| Code | Faculty |
|---|---|
| 01130117 | Faculty of Humanities |
| Credits | Duration |
|---|---|
| Duration of study: 3 years | Total credits: 486 |
| Mr BJH Snyman [email protected] |
This programme is directed towards the study of performance in relation to theatre, drama/theatre in education, performing arts management, film and television and the interface between technology and performance. The programme guides the student towards an understanding of the academic discourses and the practical skills required to interrogate, create, manage and promote multiple forms of performance.
Closing date for applications:
30 June annually
The following persons will be considered for admission: a candidate who is in possession of a certificate that is deemed by the University to be equivalent to the required Grade 12 certificate with university endorsement; a candidate who is a graduate from another tertiary institution or has been granted the status of a graduate of such an institution; and a candidate who is a graduate of another faculty at the University of Pretoria.
Minimum requirements | ||||
Achievement level | APS | |||
Afrikaans or English | ||||
NSC/IEB | HIGCSE | AS-Level | A-Level | |
5 | 3 | C | C | 30 |
Prospective students from other universities, who successfully passed the first year of study, may only register at the beginning of the second year of study.
Admission is subject to the presentation of a programme, as well as the successful completion of a preliminary examination.
Audition:
During August the Department conducts an audition (practical and theory) in order to admit the most eligible candidates to study for this degree. The Department will communicate the date for the audition directly to the prospective students. The Department reserves the right to exclude a candidate based on the outcome of the audition.
Note:
G Simultaneous registration for modules
Promotion to the second year of study:
Obtain 12 credits from the fundamental modules, including all ALL modules, as well as 50 credits from the core modules in the first year of study.
Promotion to the third year of study:
Obtain all first-year credits as well as 90 credits from the second year.
Any deviation from these requirements may only be done subject to the approval of the Dean, on the recommendation of the head of department.
A student must obtain an average of at least 75% in all the theoretical modules at, as well as 75% in the TNP praxis module at third-year level.
Minimum credits: 98
Module content:
Find, evaluate, process, manage and present information resources for academic purposes using appropriate technology. Apply effective search strategies in different technological environments. Demonstrate the ethical and fair use of information resources. Integrate 21st-century communications into the management of academic information.
Module content:
Find, evaluate, process, manage and present information resources for academic purposes using appropriate technology.
Module content:
Apply effective search strategies in different technological environments. Demonstrate the ethical and fair use of information resources. Integrate 21st-century communications into the management of academic information.
Module content:
This module intends to equip students to cope more confidently and competently with the reading and understanding of a variety of texts, to apply these skills in a variety of contexts and to follow the conventions of academic writing.
Module content:
This module equips students to understand and use a range of discipline-specific terminology; apply the strategies of critical and comprehensive reading to their own academic literacy; apply the conventions of academic writing to their own writing, using the process approach, to produce intelligible academic texts and use the correct referencing technique as required by the faculty.
Module content:
The languages of drama and film
This module introduces the languages of drama and film as well as approaches to drama and film analysis. In addition, historical and contemporary drama and film theories will be used to read various drama and film texts.
A & B: For students who enrolled for the BA Drama programme prior to 2016, as well as for students entering the BDram programme in 2016.
Module content:
Drama and film genresThis module introduces the notion of genre as part of a wider concept of narrative building and storytelling in both drama and film. Different types of genre are introduced and discussed with regard to film and drama and furthermore linked to the idea of emerging identities in contemporary storytelling. All these parts are conceptually introduced and provide an introduction to reading, interpretation and giving meaning to various discourses in film and drama narratives.
Module content:
*Closed – only for BDram students
*Students have to pass all components of this module in order to be promoted to the next year level
Basic techniques of acting will be introduced. Aspects of self, other and space will be explored and applied by means of acting exercises, theatre games, improvisation and interpretation of applicable material. The notions of storytelling/narrative/playmaking/construction and interpretation/recreation will be explored.
The module further introduces experiential somatics for the actor and performer. Students will engage with the building blocks of body/voice integration towards the safe, interactive and heightened use of the body and voice in performance. Students will apply these building blocks in discipline-specific skills training and in performance, including acting.
Module content:
*Closed – only for BDram students
Text analysis and performance
The self in relation to role, character, persona, embodiment and the creation of performance metaphors will be explored through analysis of prose, poetry and drama texts in order to establish a relationship between structural and aesthetic contents of the text and the construction of meaning in performance.
Module content:
*Closed – only for BDram students
Bodied Spaces
This module explores the ways in which the elements of scenography engage with the body to make meaning in a theatrical performance. The course demonstrates how visual codes can be used as narrative devices and how components of the spatial field can be used to support the primacy of the body as a maker of meaning in theatrical performance.
Module content:
*Closed – only for BDram students
Performing arts management
In this module students will be introduced to the current state of the performing arts in South Africa. Students will explore the language and technical aspects of theatre. It includes the processes involved with creation and performance of theatre productions. Focus will be placed on the ways in which the creative vision of the director is supported and manifested, to consolidate the aesthetical quality and conceptual framing of the production. The skills and responsibilities of the technical and creative theatre practitioners will be explored and put into context.
Module content:
*Closed – only for BDram students
Theatre and performance studies
In this module students will explore the fundamental principles of role play and important elements are identified and described. The framing of a role play in various social, cultural and political arenas and the strategies applied forms the point of departure for this investigation. Students develop the skills to draw lines from the duality of text as well as life during the process of character development.
Minimum credits: 120
Module content:
Historical modes of Western performance
The module involves a study of the socio-political contexts of Western Classical and Renaissance theatre, redirecting the focus to the notion of violence in performance during the age of Enlightenment.
A & B: For students who enrolled for the BA Drama programme prior to 2016, as well as for students entering the BDram programme in 2016.
Module content:
Realism and contemporary South African performance
Concepts of naturalism and realism will be interrogated in relation to dramatic texts and performance values in both drama and film. Ways in which dramatic realism emerges from and reflects historical perspectives since the „Age of Reason? will be offered. Against this background, the concept of „realism? will be interrogated in relation to performance texts and performance values in the emergence of interdisciplinary framework of performance studies. Ways in which dramatic realism emerges from and reflects historical perspectives will be offered and discussed, so as to draw connections between realism, and contemporary South African performance.
A & B: For students who enrolled for the BA Drama programme prior to 2016, as well as for students entering the BDram programme in 2016.
Module content:
*Closed – only for BDram students
*Students have to pass all components of this module in order to be promoted to the next year level
Performance techniques will be explored and located within selected modes of performance linked to the notions of enactment and embodiment by way of acting exercises, improvisation and interpretation of suitable material.
Students will further apply somatic principles to various modes of performance involving the heightened use of the body and voice in the context of discipline specific skills training. This module will facilitate the development of heightened physical and vocal dynamics in expression and communication in performance.
Module content:
*Closed – only for BDram students
Performance: body/ voice studies
There are many points of convergence between the foundational principles of various voice and body movement pedagogies for performers. These commonalties pivot around the organic principles of kinesiology and vocology (function) that can be applied to performance (expression). This module will identify these common principles across a range of voice and body movement pedagogies and explore the ways in which they inform performance.
Module content:
*Closed – only for BDram students
Digital media
This module trains students to utilise available hardware and software used in filmmaking processes. With its emphasis on camera and editing technologies, the module introduces students to studies of mise-en-scene, decoupage and haptic criticism in engaging with the visual image. Students will also be introduced to radio as medium for fiction by interrogating the dynamics and processes of radio as a medium for communicating fiction.
Module content:
*Closed – only for BDram students
Directing
In this module students will interrogate the ritual mode of performance as the embodiment of self-expression versus role-play as a representational mode of performance. The purpose of the course is to explore the dialectical notion between these differentiated modes of performance and directing. The aim is also to conceptualise the dynamic position of the director in the application of a multidimensional approach to the process of directing.
Module content:
*Closed – only for BDram students
Applied theatre
The module investigates the use of theatre as methodology and participatory practise in a variety of socio-cultural and educational contexts. The module frames applied theatre as a medium of communication that stimulates action, reflection and transformation. The module culminates in practical applied theatre programmes.
Minimum credits: 160
Module content:
Reading cultural representation
Against the framework of post-colonialism, issues of signification, representation and meaning in performance will be considered in relation to selected theoretical approaches to performance and their concern with gender in theatre and film. Representation and subjectivity and how they are revealed as gendered fictions rather than „natural?, inevitable realities will be explored through various drama and film texts. The student will explore how the body, as codified cultural product, can become a symbolic battleground for cultural supremacy in and through performance.
A & B: For students who enrolled for the BA Drama programme prior to 2016, as well as for students entering the BDram programme in 2016.
Module content:
Module content:
Module content:
Module content:
Module content:
*Closed – only for BDram students
*This module offers a choice between Applied drama and Intermediate directing
Applied drama
The module investigates the use of drama as methodology in educational, community and corporate contexts. The interface between applied theatre and applied drama will be explored. The module culminates in a practical project.
or
Intermediate directing
This module investigates the notions of concept, space, style, method and aesthetic in order to harness a praxis in directing. The module aims to activate conceptualisation skills and refers to contemporary directing methodologies in its aim to develop a directorial praxis. The module further provides the opportunities to begin to develop a distinctive directing style and voice while studying contemporary directing methods and concepts. The module culminates in a short directing scene.
Module content:
*Closed – only for BDram students
*This module offers a choice between intermediate performance studies and intermediate performing arts management
Intermediate performing arts management: Managing the production and managing the artist
Being subjected to constant flux and change, the current state of the performing arts industry in South Africa (as introduced in TNT 111), will be reconsidered in this module. Aspects of production management, including organisation and administration, the writing of proposals and budgeting for productions/performances will be investigated. To enable students to secure a career in the industry, they will be introduced to the notion of managing the self/the artist as a business/product. This will include, amongst others, negotiating contracts, compilation of CVs and portfolios and preparation for interviews and auditions (interacting with TNP 310).
or
Intermediate theatre and performance studies
In this module students will explore and interrogate selected western and non-western theories, paradigms and practices of actor and performer training with particular emphasis on embodiment by the performer. The work of key contemporary practitioners will be examined in order to establish how their training systems and approaches relate to performance traditions and how they have changed our perception of the artist?s body/instrument in contemporary performance.
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