Ensemble Acting: Co-Creation
| Module title | Ensemble Acting: Co-Creation |
|---|---|
| Module code | DRA2109 |
| Academic year | 2024/5 |
| Credits | 30 |
| Module staff | Dr Erin Walcon (Convenor) |
| Duration: Term | 1 | 2 | 3 |
|---|---|---|---|
| Duration: Weeks | 11 |
| Number students taking module (anticipated) | 18 |
|---|
Module description
The key focus of this module is on ensemble acting and co-creation. You will work as part of small theatre company ensembles to collaboratively devise original performance work in response to a stimulus.
You will be introduced to a range of ensemble co-creation methods through taught studio sessions, do research into contemporary examples of co-creation in practice, and reflect upon your own contribution to the co-creation of a final performance.
Module theory will consider contemporary models of co-creation. In discussions, you will encounter questions about the ethics and duty of care this involves.
Pre-requisites: DRA1018 Creative Actor
Module aims - intentions of the module
The module aims to:
- research contemporary models of co-creation
- introduce a variety of co-creation practices to support ensemble theatre devising
- create and perform a final performance demonstrating effective co-creation skills
- reflect on the experience, synthesizing learning in terms of ensemble acting and co-creation
Intended Learning Outcomes (ILOs)
ILO: Module-specific skills
On successfully completing the module you will be able to...
- 1. Devise and co-create in response to a stimulus
- 2. Demonstrate an ability to work with others as a part of an acting ensemble
- 3. Reflect on your own individual contribution to the ensemble and performance
ILO: Discipline-specific skills
On successfully completing the module you will be able to...
- 4. Relate to others in theatrical processes and performances; work effectively with others in small task-orientated groups and initiate and sustain creative, analytic and interpretative work within strict time limits and basic technical competence.
- 5. Develop a basic understanding of realisation and contextualisation in performance, as well as confidence in basic performance and devising skills and presentation, both of dramatic practice and researched material
- 6. Explore theoretical concerns through practice, and vice versa, and synthesise findings in practical and written tasks. Demonstrate the ability to interpret research into physical practice and vice versa.
ILO: Personal and key skills
On successfully completing the module you will be able to...
- 7. Demonstrate confidence in performance skills and public presentation, both of dramatic practice and researched material.
- 8. Balance your time between self-direction and collaborative work; demonstrate self-management, collaborative working skills, problem solving, critical analysis and valuing own and others ideas and beliefs
- 9. Demonstrate group cooperation skills, including the ability to give and receive constructive critical feedback and improved communication skills and analytic abilities in discussions.
Syllabus plan
Whilst the content may vary from year to year, it is envisioned that during the module you will:
- Take part in taught studio sessions to learn ensemble acting techniques
- Experiment with these approaches in self-directed sessions, working within an ethos of care
- Develop a rehearsal and production plan to enable a successful final performance
- Participate in a group that will create a devised ensemble performance
- Conduct a reflection and evaluate your own contribution as well as the success of the group process
Learning activities and teaching methods (given in hours of study time)
| Scheduled Learning and Teaching Activities | Guided independent study | Placement / study abroad |
|---|---|---|
| 66 | 234 |
Details of learning activities and teaching methods
| Category | Hours of study time | Description |
|---|---|---|
| Scheduled Learning and Teaching | 66 | Staff-led practical sessions, workshops, presentations, discussions |
| Guided Independent Study | 44 | Staff-set student tasks including group training, research prompts, rehearsing and making creative work |
| Guided Independent Study | 190 | Reading, research, self-directed individual and group preparation/experimentation for presentation/performance in practical sessions. |
Formative assessment
| Form of assessment | Size of the assessment (eg length / duration) | ILOs assessed | Feedback method |
|---|---|---|---|
| In-Class Presentations | 10-15 minutes | 1-9 | Oral feedback in class |
| Short written tasks: analysis of performance and reflection on how that influences your practice | 200 words each | 3, 6, 8-9 | Oral feedback in class |
Summative assessment (% of credit)
| Coursework | Written exams | Practical exams |
|---|---|---|
| 60 | 0 | 40 |
Details of summative assessment
| Form of assessment | % of credit | Size of the assessment (eg length / duration) | ILOs assessed | Feedback method |
|---|---|---|---|---|
| Portfolio | 20 | 1,000 words or 1-2 minute creative film | 1-9 | Written & verbal |
| Group performance | 40 | 25 minutes | 1-2, 4-9 | Written & verbal |
| Logbook Reflection | 40 | 2,000 words | 3, 6, 8-9 | Written & verbal |
| 0 | ||||
| 0 | ||||
| 0 |
Details of re-assessment (where required by referral or deferral)
| Original form of assessment | Form of re-assessment | ILOs re-assessed | Timescale for re-assessment |
|---|---|---|---|
| Portfolio | Portfolio, 1,000 words or 1-2 minute creative film | 1-9 | Referral/Deferral Period |
| Performance | Future Project Proposal, 2,000 words | 1-2, 4-9 | Referral/Deferral Period |
| Logbook Reflection | Essay, 2,000 words | 3, 6, 8-9 | Referral/Deferral Period |
Re-assessment notes
Deferral – if you miss an assessment for certificated reasons judged acceptable by the Mitigation Committee, you will normally be either deferred in the assessment or an extension may be granted. The mark given for a re-assessment taken as a result of deferral will not be capped and will be treated as it would be if it were your first attempt at the assessment.
Referral – if you have failed the module overall (i.e. a final overall module mark of less than 40%) you will be required to submit a further assessment as necessary. If you are successful on referral, your overall module mark will be capped at 40%.
Indicative learning resources - Basic reading
Brown, B. (2018) A History of the Theatre Laboratory. London: Routledge.
Enciso, P. et al. (2011) ‘“Is that what you really want?”: a case study of intracultural ensemble-building within the paradoxes of “urbanicity”’, Research in Drama Education: The Journal of Applied Theatre and Performance, 16(2), pp. 215–233.
Freebody, K., Goodwin, S. and Proctor, H. (eds) (2019) Higher Education, Pedagogy and Social Justice: Politics and Practice. Cham: Springer International Publishing.
Gallagher, K. (2015) ‘Beckoning hope and care’, in. Research in drama education, Great Britain: Taylor & Francis, pp. 422–425.
Graham, S. and Hoggett, S. (2014) The Frantic Assembly book of devising theatre. Second edition. New York.
Grove O’Grady, A. (2020) Pedagogy, Empathy and Praxis: Using Theatrical Traditions to Teach. Cham: Springer International Publishing.
Heron, J. and Johnson, N. (2017) ‘Critical pedagogies and the theatre laboratory’, Research in Drama Education, 22(2), pp. 282–287.
Kitchen, J. (2021) ‘Theatre and Drama Education and Populism: The Ensemble “Family” as a Space for Dialogic Empathy and Civic Care’, British Educational Research Journal, 47(2), pp. 372–388.
Hill, L. and Paris, L (2021) Devising Theatre and Performance�: Curious Methods. Bristol: Intellect Books.
Neelands, J. (2009) ‘Acting together: ensemble as a democratic process in art and life’, Research in Drama Education: The Journal of Applied Theatre and Performance, 14(2), pp. 173–189.
Sandu, P., Tudisca, V. and Valente, A. (eds) (2021) ‘Co-creating in Schools Through Art and Science: Lessons Learned in Community Engagement Within the Responsible Research and Innovation Framework’, Springer Nature eBook [Preprint]. 1st ed. 2021.
Stuart Fisher, A. and Thompson, J. (2020) Performing Care: New Perspectives on Socially Engaged Performance. Manchester: Manchester University Press.
Taylor, N. (2019) ‘The origin of dementia friendly theatre performances and the role of people living with dementia as creative consultants’, Research in Drama Education, 24(1), pp. 90–95.
Thorpe, J. and Gore, T. (2020) A Beginner’s Guide to Devising Theatre. Methuen Drama. Available at:
Indicative learning resources - Web based and electronic resources
- ELE page
| Credit value | 30 |
|---|---|
| Module ECTS | 15 |
| Module pre-requisites | DRA1018 |
| Module co-requisites | None |
| NQF level (module) | 5 |
| Available as distance learning? | No |
| Origin date | 03/02/2023 |
| Last revision date | 14/03/2023 |
