This subject explores the role of the director in narrative drama. Introductory seminars, in-class and out-of-class exercises, and practical workshops are designed to develop students' skills as drama directors. Through a focus on visual storytelling, performance and script analysis, the subject explores techniques to elicit performance and determine visual style and coverage relevant to dramatic scenes.
By the end of the subject students should be able to:
The subject contributes to a student's ability to:
The subject will be conducted as weekly seminars throughout the semester. There will be lectures, seminar discussions and screenings. Students participate in class exercises and out of class group production work.
The subject concentrates on:
Other content areas include:
All items of assessment must be successfully completed.
Objectives | a, b, c, d |
Value | 10% |
Due | Week 4 & 5 |
Task | In groups of 4, using the tools of script analysis and methods of directing actors explored in class, students direct and present a drama scene. |
Assessment criteria |
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Objectives | a, b, c, d |
Value | 20% |
Due | Week 7 |
Task | Focusing on performance, students direct a short dramatic scene provided by the lecturer. Students to work in groups of 4 and rotate crew roles. |
Assessment criteria |
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Objectives | a, b, c |
Value | 15% |
Due | Week 8 |
Task | Each student presents in class their directorial vision and pre-production work for the video exercise 2. |
Assessment criteria |
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Objectives | a, b, c, d |
Value | 35% |
Due | Week 13 |
Task | Students direct a short dramatic scene provided by the lecturer. Students to work in groups of 4 and rotate crew roles. |
Assessment criteria |
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Objectives | a, b, d |
Value | 20% |
Due | From Week 10 and according to a schedule worked out in Week 3 class. |
Task | In groups of 4 or 5 students will prepare and present in class an in-depth analysis of the work of a director. |
Assessment criteria |
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Students are expected to read the subject outline to ensure they are familiar with the subject requirements. Since class discussion and participation in activities form an integral part of this subject, you are expected to attend, arrive punctually and actively participate in classes. If you experience difficulties meeting this requirement, please contact your lecturer. Students who have a reason for extended absence (e.g., illness) may be required to complete additional work to ensure they achieve the subject objectives.
Attendance is particularly important in this subject because it is based on a collaborative approach which involves essential workshopping and interchange of ideas. Students who attend fewer than ten classes are advised that their final work will not be assessed and that they are likely to fail the subject.
There is no set text for this subject but articles may be handed out that are to be read during the week and discussed at the following class.
Adler, Stella The technique of Acting, Bantam Books, 1998
Bergman Ingmar, Images, Arcade publishing, 1994
Chekhov, Michael To the Actor, Harper and Row, New York 1953.
Katz, Steven Shot by Shot Film Directing: Visualising from Concept to Screen. Michael Wiese productions, 1991
Katz, Steven Film Directing: Cinematic Motion Michael Wiese productions, Michigan 1997
Lumet, Sydney Making Movies Alfred A. Knopf, 1995
Mamet, David On Directing Film. Faber & Faber, London 1991
Murch, Walter In The Blink of an Eye AFTRS, Sydney, 1992
Rabiger, Michael Directing:Film Techniques and Aesthetics 2nd Ed Focal Press, Boston, 1997
Reich, Wilhelm, Character Analysis, Touchstone, 1945
Stanislavski, Constantin, An Actor Prepares, Theatre Art Books, 1948
Tarkovsky, Andrei Sculpting in Time, University of Texas Press, Austin, 1986
Weston, Judith Directing Actors, Michael Weise Productions, Michigan 1996.