DEPARTMENT OF MEDIA
AND PERFORMING ARTS
WARRINGTON
COLLEGIATE INSTITUTE
PERFORMING
ARTS MODULE HAND BOOK FOR:
P301
LARGE-SCALE
PRODUCTION MANAGEMENT
and/or
INDEPENDENT PRODUCTION
Semesters 5
COURSE LEADER:
Michael
Moor
Office:
By Stage Door, Derek Newton Theatre
Tel.ext:
4224
E-mail:
m.moor@warr.ac.uk
COURSE TUTORS:
Peter Winn
Office:
By Stage Door, Derek Newton Theatre
Julian
Waite
Office:
By Stage Door, Derek Newton Theatre
ROOM:
All
classes in the Derek Newton Theatre and Theatre Foyer.
Module Title: Large Scale Production Management
Module
No: P301
Module
Leader: Michael Moor
Semester(s):
5
Type of Module: Compulsory for Single and Major routes.
Not
available to Minors or as a Free Option.
Pre-requisites:
P202
Restriction
on numbers:
Assessment
pattern: Continuous assessment of practical work: 100%
The course P301 and P302 runs from The Derek Newton Theatre:
Fridays
between 11.15 am and 3.30pm
THE COURSE P301 BEGINS ON 28TH SEPTEMBER AT 11.15 IN THE FOYER
Content
is divided into two options:
Option A: Students may work as individuals or form project groups of varying sizes depending on the working structure appropriate to their chosen independent production or project. You may decide to write and direct your own performance piece or present a more established work or even devise a work with and for a particular community, theatre or audience in mind. On the other hand you may prefer to work within the context of a production team with individual responsibility in areas such as: Marketing, Box-Office, Educational liaison, Design of Set, Costume or Lighting, Music direction, Choreography, or Stage-Management and so on. For students following Option A. semester 5 may be seen largely as theoretical. You will be expected to attend regular meetings with your individual tutor, to present reasonable and realistic plans and budgets of the proposed event in semester 5 as well as an academic written thesis of 2000 words.
Option B Students manage the practical aspects of a large-scale production of a tutor-led performance event for a specified audience. A presentation, and a Work-file with a critical evaluation in addition to the practical work will be assessed in semester 5.
Students following options A or B will have weekly meetings with their assigned tutors as well as the module leader. Our aim is to support you when you need support whilst at the same time allowing you the freedom to be truly creative and inventive.
Learning
outcome (301 and 302)
On completion of this module the student will have demonstrated an
advanced theoretical, practical or applied understanding of at least one
particular aspect of a practical performance genre or event.
On a more generic level this module will implicitly demonstrate
advanced notions of originality, decision making, independence, responsibility
and management; by for example offering the student greater autonomy (than in
levels one or two) in deciding the nature, process and application of his or her
work.
Semester
5: P301
Option
A:
Assessment Criteria
1)
Feasibility Plan and budget in the form of a presentation on Friday 23rd or 30th
November 2001 = 30%.
2)
Personal Management assessed from individual meeting notes with tutor. COPY
of
meeting notes to be handed in on 30th November 2001 = 20%.
3)
Individual 2,000 word academic thesis to be handed in to room A28 by 12 noon,
Jan 15th 2002 = 50%
Total
marks for semester 5 = 100%
Option
B:
Assessment Criteria
1)
Feasibility Plan and budget in the form of a presentation at a time to be
negotiated with your tutors (no later than 16th November 2001) = 25%.
2)
Personal Management assessed from individual meeting notes with tutor. COPY
of meeting notes to be handed in on 30th November 2001 = 25%.
3)
Individual Workfile to be handed in by 12 noon, 7th Jan. 2002= 25%
4)
Assessment of individual performance = 25%
Total
marks for semester 5 = 100%
General
notes and hints for work-files, research, thesis and performance for those
following both Options A and B:
1)
A familiarity with historical backgrounds, contexts, conventions or goals is
expected as well as the identification of an appropriate or traditional
audience.
2)
You are expected to establish a clearly researched, academic or theoretical
framework or context. This may be in the form of a creative and/or unified
concept, approach or style. (Your
tutors will be able to give you more specific advice in relation to your
specific project)
3)
Documented evidence of a clear and well-organised working structure is expected.
This may be seen, for example, in the allocation of specific roles and duties
that are monitored by regular and structured meetings.
4)
Documented evidence of meticulous and practical planning, before, during and
after your production or event. Where applicable, you will be expected to take
into consideration the preparation, construction and or marketing of your event.
This may include the actual management of the event itself and including the
post event clearance or strike.
SUGGESTED
LAYOUT FOR YOUR MEETING NOTES. These ORIGINAL AND SIGNED notes must be presented
with your work-file for final assessment. COPIES of meeting notes MUST be handed
in on 30th November 2001 = 25% OF YOUR FINAL MARK. THE ORIGINALS should be
appraised and evaluated in the critical analysis section of your presented
work-file.
Here
is a model of what a form may look like on A4
Student
Name:
Date:
Module
Number P301
Action
Points:
Additional
Comments:
Tutor
Signature
Important
Dates and information
The
course P301 and P302 runs from The Derek Newton Theatre: Fridays between 11.15
am and 3.30pm
P301:
begins Friday 28TH September at 11.15 am. Then commences every Friday from 11.15
am to 15.30 pm. The final class of the course is on Friday 14th Dec. 2001
At
11.15 a general meeting will take place on each friday session in the foyer with
the module leader (Michael Moor) for about 15-20 mins. You will then have an
individual (depending on your project) session with your assigned tutor (Peter
Winn, Julian Waite or Michael Moor) this second and more formal session could be
in The DNT, Foyer or as specified by your individual tutor. You will be expected
to take notes at this meeting. These notes will be presented in your work-file
as part of your ongoing assessment. Your tutor will sign and date the notes at
the end of each session as an accurate record of your meeting.
Final
presentations for Option B (the Christmas show) will be no later than Friday
16th November 2001.
Final
presentations for Option A (the independent productions) will be on Friday 23rd
and Friday 30th November.
Dates
for the Christmas Show: 2 shows per day afternoon and evening starting; Dec
(wed) 5th, (fri) 7th, (sat) 8th, (mon) 10th:
Last
show Wed Dec.12th (2 shows, morning and afternoon) These dates and times are
provisional at present and have been chosen to fit into your academic schedule
please confirm as soon as possible that these dates are suitable
P302
Semester 6
P
302. The Course begins Friday 8 Feb at 11.15 am. Then commences every Friday
from 11.15 am to 15.30 pm. The final performances must take place before or on
Friday 10th May. The final class of
the course is on Friday 17th May 2002
At
11.15 a general meeting will take place on each friday session in the foyer with
the module leader (Michael Moor) for about 15-20 mins. You will then have an
individual (depending on your project) session with your assigned tutor (Peter
Winn, Julian Waite or Michael Moor) this second and more formal session could be
in The DNT, Foyer or as specified by your individual tutor. You will be expected
to take notes at this meeting. These notes will be presented in your work-file
as part of your ongoing assessment. Your tutor will sign and date the notes at
the end of each session as an accurate record of your meeting.
Presentations
for Option B: Friday 15th and 22nd March 2002.
Final
presentation or updates for Option A (the independent productions) will be on
Friday 1st and 8th May 2002
Semester
6: P302
Option
A:
Assessment Criteria
1)
An up date of your original feasibility Plan and budget in the form of a
presentation 2002 = 25%.
2)
Personal Management assessed from individual meeting notes with tutor.
2002= 25%.
3)
Assessment of individual performance = 25%
4)
Individual Work-file to be handed 10 days after performance= 25%
Total
marks for semester 6 = 100%
Option
B:
Assessment Criteria
1)
Feasibility Plan and budget in the form of a presentation at a time to be
negotiated with your tutors = 25%.
2)
Personal Management assessed from individual meeting notes with tutor. = 25%.
3)
Individual Work-file to be handed in 10 days after performance = 25%
4)
Assessment of individual performance = 25%
Total
marks for semester 6 = 100%
General
notes and hints for Options A and B: Semester 6
1)
A familiarity with historical backgrounds, contexts, conventions or goals is
expected as well as the identification of an appropriate or traditional
audience.
2)
You are expected to establish a clearly researched, academic or theoretical
framework or context. This may be in the form of a creative and/or unified
concept, approach or style. (Your
tutors will be able to give you more specific advice in relation to your
specific project)
3)
Documented evidence of a clear and well-organised working structure is expected.
This may be seen, for example, in the allocation of specific roles and duties
that are monitored by regular and structured meetings.
4)
Documented evidence of meticulous and practical planning, before, during and
after your production or event. Where applicable, you will be expected to take
into consideration the preparation, construction and or marketing of your event.
This may include the actual management of the event itself and including the
post event clearance or strike.
Please
note that work-files for this Semester will be presented no later than ten days
after your performance.
BIBLIOGRAPHY:
THE FOLLOWING IS A LIST OF PRACTICAL TEXTS ONLY WHICH
MAY BE OF USE IN THE DEVISING PROCESS. YOU
ARE EXPECTED TO MAKE USE OF THE WIDER RESEARCH
FACILITIES AT UNIVERSITY COLLEGE AND JOHN RYLANDS LIBRARIES. ADDITIONAL
BIBLIOGRAPHIES CAN BE PROVIDED BY THE TUTORS.
ACTING
Berry,
C. 1993, Voice and the Actor, Harrap
Boal,
A. 1992, Games for Actors and Non-actors,
Routledge
Johnstone,
K. 1981,
Impro, Methuen
Spolin,
V. 1973, Improvisation for the Theatre,
Pitman
Stanislavski,
C. 1980, An
Actor Prepares, Eyre Methuen
DIRECTING
AND DEVISING
Hodge,
F. 1971, Play Directing, Prentice Hall
Jackson,
T. 1993, Learning through Theatre,
Routledge
Kershaw,
B. 1992, The Politics of Performance,
Routledge
McCaffery,
M. 1988, Directing
a Play, Oxford
Morrison,
H.1989, Directing
in the Theatre, A & C Black
Oddey,
A. 1989, Devising in the Theatre,
A & C Black
Read,
A. 1995, Theatre and Everyday Life,
Routledg
STAGE
MANAGEMENT
Bond,
Daniel, 1995, Stage
Management, A & C Black
Gruver,
Bert. 1995, The Stage Manager's Handbook,
Nick Hern Books
Menear,
P. & Hawkins, T. 1988, Stage
Management & Theatre Administration, Oxford
Reid,
F. 1978, The Staging Handbook, A &
C Black
SET
& PROPS
Hoggett,
C. 1975, Stage
Crafts, A & C Black
Holt,
M. 1988, Stage Design & Properties,
Oxford
COSTUME
& MAKE-UP
Baygan,
L. 1982, Make-up for Theatre, Film &
Television, A & C Black
Holt,
M. 1988, Costume & Make-up, Oxford
Jackson,
L. 1989, Costume for the Stage, A
& C Black
LIGHTING
AND SOUND
Collison,
D. 1982, Stage Sound, Cassell
Frazer,
N. 1988, Lighting and Sound, Oxford
Morgan,
Nigel. 1995, Stage Lighting for Theatre
Designers, A & C Black
Reid,
F. 1982, Stage Lighting, A & C
Black
Walne,
G. 1981, Sound
for Theatres, City Arts
MUSIC
Evans, A.
1994, The Secrets of Musical Confidence,
Thorsons
Further booklists
in other modules should also be considered. Books from your Business/Arts
Marketing modules for example.