assessment 1 · web view•the makers of modern dance in germany. rudolf laban, mary wigman, kurt...

Module Study GuideAcademic Year 2017/18

DANCE THEATRE

Location: The Creative Academy73a Stoke Poges lane, SLOUGH, SL1 3NY

Module Code: MU60054SLevel: 6Credits: 20

Version No 01 © UWL 2016

Form I – Module Study Guide template – April 2016 Page 1 of 32

Table of Contents

DANCE THEATRE....................................................................................................11. Module Leader, Teaching Team and Module Administrator Details......................32. Key Contacts..........................................................................................................43. Further Information................................................................................................54. Welcome to the Module.........................................................................................65. Timetable/Venue/Rooms.......................................................................................66. Aims of the Module................................................................................................77. Learning Outcomes................................................................................................78. Content of the Module............................................................................................89. Learning Resources...............................................................................................810. Reading List.......................................................................................................1011. Assessment: General Information.....................................................................1112. Details of Assessment.......................................................................................11

Assessment 1..........................................................................................................11Assessment 2..........................................................................................................13

13. Summative Assessment Grid.............................................................................1614. External Examiner(s).........................................................................................1715. Statement on Plagiarism....................................................................................1716. Evaluation of the Module...................................................................................1817. Personal Development Plan (PDP)....................................................................2018. If You Have an Issue..........................................................................................2019. Drop-in Support Service.....................................................................................2020. Guide to Learning Sessions...............................................................................21


1. Module Leader, Teaching Team and Module Administrator Details

Include the full details of Module Leader, Module Tutors, and Administrator

Module Leader CAROLINE BRIDGES

Subject and School/College

The Creative Academy, London College of Music

Email [email protected]

Phone 01753 875 400

Location The Creative Academy

Name George Kirkham

Job title The Creative Academy Manager


Phone 01753 875 400


Name Jagdev Khatkar

Job title Quality Assurance and Business Manager


Phone 01753 875 400


Administrator Vacant

Job title Academic Administrator

Email

Phone 01753 875 400



mailto:[email protected]



2. Key Contacts

The key contacts for your course are set out below:

The Course Leader responsible for this module is George Kirkham, and can be contacted at [email protected]

The Head of Subject responsible for this module is David Henson, and can be contacted at [email protected]

The Head of School/College/Dean of College responsible for this module is Sara Raybould, and can be contacted at [email protected]

The Academic Partner Link Tutor responsible for this module is Marcia Carr, and can be contacted at [email protected]






3. Further Information

Due Dates:Assessments for this module are due on the following dates: Please see Annual Time Plan for exact due dates.

Assessment 1 occurs in Week 7 of Semester 1.

Assessment 2 occurs in Week 14 of Semester 1.


Total Guided Learning Hours 200

Consisting of:

Teaching Contact Hours 42

Independent Study Hours 158

Placement Hours N/A

Assessment:Percentage of final marks assessed by:

Presentation 30%

Practical Performance 70%

Section

Overview and Content4. Welcome to the Module

Welcome to the Dance Theatre module. Over the next semester you will learn a great deal about dance theatre – the methodologies applied by various dance theatre choreographers, the contemporary techniques used and the study of various dance theatre pieces. Most of the important information you require for this module is contained in this document. Students should familiarise themselves with this document to ensure that they successfully meet the requirements of this module and achieve the learning outcomes.

5. Timetable/Venue/Rooms

Timetables are emailed to students PRIOR to the beginning of the semester. Please see the timetable and Annual Time Plan.

First Point of Contact If you need to discuss any issue with this module, the first point of contact is the Module Leader, who is named at the start of this guide. If the Module Leader is unable to deal with the problem, you should then raise it with your Course Leader, and then with your Head of School. The Course Leader responsible for this module is George Kirkham and can be contacted at [email protected]. The Head of School/College/Dean of College responsible for this module is Sara Raybould, and can be contacted at [email protected]


A


6. Aims of the Module

To enable students to create a dance theatre piece; To embed in the student’s dance practice a professional working knowledge

and clear understanding of the use of choreographic devices within the creation of a dance theatre piece;

To ensure that students are able to recognise and discuss differing choreographic styles used by different practitioners of dance theatre;

To increase the use of the creative imagination, physical skills, and intellectual judgement while in addition furthering the development of the student’s performance skills; and

To display innovative approaches and openness to experimentation in realising a creation.

7. Learning Outcomes

By the end of the module students will be able to:

Knowledge and understanding LO6 1 Demonstrate a comprehensive awareness and understanding of the conceptual issues relating to the production of dance theatre and the choreographic processes used;

LO6 2 Professionally replicate and present a range of key components of dance theatre performance with professional performance discipline;

Intellectual (thinking)LO6 3 Critically evaluate form, content and process of the production of dance theatre pieces and to critically analyse the content and process of professional dance theatre pieces;

Subject practical skillsLO6 4 Practically demonstrate the ability to produce a dance theatre piece using creative, technical and collaborative skills;

LO6 5 Demonstrate a level of professionalism to their work by attending all lectures and practical sessions. (Failure to do so will result in breach of health and safety both to the student and to the group and as such will be reflected in the student’s final assessment);

Key transferable skillsLO6 6 Work professionally and effectively in a team;

LO6 7 Demonstrate appropriate levels of organisational skill in terms of planning, time management and problem solving; and

LO6 8 Communicate effectively.


8. Content of the Module

This module will explore the many techniques and vocabularies of movement displayed in the genre of Dance Theatre, whilst identifying and analysing the socio-cultural issues demonstrated and techniques developed for choreography within this genre. The student will learn and perform sequences of movement choreographed by the module leader, themselves and their peers, engage creatively with the material and explore movement principles professionally both as an individual and in groups.

Students will study with one primary dance teacher within the module with visits from others to focus on specific aspects of choreography, dance theatre history and technique. Each teacher will bring to the classes his or her particular knowledge and experience of dance theatre training and performance. Students will engage in debate and discussion around dance theatre theoretical issues and choreographic methodologies. They will replicate the movement methodologies of specific dance theatre practitioners in the creation of their own material. Students will explore how to use and apply chorographic devices and the use of dance and text within workshops/seminars and lectures guided by the tutor.

All students will be expected to use self-directed time to investigate, create and explore the creative self before they begin assignment work. They will also be expected to see at least one live dance theatre performance over the course of the semester.

All students will be encouraged to reflect and evaluate how they apply their knowledge and understanding of dance and choreography within the creation of a dance theatre piece.

When it is appropriate, students will be required to obtain external feedback to enable them to see their work more objectively.

9. Learning Resources

The majority of the module will be delivered through lectures with regular workshops/practical sessions.

Students will identify dance theatre pieces and draw conclusions from the historic elements of the socio-political and cultural context in which they have been created. Students will engage creatively with the material and demonstrate their understanding of the movement associated with the socio-political context of the piece.

Each tutor will bring to the classes his or her particular knowledge and experience of contemporary dance theatre training and performance. This will demonstrate the importance of physical training and adaptability within the dance industry and the role that dance plays in commenting and reflecting on contemporary culture.

Structure of Learning Resources for Open Learning and E-Learning


The degree will offer an electronic learning environment for all students on the course. Students enrolled on the degree will be part of an electronic community and will have access to a virtual leaning environment through:

Email between staff and students; Electronic bulletin boards; Course information; Learning materials; and Access to the Internet for research.

This will be through the University of West London students’ intranet ‘Blackboard’ where appropriate; the Creative Academy website; Slough Borough Council; and UK Online centres.

Teaching will be delivered through weekly lectures, practical workshops and considerable use will be made of recorded resources. These will be supported by group seminars in which students will discuss specific issues relating to each topic. Hand outs will be provided in some of the lectures and there will be background reading to do some weeks. Students will be expected to undertake significant independent study to complete assignments, requiring them to familiarise themselves both with the LRC resources and additional Creative Academy resources.

Electronic bulletin boards and e-mail correspondence will be used to facilitate the exchange of information between students and staff.

The Internet will also be a useful source of information for students when they come to completing assignments. However, information found on the net must be handled with extreme caution: there is no evidence to demonstrate how valid or accurate it is.

Learning Activities:

The approach taken to the acquisition of knowledge and understanding will make use of a blended learning approach. The range of teaching and learning methods on this course will include:

• Tutor input during classroom sessions i.e. lectures and practical workshops with one primary tutor and visiting practitioners. The module will provide students with the opportunity to analyse selected film material and pictorial imagery underpinned with practical demonstrations and replication. Students will be provided with selected reading to supplement individual library based/internet research;• Self directed learning through independent research;• Visiting practitioners and speakers;• Student input in seminars and lectures; • Student group and individual presentations and practical demonstrations;• Guided reading.


10. Reading List

The reading list for your module is displayed below. You are expected to purchase the core texts listed below and are recommended to purchase the additional texts. . All additional texts, viewing lists and copies of issues of The Dancing Times are available through the Creative Academy office for reference or free two-week loan. Late returns incur a charge.

Core texts: Keefe, J. and Murray, S. (2015), Physical Theatres: A Critical Introduction,

Routledge.

Climenhaga, R. (Ed.) (2013) Pina Bausch Sourcebook: The Making of Tanztheater, Routledge.

Additional Texts: Keefe, J. (Ed.) and Murray, S. (Ed.) (2007), Physical Theatres: A Critical Reader,

Routledge.

Lavender, A (2016) Performance in the Twenty-first Century: Theatres of Engagement, Routledge.

Viewing List:• The Makers of Modern Dance in Germany. Rudolf Laban, Mary Wigman, Kurt

Jooss.

• One Day Pina Asked – Pina Bausch

• Café Muller – Pina Bausch

• Rite of Spring – Pina Bausch

• Wym Vanderkeybus Film Anthology – Ultima Vez

• Rosas Shorts – Rosas Dance Company

• Sinner – Stan Won’t Dance

• Dead Dreams of Monochrome Men – DV8 Physical Theatre

• Strange Fish – DV8 Physical Theatre

• Enter Achilles – DV8 Physical Theatre

• Cost of Living – DV8 Physical Theatre

• The Time of Your Life – Gecko Theatre/BBC

Other Learning Resources (journals, databases, Websites):www.sadlerswells.com

www.theplace.org.uk


Section

B

Assessment and Feedback11. Assessment: General Information

A variety of assessment methods will be used, however the primary vehicle for assessment will be through on-going tutor observation, an individual presentation and the performance of a dance theatre piece. Students will be required to work to deadlines both independently and within teams. The work will be assessed using a variety of methods including:

• Tutor marking and observation;

• Double marking; and

• External verification.

Individual progress in class will be continuously monitored and fed back to students by the module tutor, with input from visiting tutors. The presentation assessment will demonstrate the student’s own investigation of the cultural framework in which dance theatre has developed with reference to a particular dance theatre director/choreographer or company. An understanding of the socio-political and cultural issues that shaped the development of dance theatre, particularly in Western Europe, apply to all areas of this work.

12. Details of Assessment

Assessment 1

Assessment task: Individual Presentation

Weighting: 30%

Date/time/method of submission: Week 7 of Semester One

Word count or equivalent: 15 minutes in duration


Assessment Brief and preparation:

A presentation of the student’s own research into a dance theatre choreographer/director or a dance theatre company. Each student will comprehensively analyse and interpret the choreographic methodology used by the dance theatre choreographer/director, placing it in the socio-political and cultural context in which it was created. Visual aids in the form of DVD footage, power point presentations and relevant visual clips are encouraged.

Assessment Criteria:

The presentation will demonstrate the student’s understanding of the development of dance theatre technique and the cultural context in which it has been created. Although students should express their opinion as a matter of course, this should be supported by existing academic literature relating to the subject and Harvard referenced. As well as demonstrating what students have learned, the presentation will demonstrate an understanding and knowledge of subject matter and the overall mark will be affected by presentation, literacy and communication skills.

Marking Scheme:

(80-100) The work excels in all or most of the following: intelligence; critical analysis; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, pertinent, correct and carefully constructed, with an excellent realisation of the socio-political and cultural context in which the director/choreographer works. Demonstrates an exceptional degree of commitment, creativity and innovation. Represents absolute professional quality that is beyond reproach in every aspect. Exceptional skill and ability is exercised equally with regard to form, content and function. The work is so robust that it is almost impossible to find weaknesses in any area. The work engages the imagination, spirit and emotions of the recipient.

(70-79) The work excels in three or more of the following: intelligence; critical analysis; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, pertinent, correct and carefully constructed, with an excellent realisation of the socio-political and cultural context in which the director/choreographer works. It is the right length, pertinent, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude towards the studied choreography and the dance industry.

(60-69) The work displays one or more of the following properties: intelligence; critical analysis; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; evaluation. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude towards the studied choreography and the dance industry.

(50-59) The work shows some evidence of involvement and analysis, with a little


independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well ordered. It is the right length and relevant.

(40-49) The work shows little independence of thought from its (perhaps very limited) sources, and limited signs of any involvement. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent and is performed well.

Referral (20-39)

The assignment fails when it is at least three of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length; not critically aware with bad interpretation and evaluation of the choreography studied.

Fail (0-19)

The work fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional dance theatre piece and cannot interpret or critically analyse. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment.

Timing and methods of feedback:

Grades are posted on the student area at www.creativeacademy.org within 15 working days of the assessment and feedback is emailed to the students within 10 working days of the end of the semester.

Assessment 2

Assessment task: Group Dance Theatre Choreography (Live Performance)

Weighting: 70%

This weighting is divided into two parts:

a.) On-going assessment of student’s development and commitment throughout the semester: 35%

b.) Performance of dance theatre piece: 35%

Date/time/method of submission: Week 14 of Semester One

Word count or equivalent: Between seven and twenty minutes in duration.

Assessment Brief and preparation:

At the start of the semester students will be given an overview of the completion of choreography to create a dance theatre piece.


The students will create with the Module Leader a dance theatre live performance piece as a group. The piece must be no shorter than 7 minutes and no longer than 20 minutes, using dance theatre methodologies as the primary source of innovation. The tutor will assess the development and progression of each student through practical exercises each week and the attendance of each student.

Assessment Criteria:

The creation of the dance theatre piece will demonstrate the student’s understanding of the development of dance theatre technique, devices used in dance theatre choreography and the cultural context in which it has been placed.

Marking Scheme:

(80-100) The work excels in all or most of the following: intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, correct and carefully constructed, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography and the dance industry. The student has attended 100% of the practical workshops throughout the semester.

(70-79) The work excels in three or more of the following: performance skills; intelligence; criticality; thoroughness; perspicacity; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, pertinent, written, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography and the dance industry. The student has attended 100% of the practical workshops throughout the semester.

(60-69) The work displays one or more of the following properties: intelligence; criticality; thoroughness; precision; synthesis (of a broad range of sources or objects of study); originality; choreographic style; performance quality. It is the right length, with a good sense of continuity and a coherent overall structure. The student demonstrates a professional attitude to choreography and the dance industry. The student has attended 90% of the practical workshops throughout the semester.

(50-59) The work shows some evidence of involvement, and a little independence of thought from a range of sources. It is largely correct, pertinent and coherent, if not very well ordered. It is the right length and relevant. The student has attended 90% of the practical workshops throughout the semester.

(40-49) The work shows little independence of thought from its (perhaps very limited) sources, and limited signs of any involvement. It might be poorly ordered with a certain amount of redundancy, but it must be close to the right length, at least partially pertinent and coherent and is performed well. The student has attended less than 90% of the practical workshops throughout the semester.

Referral The assignment fails when it is at least three of the following: very badly


(20-39) ordered; heavily redundant; incoherent; irrelevant; of the wrong length. The student has attended less than 80% of the practical workshops throughout the semester.

Fail (0-19)

The work fails (badly) when it is all, or all but one, of the following: very badly ordered; heavily redundant; incoherent; irrelevant; of the wrong length. Student demonstrates no understanding or knowledge of a professional attitude to the creation of choreography or the dance industry. The work is of a very poor standard throughout showing little or no understanding of the brief. So heavily flawed conceptually that the work is rendered almost entirely meaningless. Shows crucial omissions in content, or meaning has disappeared into a morass of irrelevant materiel. OR No work submitted for assessment. The student has attended less than 50% of the practical workshops throughout the semester.

Pass requirements:

Students must achieve a minimum mark of 40% overall to pass this module. Students must attempt each component of the formal assessment above.

The marking criteria above are intended to assist students in the preparation for their module assignments. Students should refer to the criteria and the module learning outcomes regularly when working on their assignments. All written work must be typed.

Anonymous Marking:

The Creative Academy adopts the University policy of anonymous marking on all written assignments. However, within this module it is unfeasible to anonymously mark either Assignment 1 or Assignment 2 as they are both based on the student being present to be assessed. This policy will be adhered to where it is feasible and does not preclude the development of innovation in assessment practice. An external moderator, using a recording of each assessment for each student, will assess a selection of work.

Timing and Methods of feedback:

Summative feedback will be provided on an on-going basis from the Module Leader.Grades are posted on the student area at www.creativeacademy.org within 15 working days of the assessment and feedback is emailed to the students within 10 working days of the end of the semester.


13. Summative Assessment Grid

Type of assessment

Module learning outcome(s)

Word count or equivalent

Due date and time

Threshold (if applicable)

Pass mark Weighting Date assignment feedback will be made available to student

Presentation 1, 3, 5, 7 & 8 15 minutes Week 7 Yes 40% 40 30% Ten working days after the end of semester.

Performance 1, 2, 3, 4, 5, 6, 7 & 8

7- 20 minutes Week 14 Yes 40% 40 70% Ten working days after the end of semester.


14. External Examiner(s)

The External Examiner is an independent academic staff member from another institution who provides assurance that the assessment system is fair and ensures that standards on the course are comparable to other institutions.

The External Examiner(s) for this module are listed below. Please note that this is provided for information only; students are not permitted to enter into any correspondence about their marks with External Examiners.

Name Jane White

Job Title Senior Lecturer & Course Leader -BA (Hons) Dance Course

Institution

AUB

15. Statement on Plagiarism

Plagiarism is defined as the practice of taking someone else’s work and/or ideas and passing it/them off as your own. It is the action of presenting someone else’s work as one’s own irrespective of intention. Close paraphrasing without adequate attribution; copying from the work of another person, including another student; using the ideas of another person without proper acknowledgement all constitute examples of plagiarism. In addition, the act of re-using work (whether in part or in whole) that you have previously submitted for graded assessment – at the University of West London or at another institution - without properly referencing yourself (known as ‘self-plagiarism’) shall also constitute plagiarism.

For further information please refer to the Student Handbook Section 3. University Regulations and Student Code of Conduct.

For further advice on plagiarism go to the UWL website:

http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism


http://www.uwl.ac.uk/students/current-students/Advice-students-plagiarism

16. Evaluation of the Module

i) Evaluation framework

Towards the end of the module you will be invited to provide some feedback to the Module Leader. This will be through an online or paper survey and you will be given a few minutes in a taught session to complete it. Please think carefully about the feedback you provide. Constructive feedback will help your module leader understand your experience and help inform the development of the module. If you have concerns about individual members of staff, these should be taken to your module or course leader whose details are in Section 2 of this guide rather than expressed through the survey.

ii) Improvements made in response to student feedback

- the course plan is constantly under review due to changes in dance theatre companies and the Industry overall. As a result, some companies that are researched are changed for more relevant/up-to-date dance theatre companies that have become more pertinent to the current Industry.

Students will elect a student representative who will be given the opportunity to anonymously feedback individual issues with programme/module specification/tutoring. The Creative Academy will ensure that student feedback, where appropriate, feeds into individual lecture/workshop development, session planning and will be brought up and discussed at team meetings. Annually, students’ written and verbal feedback will be fed into the development of all modules to ensure that they remain relevant, although this will be assessed against industry need and academic rigour.


END OF SEMESTER EVALUATION

DANCE THEATRE

Please tick the appropriate response

Content:

appropriate inappropriate

too little about right too much

Theory/Practical balance:

too much theory about right too much practical

Pace:

too slow about right too fast

Lectures (tutor-led sessions):

poor average good

Workshop / Tutor support

poor average good

Three things students like about the module:

1.

2.

3.

Three things students dislike about the module:

1.

2.

3.

Other comments:

17. Personal Development Plan (PDP)


Students are responsible for recording notes from weekly lectures either via written or electronic means. Students are encouraged to undertake self-directed learning through independent research of dance theatre companies and choreographers and their methodologies. Students are encouraged to see live performances of dance theatre companies where available at theatres such as The Place Theatre or Sadler’s Wells, amongst others. All information gathered will inform each student for both assessments in this module.

Self-directed learning, analysis and interpretation of the materials recorded will inform each student’s personal development. Self-reflection between creative tasks and after rehearsals will also add to each student’s PDP.

18. If You Have an Issue

If you have an issue with the module or course you should speak to your personal tutor or Module Leader in the first instance. You could also speak to your Course Representative who will be able to raise it at a Course Committee that takes place once each semester. You can also raise issues with your Course Leader. It is important that you raise matters as soon as possible so that they can be resolved.

If you have a complaint about the course you should raise this informally in the first instance with the Course Leader. If you are unable to resolve it informally, you should use the Complaints Procedure that is outlined in the Student Handbook. You are also encouraged to contact the Students’ Union about it. The University aims to ensure that most issues are resolved informally but the Complaints Procedure is there to help you resolve an issue if this is not the case.

19. Drop-in Support Service

Opportunities to gain support are available daily through bookable sessions run by the wellbeing team. Between them, the wellbeing team have experience in all the courses taught at the Creative Academy. Wellbeing staff are there to offer guidance and support on a one-to-one basis, whether academic or personal - Appointment is needed, every Tuesday.

If you want to contact the service please email [email protected] to book an appointment.

*Please note that the service is un-available between June and September.



Section

C20. Guide to Learning Sessions

Session number: One

Topic Introduction to ModuleKey Concepts/Issues Introduction to the requisites of the module. Explanation of

presentations and choreographic work required over the course of the module.

Delivery method (e.g. lecture, seminar, tutorial, workshop, visit)

Seminar and workshop

Formative/summative assessment opportunities

Relevant to both assessments

Links to LSDS/Key Skills Activities

CommunicationAttendanceApplication of numberProblem solvingWorking with othersImproving own learning and performance

Brief bibliographySession Preparation; Independent Learning Activities; pre-reading, post-reading etc.Reference to tutor hand-outs

Read hand-outs on Rudolf Laban and visit: www.trinity laban .ac.uk/about-us/our-history/ rudolf - laban

Visit the dance archives of Rudolf Laban:http://www.dance-archives.ac.uk/about/laban


http://www.dance-archives.ac.uk/about/laban

http://www.trinitylaban.ac.uk/about-us/our-history/rudolf-laban

Session number: Two

Topic Basic Principles of Dance TheatreKey Concepts/Issues What is dance theatre?

What are the principle functions of dance theatre?What are some of the concepts/issues raised in dance theatre?


Seminar/Workshop




CommunicationAttendanceProblem solvingWorking with othersImproving own learning and performance


Read hand-outs on Kurt Jooss and visit:http://www.britannica.com/biography/Kurt-Jooss

Session number: Three

Topic Tutorial: Kurt Jooss / Rudolf Laban / Mary WigmanPractical: Dance Theatre tasks and exploration

Key Concepts/Issues The founders of Dance TheatreDelivery method (e.g. lecture, seminar, tutorial, workshop, visit)

Seminar/Workshop






Prepare for quiz in Week 4 on Laban, Jooss and Wigman.

Visit: http://www.contemporary-dance.org/mary-wigman.html


http://www.contemporary-dance.org/mary-wigman.html

http://www.britannica.com/biography/Kurt-Jooss

Session number: Four

Topic Tutorial: Pina BauschPractical session: Dance Theatre tasks and exploration

Key Concepts/Issues The development of Tanztheater through Bausch’s worksDelivery method (e.g. lecture, seminar, tutorial, workshop, visit)

Seminar/WorkshopQuiz on Laban, Jooss and Wigman.






Read through all hand-outs on Pina Bausch.Read essay: Dance Theatre from Rudolph Laban to Pina Bausch by Isa Partsch-Bergsohn as published in core text:Climenhaga, R. (Ed.) (2013) Pina Bausch Sourcebook, Routledge pp.12-19.

Session number: Five

Topic Tutorial: Pina BauschPractical session: creation of dance theatre choreography


Further exploring Bausch’s methodologies in her dance theatre pieces

Teaching/Learning Seminar/WorkshopFormative/summative assessment opportunities





Read essays:The theatre of images: Pina Bausch and the expressionist temperament by Barbara Confino; as published in core text:Climenhaga, R. (Ed.) (2013) The Pina Bausch Sourcebook. Routledge pp.45-49.

Artifice and Authenticity: gender scenarios in Pina Bausch’s dance theatre by Marianne Goldberg; as published in core text:Climenhaga, R. (Ed.) (2013) The Pina Bausch Sourcebook. Routledge pp.264 - 278.


Session number: Six

Topic Tutorial: Meryl Tankard and Meryl Tankard’s Australian Dance TheatrePractical session: creation of dance theatre choreography


The continuation of Bausch’s legacy seen in Tankard’s works

Teaching/Learning Seminar/WorkshopFormative/summative assessment opportunities

Relevnat to both assessments




Read hand-outs on Meryl Tankard.Prepare for Assessment 1.

Session number: Seven

Topic PRESENTATION WEEK


Individual presentations (15 mins) about a dance theatre company or director/choreographer, explaining the creation of their work in a socio-political and cultural context.

Teaching/Learning N/A

Relevance to Assignments ASSESSMENT 1 (30% OF OVERALL MARK)


CommunicationAttendanceIndividual research, analysis and interpretationImproving own learning and performance


Session number: Eight

Topic Tutorial: Wym Vanderkeybus and Ultima VezPractical session: creation of dance theatre choreography

Key Concepts/Issues Exploring the works and dance theatre films of Ultima Vez.Delivery method (e.g. lecture, seminar, tutorial, workshop, visit)

Seminar/Workshop


Assessment 2


CommunicationAttendanceChoreographic problem solvingExploration of dance theatre methodologiesWorking with othersImproving own learning and performance


Visit www.ultimavez.com

Session number: Nine

Topic Tutorial: Jasmin VardimonPractical session: creation of dance theatre choreography

Key Concepts/Issues Exploring the methodology of Jasmin Vardimon in the context of her works.


Seminar/Workshop


Assessment 2


CommunicationAttendanceApplication of numberChoreographic problem solvingExploration of dance theatre methodologiesWorking with othersImproving own learning and performance


Visit www.jasminvardimon.com

Watch either Yesterday or Justitia in full (both available on website).


http://www.jasminvardimon.com/

http://www.ultimavez.com/

Session number: Ten

Topic Tutorial: DV8 Physical TheatrePractical session: creation of dance theatre choreography

Key Concepts/Issues Exploring the methodology of Lloyd Newson and DV8 Physical Theatre and how it has developed over thirty years.


Seminar/Workshop


Assessment 2


CommunicationAttendanceWorking with othersUse of information technologyImproving own learning and performance


Visit www.dv8.co.uk

Download and study the workpack for dv8’s production, JOHN.

Session number: Eleven

Topic Tutorial: Lost Dog and Ben DukePractical session: creation of dance theatre choreography

Key Concepts/Issues Exploring the methodology of Ben Duke and Lost Dog’s work.


Seminar/Workshop


Assessment 2


CommunicationAttendanceExploration of dance theatre methodologiesWorking with othersImproving own learning and performance


Visit www.lostdogdance.co.uk

Watch Paradise Lost by Lost Dog.


http://www.lostdogdance.co.uk/

http://www.dv8.co.uk/

Session number: Twelve

Topic Tutorial: Gecko Dance TheatrePractical session: creation of dance theatre choreography

Key Concepts/Issues Exploring the methodology of Gecko Dance TheatreDelivery method (e.g. lecture, seminar, tutorial, workshop, visit)

Seminar/Workshop


Assessment 2




Visit: www.geckotheatre.com

Watch two excerpts of their latest productions:The Time of Your Life (BBC, 2015)The Arab and the Jew (2007 – 2008)

Session number: Thirteen

Topic Tutorial: Work of Fabulous BeastPractical session: creation of dance theatre choreography

Key Concepts/Issues In light of Fabulous Beast’s work and the works of all the dance theatre practitioners explored over the semester,discuss UK dance industry and continue with dance practice

How is contemporary dance continuing to develop in the UK and what are its challenges?

How can we possibly make a new statement, create original art or challenge systems using our own choreography?


Seminar/Workshop


Assessment 2




Visit: http://fabulousbeast.net/about

Prepare for Assessment 2.


http://fabulousbeast.net/about

http://www.geckotheatre.com/

Session number: Fourteen

Topic PERFORMANCE

Key Concepts/Issues Perform choreography to a live audienceDelivery method (e.g. lecture, seminar, tutorial, workshop, visit)

N/A

Relevance to Assignments ASSESSMENT 2 (70% of OVERALL MARK)


CommunicationAttendancePerformance qualityPerforming with othersTechnical abilityProfessional conceptualisation of narrative


assessment 1 · web view•the makers of modern dance in germany. rudolf laban, mary wigman, kurt...

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