Drama 2
Ensemble work and time management are key words for this year. Performance Studies require concentration and commitment in a dynamic exploration of your own creative potential. The practical classes include Voice and Speech Communication, Physical Theatre, The Acting Experience and Introduction to Applied Drama or Design for the Theatre or Introduction to Writing for the Theatre. A strong engagement in the practical classes will help you create intelligent and imaginative theatre events. You will also have opportunities for involvement in productions which will mean that you will be spending many hours in the department. You need to make sure that you priorities your commitments, always making sure that you spend as much time on your theory as on your practical work. A balance needs to be maintained between your work in other departments and in the Drama department.
Ms Heike Gehring, course co-ordinator
THEORETICAL THEATRE STUDIES 2011
Term 1
Foundations of Contemporary South African Theatre
South African Urban Theatre and the development of Apartheid (Sutherland)
An Introduction to Workshop Theatre (Gehring)
Junction Avenue Theatre Company: Sophiatown (Krueger)
Contemporary Manifestations
Theatrical responses to HIV in South Africa (Sutherland)
Magnet Theatre (Gehring)
Lara Foot- Newton: Tshepang (Krueger)
Term 2
Turning Points in European Theatre
The Seagull and the legacy of the Moscow Art Theatre (Krueger)
Introducing the notion of the primitivism in modernity and its artistic influence in theatrical performance:
- Introducing primitivism within Western discourse (Finestone-Praeg)
- Nijinsky and the legacy of the Rite of Spring (Parker)
- Josephine Baker and Vera Mantero (Smit)
- MID’s Vincent Mantsoe (Finestone-Praeg)
Introduction to Third term Electives
Introduction to Applied Theatre (Sutherland)
Introduction to Design (Engelbrecht)
Introduction to Writing (Krueger)
Term 3
Studies in Intertextuality
Introduction to Intertextuality (Gehring)
Robert Wilson (Buckland)
Intertextuality and Physical Theatre
- Identifying key issues of a Physical Theatre (Finestone-Praeg)
- Precedents: Pina Bausch (Parker)
- Current Innovators: DV8 (Parker)
- South Africa: First Physical (Finestone-Praeg)
- Rewriting classical narratives: Matthew Bourne, Mats Ek, and Dada Masilo (Parker)
Brett Bailey (Gehring)
Term 4
Intertextuality and South African Practitioners
William Kentridge (Krueger)
Theatre and Violence
Riot and Rite: Theatre of Risk (Finestone-Praeg)
Edward Bond: Saved (Sutherland)
Steven Berkoff (Buckland)
Mpumelelo Paul Grootboom (Krueger)
PRACTICAL THEATRE STUDIES 2011
Voice Training (Gehring)
The purpose of this course is to introduce students to exercises and techniques that will support them in vocal performance. Students will be given an opportunity to be taught key aspects that are necessary for effective vocal performance. They will engage in vocal training in order to strengthen their voices and broaden their skills for effective vocal delivery.
Physical Theatre (Finestone-Praeg and Parker)
Students will be introduced to physicality in contemporary theatre and the training of the individual's physical resources though body awareness, classical and contemporary mime, contact improvisation, release techniques, Laban studies, and verbal dynamics. meaning in the theatre will also be investigated through the utilisation of an evocative physical language, appropriate visual imagery and text. This practical study programme draws on creative, experiential and discursive modes within physical theatre and related fields. Theatrical and performance choices will be evaluated, researched and workshopped culminating in the conceptualization and realization of a performed physical theatre event. Workshops with a range of staff members and guest facilitators will be conducted during these practicals.
