Drama and Theatre Studies Fourth Year Student Handbook 2019-2020 - NUI Galway
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Drama and Theatre Studies
Fourth Year Student Handbook
2019-2020
1This handbook contains an overview of your modules for Fourth Year in Drama and Theatre
Studies.
For information on the following general Drama and Theatre Studies policies and guidelines,
please refer to the undergraduate student handbook which contains the following information:
1. About Drama at NUI Galway
2. Staff Contacts and office hours
3. Communications
4. Feedback and evaluation
5. Modules and Structure: GY118
6. Modules and Structure: GY115
7. Credits and Workload
8. Conduct in class
9. Punctuality and Attendance
10. Extensions, Repeats and Deferrals
11. Student support services.
12. Student code of conduct.
13. Extra-curricular activity
14. Studying Abroad
15. Internships
16. Theatre outings
17. Use of Blackboard
18. Research Resources
19. Plagiarism
20. Marking Criteria for written work
21. Marking criteria for performances
22. Writing an Academic Essay
23. Common Errors in Grammar, Style, Punctuation.
24. MLA style
25. Calendar 2019/2020
Who to contact
Head of Fourth Year is Patrick Lonergan (patrick.lonergan@nuigalway.ie).
• He will take over 9 September. Please contact Charlotte McIvor with any queries
before this date (charlotte.mcivor@nuigalway.ie).
•
Fourth Year
You have four core modules, two in each semester.
In semester one you do:
• DT4102 Performance Studies (Charlotte McIvor and Sarah Hoover with Sorch Keane,
tutor)
• DT4104 Contemporary Irish Theatre (Patrick Lonergan and Finian O’Gorman)
In semester two you also do two core modules:
• DT4107 Practice-based Research Project (Ian Walsh and Charlotte McIvor)
• DT4108 Arts Management (Máiréad Ní Chróinín)
2The provisional fourth year timetable is below:
Semester Module Instructor Time Venue
Semester One DT4102: Charlotte McIvor Wednesday, S2
Performance and Sarah 4-5; (Wednesday)
Studies (10ECTS) Hoover with Thursday, 3-
Sorcha Keane 5 S2 (Thursday)
Semester One DT4101 Patrick Lonergan Monday 11- S1 (Monday)
Contemporary and Finian 12;
Irish Theatre O’Gorman C1(Tuesday)
(5ECTS) Tuesday 3-4
Semester Two DT4107: Practice- Ian Walsh and Wednesdays, S2
based Research Charlotte McIvor 4-5; (Wednesday)
Project (10ECTS) Thursdays,
3-5 S2 (Thursday)*
*We will also
use other
rooms for
independent
work.
Semester Two DT4108: Arts Máiréad Ní Monday 11- S2 (Monday)
Management Chróinín 12;
(5ECTS) CR1 (Tuesday)
Tuesday 3-4
IMPORTANT DATES
9th September - 4 BA DTP Intro Meeting- 11am-12pm
• Takes place during “Contemporary Irish Theatre” and replaces class meeting
12th and 13th September- Campus premiere of Active Consent Programme’s The Kinds of Sex
You Might Have At College, (12th at 5PM, 13th at 1PM and 5PM, O’Donoghue Theatre)
Week of 30th September-4th October- Class Rep Meeting #1
26th September-13th October- Dublin Theatre Festival
9th-19th October- Moonfish Theatre’s Redemption Falls in performance at the Abbey
involving Máiréad Ní Chróinín, Druid Artist in Residence
24th October-Theatre Archives Symposium
28th October – Bank Holiday - No classes
Week of 4th November- Class Rep Meeting #2
5th-10th November- Melinda Szuts PhD PaR Presentation, The Dreaming of the Bones- ODT
3Note: Tech/dress takes place 5th-6th, performances 7th-10th
30th November- End of Teaching- Semester 1
2nd-7th December –Study week
8th and 9th December- “Devised Work in Minority Languages” Conference- National Theatre
of Scotland (part of Garraí an Ghiorria)
16th December – Deadline for submission of all UG Assessment (individual deadlines set for
each module, refer to outline)
22nd December – Christmas Holidays begin
13th January – Teaching Semester 2 Begins
Week of 20th January – Class Rep Meeting #3
1st-7th February- GUMS Musical
8th-14th February- Theatre Week- Societies
8th-22nd March-Third Year Production Load-in, Tech/Dress and Performance- ODT inclusive
• Third Year Production Performance Dates: 19-22 March (8PM, 2PM on 22 March)
• Strike 22 March
Week of 9th March – Class Rep Meetings
17th March- Bank Holiday-St. Patrick’s Day
19th March- “Staging the Incarcerated Female Body: Records and Representations”- Feminist
Storytelling Network Event- Miriam Haughton
23 March-9 April- Advanced Theatre and Performance Lab-ODT inclusive
• Closed showings of Advanced Theatre in theatre weeks of 23 and 30 March as
needed.
• Performance Lab tech- Monday 6 April-Wednesday 8 April-9AM-5PM
• Public showing of Performance Lab works in progress, Thursday 9 April,
6PM
End of March- GIAF SELECTED! applications due
First week of April- GIAF SELECTED! decisions given
3rd April – end of teaching
10th-13th April- Easter Holidays
14th-15th April- ‘“Glorious Outsiders”: Queer Pasts and Futures in Irish Performance,’
organised by Zsuzsanna Balázs (DTS), Temmuz Süreyya Gürbüz, Daniela Toulemonde
14-20th April- Study Week
1st May - Deadline for submission of all UG and PG Assignments (individual deadlines set
by all instructors)
4th May – Bank Holiday
Early-mid May- Galway Theatre Festival
14th-17th June- Theatre Forum Conference/IETM Plenary Meeting- ODT- to be confirmed
13-17 July- International Federation for the Theatre Research Conference- Galway
5th August- Repeat Exams held
15th August- All full-year module and general student handbooks released to incoming
4PROVISIONAL FOURTH YEAR MODULE OUTLINES
Note that full updated module outlines will be provided by instructor in class and/or made
available on Blackboard.
SEMESTER ONE
DT 4102: Performance Studies
Teaching Team: Charlotte McIvor and Sarah Hoover with Sorcha Keane (tutor)
Time and Location: Wednesdays, 4-5 (Studio 2) and Thursdays, 3-5 (Studio 2)
E-mail: charlotte.mcivor@nuigalway.ie and s.hoover1@nuigalway.ie
Office: O’Donoghue Centre for Drama, Theatre and Performance, ODC-G015 (McIvor)
Phone: 091 49 2631
This course is an introduction to performance theory as utilised in the field of Performance
Studies. It will extend your understanding of performance beyond its role in drama and
theatre as related primarily to the role of the actor. Performance Studies is an interdisciplinary
field of inquiry that combines tools and methods from theatre studies, anthropology,
sociology, cultural studies, literary studies and others. Through the study of this
interdisciplinary field, we will investigate the possibilities of ‘performance’ as a theoretical
and methodological lens through the study of key thinkers and case studies
Learning Outcomes
• Situate key thinkers and movements within the broader field of Performance Studies
• Identify major key terms and methodologies including performativity, liminality,
ritual, play, performance ethnography, and performance art among others
• Apply theoretical concepts to performances or film screenings that you experience
• Execute practical research tasks using performance studies methodologies such as the
creation of a performance ethnography
• Understand the relationship between forms of artistic and social performance
Required Texts
Austin, J.L. How To Do Things With Words. Oxford: Clarendon Press, 1975. Print.
Bailey, Brett. “Yes, Exhibit B is challenging, but I never sought to offend,” The Guardian,
Wednesday September 24, 2014.
Boal, Augusto. Games for Actors and Non-Actors. New York: Routledge, 2002. Print.
Butler, Judith. “Performative Acts and Gender Constitution: An Essay in Phenomenology and
Feminist Theory,” Theatre Journal, vol. 40, no. 4, Dec. 1998, pp. 519-531.
Conquergood, Dwight. “Performance Studies: Interventions and Radical Research.” TDR
vol. 26, no. 2 (Summer 2002): pp. 145-156.
Flanagan, Mary. Critical Play. Cambridge, Mass: MIT Press, 2009. Print.
5Fusco, Coco. “The Other History of Intercultural Performance,” TDR: The Drama Review
vol. 38, no. 1 (Spring 1994): pp. 143-167.
Goffman, Erving. The Presentation of Self in Everyday Life. London: Penguin, 1959. Print.
Halberstam, Jack. Trans: A Quick and Quirky Account of Gender Variability. Oakland,
California: University of California Press, 2018.
Muir, Hugh. “The Exhibit B slavery show has value- but who was it aimed at?, The
Guardian, Friday, September 26, 2014.
Phillips, Áine. Ed. Performance Art in Ireland: A History. Bristol: Intellect, 2015. Print.
Roach, Joseph. Cities of the Dead: Circum-Atlantic Performance. Columbia: Columbia
University Press, 1996. Print.
Schechner, Richard. Performance Studies: An Introduction. Media Editor: Sara Brady.
London and New York: Routledge, 2013.
Schneider, Rebecca. Performing Remains: Art and War in a Time of Theatrical
Reenactment. Abingdon, Oxon and New York: Routledge, 2011. Print [and online access].
Sieg, Katrin. “Towards A Civic Contract of Performance: Pitfalls of Decolonising the
Exhibitionary Context at Brett Bailey’s Exhibit B.” Theatre Research International, vol. 40,
no. 3, 2015, pp. 250-271
Turner, Victor. “Social Dramas and Stories About Them,” Critical Inquiry, vol. 7, no. 1,
(Autumn, 1980), pp. 141-168.
Taylor, Diana. The Archive and the Repertoire: Performing Cultural Memory in the
Americas: Cultural Memory and Performance in the Americas. Duke: Duke University
Press, 2003.
- Performance. Durham and London: Duke University Press, 2016. Print
•
A note on accessing reading: There is a “Reading List” link available on Blackboard which
has links to core module readings which will be available electronically wherever possible.
Module Assessment
Class Group Presentation: 15%. 15-20 minute group presentation on summary of week’s
reading and topic with questions for the group arising from the reading. Images, PowerPoint,
Prezi may be used. Alternatively, groups can use their time to run a performance game or
activity to activate the week’s topics/reading for the class.
• However, all groups must upload to Blackboard discussion forum collectively (1) 500
word peer summary of week’s primary reading(s), (2) 500 word response to Theory -
> Practice and (3) their list of question arising from topic/readings following in-class
presentation on Wednesday of their week.
Midterm Essay: 35%. 1250 words, via Turnitin on Blackboard.
6Performance and Critical Reflection Essay: 50%.
• Performance presented in-class Weeks 11 and 12 as individual or group projects.
• Mark includes submission of 200-word project proposal for approval by teaching
team (November 4) and drafting of individual or group contract.
• Critical Reflection Essay will be 2000 words submitted via Turnitin on Blackboard by
11:59PM on 6 December.
How to read the module outline:
• The topics and readings listed for the week is what will be discussed in class on that
day. In other words, have your reading done BEFORE the class meeting.
• You will have primary and secondary readings for each class session.
o PRIMARY readings are what must be prepared in advance and will usually be
first-person theoretical or critical writings.
o SECONDARY readings give a broad overview of the subject material or
theoretical context and will be usually drawn from Richard Schechner’s
Performance Studies: An Introduction. The purpose of secondary readings is
to give you a broad overview and/or supplementary understanding. You are
not required to prepare these readings but are welcome to, or to refer to them
after the class meeting.
• Most weeks will have a Theory-> Practice: PS (Performance Studies) Live
example for you to also engage with through Blackboard prior to each class meeting.
o These short videos, articles, and/or images will give you a live example of
performance practices or cultural debates that animate the key theoretical
concepts that we will be dealing with that week in class.
o You will also be given broad prompt questions to consider when engaging
with this material on your own.
o These are designed to involve 15-30 minutes of your time, and we will follow
up on them in class activities and discussion.
•
How to engage with Blackboard:
• There will be four layers to our “Performance Studies” Blackboard page:
1. General Information (Module Outline, links to MLA resources, etc.)
2. Weekly Materials and Resources (including readings, Theory-> Practice PS
Live items and links, PowerPoints)
3. Assignment folders (including both full assignment descriptions and
submission links)
4. Link to Reading List
• The teaching team will also post announcements about updates or changes to module
schedule or materials on Blackboard (which will also go to your email if you have
opted in).
Module Schedule
Part I: Broadening Our Ideas of What Performance Is
Week 1: 11 and 12 September: What is Performance Studies and How Can We Use It As
Theatremakers? (McIvor)
7Week 2: 18 and 19 September: Performance As A Broad Spectrum (Hoover)
Primary Reading:
• Taylor, Diana. “Chapter 1: Framing [Performance],” Performance, Durham: Duke
University Press, 2016, pp. 1-42. [Reading List]
Secondary Reading:
• Schechner, Richard, ‘What is Performance?’ in Performance Studies: An
Introduction. Third Edition. Media Editor Sara Brady. London and New York:
Routledge, 2013, pp. 28-51. [Reading List]
Theory -> Practice: PS Live:
Examine the website and YouTube channel of Extinction Rebellion (XR), the UK-based
movement that seeks to draw attention to the urgency of climate change which uses civil
disobedience and non-violent resistance as modes of engagements. What happens if we read
XR’s strategies and protest events “as” performance? What do the protesters seek to gain by
the kinds of spaces they are occupying, what they are wearing or using as protest props, and
the kind of language they are using in speech and signage?
• Extinction Rebellion, https://rebellion.earth
• Engage with one or more videos on their YouTube channel:
https://www.youtube.com/channel/UCYThdLKE6TDwBJh-qDC6ICA
•
Week 3: 25 and 26 September: Ritual (Hoover)
Group Presentation One
Primary Reading:
• Schechner, Richard, ‘Ritual’ in Performance Studies: An Introduction, pp. 52-88.
[Reading List]
Secondary Reading:
• Turner, Victor. “Social Dramas and Stories About Them,” Critical Inquiry, vol. 7, no.
1, (Autumn, 1980), pp. 141-168. [Reading List]
Theory -> Practice: PS Live:
View both of these short videos commemorating wedding celebrations. Identify and compare
some of the rituals you see enacted for these couples’ weddings. What kinds of rituals do you
observe being enacted (sacred and/or secular)? Are they for entertainment or efficacious
purposes? Do they accomplish a change in status for the married couple or guests and for
whose benefit are they being performed? Finally, how does the editing of the videos
demonstrate the value of these rituals for not only family and friends of the couple but wider
societies in which they are implicated (in other words, what social dramas are being
enacted)?
• Zeeshan & Ghana Cinematic Video Highlight: https://vimeo.com/vibrantart/zeeshan
• Aoife & Andrew // Wedding, Dromoland Castle
https://vimeo.com/channels/1392293/40285107
8*** Midterm Essay Due Sunday October 13 2019 at 11:59PM.
-See Blackboard for full assignment
Week 4: 2 and 3 October: Performance of Everyday Life (McIvor)
Group Presentation Two
Primary Reading:
• Erving Goffman, “Introduction” and “Performances,” in The Presentation of Self in
Everyday Life. London: Penguin, 1999, pp. 13-27. [Reading List]
• Excerpt from Harvey Young, Theatre and Race [Blackboard]
Secondary Reading:
• Richard Schechner, “Performing,” in Performance Studies: An Introduction, pp. 170-
220.
Theory -> Practice: PS Live:
In class on Thursday, we will watch Jenny Livingston’s Paris is Burning (1990) as a
landmark and controversial documentary investigating 1980s Harlem drag balls and queer
subcultures.
Part II: How do we use theory to deepen our analysis of performance as a broad spectrum?
Week 5: 9 and 10 October: Performance of Everyday Life cont. (McIvor)
Group Presentation Three
Primary Reading:
• Judith Butler, “Performative Acts and Gender Constitution: An Essay in
Phenomenology and Feminist Theory,” Theatre Journal, vol. 40, no. 4, Dec. 1998,
pp. 519-531. [Reading List]
Secondary Reading:
• J.L. Austin. “Lecture 1.” How to Do Things with Words. Oxford: Oxford University
Press, 1962, pp. 1-10. [Reading List]
• Richard Schechner, ‘Performativity’ in Performance Studies: An Introduction, pp.
123 – 169. [Reading List]
Theory -> Practice: PS Live:
RuPaul’s Drag Race is now in its 12th award-winning season, offering a wealth of material to
analyse and pop culture impact to debate.
• Choose your own adventure with RuPaul’s Drag Race
o Use YouTube or Netflix (if you have access) to view clips from or one
episode of RuPaul’s Drag Race any season.
Take note of moments which comment explicitly on the performance
of identities of gender, sexuality, race, ethnicity and/or class.
9 What are the differences between how this show thinks of drag and
community and Paris is Burning? What kinds of influence can you
trace between the two?
• Read this opinion piece on RuPaul’s Drag Race which takes up the performative
explicitly:
o Kat Blaque, “Performative Blackness and the Problem With RuPaul’s Drag
Race,” HuffPost, 25 March 2016,
https://www.huffpost.com/entry/performative-blackness-
an_b_9545212?guccounter=1.
Week 6: 16 and 17 October: Play (Hoover)
Group Presentation Four
Primary Reading:
• Mary Flanagan, excerpt from Chapter 5 “Performative Games and Objects” of
Critical Play. [Reading List]
• Adam Alston, excerpt from “Introduction: Theatre as Experience Machine” chapter in
Beyond Immersive Theatre. [Reading List]
Secondary Reading:
• Richard Schechner, “Play,” in Performance Studies: An Introduction, pp. 89-123.
[Reading List]
Theory -> Practice: PS Live:
Read the description of Operation Black Antler from Blast Theory, and watch the trailer.
(https://www.blasttheory.co.uk/projects/operation-black-antler/). Then read these two reviews
of the experience by Michael Billington
(https://www.theguardian.com/stage/2016/may/12/operation-black-antler-review-how-to-
make-friends-with-extremists) and Frey Kwa Hawking
(http://exeuntmagazine.com/reviews/review-operation-black-antler/). What do play and
participation do as performance? How might we critically engage with this performance as
play? What “designable surfaces” (points of interaction between performance and audience
such as lighting, instruction, script, social norms and expectations) can you identify in
Operation Black Antler? How do these designable surfaces invite, curtail, and shape
audiences’ participation in the performance, and what meaning is produced when they do?
Week 7: 23 and 24 October: Global and Intercultural Performances (McIvor)
Group Presentation Five
Primary Reading:
• Coco Fusco, “The Other History of Intercultural Performance,” TDR: The Drama
Review vol. 38, no. 1 (Spring 1994): pp. 143-167. [Reading List]
Secondary Reading:
• Richard Schechner, “Global and Intercultural Performances,” in Performance Studies:
An Introduction, pp. 263-331. [Reading List]
Theory -> Practice: PS Live:
10This video allows you to witness many of the interactions between that Fusco describes in her
article, “The Other History of Intercultural Performance.”
• “The Couple in the Cage: A Guatinaui Odyssey,” video by Coco Fusco and Paula
Heredia, https://www.youtube.com/watch?v=qv26tDDsuA8,
o Begin watching at 2:00 approximately. Be aware that this is a grainy video of
an older documentary.
•
Week 8: 30 and 31 October: Global and Intercultural Performances cont. (McIvor)
Group Presentation Six
Primary Reading:
• Katrin Sieg, “Towards A Civic Contract of Performance: Pitfalls of Decolonising the
Exhibitionary Context at Brett Bailey’s Exhibit B.” Theatre Research International,
vol. 40, no. 3, 2015, pp. 250-271. [Reading List]
• Brett Bailey, “Yes, Exhibit B is challenging, but I never sought to offend,” The
Guardian, Wednesday September 24, 2014. [Blackboard]
• Hugh Muir, “The Exhibit B slavery show has value- but who was it aimed at?, The
Guardian, Friday, September 26, 2014. [Blackboard]
Theory -> Practice: PS Live:
This cluster of videos introduces you to some of the main images of Brett Bailey’s Exhibit B
(and its earlier manifestation, Exhibit A), a short interview with Bailey, and a documentary
treatment of the protest by Black British community members and artists against the
performance in London in 2014.
• “Exhibit A: Brett Bailey,” https://www.youtube.com/watch?v=hNAZ49V2bWM.
• “Galway International Arts Festival Trailer for Exhibit B,”
https://www.youtube.com/watch?v=N3smvQ4qNsU.
• “Exhibit B: Art That Shook Black Britain,”
https://www.youtube.com/watch?v=Hyl1NR3FAj0&t=148s.
Part III: How do we use performance theory to create new artistic work ourselves?
Week 9: 6 and 7 November: Project Development Workshop I (Hoover)
Primary Reading:
• Pete Watton, Jane Collings, Jenny Moon, “Reflective Writing,” (University of Exeter)
[Blackboard]
• Excerpt from “Practice as research : transdisciplinary innovation in action”, Baz
Kershaw, from Research methods in theatre and performance. The first half of this
chapter outlines the ways PaR methodologies create knowledge and presents some
challenges to the way we explore that.
**Final project proposal as individual or group must be sent to McIvor and Hoover by
5PM on 16 November as a 200-word statement of proposal on Blackboard also
including a bullet pointed list of project needs and set-up including location (ideally our
classrooms, but site-specific/responsive sites can also be suggested). Please note that the
11support of Mike O’Halloran technical manager will NOT be available for these
projects.
Week 10: 13 and 14 November: Project Development Workshop II and Scratch Showings
(McIvor and Hoover)
Primary Reading:
• Conquergood, Dwight. “Performance Studies: Interventions and Radical Research.”
TDR vol. 26, no. 2 (Summer 2002): pp. 145-156. [Reading List]
Week 11: 20 and 21 November: Project Showings Group One (McIvor and Hoover)
Week 12: 27 and 28 November: Project Showings Group Two, Module Reflection and
Final Paper Preparation (McIvor and Hoover)
Final Paper due 6 December 2019 at 11:59PM via Turnitin on Blackboard
Secondary and Further Reading List
Anderson, Benedict. Imagined Communities: Reflections on the Origin and Spread of
Nationalism. Revised Edition. London: Verso, 1991. Print.
Auslander, Philip. Liveness: Performance in a Mediatized Culture. Routledge: London and
New York, 1999. Print.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. Second Edition.
New York: Routledge, 1990. Print.
Conquergood, Dwight. Cultural Struggles: Performance, Ethnography, Praxis, ed. by E.
Patrick Johnson. Ann Arbor, MI: University of Michigan Press, 2013. Print.
De Certeau, Michel. The Practice of Everyday Life. Berkeley, CA: University of California,
Press, 1984. Print.
Denzin, Norman K. Performance Ethnography: Critical Pedagogy and the Politics of
Culture. Thousand Oaks, CA: Sage, 2003. Print.
Derrida, Jacques. Writing and Difference, trans. by Alan Bass (London: Routledge, 1978).
Print.
Dolan, Jill. Utopia in Performance: Finding Hope at the Theatre. Ann Arbor, MI: University
of Michigan Press, 2005. Print.
Foucault, Michel, Madness and Civilization: A History of Insanity in the Age of Reason.
London: Routledge, 1989. Print.
- Discipline and Punish: the Birth of the Prison. London: Routledge, 1991. Print.
- The History of Sexuality 1: The Will to Knowledge. London: Penguin, 1998. Print.
- The History of Sexuality 2: The Use of Pleasure. London: Penguin, 1991. Print.
- The History of Sexuality 3: The Care of the Self. London: Penguin, 1990. Print.
12Gough, Kathleen M. Kinship and Performance in the Black and Green Atlantic: Haptic
Allegories. London and New York: Routledge, 2014. Print.
Halberstam, Judith. In A Queer Time and Place: Transgender Bodies, Subcultural Lives.
New York: New York University Press, 2005. Print.\
------------------------Trans*: A Quick and Quirky Account of Gender Variability. University
of California Press, 2018.
Harvie, Jen. Fairplay: Art, Performance and Neoliberalism. Basingstoke: Palgrave, 2013.
Print.
Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York:
Routledge, 2011. Print.
- Professing Performance: Theatre in the Academy from Philology to Performativity.
New York: Cambridge University Press, 2004. Print.
Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Manchester:
Manchester UP, 1984. Print.
Martin, Carol. Ed. Dramaturgy of the Real on the World Stage. Basingstoke: Palgrave, 2012.
Print.
Muñoz, José Esteban. Disidentification: Queers of Color and the Performance of Politics.
Minneapolis: University of Minnesota Press, 1999.
Shaughnessy, Nicola. Applying Performance: Live Art, Socially Engaged Theatre and
Affective Practice. Houndsmill, Basingstoke, Hampshire: Palgrave Macmillan, 2012, 2015.
Print.
Schneider, Rebecca. The Explicit Body in Performance. London and New York, Routledge,
1997. Print.
Turner, Victor, The Ritual Process: Structure and Anti-Structure. London: Routledge and
Paul K., 1969. Print.
- Dramas, Fields and Metaphors: Symbolic Action in Human Society. Ithaca: Cornell
University Press, 1974. Print.
Young, Harvey. Theatre & Race. London: Macmillan Education, 2013. Print.
**
DT4104 Contemporary Irish Theatre 2019/2020
Lecturers: Finian O'Gorman, Patrick Lonergan
Time: Mon, 11-12 Studio 1 & Tuesday, 3-4 CR1
Course Description
13This course introduces students to the major figures and ideas in Irish drama from the Celtic
Tiger period to the present. It places a particular emphasis on texts, practitioners and
practices that ran counter to established traditions, narratives, and methodologies. Focusing
on both theoretical and practical approaches to the texts and methodologies under discussion,
the course not only equip students to understand the present of Irish theatre, but to play an
active role in shaping its future. Each week, we will carry out a workshop on the Monday,
putting into practice some of the techniques we have studied. On the Tuesday, students will
each week give a presentation on selected Irish theatre companies, and we will discuss one
relevant play text.
Learning Outcomes
• Students will gain a deeper understanding of contemporary texts, practitioners,
and dramaturgical approaches in Irish theatre.
• Students will extend their knowledge of the range of research methodologies
and theoretical approaches to contemporary dramatic texts.
• Students will improve their knowledge of the performance conventions
associated with the texts under consideration through practical workshops.
Required Reading
Thomas Conway, That Was Us: The Oberon Anthology of Contemporary Irish Plays
(Oberon)
Patrick Lonergan, Contemporary Irish Plays (Methuen Drama)
Other plays available on Drama Online or other online sources.
Assessment
In-Class Presentation: (20%)
Final Performance: (20%)
Final Essay: 1250 words (60%)
Schedule
Week 1 (Mon 9 Sep)
Mon: Introduction to course and module (PL/FOG)
Tue: Corn Exchange/ Reading - Michael West, Dublin by Lamplight (2004) (FOG)
Week 2 (Mon 16 Sep)
Mon: Dublin by Lamplight workshop. (FOG)
Tue: Presentation: Fishamble/ Reading - Pat Kinevane Forgotten (PL)
Week 3 (Mon 23 Sep)
Mon: Forgotten workshop (PL)
Tue: Presentation TheatreClub / Reading - Grace Dyas, Heroin (2010) discussion. (FOG)
Week 4 (Mon 30 Sep)
Mon: Heroin workshop. (FOG)
Tue: Presentation: Rough Magic/ Reading - Sonya Kelly How to Keep an Alien (PL)
14Week 5 (Mon 7 Oct)
Mon: Rough Magic workshop (PL)
Tue: Presentation: Dublin Fringe/ Reading - Amy Conroy, I (heart) Alice (heart) I (2010)
(FOG)
Week 6 (Mon 14 Oct)
Mon: I (heart) Alice (heart) workshop. (FOG)
Tue: Presentation: Abbey Theatre. Reading - John Ajvide Lindqvist, Let the Right One
In (2017) (FOG)
Week 7 (Mon 21 Oct)
Mon: Let the Right One In workshop. (FOG)
Tue: Presentation: Tinderbox/ Reading - Planet Belfast (PL)
Week 8 (Mon 28 Oct*)
Mon: Bank Holiday: no class.*
Tue: Presentation: Pan Pan / Reading – Gina Moxley The Crumb Trail (PL)
Week 9: (Mon 4 Nov)
Mon: Postdramatic performance workshop (PL)
Tue: Presentation: Druid/ Reading – The Walworth Farce (FOG)
Week 10 (Mon 11 Nov)
Mon: Druid workshop (PL)
Tue: Anu Productions / Reading – The Boys of Foley Street (PL)
Week 11 (Mon 18 Nov)
Mon: Final projects preparation (PL)
Tue: Final projects preparation (FOG)
Week 12 (Mon 25 Nov)
Mon: Final performance (FOG/PL)
Tues: No class
Reading List
Ball, Philip. “Two Sharp Teeth.” London Review of Books, 40, no.20, 25 October 2018,
pp.31-32.
Bruh, Jordan, Anne Gjelsvik and Henriette Thune. “Parallel worlds of possible meetings in
Let the Right One In.” Word & Image, 27, no.1, 2011, pp.2-14.
Clancy, Luke. “Annie Ryan and Michael West in Conversation with Luke Clancy .” Theatre
Talk: Voices of Irish Theatre Practitioners, edited by Lillian Chambers , Carysfort Press,
2001, pp. 424–431.
Dyas, Grace. Heroin. The Oberon Anthology of Contemporary Irish Plays, edited by Thomas
Conway, Oberon Books Ltd, 2013, pp. 14-45.
15Greenstreet, Hannah. “Narrative dysfunction in The Walworth Farce by Enda Walsh and On
Raftery’s Hill by Marina Carr.” Sudies in Theatre and Performance, 38, no.1, 2018, pp.78-
90.
Grene , Nicholas. “The Physical and Verbal Theatre of Michael West .” Perspectives on
Contemporary Irish Theatre , edited by Anne Etienne and Thierry Dubost, Palgrave
Macmillan, 2017, pp. 91–98.
Haughton, Miriam, Staging Trauma. London: Palgrave, 2018.
Holmgren Troy, M. “Dealing with the Uncanny?: Cultural Adaptation in Matt Reeve’s
Vampire Movie Let Me In. American Studies in Scandinavian, 48, no.1, 2016, pp.25-41.
Jordan, Eamonn. “Stuff from Back Home.” Ilha do Desterro, 58, Jan/Jun 2010, pp.333-356.
Kelly, Sonya. How to Keep an Alien: A Story about falling in Love and Proving it to the
Government. Bloomsbury Publishing, 2015.
Kinevane, Pat. Silent and Forgotten. Methuen Drama, 2015.
Lonergan, Patrick, editor. Contemporary Irish Plays. London : Bloomsbury, 2015.
---. The Theatre and Films of Martin McDonagh. Methuen Drama, 2012.
--- Irish Drama and Theatre Since 1950. London: Bloomsbury, 2019.
Martin, Carol. Dramaturgy of the Real on the World Stage, Palgrave MacMillan, 2010.
McDonagh, Martin. The Cripple of Inishmaan. London : Methuen Drama, 1997.
McIvor, Charlotte, and Matthew J Spangler. Staging Intercultural Ireland : New Plays and
Practitioner Perspectives. Cork : Cork University Press, 2014.
Merriman , Vic. “Decolonisation Postponed: The Theatre of Tiger Trash.” Irish University
Review, 29, no. 2, 1999, pp. 305–317. JSTOR.
Pilny, Ondrej. “The grotesque in the plays of Enda Walsh.” Irish Studies Review, 21, no.2,
2013, pp.217-225.
Thorne, Jack, and John Ajvide Lindqvist. Let the Right One In. London : Bloomsbury, 2015.
Walsh, Enda. The Walworth Farce. London : Bloomsbury, 2015.
Walsh, Fintan. Queer Performance and Contemporary Ireland, Palgrave MacMillan, 2016.
Walsh, Ian and Mary Caulfield, The Theatre of Enda Walsh. Dublin: Carysfort Press, 2016.
West , Michael. Dublin by Lamplight . Methuen Drama , 2005.
West , Michael. “The Art of Perspective .” That Was Us: Contemporary Irish Theatre and
Performance , edited by Fintan Walsh , Oberon Books, 2013, pp. 173–180.
Wright, Rochelle. “Vampire in the Stockholm Suburbs: Let the Right One In and genre
hybridity.” Journal of Scandinavian Cinema, 1, no.1, 2010, pp.55-70. JSTOR.
16SEMESTER TWO
DT4107: Practice-based Research Project
Teaching Team: Ian R. Walsh (IW), Charlotte McIvor (CMcI)
Time: Wednesday 4-5, Thursday 3-5 Venue: Studio 2
Other spaces available: Weds: BOI & CR1
Thurs: Studio 1, Studio 3, BOI.
Course Description
In this module students will draw together the knowledge, skills and experience they have
gathered in the previous three years of study to develop and present an independent practice-
based research project. Each student will formulate a research question that they will develop
through scholarly research and practical tasks. They will present their ideas and process
within a series of iterations of practice culminating in a fully realised presentation. After the
final presentation students will write up their project as a research case study. The process
will also be documented through short assessed written critical reflections.
Learning Outcomes:
1. Develop and complete an independent research project.
2. Test theoretical ideas through practice.
3. Create a new practice piece that can be used as the basis for future activities.
4. Evaluate research and practice through critical reflection.
5. Learn to work independently as a research scholar.
6. Apply acquired analytical and performance skills.
Assessment:
Critical Reflection Worksheets 20% (4 x 5%)
Research Proposal Presentation 20%
Research Project 60% (30% - performance /30% written submission)
- written submission (3,000 words).
Workshop Schedule
Week 1- January 15 and 16:
Wed: Introduction: What is Practice-as-Research? (CMcI)
Thursday: What is PAR? Workshop (IW)
Week 2- January 22 and 23:
Wed: Methodology & Theoretical Frameworks (CMcI)
Thursday: Methodology & Theoretical Frameworks Workshop (CMcI)
Week 3- January 29 and 30:
Wed: Developing your proposal: Requirements of Presentation (IW)
Thus: Developing your proposal & Possible collaborations (IW)
Week 4- February 5 and 6:
Wed: Research Proposal Presentations (CMcI and IW)
Thurs: Research Proposal Presentations (CMcI and IW)
17Week 5- February 12 and 13:
Wed: Research Proposal Presentations (CMcI and IW)
Thursday: Research Proposal Presentations (CMcI and IW)
Week 6- February 19 and 20:
Wed: Planning session 1 (IW)
Thurs: Developing your project through laboratory work 1 (IW)
Week 7- February 26 and 27:
Wed: Planning session 2 (CMcI)
Thurs: Developing your project through laboratory work 2 (CMcI)
Week 8- March 4 and 5:
Wed: Planning session 3 (IW)
Thurs: Developing your project through laboratory work 3 (IW)
Week 9- March 11 and 12:
Wed: Presenting work-in-progress (CMcI)
Thurs: Presenting work-in-progress (CMcI)
Week 10- March 18 and 19:
Wed: Presenting work-in-progress (IW)
Thurs: Presenting work-in-progress (IW)
Week 11- March 25 and 26:
Presentation of Projects (CMcI and IW)
Week 12- April 1 and 2:
Presentation of Projects (CMcI and IW)
Reading List:
Ahmed, Sara. Living a Feminist Life. Durham: Duke University Press, 2017. Print.
Bucknall, Joanne, “The Daisy Chain Model: An Approach to Epistemic Mapping and
Dissemination in Performance-Based Research,” in Annette Arlander, Bruce Barton, Melanie
Dreyer-Lude, and Ben Spatz, eds., Performance as Research: Knowledge, Methods, Impact.
New York: Routledge, 2018, pp. 50-74. Print.
Dolan, Jill. Utopia in Performance: Finding Hope at the Theatre. Ann Arbor: University of
Michigan Press, 2005.
Freeman, John, Blood, Sweat and Theory: Research Through Practice in Performance,
Oxfordshire: Libri Publishing, 2010. Print.
Jones, Joni L. “Performance Ethnography: The Role of Embodiment in Cultural
Authenticity.” Theatre Topics vol. 12, no. 1 (March 2002): 1-15.
18Kershaw, Baz and Nicholson, Helen, Research Methods in Theatre and Performance.
Edinburgh: Edinburgh University Press, 2011. Print.
Kershaw, Baz, “Chapter 1: Performance, Community, Culture,” in The Politics of
Performance: Radical Theatre as Cultural Intervention. Routledge: London and New York:
1992. pp. 1-40. Print.
King, Barnaby. “Close/Clown Encounters with History: From Mimesis to Kinesis in Practice
as Research,” Theatre Topics vol. 23, no. 2 (September 2013): 113-128. Print.
Lerman, Liz. Liz Lerman’s Critical Response Process: A Method for Getting Useful
Feedback on Anything You Make From Dessert to Dance. New York: Liz Lerman Dance
Exchange, 2003.
Nelson, Robin, Practice as Research in the Arts (Basingstoke: Palgrave, 2013) – available
online through Hardiman library website.
Snyder-Young, Dani. Theatre of Good Intentions: Challenges and Hopes for Theatre and
Social Change. Basingstoke: Palgrave, 2013. Print.
------------------------- “Beyond ‘An Aesthetics of Objectivity’: Performance Ethnography,
Performance Texts, and Theatricality,” Qualitative Inquiry vol. 16, no. 10 (2010): 883-893.
Trezise, Bryoni, “Stealth Pedagogies: The Radical Value of Thinking with Performance,”
Theatre Topics, vol. 29, no. 2 (July 2019): 141-151.
Weinstein Adva. “How Working Together Works: A Practitioner’s Manifesto of Collective
Practice,” Theatre Topics vol. 26, no. 2 (July 2016): 155-168.
Secondary and Further Reading
Aston, Elaine. Feminist Theatre Practice: A Handbook. London, New York:
Routledge, 1999. Print and available online at the library.
Brayshaw, Teresa and Witts, Noel. The Twentieth Century Performance Reader. London and
New York: Routledge, 2014. Print.
Etchells, Tim. Certain Fragments: Contemporary Performance and Forced Entertainment.
London, New York: Routledge, 1999. Print.
Gómez-Peña, Guillermo and Sifuentes, Roberto. Exercises for Rebel Artists: Radical
Performance Pedagogy. London and New York: Routledge, 2011. Print.
Goulish, Matthew. 39 Microlectures in Proximity of Performance. London: Routledge, 2000.
Print.
Govan, Emma, Nicholson, Helen, and Normington, Katie. Making A Performance: Devising
Histories and Contemporary Practices. London: Routledge, 2007. Print.
19Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary
Performance. Houndsmill: Palgrave Macmillan, 2013. Print.
Madison, D. Soyini. Critical Ethnography: Method, Ethics, and Performance. Los
Angeles: Sage, 2012. Print.
Martin, Carol. ed. Dramaturgy of the Real on the World Stage. Basingstoke:
Palgrave, 2012. Print.
McIvor, Charlotte and O’Gorman, Siobhán, eds. Devised Performance in Irish Theatre:
Histories and Contemporary Practice. Dublin: Carysfort Press, 2014. Print.
Mermikides, Alex and Smart, Jackie, eds. Devising in Process. Basingstoke: Palgrave
Macmillan, 2010. Print.
Murray, Simon David and Keefe, John, eds. Physical Theatres: A Critical Introduction.
London and New York: Routledge, 2007. Print.
Phillips, Áine ed., Performance Art in Ireland: A History. Bristol: Intellect, 2014. Print.
Postelwait, Thomas. The Cambridge Introduction to Theatre Historiography.
Cambridge: Cambridge University Press, 2009. Print.
Shaughnessy, Nicola. Applying Performance: Live Art, Socially Engaged Theatre
and Affective Practice. Houndsmill, Basingstoke, Hampshire: Palgrave Macmillan,
2012, 2015. Print.
Taylor, Diana. Performance. Durham and London: Duke University Press, 2016.
Print.
**
DT4180: Arts Management
Lecturer: Dr. Máiréad Ní Chróinín
Time and Location: Monday, 11-12pm, ODC G008 (Studio 2), Tuesdays 3-4PM (CR1)
Office Hours: 11.00am - 12.00pm, Thursdays
Office: O’Donoghue Centre for Drama, Theatre and Performance, ODC-G015
E-mail: mairead.nichroinin@nuigalway.ie
Module Description
In order for the emerging or indeed the established theatre-maker to sustain a career doing
and developing what he/she loves there is another skillset required of the artistic practitioner,
that of the entrepreneur or the business person. This module seeks to develop students’
understanding of the context in which art is produced and received and enables them to
acquire skills relevant to working in the creative and arts industries. This module assists
students in developing specific skills and awareness to maximise their ability to meet their
career goals. It has a crucial function, therefore, in developing students’ career prospects and
20in preparing them to engage in the world of work within the creative industries upon
graduating.
Core Reading
Arts Council, Making Great Arts Work: Leading the Development of the Arts in Ireland- Arts
Council Strategy 2016-2025
http://www.artscouncil.ie/uploadedFiles/Making_Great_Art_Work.pdf
Arts Council. 'How to Set an Audience Target'. (Available on Blackboard)
Bogart, Anne. And Then You Act: Making Art in an Unpredictable World, (New York:
Routledge, 2007).
Claire, W. (2012). How to write a CV for the arts. The Guardian. [online] Available at:
https://www.theguardian.com/careers/writing-an-arts-cv [Accessed 3 Aug. 2019]
Dolan, Jill, ‘Rehearsing Democracy: Advocacy, Public Intellectuals, and Civic Engagement
in Theatre and Performance Studies,’ Theatre Topics 11.1 (March 2001): 1-17.
Davies, R. & G. Sigthorsson. (2013). Introducing the Creative Industries. London: Sage.
Edmonds Bannon, F. (n.d.). Tax and Self-Employment – Northern Ireland – Visual Artists
Ireland. [online] Visualartists.ie. Available at: http://visualartists.ie/the-manual-a-survival-
guide-for-visual-artists/the-financial-side/tax-and-self-employment-northern-ireland/
(Accessed 8 Dec. 2017).
ITC Arts. (n.d.). How to set up a Company. [online] Available at: https://www.itc-
arts.org/resources/company-formation-and-charity-status/how-to-set-up-a-company
(Accessed 8 Dec. 2018).
Ravi, Jain. 'Collaborative Producing', Canadian Theatre Review, Volume 163, Summer 2015,
pp. 39-43
Simonet, Andrew. Making Your Life as an Artist. Available on Blackboard. (Also available
to download at artistsu.org.)
Seabright, James, So You Want to be a Theatre Producer? London: Nick Hern, 2010. Print
Tax and self-employment for artists in Ireland: https://visualartists.ie/the-manual/tax-and-
self-employment/
The Guardian, (2016). Top tips for early career artists. [online] Available at:
https://www.theguardian.com/culture-professionals-network/2016/feb/23/top-tips-early-
career-artists-sky-academy-arts (Accessed 3 Aug. 2019)
The Guardian, (2016). Arts fundraising: a job not just for fundraisers. [online] Available at:
https://www.theguardian.com/culture-professionals-network/2016/feb/25/arts-fundraising-
industry-tips-pitching-ethics (Accessed 3rd August 2019).
21The Guardian, (2016). Business plans: tips for arts, culture and the creative industries.
[online] Available at: https://www.theguardian.com/culture-professionals-
network/2015/may/29/business-plan-tips-arts-creative-industries (Accessed 8 Dec. 2018).
Tomka, Goran (2016). Audience Explorations: Guidebook for Hopefully Seeking an
Audience. Brussels: IETM. (Available on Blackboard).
Assessment
Coursework 1: Personal Development Plan and Online Professional Archive (30%)
Students will develop a 3 year personal development plan, including a self-care plan and
online professional archive (including CV, website, artistic statement).
Due date: 22 February 2019, 11.59pm
Must include:
• Personal mission statement
• Skills analysis and development plan
• Identifying areas for artistic, creative and business development and documenting
actions in these areas.
• Examples of at least three artist development grants or programmes that you could
apply for in your area of expertise or interest in Ireland or abroad
• Self-care plan
• Online Professional Archive (Artistic CV, website, Artists Statement and biography)
Coursework 2: Funding Pitch and Application (40%)
Students will prepare and deliver a presentation/ pitch aimed at obtaining funding from an
appropriate funding source.
The presentation will cover the following:
• A manifesto for the company, including objectives and mission
• A brief analysis of the operational context making reference to comparable
organisations and events.
• A summary of key personnel, their roles and the tasks they will undertake/skills
they bring.
• A description of the company’s first project
• An outline of the projected sources of income and budget.
• A project schedule outlining key deadlines in respect of key project tasks.
• An overview of the target audience and summary of the marketing plan.
• An overview of how the project will be monitored and evaluated.
You will submit a completed grant application form and supporting material. This
Assessment can be completed as part of a group. However, group size is restricted to those
working together on the research project. If submitting in a group member each member of
the group is required to include a 250 word Personal Contribution statement to clarify his/her
role in developing the plan and the project. Project plan and all supporting materials
22(including 250 word personal contribution if applicable) to be uploaded as a single PDF file
to Turnitin on Blackboard by the final day of class.
Coursework 3 – Critical Reflection Essay 30% (2,000 word)
Students will examine one aspect of Arts Management that interests them and engage in
critical analysis of same and how it might be useful to the student as a contemporary artist,
using a minimum of 7 academic citations.
All assignments will be submitted via Blackboard and should be uploaded as a .doc or .docx.
Learning Outcomes
By the end of this module the student will be able to:
• Initiate and manage Arts Projects, identifying and developing potential funds.
• Apply knowledge of the management process to developing a viable project, in
successfully taking an innovative idea from concept to production.
• Demonstrate detailed knowledge and application of relevant management systems in
an arts organisation.
• Reflect effectively on his or her own position within the creative and cultural
industries and plan for the upcoming 5 years.
• Reflect upon opportunities for entrepreneurial practice.
• Demonstrate innovative thinking and creativity skills through the formulation of a
business proposal.
• Discuss the components of a new venture/project plan and aspects of the planning
process.
Class Schedule
Week No. Date Description & Readings
1 13/01/20 Irish Theatre and Performance: An Overview of the Industry
How to start thinking of yourself as employable and an employee.
Defining job titles and sectors of work in the theatre and arts field
To read before class:
Jill Dolan, ‘Rehearsing Democracy: Advocacy, Public Intellectuals,
and Civic Engagement in Theatre and Performance Studies,’ Theatre
Topics 11.1 (March 2001): 1-17.
To Do:
• For next week’s class, provide the links to three theatre
artists websites that you find particularly relevant or
attractive, preferably both.
23• Document your online presence. What platforms are you on
and how do you use them?
• What would you put in a Wordpress about yourself? Create
a mind map for class next week. What are your passions?
Outline and begin the process.
2 20/01/20 What is the role in society of the Arts and the Artist?
Examining the articulation of the role of the artist, the arts by policy
makers such as the Arts Council in Ireland.
Examining the difference between the artist and the reflective
practitioner.
Beginning the journey.
To Read:
Arts Council, Making Great Arts Work: Leading the Development of
the Arts in Ireland- Arts Council Strategy 2016-2025
http://www.artscouncil.ie/uploadedFiles/Making_Great_Art_Work.p
df
Davies, R. & G. Sigthorsson. (2013), Chapter 3. Introducing the
Creative Industries. London: Sage, pp. 92-120.
To Do:
• What would you put in a Wordpress about yourself? Create
a mind map for class next week. What are your passions?
Outline and begin the process.
• Bring a copy of your CV to class next week.
3 27/01/20 CV/Resume. Peer to peer feedback.
Turning your passions into projects.
Using language as a tool in your creative arsenal. Describing your
work conceptually.
How can a blog help as an online repository of your practice and
work?
To Read:
Simonet, Andrew. 'Mission', in Making Your Life as an Artist.
Available on Blackboard. (Also available to download at
artistsu.org.)
The Guardian, (2016). Top tips for early career artists. [online]
Available at: https://www.theguardian.com/culture-professionals-
network/2016/feb/23/top-tips-early-career-artists-sky-academy-arts
(Accessed 8 Dec. 2018)
24Claire, W. (2012). How to write a CV for the arts. The Guardian.
[online] Available at: https://www.theguardian.com/careers/writing-
an-arts-cv [Accessed 8 Dec. 2018]
To Do:
• Continue to add to your online presence.
• Bring in copy of your Artists Statement and Bio to class next
week.
• Watch 3 interviews from Producers on Digital Theatre + and
write a paragraph on how you could integrate this learning
into your own practice.
• https://www-digitaltheatreplus-
com.libgate.library.nuigalway.ie/education/searching?form_i
d=views_exposed_form
4 03/02/20 Career Planning.
1. Networking.
2. Structuring your Three Year Plan.
To Read:
Simonet, Andrew. 'Planning', in Making Your Life as an Artist.
Available on Blackboard. (Also available to download at
artistsu.org.)
To Do:
Mid-term Assignment
Write a three-year career plan for yourself post-graduation; what do
you hope to achieve? What does a good life and a good career
looking like for you (connected, but not necessarily the same thing)?
What are the practical concerns you need to take into consideration?
What training might you need? What are the key timelines for
achieving your goals?
A : Submit via Blackboard a revised version of your CV/Resume,
Artists Statement, Bio and Cover Letter as a .doc or .docx
B: Submit via Blackboard a Three-Year Development Plan on
Blackboard as a .doc or .docx.
5 10/02/20 How does funding work in Ireland? What gets funded?
The Theatre-maker as Creative Producer and curator of the audience
experience.
The creation and curation of artistic projects.
Collaborators and the creative team.
To Read:
25The Guardian, (2016). Arts fundraising: a job not just for
fundraisers. [online] Available at:
https://www.theguardian.com/culture-professionals-
network/2016/feb/25/arts-fundraising-industry-tips-pitching-ethics
(Accessed 3rd August 2019).
http://www.artscouncil.ie/uploadedFiles/wwwartscouncilie/Content/
Funding/Making-Great-Art-Work-Funding-Framework-2018–
2020.pdf
To Do:
Select a funding body that you might aim your project at. Research
them thoroughly; what kind of funding do they offer? What kind of
application form and funding materials do they require? Who have
they funded in the last 2-3 years?
And
Examine the Arts Council Theatre Project Award. Refer to the Arts
Council website on recently funded projects. Do you notice anything
about what kind on the kind of projects get supported?
http://www.artscouncil.ie/funding-
decisions/?&Fund=Project%20awards&Year=2017#search
6 17/02/20 Reading week - no class
7 24/02/20 Company Structures
How to set one up.
To Read:
Davies, R. & G. Sigthorsson. (2013), Chapter 4. Introducing the
Creative Industries. London: Sage, pp. 45-68.
ITC Arts. (n.d.). How to set up a Company. [online] Available at:
https://www.itc-arts.org/resources/company-formation-and-charity-
status/how-to-set-up-a-company (Accessed 8 Dec. 2018).
The Guardian, (2016). Business plans: tips for arts, culture and the
creative industries. [online] Available at:
https://www.theguardian.com/culture-professionals-
network/2015/may/29/business-plan-tips-arts-creative-industries
(Accessed 8 Dec. 2018).
To Do:
Research a theatre company whose work you enjoy. When were they
founded, and by whom? What is their manifesto? What kind of work
have they produced over the past 2-3 years? Who are the key
directors or managers?
8 02/03/20 Finance & Time Management 1:
26Project Budgets: How to read a budget – the budget as storyteller
Time management in group working - agendas, schedules, minutes
To Read:
Sample budget from Theatre Project Award. Uploaded to
Blackboard by the lecturer
Edfringe.com.(n.d.).Finances|EdinburghFestivalFringe.[online]Avail
able at: https://www.edfringe.com/participants/planning-your-
show/finances .
Edfringe.com.(n.d.).Samplebudgets|EdinburghFestivalFringe.[online
] Available at: https://www.edfringe.com/participants/planning-your-
show/sample-budgets.
To Do:
Choose a production (ideally, a production that you have worked on)
that you could hypothetically produce. Use the sample budgets page
to decide what kind of a venue/show best suits your offering. Use the
Fringe Budget Tool template on the Finances page to create a budget
for your show. Upload this to Blackboard (or email it to me) by 9am
Monday morning. Transfer this into an Arts Council application
form.
9 09/03/20 Finance & Time Management 2:
Finance and time management as an individual artist
Tax, Social Welfare, pensions, etc.
Continue with Project work.
To Read:
Simonet, Andrew. 'Money' and 'Time', in Making Your Life as an
Artist. Available on Blackboard. (Also available to download at
artistsu.org.)
Edmonds Bannon, F. (n.d.). Tax and Self-Employment – Northern
Ireland – Visual Artists Ireland. [online] Visualartists.ie. Available
at: http://visualartists.ie/the-manual-a-survival-guide-for-visual-
artists/the-financial-side/tax-and-self-employment-northern-ireland/
[Accessed 8 Dec. 2018].
To Do:
Write down 10 points you want to build into your three-year plan
regarding financial and time management, as an individual artist /
arts worker
Prepare group pitch for Project Award (see next week)
2710 16/03/20 Verbal Group Pitch for Project Award. Peer and instructor feedback.
In addition to bringing in a draft of your application (does not have
to be completed), you will perform an in-class verbal pitch for
Funding Application at the next class.
You must prepare a five minute or less verbal pitch that makes a case
for
1.) Why you are trialing the funding application you are work with
in terms of your suitability and
2.) How your work serves the aims of the grant, programme or
festival, etc.
To Read:
Seabright, James, So You Want to be a Theatre Producer? London:
Nick Hern, 2010.
Ravi, Jain. 'Collaborative Producing', Canadian Theatre Review,
Volume 163, Summer 2015, pp. 39-43
11 23/03/20 Art and Audiences
The focus on audience development and engagement in policy - pros
and cons
Identifying an audience and methods of reaching them
Which comes first, the audience or the art?
To Read:
Arts Council. 'How to Set an Audience Target'. (Available on
Blackboard)
Tomka, Goran (2016). Audience Explorations: Guidebook for
Hopefully Seeking an Audience. Brussels: IETM. (Available on
Blackboard).
To Do:
Complete the Arts Council Project Funding Application Form,
Budget Form and Detailed budget, based on presentation of previous
week. Write 250 description of role in presentation. Upload to
Blackboard.
12 30/03/20 Discussion on Essay
Module Review focusing on Self Management & Artistic Project
Management
To Do:
Submit the Critical Reflection Essay to Blackboard
28Evaluation Form and Questions
Secondary and Further Reading
Banks, M., Gill, R., & Taylor, S. (Eds.). (2014). Theorizing Cultural Work: Labour,
Continuity and
Change in the Cultural and Creative Industries. Routledge.
Belfiore, E., & Bennett, O. (2008). The social impact of the arts: An intellectual history.
Palgrave
Macmillan
Bilton, C., & Cummings, S. (2014).Handbook of management and creativity. Edward Elgar
Publishing.
Bell, D., & Oakley, K. (2014). Cultural policy. Routledge.
Bok, Samantha (2018). 'New Voices: Gender-proofing cultural institutions: a case study on
Project Arts Centre', in Irish Journal of Arts Management and Cultural Policy. Online at:
https://irishjournalamcp.files.wordpress.com/2019/03/5-samantha-bok.pdf
Department of Arts, Heritage, Regional, Rural and Gaeltacht Affairs (2016). Culture 2025:
Cultúr Ildánach: A Framework Policy to 2025. (Policy document).
Florida, Richard L. The Rise of the Creative Class: And How It’s Transforming Work,
Leisure, Community and Everyday Life. New York: Basic Books, 2004. Print.
Hewson, Robert (2014). Cultural Capital: The Rise and Fall of Creative Britain (Robert
Hewison: Verso Books)
McGuigan, J., (2016). Neoliberal Culture. Springer. McRobbie, A., 2016.
McRobbie, A., (2016). Be creative: Making a living in the new culture industries. John Wiley
& Sons.
O'Brien, D. (2013).Cultural policy: Management, value and modernity in the creative
industries.
Routledge.
Rush, Kayla (2018). 'Policy Review: Creative Ireland', in Irish Journal of Arts Management
and Cultural Policy. Online at: https://irishjournalamcp.files.wordpress.com/2019/03/3-
kayla-rush-policy-review-1.pdf
Throsby, C. D. The Economics of Cultural Policy. Cambridge: Cambridge University Press,
2010
Varbanova, L. (2013) Strategic Management in the Arts. Routledge.
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