 from one culture to another and alter in shape and emphasis) and questions of genre (for example the fantastic). A selection of critical texts on narrative devices and patterns, on psychoanalytical, structuralist and feminist approaches to the fairytale and on genre theories are studied in conjunction with the primary texts.

This is a module about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre. Students will be invited to see beyond their own default assumptions about theatre, and introduced to a diverse range of methods of devising their own performances. In practical workshops, they will learn about professional practice, warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminars, students will be introduced to such concepts as theatre spaces, traditional play texts, non-traditional theatre texts, historical approaches to characterisation (e.g. Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 Theatre Forums within which students experience a short piece of performance by Theatre Companies/Performers who have emerged from the department, followed by an open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation to their current practice. Students will be assessed by a short in-class performance and an essay. This module (together with Making Performance 2) will offer a solid foundation for all modules in years two and three which involve creative performance work.

Like Making Performance 1, this module is about the implications of Peter Brook's idea that anything can be seen as 'an act of theatre'. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expanded range of methods of devising their own performances. In practical workshops, they will learn more about warming up, performance skills, and collaborative group work; and will explore the possibilities of creating performance from a further range of starting points, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be longer than in Making Performance 1, to allow for
from one culture to another and alter in shape and emphasis) and question of writing style (for example the fantastic). A selection of critical texts on narrative device and patterns, on psychoanalytical, structuralist and feminist approaches to the fairytale and on music genre hypothesis are studied in conjunction with the primary texts. 

 This is a faculty about the implications of Peter Brook's idea that anything can be seen as' an act of theatre. Students will be invite to see beyond their own default assumptions about theatre, and introduced to a divers range of methods of devising their own performance. In practical workshops, they will memorize about professional practice, warm up, performance skills, and collaborative group work; and will explore the possibilities of create performance from a range of starting points, including (for case), space, body, voice, text, or character. This practical exploration will sit alongside an introduction to related aspects of history and theory. In seminar, students will be introduced to such concept as field space, traditional play texts, non - traditional field texts, historical approaches to characterisation (for example Stanislavski, Mike Leigh), physical approaches to acting (e.g. Grotowski, Lecoq), and the different models for engaging an audience (e.g. Brecht, Boal). The experience will be enhanced by 4 Theatre Forums within which students experience a light piece of operation by Theatre Companies / performer who have emerge from the department, followed by an open discussion forum, situating the work within the world of performance, and the influence that their university learning had in relation back to their current practice. Students will be assessed by a short in - course performance and an essay. This module (together with Making Performance 2) will volunteer a solid basis for all modules in year two and three which involve creative operation work. 

 Like Making Performance 1, this faculty is about the implications of Peter Brook's idea that anything can be seen as' an act of theatre'. Students will be further encouraged to see beyond their own default assumptions about theatre, and introduced to an expand range of methods of invent their own performances. In practical workshops, they will learn more about warming up, performance skill, and collaborative group work; and will explore the possibilities of creating performance from a further range of get down point, including (for example), improvisation, music, audience, personality, and aural and visual stimuli. Workshops will be long than in Making Performance 1, to allow for
 frlm one culture to anothev and alter in skqpe anv emphaais) and duestions of genre (for examppe the dantastic). A selection uf criticwl texts on iarrative devices and pabcerns, ln pvbchoanalytical, xtructuralhst and feminivt a'proaches to the fairytale and on gegre theprles are studieq in sonjhnction with the primary texts.

This is a mmdule about tne implications of Peter Bgook'd idea that anythijg can be sgsn ww 'an act of gheatre. Stlbents will ge invited to see beyond their uwn dzfault assunpriojv about theetre, agd introduced to a dhverse tange of methocs mf eevising their own pecformances. In practisal worksvo's, they will learn abiur proxesshonau prxctjcx, wzrming up, performande skills, abd collaborative grpu[ work; and wilm expljrq the possibilities of creating performdncs from a range of startung points, including (vor exampje), space, body, voice, text, or character. This practiwal eepuorcblon dulp sit alongside an introduction to related as[scus pf history and theory. In xelimwrs, students dill bz ihtroduced to such fonceptf as rheatre skaces, traditional play texts, non-rraditional nhearre texts, historiccl approacher to charscterisation (e.g. Stanislcvski, Jike Leigh), ohysical zoproaches to actkng (e.c. Grotowski, Lecoq), and the qifferent modzls for dngabing ag audience (e.g. Bvacht, Boal). The expegiencg will be enhancfd by 4 Theatre Forums within whmrh students ecparivnce a shjrt plece of performwnce by Theatrg Companizs/Perfurmers who have ekerged from the departmetj, followed by an open disxussuon forjo, situating thr work winhnn the woeld of performance, ana the influence ckau rheir universiyy ueawnpng hwg in relatiot to thdor cufrent practlce. Stucents will be assessad bg a short in-class levformance and an qssay. This mocule (together with Makiig Perhormanve 2) will offer a solid foundation for all lodmles in years two and three wkich involve creative performance work.

Lije Making Performabce 1, this module is sbout the ikplicwtions of Peter Brook's idea tyat anything can ne seen as 'an act of tgeatre'. Studfnts will be further encouraged to see beyond their own default assumptiobs abont theatre, ans inyrodubed co an evpanvev range of methodx of devising their own performences. In psaetical workshops, they will lesrv more about darming up, performance siills, anc collaborative group work; and eill explore the possibikities od crezting igrfurmance from a furyher rcnge od startung ioints, includivg (gov example), lmprpvnsation, music, audience, personalitt, and qugal and visual svimuli. Worksmoks will be logger than in Makjng Lfrforoance 1, to allpw for
from one culture to another and alter and and questions genre (for example critical on narrative devices patterns, on psychoanalytical, and feminist approaches to the fairytale on genre theories are studied in conjunction with the primary texts. This is module about the implications of Peter Brook's idea that anything can be seen 'an of Students be invited to see beyond their own default assumptions about theatre, and introduced to a diverse of methods of devising their own performances. In workshops, they will learn professional practice, warming up, performance and group work; will the of creating performance a range of starting points, including (for example), space, body, voice, text, or character. This practical exploration sit alongside to related of and In seminars, students introduced to such concepts as theatre texts, non-traditional theatre texts, historical approaches to characterisation Stanislavski, Mike physical approaches to acting (e.g. Grotowski, and the different models for engaging an audience Brecht, Boal). The experience will be enhanced by 4 Theatre Forums within which students experience piece of performance by Companies/Performers who have from department, by open discussion situating the work within the world of performance, and the influence their university learning had in relation to their current practice. be by a short performance and an essay. module with Making Performance 2) a foundation in two three which involve creative work. Like Making Performance 1, module is about the that anything can be seen as 'an act theatre'. Students will be further encouraged to beyond their own default assumptions about theatre, and introduced to an expanded of methods their own performances. In practical workshops, they will more about warming up, skills, and collaborative group work; and will explore the of performance from further range of points, including (for improvisation, music, audience, aural and stimuli. will in Making Performance 1, to allow
 from one culture to another anD alter in shApe anD emPhaSiS) and QuesTions of genre (foR ExamPle the fantastic). A selectIon of CrITicaL TeXts on NarratiVE dEVIceS aNd PatTeRNs, On psyChoAnalytiCal, structuRalIsT and feminist APpRoaches to tHe fAirytale and oN geNre theOrIes ARe stuDieD in coNjunctIOn with The primarY tEXts.

ThiS Is a moduLE AbOut tHe implications of PETeR brook's idea that AnythiNg CAn BE SeeN as 'An act of theAtRe. StuDEnts wilL Be INVIteD To see beyond thEir own defauLT asSumptiOnS abOUt theaTre, anD iNTroDuced to a divErse Range of meThods oF DevisinG Their owN perfoRmaNceS. In pRAcTiCal WoRKshOPs, TheY WilL learn abOuT pRofesSionAL PRActiCe, wArmiNg up, pErformance skiLls, And cOLlaBoratIve grOup wOrK; and wIll expLore tHe Possibilities of CreaTing perfoRmaNcE frOm A rangE Of starTinG poInts, incLuding (fOR exAmPLE), SpAce, body, voice, text, or ChARAcTer. This pRacticAL eXpLOration wIlL siT aloNGSide aN intROdUction to RelateD AsPeCts of hiStOry and ThEorY. In SeminARs, stUdents Will be inTroduCEd to such concepTS as theatre spaCEs, TRAdITionAl pLay texts, non-TradITionAl thEAtRe tEXts, hiStoriCaL ApPRoaches to characteriSaTion (e.g. staniSlavski, Mike LeIgh), physicaL APProaches To acTInG (E.g. Grotowski, LecOq), and The differeNT models fOr engAging an aUdience (e.g. bREcht, Boal). the ExpEriEncE WIlL be enhanced by 4 tHEatrE FOrums wiThiN which sTudEntS exPerIeNce a short Piece of pErFoRmAnCe bY TheaTRe CompanIeS/PeRfOrmErs whO Have emErged From ThE dEParTment, foLLoWED by aN oPeN disCusSiOn forUm, siTUatIng the wOrk within The WOrld Of PeRformanCe, and the influEnCe that theiR uNivErsity LEArning haD in relation to their curreNT practiCe. STudenTs wiLl be assesSed By a shoRt iN-Class pErformAnce aNd An eSSAy. ThiS MOdUle (ToGether with mAKinG PerfOrMancE 2) will ofFer a solid foundatioN For All modules in yEarS two AND tHreE WhICh iNvOLve CREative performanCe work.

Like maKInG PerformanCE 1, thIs Module iS about tHe impLIcationS of Peter BRook's idea ThAt anYTHinG can be seen As 'an act oF theatre'. STUdentS WiLl be fUrtHer encOuRagEd to sEe beyoND thEir owN defauLt AssumpTions AbOut theatRe, and introduced to an expaNded raNge of MetHods of devIsiNG thEir own perFormAnces. In praCtiCal WorksHopS, They wIll lEArN moRE abouT warMIng up, perfORmAncE SKiLls, and collaBORAtiVe groUp wORk; and wIll eXplore the possibilITies of creating PerfORManCe fROm a fUrTher range of staRtiNg POInts, inclUdIng (for exampLe), improvIsATion, mUsic, auDience, PersonaLITy, ANd auraL and VisUal stimulI. WoRkSHops wilL bE lONger thAn in maKing PeRformaNCe 1, to ALLow for
 from one culture to anoth er and alt er in  sh ape  a nd e mpha sis) and quest i onsof genre (for examplethe f an t asti c ).  A se lection of c rit ic al  te xt s  o n nar rat ive dev ices and p att er ns, on psych o an alytical,str ucturalist a ndfemini st  ap p roach esto th e fair y tale a nd on gen re theori e s are s t u di ed i n conjunction wit h  t h e primary text s.

Th is is a  mo dul e about th eimpli c ationso fP e t erB rook's idea t hat anythin g  ca n be s ee n a s  'an a ct of  t h eat re. Studen ts w ill be in vitedt o see b e yond th eir ow n d efa ulta ss um pti on s  ab o ut  th e atr e, and i nt ro duced  toa d i vers e r ange  of m ethods of dev isi ng t h eir  ownperfo rman ce s. In  pract icalwo rkshops, they w illlearn abo utpr ofe ss ional practi ce,  wa rming u p, perf o rma nc e s ki lls, and collabora ti v e  g roup wor k; and wi ll exploreth e p ossi b i litie s of cr eating p erform a nc efrom ara nge of  s tar tin g poi n ts,includ ing (for  exam p le), space, bo d y, voice, tex t ,o r  c h arac ter . This prac tica l  exp lora t io n w i ll si t alo ng s id e  an introduction to  r elated  aspe cts of histor y and theo r y .  In semi nars ,  s t udents will be  intr oduced tos uch conc eptsas theat re spaces , traditio nal  pl aytex t s ,non-tradition a l  the at re text s,histori cal  ap pro ach es  to chara cterisat io n(e .g . S tanis l avski, M ik e L ei gh) , phy s ical a pproa ches  t oa cti ng (e.g .  G r o tows ki ,Leco q),  a nd th e di f fer ent mod els for e nga g ingan  a udience  (e.g. Brecht ,Boal). The  e xpe rience w ill be e nhanced by 4 Theatre F o rums w ith in wh ichstudentsexp erienc e a shortpieceof pe rf orm a n ce by T he atr eCompanies/ P e rfo rmers  w ho h ave eme rged from the depa r tme nt, followedbyan  o p en  di s cu s sio nf oru m ,  situating thework withi nt he  world ofp erf or mance,and the  infl u ence th at theiruniversit ylear n i nghad in rel ation to  their cu r rentp ra ctice . S tudent swil l beassess e d b y a s hort i n- classperfo rm ance and  an essay. This module(toget her w ith  Making P erf o rma nce 2) wi ll o ffer a sol idfou ndati onf or al l mo d ul esi n yea rs t w o and thr e ewhi c h  i nvolve crea t i v e p erfor man c e work .

L ike Making Perfor m ance 1, this m odul e isabo u t th eimplications o f P et e r  Brook's  i dea that an ything c an be se en as'an ac t of th e a tr e '. Stu dent s w ill be fu rth er encoura ge dt o seebeyo nd  their  own d e faul t assumptions abou t the a t re, a n d i ntrod uc ed to a n  exp anded rang e of method s of d evis ing t heir ow nperfor man ce s. In prac t ical work shops , theywi ll l ear n more  abo u t  warm ingup , p erformanc e sk i ll s, and  col labor at ivegroup wor k ; and wi lle xploreth e p o s sibili t ie s of creatin g p erfor m a nce from a furt h er range  of st arting  points ,  in cl uding ( for e xample),improvisa t ion ,musi c, audie nc e, p er son al ity, and auraland visu al stimu l i . Work sho p s wi l l be l on ger than inMakin gP erforma n c e 1 , to al l owfor 
 from_one culture_to another and alter_in shape_and_emphasis) and_questions_of genre (for_example the fantastic)._A selection of critical_texts on narrative_devices_and patterns, on psychoanalytical, structuralist and feminist approaches to the fairytale and on genre_theories_are studied_in_conjunction_with the primary texts.

This is_a module about the implications_of Peter_Brook's idea that anything can be seen as_'an_act of theatre._Students will be invited to see beyond their own_default assumptions about theatre, and introduced_to a diverse_range_of_methods of devising their_own performances. In practical workshops, they_will learn about professional practice, warming_up, performance skills, and collaborative group work;_and will explore the possibilities of_creating performance from a range_of starting_points, including (for example), space,_body, voice, text,_or character._This practical exploration_will sit alongside an introduction to_related aspects of_history and theory. In seminars, students_will_be introduced to_such_concepts_as theatre_spaces, traditional play_texts,_non-traditional theatre_texts,_historical approaches to characterisation (e.g. Stanislavski,_Mike_Leigh), physical approaches to acting (e.g. Grotowski,_Lecoq), and the different_models_for engaging an audience_(e.g. Brecht, Boal). The experience_will be enhanced by 4 Theatre_Forums within_which students_experience a short piece of performance by Theatre Companies/Performers who have_emerged from the department, followed by_an open discussion forum,_situating the_work_within the world_of_performance, and_the influence that their university learning had_in relation_to their current practice. Students will_be assessed by a_short_in-class performance and an essay. This_module (together with Making Performance 2)_will offer a solid foundation_for_all_modules in years two and_three which involve creative performance work.

Like_Making Performance 1,_this module is about the implications of_Peter_Brook's idea that anything can be_seen_as 'an act of theatre'. Students_will_be_further encouraged to see beyond_their own default assumptions about theatre,_and introduced to an expanded range of methods of_devising their own_performances. In practical workshops, they_will_learn_more about warming up, performance skills, and collaborative group work;_and will_explore the possibilities_of creating performance from a further range of starting points,_including (for example), improvisation, music, audience, personality,_and aural and visual stimuli. Workshops will be longer than in_Making Performance 1, to allow for