CenLral SalnL MarLlns

8A (Pons) erformance ueslgn & racLlce 2012/2013

SLage 2
Un|t 7
!"#$#%&'()*#+,#+-(.










Barbara Kruger 2010:
Whitney On Site series at the Whitney Museum of American Art. Bold statements and
words in vinyl are exhibited on the pavement and on top of buildings. Much of the concept of
this commissioned work reveals Krugers personality and also gives an answer to the
conversion of artistic avenues across an area in NYC that was primarily known for
meatpacking.
http:]]hypebeast.com]2010]09]wh|tney-on-s|te-barbara-kruger]

2




Contents

Cvervlew age 3

Alms and ob[ecLlves, 1eachlng and Learnlng age 3

Learnlng ouLcomes & Marklng CrlLerla and AssessmenL Lvldence age 6

Submlsslon of Work and AssessmenL age 7

1lmellne of Lhe unlL age 8

LssenLlal SLudy MaLerlal age 9

8ecommended SLudy MaLerlal age 10

LC's & 8lsk AssessmenL age 12

Self LvaluaLlon lorm age 13





Dates, dead||nes and tutors:

Durat|on of the un|t: 7 !anuary 2013 - 3 !une 2013
8r|ef|ng 1: 1ues 4 uecember 2012, 8r|ef|ng 2: 7 !anuary 2013
Draft /0"1(2(34&-5(60%745+$ subm|ss|on: lrlday 13 March 2013, 10.30am
IINAL /0"1(2(34&-5(60%745+$(subm|ss|on: lrlday 31 May 2013, 10.30am
ract|ca| work Subm|ss|on (ke|at|ng to your cr|t|ca| th|nk|ng): Wed 3 !une 2013 10am

Un|t coord|nat|ng tutor: eLer 8ond
eer group tutors: eLer 8ond, uermoL Payes, Selma ulmlLrl[evlc, lred Meller




3
Cverv|ew and 1ask:

ln Lhls unlL you explore dlfferenL research approaches and meLhods, applylng Lhem
Lo your own worklng pracLlces. 1he Lheory elemenL mlghL be boLh lnformed by and
supporL your developlng pracLlce or, equally, pracLlce mlghL lnform and develop
your LheoreLlcal Lhlnklng. ?ou produce a !"#$%&%'()*+%,"-.(+/0 (formally
referenced and lncludlng a blbllography) LhaL descrlbes and explores Lhe crlLlcal
framework of your pracLlce. 1he unlL supporLs you ln presenLlng a clear approach Lo
your lndlvldual pracLlce wlLh a vlew Lo your planned course of sLudy ln SLage 3 of Lhe
course, preparlng ln parLlcular for unlL 9.

?ou wlll begln by looklng for LheoreLlcal and crlLlcal concerns LhaL lead Lo forms of
pracLlce or begln by developlng forms of pracLlce LhaL wlll lead Lo enqulry lnLo
LheoreLlcal and crlLlcal concerns.

?ou wlll selecL one area of worklng from a serles of quesLlons and polemlcs
concerned wlLh performance and LheaLre pracLlce (see page 4). 1he ldea ls LhaL you
use one of Lhese as a sLarLlng polnL Lo develop work. ?ou are advlsed Lo fully
negoLlaLe, revlse and adapL your chosen Loplc and worklng meLhodology wlLh your
LuLor aL Lhe LuLorlal meeLlngs. 1he ldea of Lhese quesLlons/polemlcs ls Lo help you
dlrecL your personal lnLeresLs and Lo ldenLlfy ways of worklng.

keep conLexLual sLudy and pracLlce as a parallel concern. 8eflecL ln, on and for
pracLlce Lhrough Lhe sLudy of conLexLs and Lhe evaluaLlon of experlmenLs.
1hroughouL Lhe process of u7 always cross-reference your pro[ecL work wlLh Lhls
brlef.

As parL of Lhe developmenL of your pro[ecL you wlll need Lo produce a urafL%!"#$%&%
1()*+%,"-.(+/0%2.3('44'"/%of beLween 1,300 and 2,000 words. WlLh Lhe llnal
!"#$%&%1()*+ uocumenL you also need Lo show a porLfollo of pracLlcal work LhaL
supporLs your enqulry. 1hls ls by submlsslon only (l.e. you do noL presenL lL ln
person) on Wed 3 !une 2013.

1he pracLlcal work LhaL you do ln Lhls unlL wlll relaLe Lo Lhe way you develop your
own pracLlce lndependenLly elLher as a progresslon from prevlous works or wlLh a
vlew Lo fuLure work. 1he pracLlcal work wlll supporL your conLexLual enqulry and
may lnclude proLoLypes, experlmenLs, roughs, Lrlal and error eLc. 1he pracLlcal work
does noL necessarlly mean LhaL you need Lo presenL compleLe and flnlshed forms.

D|g|ta| formats
1hls may lnclude presenLaLlon packages such as 'rezl' or 'owerolnL', uvu,
lnLeracLlve webllnks and so forLh. lease dlscuss Lhls wlLh your LuLor. 1he mosL
lmporLanL aspecL Lo Lhls ls LhaL Lhe assessors can access Lhe formaL LhaL Lhe work ls
ln. lor example make sure LhaL Lhe collage has Lhe correcL equlpmenL Lo vlew such
works.
4
Choose one of the fo||ow|ng quest|ons]po|em|cs as a
start|ng po|nt to deve|op a contextua| and pract|ca|
enqu|ry.

1hls work should be focused upon a deep personal vlslon of a form of conLemporary
performance and pracLlce work or works. 1hls pracLlce musL be LesLed and argued
and Lhe quesLlons lnformed by research and analysls.
lf you cannoL declde whlch lnvesLlgaLlon Lo pursue do all of Lhem wlLhln a sLrlcL
perlod of Llme and leL Lhls lnform your declslon. 8ecord and dlscuss Lhls declslon
maklng process.


1) AL whaL polnL does Lhe auLoblographlcal ln performance deslgn and pracLlce
become relevanL Lo an audlence. Pow can a personal approach Lo work be LesLed
for efflcacy?

2) !ean 8audrlllard malnLalned LhaL reallLy does noL exlsL, LhaL socleLy exlsLs ln
'codes' and LhaL as soon as anoLher seL of slgns comes along a dlfferenL LruLh
appears. 1herefore, accordlng Lo 8audrlllard, a reallLy ls only deflned by someLhlng
LhaL lL ls noL.
Pow mlghL Lhls have an effecL on your pracLlce?

3) WhaL are Lhe problems ln communlcaLlng an ldea for a Llme based proposlLlon.
WhaL may be an approprlaLe form of modellng ldeas for performance and whaL
precedenLs do we have for Lhls? lor example worklng wlLh scale, pro[ecLlon,
drawlng, sample and so forLh.

4) Arguably one of Lhe prlnclple elemenLs of performance ls Lhe faclllLy Lo porLray
change ln respecL of place, oplnlon, geography, hlsLory and so forLh. WhaL mlghL be
Lhe pracLlcal and soclo-pollLlcal lmpllcaLlons of Lhls?

S) ln maklng a llve performance whaL meLhodologles does one use and how can one
malnLaln a susLalned and conslsLenL enqulry wlLh Lechnlques of experlmenLaLlon,
Lrlal and error, fallure and mlsLakes?

6) ls lmmerslve LheaLre Lhe anLl-Lhesls of Lhe 8rechLlan noLlon of allenaLlon? Pow
mlghL a producLlon LhaL lnvolves an lmmerslve experlence hold a crlLlcal value Lo an
'audlence' ln Lerms of conLemporary pollLlcs and culLure?

7) Pow can a performance work(s) Lake on a crlLlcal facLor ln socleLy? lor example
leglslaLlon and [urlsdlcLlon seems Lo be sendlng more and more people Lo [all. Pow
can 'play' be used Lo LesL an enqulry lnLo Lhe cause and recLlflcaLlon of crlme from
Lhe boLLom up (so Lo speak).?

8) A Loplc or quesLlon of your cholce.
5
A|m:
1o make Lheory and pracLlce a parallel concern


ou w||| ach|eve th|s a|m by the fo||ow|ng ob[ect|ves:

flndlng and demonsLraLlng meLhods of Lhlnklng crlLlcally abouL your work,

researchlng approaches and meLhods of worklng,

locaLlng and enhanclng your pracLlce alongslde a personal framework of crlLlcal
concerns,

demonsLraLlng Lhe ouLcomes of research Lhrough experlmenLaLlon,

by flndlng ways of worklng LhaL comblnes Lheory and pracLlce Lhrough an
lnvesLlgaLlon of a parLlcular pracLlce or Lheory,

maklng a work or serles of works LhaL explores Lhe crlLlcal framework of your
pracLlce LhaL produces Lheory or acLlvaLes Lheory.


1each|ng and |earn|ng:
1he erformance ueslgn and racLlce 'Core ConLexLual SLudles' and 'Core Skllls'
programmes supporL Lhls unlL LogeLher wlLh 4 group LuLorlals and Lwo personal
LuLorlals (lndlvldual LuLorlal) LhroughouL Lhe pro[ecL. ?our LuLor wlll also glve you
feedback on your drafL !"#$%&%1()*+%,"-.(+/0%submlsslon.
lL ls cruclal LhaL you aLLend each Leachlng sesslon. ln Lhe LuLorlals lL ls expecLed LhaL
you be fully prepared Lo presenL Lhe work ln progress ln Lhe mosL effecLlve way. lor
example ln peer LuLorlals dlsplaylng work so LhaL everyone can vlew lL. Agaln, make
sure you are famlllar wlLh Lhe room LhaL you are presenLlng ln, for example ways ln
whlch Lo place work on Lhe wall, knowlng how Lo operaLe Av sysLems eLc.

key un|t quest|on
Pow does a personal crlLlcal 'framework' locaLe your pracLlce, and how does your
pracLlce lnform your undersLandlng of Lheory?

eer groups
1hese remaln largely Lhe same as your 5/'0%6%7)#0%8 7++#%9#".:4.
?ou can work ln collaboraLlve groups on Lhls unlL.



6
Learn|ng outcomes and mark|ng cr|ter|a:

Cn successful compleLlon of Lhls unlL you wlll:
ldenLlfy, research, analyse and apply an aspecL of hlsLorlcal /conLemporary
culLure Lo Lhe developmenL of your pracLlce ;#+4+)#-<%)/$%)/)=>4'4?@
LesL ldeas as parL of Lhe process of explorlng performance deslgn and pracLlce
concepLs ;+A:+#'(+/0)0'"/?,
employ skllls effecLlvely and efflclenLly ln order Lo communlcaLe ldeas (0+-</'-)=%
-"(:+0+/-+?@
reflecL LhroughouL your worklng processes, upon your currenL pracLlce ln
relaLlon Lo Lheory ;77,?B



Assessment ev|dence:
(
1o evldence your achlevemenL of Lhe learnlng ouLcomes of Lhls unlL, you are
expecLed Lo submlL:
a word and lmage documenL (2,300-3,000 words) Lo lnclude academlc
referenclng and blbllography. 1hls should porLray an aspecL of hlsLorlcal
and conLemporary crlLlcal pracLlce ln relaLlon Lo your lndlvldual currenL
pracLlce. ?ou musL provlde an elecLronlc and hard copy of Lhls documenL,

a collecLlon (or porLfollo) of vlsual and analyLlcal maLerlal LhaL
demonsLraLes your lndlvldual currenL pracLlce. 1hls can be ln any form -
you should use formaLs of presenLaLlon approprlaLe Lo your ldeas and
meLhodologles,


self-evaluaLlon documenL (230-300 words)



AssessmenL of Lhls unlL wlll allow for work compleLed as parL of a group Lo be
presenLed as evldence. Powever you wlll recelve an lndlvldual grade and feedback
reporL.



7
Subm|ss|on of Work and Assessment:
1he !"#$%&%1()*+%,"-.(+/0 (boLh Lhe drafL and Lhe flnal verslon) musL be
porLable, assessors may need Lo Lake work home Lo read! ?ou musL also provlde an
elecLronlc copy on a dlsc.
lf your !"#$%&%1()*+%,"-.(+/0 ls dlfflculL Lo read on accounL of exLreme
experlmenLaLlon please provlde 'A 8ead Cnly' verslon (l.e. a plaln copy for ease of
readlng).

1he submlsslon of pracLlcal work LhaL relaLes Lo your crlLlcal Lhlnklng:
?ou wlll need Lo brlng Lhls on Lhe assessmenL day, and place Lhe work ln Lhe room,
ln Lhe space provlded before 10.30am. ?ou wlll noL be requlred Lo be Lhere afLer
10.30am, on Lhe followlng day you need Lo plck up Lhe work afLer 4.30pm.

1he self-evaluaLlon form musL be compleLed and presenLed ln Lhe flnal pracLlcal
submlsslon.

1he drafLs and Lhe flnal !"#$%&%1()*+%,"-.(+/0 can be submlLLed ln Lhe followlng
ways:
LlLher, aL Lhe sLudenL cenLre aL 10.30am on Lhe deadllne daLe (Lhls maybe more
pracLlcal for larger submlsslons),
C8 aL any Llme up Lo Lhe deadllne ln Lhe posL box slLuaLed ln kx M306.
In every case, where poss|b|e you shou|d p|ace the work |n an enve|ope. ou must
f||| |n a cover |abe| and attach f|rm|y to a|| p|eces of work. Do not use paper c||ps.
(Cover sheets are |ocated near the post box |n kk M306 and 8|ackboard s|te |n the
stage 3 genera| f||e).

All word and lmage documenLaLlon wlll be reLurned Lo you aL Lhe end of Lhe
academlc year. Cn occaslon we may ask Lo keep work for a year afLer you leave for
Lhe purpose of Leachlng and exhlblLlng.










8




1|me||ne of the un|t:

Sprlng 1erm
Wk 10 8rleflng 1
Sprlng
1 (11) 8rleflng 2
2 (12)
3 (13) eer LuLorlal 1
4 (14)
3 (13)
6 (16)
7 (17)
8 (18)
9 (19) ersonal LuLorlals
10 (20) urafL !"#$%&%1()*+ submlsslon deadllne
Summer 1erm
1 (21) eer LuLorlal 2
2 (22)
3 (23) eer LuLorlal 3
4 (24)
3 (23) eer LuLorlal 4
6 (26)
7 (27) ersonal 1uLorlals
llnal !"#$%&%1()*+ submlsslon deadllne
8 (28) Submlsslon of pracLlcal works (relaLlng Lo your crlLlcal Lhlnklng
9 (29)
10 (30) WrlLLen feedback / reLurn of work








9
Essential Study Material
Books
Bakhtin, M, (1986) The Dialogic Imagination, Four Essays by M. M. Bakhtin.
(1965-1975), translated by Caryl Emerson and Michael Holquist, Austin,
University of Texas Press.
Butt, G (ed.). (2004) After Criticism: New Responses to Art and Performance.
Oxford: Blackwell. Chapters 1, 3 & 6
Jones, A and Stephenson, A (eds). (1999) Performing the Body, Performing
the Text. London: Routledge. Introduction, 3, 8, 9, 14, 16.
Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to
Postmodernity. London: Routledge
Lecht, J. (1994) Fifty Key Contemporary Thinkers: From Structuralism to
Postmodernity. London: Routledge. Sections: Bachelard, Bakhtin, Mauss,
Merleau-Ponty, Lacan, Lvi-Strauss, Bataille, Deleuze, Derrida, Foucault,
Kristeva, Irigaray, Benjamin, Baudrillard
Lehmann, H-T. (2006) Postdramatic Theatre. Routledge p 68 133
Panorama of postdramatic theatre
Rogers, H. and Burrows, D (eds). Making a Scene. (2002), Birmingham:
ARTticle (University of Central England in Birmingham). Sections: Posing the
Subject: Performing the Other as Self and After Mourning Sex
Essays & Abstracts
Foster, H. (1996) The Crux of Minimalism In: The Return of the Real: The
Avant-Garde at the End of the Century. London: Cambridge Mass: MIT
Press.
Sontag, S. (1966) Against Interpretation. London: Vintage.





10
kecommended Study Mater|a|:
%
Books
Evans, C. (2007) Fashion at the Edge. Yale University Press
Foster, H. (1996) The Return of the Real: The Avant-Garde at the End of the
Century. London: Cambridge Mass: MIT Press.
Fusco, C, (2001) The Bodies That Were Not Ours. London, New York:
Routledge.
Herzogenrath, W. (1988) Nam June Paik: Video Work 1963-88. London.
Kristeva, J. (1991) Strangers to Ourselves. Translated by Leon S. Roudiez,
New York, Columbia University Press.
Lefebvre, H. (1991) The Production of Space. Translated. By Donald
Nicholson-Smith. Oxford: Blackwell.
Read, A. (1993) Theatre of Everyday Life: An Ethics of Performance.
Routledge
Turner, V. (1986) The Anthropology of Performance. London: Routledge.
Film /Video /DVD
Afternoon Breezes (1980) Dir: Hitoshi Yazaki
Alphaville. (1965) Director: Jean-Luc Godard.
Black Orpheus. (1959) Director: Marcel Camus.
Derrida. (2002) Directors: Kirby Dick and Amy Ziering
Pink Flamingos. (1972) Director: John Waters



11
Essays & Abstracts
Benjamin, W. (1973) The Storyteller. In: Illuminations. (trans. H. Zohn).
London: Fontana.
Benjamin, W. (1973) The Work of Art in The Age of Mechanical
Reproduction. In: Illuminations. Trans. H. Zohn. London: Fontana.
Burgin, V. (1996) Brecciated Time. In: In/Different Spaces: Place and Memory
in Visual Culture. Berkley: University of California Press.
Burgin, V. (1996) Geometry and Abjection. In: In/different Spaces: Place and
Memory in Visual Culture. London: Berkeley: University of California Press.
Burgin, V. (1996) Seiburealism. In: In/different Spaces: Place and Memory in
Visual Culture. London: Berkeley: University of California Press.
Foster, H. (1996) The Artist as Ethnographer. In: The Return of the Real.
Cambridge Mass; London: The MIT Press.
Gilane T. (2000) Vladimir and Estragon are Still Waiting. In: Making a Scene.
Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University of Central
England in Birmingham).
Schneider, R. (2004) Solo Solo Solo. In: After Criticism, New Responses to
Art and Performance. Butt, G. London: Blackwell Publishing.
Tatchell, P. (2000) The Art of Activism Protest as Performance. In: Making
a Scene. Rogers, H. and Burrows, D (eds). Birmingham: ARTticle (University
of Central England in Birmingham).
Refer to general bibliography and additional reference material for materials
appropriate to your work. Further guidance and study material will be provided by
your tutor in accordance with the needs of your individual study.











12
Extenuating Circumstances & Retrieval for failure of Unit

The procedure is the same as for previously completed units and is available for reference on
your notice-board, the course Blackboard site and in the Course Handbook.


Risk Assessment:
For your own and everyone elses safety you may be required to complete a Student Risk
Assessment Form available on Bb in the General file for all 3 stages. Advice on how to
complete this form is a scheduled session within the curriculum but if in doubt consult one of
the Centre for Performance technicians. There could be several reasons why you are asked
to do this:
you wish to make some kind of construction within the course studio facilities as part of
your work on this unit e.g. sculpture, installation etc.
you wish to create some kind of independent live performance event within the course
studios facilities as part of your work on this unit eg scratch performance, filmed
experiments etc.
you wish to incorporate some kind of performance element into the presentation of your
work at the final assessment

This list is not finite, but if you do intend to do any of these things as part of your work or
anything else you think might be potentially dangerous to anyone in any way:
1. you must first consult either your Unit Tutor or one of the Centre for Performance
technicians, who will tell you if you need to complete a Student Risk Assessment
Form or not.
2. if appropriate the form must be submitted electronically, and only after it has been
agreed by Centre for Performance Technical Manager /Course Leader, it can the
proposed action be undertaken.
3. a copy of the completed and agreed Risk Assessment is kept on file by the Course
Leader
If this process is not completed, normally at least three days prior to the potential risk then,
for example, the tutor/s may refuse to assess the work on grounds of Health & Safety. This
could result in a Fail being recorded at an initial assessment point, unless there are upheld
ECs as to why the procedure was not undertaken.


















13
Un|t 7 C#'0'-)=%D<'/E'/*%8% %%%%%%%% 2012-2013
CenLral SalnL MarLlns 8A (Pons) erformance ueslgn & racLlce
Se|f-eva|uat|on form
noLe: 1hls form ls avallable on 8lackboard as a word documenL.
nAML:
-----------------------------------------------------------------------------
uA1L:
--------------------------------------------------------------------------------
lease wrlLe your self-evaluaLlon below, word processed, and hand ln aL Lhe
scheduled llnal AssessmenL. lease do noL exceed 300 words. ALLach a 2
nd
sheeL of
paper lf necessary. 1ry Lo address Lhe followlng quesLlons ln your self-evaluaLlon.

What fields of thinking and practice are you involved in and why?
How might your critical thinking and practice relate to modes of professional
practice in theatre, live art or performance?
What have you gained from this unit? How can you describe the aims and
contexts of your practice critically?