Writing For Performance

DRAM30212 Writing For Performance 40 Semester 2 Undergraduate Level 3 Cara Berger Unit coordinator Drama 1 FHEQ level (Framework for Higher Education Qualifications) ' Last part of a Bachelors ' European Credit Transfer & Accumulation System Rating : 20.0 Please note that this unit is delivered on-campus only and is therefore not available to remote learnersDuring this module, you will draft – and redraft – an original, full length, play script. This process will be supported by your tutor, fellow students and workshops with playwrights and theatre professionals. In addition to studying the key elements of a play in depth, students will workshop their own developing plays, and also explore forms such as audio drama. These workshops will provide a coherent toolbox of structures and approaches to writing for theatre, including sessions on dramatic action, character, story, dialogue. They will include a range of writing, reading and discussion activities designed to support students in the writing of their own plays for the course. As well as developing students’ individual writing voices, the course facilitates the development of students’ analytical and dramaturgical understanding and their ability to provide peer feedback and critical support.  Please note that this unit is delivered on-campus only and is therefore not available to remote learnersDuring this module, you will draft – and redraft – an original, full length, play script. This process will be supported by your tutor, fellow students and workshops with playwrights and theatre professionals. In addition to studying the key elements of a play in depth, students will workshop their own developing plays, and also explore forms such as audio drama. These workshops will provide a coherent toolbox of structures and approaches to writing for theatre, including sessions on dramatic action, character, story, dialogue. They will include a range of writing, reading and discussion activities designed to support students in the writing of their own plays for the course. As well as developing students’ individual writing voices, the course facilitates the development of students’ analytical and dramaturgical understanding and their ability to provide peer feedback and critical support.  <ul><li>To develop the students’ creative writing by facilitating and supporting the writing of a full length, original play script</li><li>To develop students’ ability to evaluate and critically appraise their own – and others’ - creative work</li><li>To introduce students to a range of industry and writing practices, in order to facilitate an understanding of the practicalities and realities of writing for performance</li></ul> <ul><li>Demonstrate a deep, engaged and critically aware understanding of a variety of dramaturgical forms, features and possibilities in both practice (their creative writing) and theory (through critical reflection)</li><li>Critically reflect on a range of professional writing practices and articulate an enhanced understanding of what makes a script for performance</li><li>Demonstrate a sophisticated critical understanding of their own creative process</li></ul> <ul><li>Evaluate and critically reflect on the craft of the playwright and the effects of particular writing decisions on the overall shape and impact of a piece of drama, articulating this through their own writing (both creative and critical)</li><li>Demonstrate an ability to not only critically appraise but also develop, shape and rework their own creative writing in order to hone its dramatic form, structure and character work.</li></ul> <ul> <li> Write, redraft, develop their own pieces of creative writing</li> <li> Interpret, apply, and work effectively with a range of feedback and responses (from tutors, peers, and themselves) to their creative work, and discuss this process with clarity and critical rigour.</li> <li> Work creatively to deadlines and with specific tasks, paying close attention to details of brief, audience and form.</li></ul> <ul><li style="margin-left:18pt;">Critical thinking skills and creative practice skills (problem-solving, thinking innovatively, drawing on creative approaches of others, evaluating arguments, giving and receiving feedback, time-keeping)</li><li style="margin-left:18pt;">Using creative/dramaturgical skills to solve complex problems</li></ul> Group/team working Ability to work independently and as part of a group to solve problems arising from engaging with challenging and unpredictable scenarios Other Advanced skills in independent creative writing, reflexivity, planning and project management. Understanding of and adherence to industry-level professional and ethical standards in practical work. Ability to develop informed critique of professional practice (own and others), drawing on understanding of high quality standards Development of a professional identity and skills/knowledge base to inform further professional practice, training and learning 0 Other 100% Play (full length)   60%Reflective Essay  40%Scene                   N/A (formative) <figure class="table"><table style="width:662px;" border="1" cellpadding="0" cellspacing="0" width="0"><tbody><tr><td style="width:322px;">Feedback method</td><td style="width:340px;">Formative or Summative</td></tr><tr><td style="width:322px;">Play – written</td><td style="width:340px;">Summative</td></tr><tr><td style="width:322px;">Scene – written</td><td style="width:340px;">Formative</td></tr><tr><td style="height:7px;width:322px;">Reflective essay – written</td><td style="height:7px;width:340px;">Summative</td></tr><tr><td style="height:7px;width:322px;">Formative feedback points throughout the process, via individual tutorials, and in-class workshops (from both tutor and peers)</td><td style="height:7px;width:340px;">Formative</td></tr></tbody></table></figure>  Pre-requisites:    Any Level 1 Drama Practical core option                             Any Level 2 Drama Study core option - Theatres of Modernity; Screen, Culture and Society  N Ayckbourn, A (2004) The Crafty Art of Playmaking London: Faber & FaberCaulfield, A (2009) Writing for Radio: A Practical Guide, Ramsbury: Crowood PressEdgar, D (2009) How Plays Work, London: Nick Hern BooksFountain, T (2007) So You Want To Be A Playwright? London: Nick Hern BooksGooch, S (2001) Writing A Play: Third Edition, London: A&C BlackGriffin, G (2009) Contemporary Black and Asian Women Playwrights in Britain. CambridgeHansberry, L (1996) To Be Young, Gifted and Black: Lorraine Hansberry in her own words. London: Vintage Books.Sigal, S. (2016) Writing in Collaborative Theatre-Making, Hampshire and NY: Palgrave MacmillanSpencer, S (2002) The Playwright’s Guidebook, London: Faber and FaberUnwin, S (2011) The Well Read Play, London: Oberon BooksWaters, S (2010) The Secret Life of Plays, London: Nick Hern Books The majority of books about playwriting have been written by white men, although this is slowly changing. To encounter a more representative range of playwrights talking about the writing process, please delve into the following sources:<a href="https://www.writeaplay.co.uk/">https://www.writeaplay.co.uk/</a><a href="https://royalcourttheatre.com/series/playwrights-podcast/">https://royalcourttheatre.com/series/playwrights-podcast/</a><a href="http://www.blackplaysarchive.org.uk/">http://www.blackplaysarchive.org.uk/</a>   Practical classes & workshops 132 0 268   Stud