University of the West of England

MODULE SPECIFICATION

(Revised October 2005)

Code: UAMPE8-50-M Title: Design for Performance Projects Version: 3

Level: M UWE credit rating: 50 ECTS credit rating: 25

Module type: Project

Owning Faculty: Faculty of Creative Arts/ Field: Stage Management

Bristol Old Vic Theatre School

Valid from: February 2008 Discontinued from:

Contributes towards: MA Professional Theatre Design

Pre-requisites: None

Co-requisites: All other modules under the above awards

Excluded combinations: Modules included under Awards in Stage Management and Costume.

Learning outcomes:

On satisfactory completion of this module students will be able to:

• formulate and develop a complete and original design concept from a given theatre text and an opera piece;

• produce models and drawings as specified by the individual project briefs;

• show evidence of the creative process undertaken with the director by providing sketch books with the rough design ideas and their development throughout each project;

• demonstrate with the sketch books, their ability to source, select and analyse reference material and apply it effectively to the development of their designs;

• formulate and deliver an oral presentation, expressing their design ideas coherently and succinctly and using the displayed model and drawings as supporting evidence;

• answer questions relating to the achievement and cost of key components of their designs.

Syllabus outline:

During the course of this module the students complete two large and detailed design projects, requiring them to take on the role of designer from initial ideas through to final design presentation.

The first project is normally a 20th Century theatre text designed for a studio space: the second is normally an Opera, designed for a proscenium stage, usually with period costume. Each project lasts between 5 and 6 weeks and consists of a given piece to be designed individually by each student for a specified venue with a professional director brought in to facilitate.

Each student attends regular individual meetings with the director, developing his/her design ideas alongside this essential directorial input. The students also receive a series of one to one tutorials with the Head of Course to facilitate the design process and occasional sessions with key production staff in which they will discuss construction methods and the costs of their set and costume designs as they are developing them.

Alongside the projects, regular weekly classes cover specialist skills and techniques (e.g. technical drawing), and occasional seminars and master classes, often at the beginning of a project (e.g. “approaching the script” or “listening to opera”) introduce students to good working practices. Practical workshops look at specific key areas (e.g. pattern cutting, set construction methods) and short projects (e.g. the costume research task) enable them to develop methods of independent and team research by using the internet and discovering sources of relevant reference information locally.

Both design projects include visits to professional theatres, often with access to rehearsals and introductions to professional practitioners. Attendance at professional design presentations and visits to relevant exhibitions, museums and research centres as well as regular access to performances, director’s previews and after show discussions is arranged as part of the timetable of study.

Students come from a range of different educational backgrounds and are encouraged to use independent study time to familiarise themselves with a range of (often) new skills and resources. Independent study is critical to the development of confidence and skill during this module

During the design projects the students are required to:

    • develop original designs in conjunction with a professional director and within the time given;

    o for a specified theatre text;

    o for a specified opera;

    • produce scale models, costume drawings, technical drawings and storyboards as specified by the brief for the individual project;

    • provide detailed sketchbooks, showing;

    o the development of ideas and the design process undertaken with the director;

    o the use of research material;

    o the application of methods and techniques taught in classes and workshops undertaken during the period of each project.

At the end of each project they are required to:

    • display and present their designs in a final design presentation to a select panel of theatre practitioners;

    • answer questions from the represented theatre departments relating to the design decisions taken.

Teaching and learning methods:

The syllabus for this module will be delivered through a variety of teaching methods including: individual tutorials, practical workshops, lectures, group seminars and attendance at professional design presentations. Students are expected to undertake research outside the School, and act autonomously in planning and executing individual study and practical experimentation in the Design Studio.

The regular weekly meetings with the director provide the stages in the development and assessment of the student’s design and are supported by a system of weekly tutorials, usually with the Head of Course. These tutorials aim to both guide and challenge the individual student in order to promote self-evaluation, to encourage re-examination of existing concepts and to inspire the development of creative originality. At key points in the process these tutorials will be led by other professional designers to allow a range of opinion for the student to evaluate.

The knowledge acquired by the students from the regular classes, seminars and workshops feeds back into their designs. The difference in the specific requirements of the first project brief and those of the second reflects the progress and development of the students’ knowledge, taught skills and practical application over the module delivery period.

By visiting professional design presentations, students gain first hand experience of current working practice and are encouraged to identify and evaluate the standards required, for example, in model making. Professional standards are also promoted by visits to theatre design exhibitions (when possible) and the influence of professional practitioners employed as visiting specialist tutors at every stage. With a student cohort of four, each student has the chance to significantly gain from meetings with professionals, either at the school or on organised visits.

Reading Strategy

Students are encouraged to become familiar with the subject area, and texts specific to the module, through reading lists and reference material provided in the course handbook. Lists are updated annually to maintain currency and relevance. Each department holds texts and reference material, as well as the general access provided to the Schools library and access to the Internet. The specifically vocational nature of training and study, combined with the project based nature of learning on the course, may require that students are guided to reading and research material in the first instance by the module leader.

NB: BOVTS students do not have access to UWE Libraries and UWE OnLine.

Indicative sources:

The following list is offered to provide validation panels/accrediting bodies with an indication of the type and level of information students may be expected to consult. As such, its currency may wane during the life span of the module specification. However, as indicated above, CURRENT advice on readings will be available via other more frequently updated mechanisms.

Play texts, e.g.:

E O’Neill The Hairy Ape (London: Jonathan Cape, 1973).

Shakespeare, W. The Tempest, Arden Shakespeare, (USA: Methuen & Co,1954).

(Kermode,F.ed).

Selected opera, e.g.:

I Stravinsky The Rake’s Progress, (London Sinfonietta / Chailly Decca, 1984).

Other research material around the period including work on opera design, eg:

J Goodwin British Theatre Design, (London: Weidenfeld & Nicolson, 1971).

Research will include material on history of costume, e.g.:

J Hunnisett Period Costume for Stage and Screen 1800 – 1909, (London: Bell & Hyman, 1988).

A Racinet The Historical Encyclopedia of Costume, (London: Bestseller, 1989).

Reference books on period style, e.g.:

Bracken Books Discovering Furniture, (London: Marshall Cavendish, 1990).

E T Joy Furniture AD43 – 1950, (London: Batsford, 1962).

P Thornton Authentic Décor The Domestic Interior 1620 – 1920, (London: Seven Dials, 2000).

D Yarwood English Houses, (London: Batsford, 1966).

Miller J. & M. Millers Understanding Antiques, (London: Mitchell Beazley, 1989).

Research will include material on history of costume, e.g.:

J Hunnisett Period Costume for Stage and Screen 1800 – 1909, (London: Bell & Hyman, 1988).

A Racinet The Historical Encyclopedia of Costume, (London: Bestseller, 1989).

Material on the work of Theatre Designers, e.g.:

K Burnett & Time and Space Design for Performance, (London: SBTD, 1999).

P Ruthven Hall

C Courtney Jocelyn Herbert A Theatre Workbook, (London: Arts Book International, 1997).

Other referencees:

http:/www.ardenshakespeare.com/

http://www.is.bham.ac.uk/shakespeare.

http://uk.cambridge.org/series.asp?series=SS&rec=1

http://www.allshakespeare.com/index.php

Assessment

This is a Project module with only one component of assessment. This component has two elements.

In assessing Component A there will be meetings between the student and the relevant tutor at formal assessment points over the course of the module to discuss and record the student's progress judged against the learning outcomes for this module. The result of these assessment points (of which there are normally not more than three) are cumulative in nature and give rise to a final mark/grade at the end of the module.

ATTEMPT 1

First Assessment Opportunity

Component A

Description of each element Element weighting

1. Assessment of Process of Design 50%

2. Assessment of Final Design 50%

Assessment Strategy: both formative (ongoing throughout project) and summative (student presentation at the end of the project).

A final written assessment from the Head of Design is discussed in conjunction with the student’s written self-assessment and a student developmental action plan is formulated.

Second Assessment Opportunity (further attendance at taught classes is required)

Component A

Description of each element Element weighting

1. Assessment of Process of Design 50%

2. Assessment of Final Design 50%

Assessment Strategy: both formative (ongoing throughout project) and summative (student presentation at the end of the project).

A final written assessment from the Head of Design is discussed in conjunction with the student’s written self-assessment and a student developmental action plan is formulated.

SECOND (OR SUBSEQUENT) ATTEMPT Attendance at taught classes is required.

Specification confirmed by …………………………………………………Date ……………………………

(Associate Dean/Programme Director)

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