Overview
The study of the actor's processes through an investigation of Stanislavsky's system for actors and its subsequent developments.
This popular and enjoyable paper looks at a range of Western actor training methods. Classes are taught as practical workshops, and you will have the opportunity to put the ideas you learn into practice in a performed scene study and a monologue.
About this paper
| Paper title | The Actor |
|---|---|
| Subject | Theatre Studies |
| EFTS | 0.15 |
| Points | 18 points |
| Teaching period | Semester 2 (On campus) |
| Domestic Tuition Fees ( NZD ) | $1,141.35 |
| International Tuition Fees | Tuition Fees for international students are elsewhere on this website. |
- Prerequisite
- THEA 102 or 151
- Restriction
- THEA 212
- Schedule C
- Arts and Music
- Contact
- More information link
View more information on the School of Performing Arts website
- Teaching staff
Paper Co-ordinator: Associate Professor Hilary Halba
- Paper Structure
Teaching is done in weekly laboratory workshops, and assessment includes written and verbal analysis as well as performances.
- Textbooks
- Readings for this paper will be drawn from a variety of textbooks. Your lecturer will give you a list of required readings at the commencement of the paper.
- Course outline
Please contact the School of Performing Arts office (spa@otago.ac.nz) for a copy of the most recent paper profile.
- Graduate Attributes Emphasised
- Global perspective, Lifelong learning, Communication, Critical thinking, Information literacy, Research, Self-motivation, Teamwork.
View more information about Otago's graduate attributes. - Learning Outcomes
Students who successfully complete the paper will be able to:
- Identify actor training methods from significant Western practitioner-theorists
- Perform a scripted scene and a monologue employing central principles of those practitioner-theorists
- Comparatively analyse differences between approaches of selected acting practitioner-theorists
- Write reflectively about the development of certain script-based actor training techniques
Timetable
Overview
The study of the actor's processes through an investigation of Stanislavsky's system for actors and its subsequent developments.
This popular and enjoyable paper looks at a range of Western actor training methods. Classes are taught as practical workshops, and you will have the opportunity to put the ideas you learn into practice in a performed scene study and a monologue.
About this paper
| Paper title | The Actor |
|---|---|
| Subject | Theatre Studies |
| EFTS | 0.15 |
| Points | 18 points |
| Teaching period | Semester 1 (On campus) |
| Domestic Tuition Fees ( NZD ) | $1,173.30 |
| International Tuition Fees | Tuition Fees for international students are elsewhere on this website. |
- Prerequisite
- THEA 102 or 151
- Restriction
- THEA 212
- Schedule C
- Arts and Music
- Contact
- More information link
View more information on the School of Performing Arts website
- Teaching staff
Paper Co-ordinator: Associate Professor Hilary Halba
- Paper Structure
Teaching is done in weekly laboratory workshops, and assessment includes written and verbal analysis as well as performances.
- Textbooks
- Readings for this paper will be drawn from a variety of textbooks. Your lecturer will give you a list of required readings at the commencement of the paper.
- Course outline
Please contact the School of Performing Arts office (spa@otago.ac.nz) for a copy of the most recent paper profile.
- Graduate Attributes Emphasised
- Global perspective, Lifelong learning, Communication, Critical thinking, Information literacy, Research, Self-motivation, Teamwork.
View more information about Otago's graduate attributes. - Learning Outcomes
Students who successfully complete the paper will be able to:
- Identify actor training methods from significant Western practitioner-theorists
- Perform a scripted scene and a monologue employing central principles of those practitioner-theorists
- Comparatively analyse differences between approaches of selected acting practitioner-theorists
- Write reflectively about the development of certain script-based actor training techniques