Drama 1
Drama 1 is a foundation course designed to introduce you to a range of theatre studies in academic, artistic, community, educational and professional contexts. It centres on the Theatre Experience and requires theoretical inquiry, practical application and experiential participation. You will be reading, writing, speaking, moving, performing, discussing, improvising, dancing, creating and working with one another as well as with the staff, most of whom are actively involved in professional theatre themselves. In the theoretical component of the course we will focus on a range of perspectives and contexts, opening up ideas about what a theatre experience embodies. Studies will therefore focus on ideas of text and context, historical approaches to the theatre, theoretical enquiries and diverse forms of theatrical expression. This will be complemented by the practical component of the course which includes movement, theatre making and speech communication studies. There will also be a number of practical workshops to enhance your learning.
Dr Anton Krueger, course co-ordinator.
THEORETICAL THEATRE STUDIES 2011
Theatre As Ritual (Term 1)
Drama - Human Beings and Being Human (Buckland)
Shamanism - The Origin of Drama? (Krueger)
Jerzy Grotowski - Towards a Poor Theatre (Gehring)
Wole Soyinka: Death & The King’s Horseman (Sutherland)
Hellenic Theatre (Snowball)
Richard Schechner - Ritual, Play and Performance (Evanson)
Ground Breaking 20th Century Performance Practitioners in Drama and Dance (Term 2)
Konstantin Stanislavsky - An Actor Prepares (Gehring)
Bertolt Brecht - On Theatre (Gehring)
Twentieth century dance theatre innovations:
- Introduction to Modernity
- Mary Wigman (Germany)
- Martha Graham (US)
- Alvin Ailey (US)
(Juanita Finestone-Praeg and Alan Parker)
Re-defining the Dramatic Text (Term 3)
Physical comedy:
- Commedia dell’ Arte and the non-literary tradition
- Popular Physical Theatre in South Africa
(Buckland)
Barney Simon - The World in an Orange (Krueger)
Influences on Woza Albert: Gibson Kente (Sutherland)
Mtwa, Ngema, Simon - Woza Albert (Gehring)
The Body as Text:
- Interpreting Physicality
- Dance Expressions and Physical Performance in SA
(Juanita Finestone-Praeg and Alan Parker)
Reza de Wet - Crossing & Missing (Gehring)
Theatre and Constructions of History (Term 4)
Bessie’s Head (The First Physical Theatre Company) (Alan Parker)
Timberlake Wertenbaker: The Love of the Nightingale (Sutherland)
South African reconstruction: Makana (Mouthpeace) (Buckland)
PRACTICAL THEATRE STUDIES 2011
Communication Skills
Speech Communication Tutorial: The practice of communication using voice and speech techniques in the context of the interpretation and presentation of creative writing and public speaking.
Performance Studies
Theatre Making: The purpose of this course is to develop skills in making theatre and collaborative performance. Students are encouraged to explore vocal and physical texts to craft and structure material from an idea through to the staging of a ‘theatre event’. This course emphasises the exploration of creative expression through the experimentation with group dynamics and ensemble improvisation to create a theatre event.
Movement Studies
This is an introduction to the fundamentals of movement expression and communication in order to facilitate personal development and physical awareness. The course aims at preparing and developing a sense of the self through physical training, creative interaction and a mobilisation of the body. Learning experiences aim at an holistic approach to physical training and include an exploration of movement themes, dance techniques, release techniques, contact work and physical improvisation. This movement course can impact on the development of the performer and educator, but can also contribute to personal growth, confidence, creative problem-solving, working as part of a team, as well as social, organisational and interpersonal skills.
PRACTICAL WORKSHOPS 2011
During the course of the year, the department arranges visits by people involved in professional theatre. Special classes and workshops may be arranged in the evenings and over weekends to accommodate this input. Students are encouraged to commit themselves to these extra classes to complement their theoretical studies.
Introduction to auditioning
Facilitators: Ubom! Drama Company (to be confirmed)
African dance and performance
Facilitator: Tisco Mati (to be confirmed)
Contemporary performance
Facilitator: A. Buckland
Theatre spaces and technologies
Facilitator: Royden Paynter
DEPARTMENTAL PRODUCTIONS 2011
A range of productions are presented each year including traditional and contemporary play texts, new theatre works, dance theatre, physical theatre and mime. The Department also participates extensively in the National Arts Festival as well as regional and national schools and dance festivals. Professional theatre practitioners make a dynamic contribution to our performance programme. During productions the theatre becomes a laboratory, a place to engender research and experimentation into the nature and purpose of the theatrical encounter and performance.
Students are required to attend all departmental productions (specified performances will be free of charge for registered full-time drama students), and to participate fully in productions when selected. Before engaging in any theatrical activities other than those of the Department, the consent of the Head of Department must be obtained.
Backstage experience: students are encouraged to volunteer their services in areas such as props making, wardrobe, set painting, lighting, sound, stage management and publicity in order to gain practical experience in various aspects of theatrical production. Credit will be given for involvement in productions and will be calculated with your class record mark at the end of the year.
