to change.
Optional DT6119: Directing for Stage
DT6119: Directing for Stage
Semester 1 | Credits: 10
This course provides students an introduction to modern and contemporary directing practice, using case studies and engaging in practical exercises.
(Language of instruction: English)
Learning Outcomes
- Identify and describe key examples of contemporary directing practices, nationally and internationally
- Put into practice key directing strategies from the modern, postmodern, and post-dramatic traditions
- direct a small or large ensemble, using techniques worked on in class
- Identify and describe the distinctions between devised and text-based directing.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "The Actor and the Target" by Declan Donnellan
- "On Directing" by Katie Mitchell
Note: Module offerings and details may be subject to change.
Optional DT6123: Playwright's Workshop I
DT6123: Playwright's Workshop I
Semester 1 | Credits: 10
A weekly writer’s workshop in which Students will explore fundamental dramaturgical playwriting strategies and structures through analysis of plays from different genres and in-class writing tasks.
(Language of instruction: English)
Learning Outcomes
- Analyse and identify dramaturgical structures as well as particular genre specific theatrical devises
- Develop prompts for starting and completing written work
- Plan, structure and complete original short play
- Critically reflect on writing and situate it within established genres
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- DEARBHLA MOONEY:
Research Profile |
Email
- IRENE OMALLEY:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- IAN WALSH:
Research Profile |
Email
Reading List
- "The Secret Life of Plays" by Steve Waters
Publisher: Nick Hern Books - "How Plays Work" by David Edgar
Publisher: Nick Hern - "Playwriting a Practical guide" by Noel Greig
Publisher: Routledge
Note: Module offerings and details may be subject to change.
Optional DT6126: Writing about Theatre and Performance
DT6126: Writing about Theatre and Performance
Semester 1 | Credits: 10
Learning Outcomes
- review live performance for publication in print or online.
- work on reconstructing performance through the use of archival resources
- Understand the distinction between writing for specialist and non-specialist audiences, and apply that distinction in the composition of reviews and other forms of writing.
- Apply the skills of giving editorial feedback to peers both in person and in writing.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- IAN WALSH:
Research Profile |
Email
Reading List
- "How Plays Work" by David Edgard
- "Writing for Theatre." by Mark Fisher
Note: Module offerings and details may be subject to change.
Optional DT6106: Thinking about Theatre
DT6106: Thinking about Theatre
Semester 1 | Credits: 10
'Thinking about Theatre' introduced students to a selection of key thinkers on Western theatre and performance. Texts to be considered include extracts from Plato's 'The Republic,' Aristotle's 'The Poetics,' Sidney's 'Defense of Poesy,' Diderot's 'The Paradox of the Actor,' and Schiller's 'On the Tragic Art.' A range of contemporary thinkers--including Alain Badiou and Jacques Rancière--will also be considered.
Learning Outcomes
- Identify key features of western theatrical theory from the Greeks to the present day
- Analyse and relate strands of debates in critical discourse regarding theatre and performance over time
- Apply theoretical knowledge to the completion of an original research essay
- Situate theories of theatre in their historical contexts
- Formulate a coherent idea of the social and functions of theatre
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- LIONEL PILKINGTON:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "Republic, The" by Plato, Melissa Lane (Introduction), Desmond Lee (Translator)
ISBN: 9780140455113.
Publisher: Penguin Classics - "Mimesis" by Matthew Potolsky
ISBN: 9780415700290.
Publisher: New York ; Routledge, 2006. - "The aesthetics of mimesis" by Stephen Halliwell
ISBN: 0691092583.
Publisher: Princeton University Press - "Art in theory, 1900-2000" by edited by Charles Harrison and Paul Wood
ISBN: 9780631227083.
Publisher: Malden, Mass. ; Blackwell Publishing, 2003. - "Modern theories of drama" by edited and annotated by George W. Brandt
ISBN: 0198711395.
Publisher: Clarendon Press ; 1998. - "Passionate amateurs" by Nicholas Ridout.
ISBN: 9780472119073.
Publisher: Ann Arbor; The University of Michigan Press - "An Actress Prepares" by Rosemary Malague
ISBN: 9780415681575.
Publisher: Routledge
Note: Module offerings and details may be subject to change.
Optional EN6118: Digital Literature, Arts, and Creative Practice
EN6118: Digital Literature, Arts, and Creative Practice
Semester 1 | Credits: 10
Postgraduate introduction to digital creative practice in literature and other arts. The course will explore the ways in which new technologies have been used in the creation of born-digital works of literature and other arts, and the wider cultural impact of these developments.
(Language of instruction: English)
Learning Outcomes
- Describe how new media technologies have been used in the processes of literary and other creative practices.
- Articulate a comprehensive picture of the expanding field of born-digital creative work
- Analyse and critique a range of aesthetic practices associated with digital arts and literature.
- Describe the theoretical and methodological implications of digital creative practice.
- Employ a selection of digital tools and platforms as a form of creative and critical inquiry.
Assessments
- Continuous Assessment (100%)
Reading List
- "Cybertext" by Espen J. Aarseth
ISBN: 0801855799.
Publisher: Johns Hopkins University Press - "Writing space" by Jay David Bolter
ISBN: 0805829199.
Publisher: Lawrence Erlbaum Associates - "Prehistoric digital poetry" by C. T. Funkhouser
ISBN: 0817354220.
Publisher: University of Alabama Press - "Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations" by Roberto Simanowski
ISBN: 0816667381.
Publisher: Univ Of Minnesota Press
Note: Module offerings and details may be subject to change.
Optional DT6109: Applied Theatre
DT6109: Applied Theatre
Semester 2 | Credits: 10
This course introduces students to core concepts and practices in the field of applied theatre techniques which includes but is not limited to educational theatre, Theatre for Social Change, community arts/theatre,Theatre of the Oppressed and other Boalian techniques, theatre for development, and prison theatre.
(Language of instruction: English)
Learning Outcomes
- Identify key working methods and genres in the practice of applied theatre.
- Distinguish between different working methodologies and genres within the larger field of applied theatre.
- Analyse key debates over ethics and collaboration in this field of practice.
- Building on our practical classroom exercises, lead basic exercises from each major genre of applied theatre discussed in class.
- Interrogate the role of the faciliator in applied theatre work.
- Propose a framework for their own independent applied theatre project.
- Demonstrate knowledge of a more advanced repertoire of activities and techinques from one targeted area of specialisation in applied theatre.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- THOMAS CONWAY:
Research Profile |
Email
Reading List
- "The Applied Theatre Reader" by Sheila Preston and Tim Prentki
- "Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change" by Dani Snyder-Young
- "Games for Actors and Non-Actors" by Augusto Boal
- "Community Performance: An Introduction" by Petra Kuppers
- "Local Acts: Community-Based Performance in the United States" by Jan Cohen-Cruz
Note: Module offerings and details may be subject to change.
Optional DT6101: Irish Drama and Theatre from Beckett to the Present
DT6101: Irish Drama and Theatre from Beckett to the Present
Semester 2 | Credits: 10
This course explores the history of Irish theatre from 1950 to the present, placing emphasis on the importance of Beckett for an understanding of Irish drama.
(Language of instruction: English)
Learning Outcomes
- Identify key moments in Irish theatre history since 1950
- Describe and analyse the importance of social, cultural and economic factors in the development of Irish theatre history since 1950
- Produce a written research essay that deploys the skills of archival research, textual analysis, and performance analysis.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "Modern and Contemporary Irish Drama" by John Harrington
- "Contemporary Irish Plays." by Patrick Lonergan
Note: Module offerings and details may be subject to change.
Optional DT6124: Playwrights' Workshop II: Adaptation
DT6124: Playwrights' Workshop II: Adaptation
Semester 2 | Credits: 10
Assessments
- Continuous Assessment (100%)
Teachers
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- IAN WALSH:
Research Profile |
Email
Note: Module offerings and details may be subject to change.
Optional DT6113: Applied Dramaturgy
DT6113: Applied Dramaturgy
Semester 2 | Credits: 10
This module introduces students to dramaturgy as a discipline with varied historical roots and as a practice that is diverse, sophisticated, and vital to contemporary theatre. It aims to equip students with the theoretical underpinnings and the intellectual tools with which to contribute confidently and effectively as dramaturgs in a rehearsal process (whether it be on a classic or modernist play, or in a devised production). Students complete the module by partnering with students mounting live performance projects for the module "Performance Lab."
(Language of instruction: English)
Learning Outcomes
- Investigate the range of roles and functions required of a dramaturge in both historical and contemporary contexts.
- Analyse the role and function of a dramaturge on a range of theatre and performance projects arising out of a variety of institutional contexts and aesthetic approaches.
- Articulate the difference between structural, production and institutional dramaturgy.
- Evaluate the practice of dramaturgy as applicable to other roles in the theatre including director, playwright, designer and actor among others.
- Execute a variety of dramaturgical roles and functions through class exercises, assignments and projects (including engagement with student projects from the module 'Performance Lab').
- Negotiate the risks and demands of collaborative work through the execution of dramaturgical work on assigned student peer performance projects.
- Critically assess your personal practice as a dramaturge in terms of historical and theoretical fluency, skills at collaborating with other artists and your use and manipulation of supporting resources in engaging with your assigned student peer performance project.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
- THOMAS CONWAY:
Research Profile |
Email
Reading List
- "The Routledge Companion to Dramaturgy" by Magda Romanska, ed.
- "New dramaturgy" by edited by Katalin Trencsényi and Bernadette Cochrane.
ISBN: 1408177080.
Publisher: London; Bloomsbury - "Dramaturgy and Performance" by Cathy Turner, Synne Behrndt
ISBN: 1403996563.
Publisher: Palgrave Macmillan - "Dramaturgy: A Revolution in Theatre" by Mary Luckhurst
ISBN: 0521081882.
Publisher: Cambridge University Press - "Process of Dramaturgy" by Scott R. Irelan, Anne Fletcher, Julie Felise Dubiner
ISBN: 1585103322.
Publisher: Focus Publishing/R. Pullins Co.
Note: Module offerings and details may be subject to change.
Optional EN6109: From Globe to Globe: Contextualising Shakespeare on stage and on screen
EN6109: From Globe to Globe: Contextualising Shakespeare on stage and on screen
Semester 2 | Credits: 10
This module focuses on reading Shakespeare’s plays, and their adaptations, contextually. Students will be encouraged to locate their readings of the plays amid early modern discussions of a variety of religious-political topics before moving to consider the shaping influence of historical and cultural contexts on recent filmic and theatrical translations of Shakespeare’s plays from across the globe. In this regard, the module will investigate the malleability of Shakespeare as a cultural icon across a variety of languages and cultures, and focus particularly on adaptions in languages other than English. * Seminar discussion of the adaptations will attend to political and linguistic context and cultural tradition, and confront issues of location, translation, representation and generic difference. Across the course, students will be invited to consider the complex speaking positions that reside within these intercultural exchanges and investigate Shakespeare’s status as a global signifier of cultural capital.
(Language of instruction: English)
Learning Outcomes
- read texts in their historical contexts
- understand recent developments in the digital and global interpretation of Shakespeare’s work
- demonstrate awareness of how Shakespeare is performed across nations and cultures.
- critically assess the plays of Shakespeare and the processes through which they have been appropriated
- offer intelligent analysis of literary texts and visual samples
- engage with post-colonial criticism and performance and film criticism
- demonstrate research skills appropriate to postgraduate study
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- DEARBHLA MOONEY:
Research Profile |
Email
- IRENE OMALLEY:
Research Profile |
Email
- VICTORIA BROWNLEE:
Research Profile |
Email
Reading List
- "The Norton Shakespeare" by Stephen Greenblatt
- "Shakespeare in China" by Murray Levith
Publisher: Continuum - "Post-Colonial Shakespeares" by Loomba and Orkin
Publisher: Routledge
Note: Module offerings and details may be subject to change.
Optional DT6125: The Abbey Theatre Digital Archive
DT6125: The Abbey Theatre Digital Archive
Semester 2 | Credits: 10
A course dedicated to using the Abbey Theatre Digital Archive in order to develop skills in research, theatre history, and digital humanities.
Learning Outcomes
- Make use of digital resources in order to reconstruct theatre history
- Display and apply knowledge of Irish theatre history
- Use archival resources to develop new forms of performance and/or composition and/or research outputs.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- CHARLOTTE MCIVOR:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
Note: Module offerings and details may be subject to change.
Optional DT6112: Advanced Theatre Production Practicum
DT6112: Advanced Theatre Production Practicum
Semester 2 | Credits: 10
This module integrates MA students into key theatrical production roles on productions staged with BA students in collaboration with staff or guest artist directors. Students contribute centrally to performance responsibilities related to acting, direction, dramaturgy, design and/or management that necessitate peer management and the creation of original content (including material for performance or performance/rehearsal management plans).
(Language of instruction: English)
Learning Outcomes
- Execute key responsibilities involved in specialized theatre roles such as stage manager, actor, designer.
- Administer one or more defined leadership roles within a live theatrical production from rehearsal through public performance as measured by key factors including management of peers, size of role, and independence of design process and execution as possible.
- Lead and organise innovative solutions to production problems.
- Supervise the delegation of responsibility for solving production problems to peers in consultation with team members and staff in artistic roles.
- Analyse theatre techniques and design materials including light, sound and costume in relationship to a complex and developed understanding of theatre history through engagement with independent research relevant to the production in final research essay.
- Articulate and probe the relationship between practical experience learned from previous production experiences with challenges and successes experienced during this process.
- Track and analyse the evolution of their individual and independently developed production concept such as original design, staging of a scene or movement sequence, or execution of a large acting role with demonstrable originality over the course of the entire process.
Assessments
- Continuous Assessment (100%)
Teachers
- PATRICK LONERGAN:
Research Profile |
Email
- KAREN M WALSH:
Research Profile |
Email
- MIRIAM HAUGHTON:
Research Profile |
Email
- AOIFE HARRINGTON:
Research Profile |
Email
Reading List
- "The director's craft" by Katie Mitchell
ISBN: 0415404398.
Publisher: Routledge - "The Empty Space" by Peter Brook
ISBN: 0141189223.
Publisher: Penguin Books Ltd (UK) - "Stage management" by Gail Pallin
ISBN: 1848420145.
Publisher: Nick Hern - "The Cambridge introduction to scenography" by Joslin McKinney, Philip Butterworth
ISBN: 0521612322.
Publisher: Cambridge, UK ; Cambridge University Press, 2009. - "The Routledge companion to theatre and performance" by Paul Allain and Jen Harvie
ISBN: 0415257212.
Publisher: London ; Routledge, 2006.
Note: Module offerings and details may be subject to change.
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Fees: Tuition
Fees: Student levy
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Postgraduate students in receipt of a SUSI grant—please note an F4 grant is where SUSI will pay €2,000 towards your tuition. You will be liable for the remainder of the total fee. An F5 grant is where SUSI will pay TUITION up to a maximum of €6,270. SUSI will not cover the student levy of €224.
Postgraduate fee breakdown = tuition (EU or NON EU) + student levy as outlined above.