| CODE | THS5051 | |||||||||
| TITLE | Theories for Performance: C21 Critiques | |||||||||
| UM LEVEL | 05 - Postgraduate Modular Diploma or Degree Course | |||||||||
| MQF LEVEL | 7 | |||||||||
| ECTS CREDITS | 10 | |||||||||
| DEPARTMENT | Theatre Studies | |||||||||
| DESCRIPTION | In keeping with the unifying thread outlined in the general description of the MA, this unit focuses on the development of theoretical and philosophical approaches in the light of changing human conditions in the new century. Accordingly, it considers a range of emergent and/or evolving perspectives such as critical posthumanism, postphenomenology, technoscience studies, and cognitive science. The implications for, application to, and impact on theatre and performance, both contemporary and historical, will be explored. Study-unit Aims: The study-unit aims to: (a) introduce students to a range of contemporary theoretical and philosophical perspectives; (b) explore the relevance and applicability of these perspectives to theatre and performance phenomena, both contemporary and historical; (c) stimulate, develop, and enhance interdisciplinary engagement. Learning Outcomes: 1. Knowledge & Understanding: By the end of the study-unit the student will be able to: (a) analyse contemporary advanced critical, artistic, and conceptual paradigms; (b) locate, interpret, and apply these theoretical approaches within the context of theatrical and performance; (c) evaluate the wider interdependence of creative practice, theory, and production processes; (d) identify and investigate interstices between technoscience, the human condition, and the performing arts, with an emphasis on the twenty-first century. 2. Skills: By the end of the study-unit the student will be able to: (a) enhance his/her proficiency in presenting complex thoughts and arguments in a coherent and lucid way both verbally and in writing; (b) appraise the interplay between theory and practice, and their mutual enrichment; (c) negotiate and successfully bridge cross-disciplinary barriers; (d) work and learn independently and collectively in order to expand one’s skills and knowledge base; (e) support creative and other professional work with rigorous research and efficient conceptual consideration. Main Text/s and any supplementary readings: Main Texts D. Ihde, Postphenomenology and Technoscience (New York: SUNY press, 2009) R. Kemp, Embodied Acting: What Neuroscience Tells Us about Performance (London: Routledge, 2012) P. K. Nayar, Posthumanism (Cambridge: Polity, 2014) R. Nelson, Practice as Research in The Arts: Principles, Protocols, Pedagogies, Resistances (Basingstoke: Palgrave Macmillan, 2013) J.G. Reinelt & J.R. Roach eds, Critical Theory and Performance (Ann Arbor: University of Michigan Press, 2007) P. Zarrilli, J. Daboo, R. Loukes, Acting: Psychophysical Phenomenon and Process (Houndmills: Palgrave, 2013) Supplementary Readings K. Hayles, How We Become Posthuman (Chicago: Chicago University Press, 1999) J. Milling, G. Ley, Modern Theories of Performance (Houndmills: Palgrave, 2001) S. Jackson, Social Works: Performing Art, Supporting Publics (London: Routledge 2011) R. Klich & Edward Scheer eds, Multimedia Performance (Houndmills: Palgrave, 2011) Note Other readings will be suggested during the course of the study-unit. |
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| STUDY-UNIT TYPE | Lecture, Seminar & Independent Study | |||||||||
| METHOD OF ASSESSMENT |
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| LECTURER/S | Frank Camilleri |
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The University makes every effort to ensure that the published Courses Plans, Programmes of Study and Study-Unit information are complete and up-to-date at the time of publication. The University reserves the right to make changes in case errors are detected after publication.
The availability of optional units may be subject to timetabling constraints. Units not attracting a sufficient number of registrations may be withdrawn without notice. It should be noted that all the information in the description above applies to study-units available during the academic year 2024/5. It may be subject to change in subsequent years. |
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