Course Overview

The MA in Playwriting and Dramaturgy cultivates the growth of the individual writer through an intensive one-year immersion in an ensemble-based learning environment. Based at the O’Donoghue Centre for Drama, Theatre and Performance, you will be immersed in a natural environment for creating and thinking about theatre practice. 

As a student, you will take modules on playwriting and other forms of theatre practice through which you will have the opportunity to specialise further, based on your own skills and interests. You will cultivate your skills as writers of dramatic texts (playwriting) but also increase your knowledge of a wide range of theatrical structures and forms (dramaturgy) to expand yourrange as artists. As a writer on this programme, you will hone your craft through intensive mentorship and a rigorous programme of modules, workshops and theatre trips that places your individual work in the context of the contemporary theatre industry and the history of theatre craft. The programme concludes with a playwriting dissertation advised by a professional writer and features a public reading of the your new work at the O’Donoghue Centre.

Why choose this course?

The course draws on NUI Galway’s long track record of producing award-winning playwrights, theatre critics, academics and practitioners. The course facilitates the development of the your individual  playwriting craft by exposing you to a range of theatre practices within an ensemble-based learning environment. You are are based at the world-leading centre for study and research in Irish theatre and performance. Given  NUI Galway’s rich tradition of student productions, you will also have ample opportunities to stage their plays. And with Galway’s vibrant creative scene, you can see world-class work throughout the academic year. 

NUI Galway also has one of the world’s great Irish theatre archives. As a student on this course, you will be able learn from the best—consulting manuscripts and promptbooks by such writers as W.B. Yeats, J. M. Synge, Sean O’Casey, Tom Murphy, Brian Friel, Thomas Kilroy, Marina Carr, Enda Walsh, and many more.

Applications and Selections

Applications are made online via the NUI Galway Postgraduate Applications System

Who Teaches this Course

  • Professor Patrick Lonergan
  • Dr Charlotte McIvor
  • Dr Miriam Haughton
  • Thomas Conway, Druid Director-in-Residence
  • Mary Elizabeth Burke Kennedy 

Requirements and Assessment

Key Facts

Entry Requirements

At least a Second Class Honours, Grade 2 (H2.2 or GPA 3.0) undergraduate degree, a personal statement addressing their theatre experiences and aims, two letters of reference, and a writing sample (5–6 pages)—this can be an academic essay, creative writing or theatre reviews. Entry for candidates with significant relevant experience may be possible. Applicants who do not meet the minimum entry requirements may be admitted via a qualifying exam if they have relevant professional experience, or be admitted to the PDip.

Students who do not meet the Honours degree requirement but have a Level 7 (Merit 2) degree may be admitted to the PDip course, with the possibility of progressing to the MA if they receive a minimum of 60% in their course work during the year.

Additional Requirements

Duration

1 year, full-time

Next start date

September 2019

A Level Grades ()

Average intake

15

Closing Date

Please view offer rounds website

NFQ level

Mode of study

Taught

ECTS weighting

90

Award

CAO

Course code

1MPW1

Course Outline

All students take core modules in playwriting and dramaturgy. Students then can choose optional modules that address a diverse range of specialised topics in the field of performance, directing, theatre business, applied theatre, theatre history, archival research and more. 

After classes conclude, students work on the completion of a new play or piece of writing for performance with a mentor in the profession.  This work will receive a public staged reading in early summer at the O’Donoghue Centre for Drama, Theatre and Performance. 

A key aspect of the course is the preparation of candidates for success upon graduation: we provide advice on submitting plays for production, or other forms of writing for publication. Regular workshops with writers form a key part of the course.

Curriculum Information

Curriculum information relates to the current academic year (in most cases).
Course and module offerings and details may be subject to change.

Glossary of Terms

Credits
You must earn a defined number of credits (aka ECTS) to complete each year of your course. You do this by taking all of its required modules as well as the correct number of optional modules to obtain that year's total number of credits.
Module
An examinable portion of a subject or course, for which you attend lectures and/or tutorials and carry out assignments. E.g. Algebra and Calculus could be modules within the subject Mathematics. Each module has a unique module code eg. MA140.
Optional
A module you may choose to study.
Required
A module that you must study if you choose this course (or subject).
Semester
Most courses have 2 semesters (aka terms) per year.

Year 1 (90 Credits)

Required DT6104: Portfolio


Trimester 3 | Credits: 30

The playwriting portfolio consists of a written play and a critical reflection on the process of writing the play. The playwriting component may take any stylistic form but should be a complete work that would run for a minimum of 40 minutes in performance.The completed play will be submitted to the supervisor with an accompanying 5,500 word written account of the writing process that situates her/his practice in a historical and theoretical context. The dissertation will be submitted as one document (play and critical reflection essay in one document)
(Language of instruction: English)

Learning Outcomes
  1. Develop an original play from proposed idea to full draft
  2. Incorporate feedback and redraft scenes
  3. Select and apply appropriate playwriting technical and practical approaches and skills
  4. Demonstrate skills of researching and reviewing the relevant literature and lineage of practice
  5. Situate their project within the context of the existing body of work (lineage of practice)
  6. Critically analyse and evaluate the intellectual journey and practice development embedded in their project
  7. Document and critically reflect on the process of creation
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Secret Life of Plays" by Steve Waters
  2. "How Plays Work" by David Edgar
  3. "The Writers Journey" by Christopher Vogler
The above information outlines module DT6104: "Portfolio" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Required DT6130: Critical Methods in Drama, Theatre and Performance


Semester 1 | Credits: 10

This course aims to develop students’ critical approaches to writing about theatre and performance. Different modes of ‘seeing’, analysing and writing on performance from semiotics to reception theory will be introduced and examined. Students will confront in class discussion and in essays issues related to writing on theatre such as the role of the critic, gender, globalisation and technology as well as the theoretical perspectives of postmodernism, psychoanalysis and theatre historiography. There will be visits to the theatre regularly (tickets will be provided) and students will be asked to write reviews and performance analysis of these productions. The course is ideally suited to those who wish to develop their writing and research skills, or to people who wish to develop careers in theatre criticism or research.
(Language of instruction: English)

Learning Outcomes
  1. Survey approaches to analytical writing in the field of theatre and performance studies.
  2. Develop skills of literary and theoretical close-reading working with texts and performances in the field of theatre and performance studies.
  3. Experiment with a range of modes of analytical writing in the field of theatre and performance studies.
  4. Confront through class discussion and essay assignments the role of the critic, gender, globalisation and technology as well as the theoretical perspectives of postmodernism, psychoanalysis and theatre historiography.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Cambridge Introduction to Theatre Studies" by Christopher B. Balme
    ISBN: 0521672236.
    Publisher: Cambridge University Press
  2. "Theatre Audiences" by Susan Bennett
    ISBN: 0415157234.
    Publisher: Psychology Press
  3. "The Transformative Power of Performance" by Erika Fischer-Lichte
    ISBN: 0415458560.
The above information outlines module DT6130: "Critical Methods in Drama, Theatre and Performance" and is valid from 2019 onwards.
Note: Module offerings and details may be subject to change.

Required DT6126: Writing about Theatre and Performance


Semester 1 | Credits: 10

This module explores the theory and practice of writing about and for theatre. It focusses on reviewing, blogging, memoir, biography, and other forms of writing about theatre. Classes feature practice-based workshops.

Learning Outcomes
  1. review live performance for publication in print or online.
  2. work on reconstructing performance through the use of archival resources
  3. Understand the distinction between writing for specialist and non-specialist audiences, and apply that distinction in the composition of reviews and other forms of writing.
  4. Apply the skills of giving editorial feedback to peers both in person and in writing.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "How Plays Work" by David Edgard
  2. "Writing for Theatre." by Mark Fisher
The above information outlines module DT6126: "Writing about Theatre and Performance" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Required DT6123: Playwright's Workshop I


Semester 1 | Credits: 10

A weekly writer’s workshop in which Students will explore fundamental dramaturgical playwriting strategies and structures through analysis of plays from different genres and in-class writing tasks.
(Language of instruction: English)

Learning Outcomes
  1. Analyse and identify dramaturgical structures as well as particular genre specific theatrical devises
  2. Develop prompts for starting and completing written work
  3. Plan, structure and complete original short play
  4. Critically reflect on writing and situate it within established genres
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Secret Life of Plays" by Steve Waters
    Publisher: Nick Hern Books
  2. "How Plays Work" by David Edgar
    Publisher: Nick Hern
  3. "Playwriting a Practical guide" by Noel Greig
    Publisher: Routledge
The above information outlines module DT6123: "Playwright's Workshop I" and is valid from 2017 onwards.
Note: Module offerings and details may be subject to change.

Required DT6113: Applied Dramaturgy


Semester 1 | Credits: 10

This module introduces students to dramaturgy as a discipline with varied historical roots and as a practice that is diverse, sophisticated, and vital to contemporary theatre. It aims to equip students with the theoretical underpinnings and the intellectual tools with which to contribute confidently and effectively as dramaturgs in a rehearsal process (whether it be on a classic or modernist play, or in a devised production). Students complete the module by partnering with students mounting live performance projects for the module "Performance Lab."
(Language of instruction: English)

Learning Outcomes
  1. Investigate the range of roles and functions required of a dramaturge in both historical and contemporary contexts.
  2. Analyse the role and function of a dramaturge on a range of theatre and performance projects arising out of a variety of institutional contexts and aesthetic approaches.
  3. Articulate the difference between structural, production and institutional dramaturgy.
  4. Evaluate the practice of dramaturgy as applicable to other roles in the theatre including director, playwright, designer and actor among others.
  5. Execute a variety of dramaturgical roles and functions through class exercises, assignments and projects (including engagement with student projects from the module 'Performance Lab').
  6. Negotiate the risks and demands of collaborative work through the execution of dramaturgical work on assigned student peer performance projects.
  7. Critically assess your personal practice as a dramaturge in terms of historical and theoretical fluency, skills at collaborating with other artists and your use and manipulation of supporting resources in engaging with your assigned student peer performance project.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Routledge Companion to Dramaturgy" by Magda Romanska, ed.
  2. "New dramaturgy" by edited by Katalin Trencsényi and Bernadette Cochrane.
    ISBN: 1408177080.
    Publisher: London; Bloomsbury
  3. "Dramaturgy and Performance" by Cathy Turner, Synne Behrndt
    ISBN: 1403996563.
    Publisher: Palgrave Macmillan
  4. "Dramaturgy: A Revolution in Theatre" by Mary Luckhurst
    ISBN: 0521081882.
    Publisher: Cambridge University Press
  5. "Process of Dramaturgy" by Scott R. Irelan, Anne Fletcher, Julie Felise Dubiner
    ISBN: 1585103322.
    Publisher: Focus Publishing/R. Pullins Co.
The above information outlines module DT6113: "Applied Dramaturgy" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Required DT6124: Playwrights' Workshop II: Adaptation


Semester 2 | Credits: 10

This workshop based module not only explores dramatic adaptation across different media but also uses the concept of adaptation to explore a range of playwriting strategies and dramaturgical approaches. Through the examination of play texts and writing tasks students will learn ways to adapt fiction and documentary materials for the stage and for radio. Similarly, in two hour sessions, they will also examine the adaptation of established dramaturgical models such as the hero’s journey and the fairytale along with the more radical adaptation strategies of contemporary theatre. Students should be prepared to read work aloud in class and will learn to critique each other’s work.

Learning Outcomes
  1. Chart and adapt dramaturgical structures across a range of different styles of theatre
  2. Complete a short play( 20 minutes in duration) and a longer play (at least 40 minutes in duration).
  3. Adapt a novel or short story to the stage
  4. Adapt literature and drama for radio
  5. Write a piece of documentary theatre
  6. Critically reflect on their playwriting practice
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Secret Life of Plays" by Steve Waters
  2. "How do Plays Work" by David Edgar
  3. "The Writers Journey" by Christopher Volger
The above information outlines module DT6124: "Playwrights' Workshop II: Adaptation" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6108: Exploring Michael Chekhov Technique


Semester 1 | Credits: 10

This is a course for actors and directors exploring Chekhov technique through practice, journal and essay. Following a thorough practical introduction to certain key concepts of Qualities, Psychological Gesture, Centres and Atmosphere, the student will move on to working on scenes and speeches. The experiential component will be backed up by discussion of various chapters of ‘To The Actor’ by Michael Chekhov, and analysis of the training DVDs of the Michael Chekhov Association.
(Language of instruction: English)

Learning Outcomes
  1. Demonstrate theoretical knowledge of the theory of Chekhov's work academically and its placement in the the history of actor training.
  2. Have some ability in the practise of the technique, in particular, but not exclusively, Qualities, Radiating and Receiving, Centres, General and Personal Atmosphere, Psychological Gesture and Composition.
  3. Select and apply at least two of Chekhov's concepts to a scene from a given play.
  4. Execute written self assessment response of the practical work.
  5. Practically apply the techniques to directing theatre.
  6. Assess the technique by comparing it to at least one other practical performance technique they know about or of which they have experience.
Assessments
  • Continuous Assessment (55%)
  • Department-based Assessment (45%)
Module Director
Lecturers / Tutors
Reading List
  1. "To the Actor" by Michael Chekhov
  2. "On the Technique of Acting" by Michael Chekhov
  3. "Lessons for the Professional Actor" by Michael Chekhov
  4. "Three Sisters" by Anton Chekhov (trans. Michael Frayn)
The above information outlines module DT6108: "Exploring Michael Chekhov Technique" and is valid from 2016 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6102: Irish Drama and Theatre from Wilde to O'Casey


Semester 1 | Credits: 10

This course explores the history of Irish drama and theatre from 1890 to 1930
(Language of instruction: English)

Learning Outcomes
  1. Identify, describe and analyse key moments in Irish theatre history from 1890 to 1930, with special focus on the Irish literary revival.
  2. produce a substantial research paper that deploys the skills of archival research, textual analysis and performance analysis.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "Modern and contemporary Irish drama" by edited by John P. Harrington
    ISBN: 0393932435.
    Publisher: W.W. Norton & Co.
  2. "The Irish Dramatic Revival: 1899-1939" by n/a
    ISBN: 978-140817528.
The above information outlines module DT6102: "Irish Drama and Theatre from Wilde to O'Casey" and is valid from 2016 onwards.
Note: Module offerings and details may be subject to change.

Optional EN6118: Digital Literature, Arts, and Creative Practice


Semester 1 | Credits: 10

Postgraduate introduction to digital creative practice in literature and other arts. The course will explore the ways in which new technologies have been used in the creation of born-digital works of literature and other arts, and the wider cultural impact of these developments.
(Language of instruction: English)

Learning Outcomes
  1. Describe how new media technologies have been used in the processes of literary and other creative practices.
  2. Articulate a comprehensive picture of the expanding field of born-digital creative work
  3. Analyse and critique a range of aesthetic practices associated with digital arts and literature.
  4. Describe the theoretical and methodological implications of digital creative practice.
  5. Employ a selection of digital tools and platforms as a form of creative and critical inquiry.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "Cybertext" by Espen J. Aarseth
    ISBN: 0801855799.
    Publisher: Johns Hopkins University Press
  2. "Writing space" by Jay David Bolter
    ISBN: 0805829199.
    Publisher: Lawrence Erlbaum Associates
  3. "Prehistoric digital poetry" by C. T. Funkhouser
    ISBN: 0817354220.
    Publisher: University of Alabama Press
  4. "Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations" by Roberto Simanowski
    ISBN: 0816667381.
    Publisher: Univ Of Minnesota Press
The above information outlines module EN6118: "Digital Literature, Arts, and Creative Practice" and is valid from 2017 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6106: Thinking about Theatre


Semester 1 | Credits: 10

'Thinking about Theatre' introduced students to a selection of key thinkers on Western theatre and performance. Texts to be considered include extracts from Plato's 'The Republic,' Aristotle's 'The Poetics,' Sidney's 'Defense of Poesy,' Diderot's 'The Paradox of the Actor,' and Schiller's 'On the Tragic Art.' A range of contemporary thinkers--including Alain Badiou and Jacques Rancière--will also be considered.

Learning Outcomes
  1. Identify key features of western theatrical theory from the Greeks to the present day
  2. Analyse and relate strands of debates in critical discourse regarding theatre and performance over time
  3. Apply theoretical knowledge to the completion of an original research essay
  4. Situate theories of theatre in their historical contexts
  5. Formulate a coherent idea of the social and functions of theatre
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "Republic, The" by Plato, Melissa Lane (Introduction), Desmond Lee (Translator)
    ISBN: 9780140455113.
    Publisher: Penguin Classics
  2. "Mimesis" by Matthew Potolsky
    ISBN: 9780415700290.
    Publisher: New York ; Routledge, 2006.
  3. "The aesthetics of mimesis" by Stephen Halliwell
    ISBN: 0691092583.
    Publisher: Princeton University Press
  4. "Art in theory, 1900-2000" by edited by Charles Harrison and Paul Wood
    ISBN: 9780631227083.
    Publisher: Malden, Mass. ; Blackwell Publishing, 2003.
  5. "Modern theories of drama" by edited and annotated by George W. Brandt
    ISBN: 0198711395.
    Publisher: Clarendon Press ; 1998.
  6. "Passionate amateurs" by Nicholas Ridout.
    ISBN: 9780472119073.
    Publisher: Ann Arbor; The University of Michigan Press
  7. "An Actress Prepares" by Rosemary Malague
    ISBN: 9780415681575.
    Publisher: Routledge
The above information outlines module DT6106: "Thinking about Theatre" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6120: Ensemble Acting and Devising


Semester 2 | Credits: 10

A practical and theoretical introduction to twentieth-century acting and performance techniques with special emphasis on Artaud, Grotowski, and Peter Brook.
(Language of instruction: English)

Learning Outcomes
  1. Engage in practical ensemble-based activities for devising theatre practice.
  2. Describe and put into practice modern and contemporary theories of ensemble
  3. Describe and put into practice the ideas of key practitioners, such as Boal, Brook and Chekhov.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Empty Space" by Peter Brook
  2. "Towards a Poor Theatre" by Jerzy Grotowski
The above information outlines module DT6120: "Ensemble Acting and Devising" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6127: Producing 1


Semester 1 | Credits: 10

This module builds understanding of the role of the producer and the practical skills needed to fulfil that role. It covers such areas as understanding how to set up a company, engaging in strategic planning and development, financial planning, project management, while also focussing on key case studies from the Irish arts sector. Students will attend events in the Arts in Action programme on campus and other arts and speakers events with talks from relevant producers or performers.
(Language of instruction: English)

Learning Outcomes
  1. Engage with the role of the Creative Producer as creative, financial, administrative, technical and promotional lead of an artistic project or event.
  2. Understand the steps of successful Project management from concepts and contracts, to monitoring and evaluation
  3. Write a strategic plan for an organisation or collective, that is both costed and viable.
  4. Understand the steps of setting up an artistic company or collective through researching case studies and business models.
  5. Plan and cost a 'season' of artistic events.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "So You Want to be a Theatre Producer?" by James Seabright
    ISBN: 9781854595379.
  2. "Introduction to Arts Management" by Bloomsbury
    ISBN: 978147423979.
    Publisher: Bloomsbury
The above information outlines module DT6127: "Producing 1" and is valid from 2019 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6109: Applied Theatre


Semester 2 | Credits: 10

This course introduces students to core concepts and practices in the field of applied theatre techniques which includes but is not limited to educational theatre, Theatre for Social Change, community arts/theatre,Theatre of the Oppressed and other Boalian techniques, theatre for development, and prison theatre.
(Language of instruction: English)

Learning Outcomes
  1. Identify key working methods and genres in the practice of applied theatre.
  2. Distinguish between different working methodologies and genres within the larger field of applied theatre.
  3. Analyse key debates over ethics and collaboration in this field of practice.
  4. Building on our practical classroom exercises, lead basic exercises from each major genre of applied theatre discussed in class.
  5. Interrogate the role of the faciliator in applied theatre work.
  6. Propose a framework for their own independent applied theatre project.
  7. Demonstrate knowledge of a more advanced repertoire of activities and techinques from one targeted area of specialisation in applied theatre.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "The Applied Theatre Reader" by Sheila Preston and Tim Prentki
  2. "Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change" by Dani Snyder-Young
  3. "Games for Actors and Non-Actors" by Augusto Boal
  4. "Community Performance: An Introduction" by Petra Kuppers
  5. "Local Acts: Community-Based Performance in the United States" by Jan Cohen-Cruz
The above information outlines module DT6109: "Applied Theatre" and is valid from 2016 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6101: Irish Drama and Theatre from Beckett to the Present


Semester 2 | Credits: 10

This course explores the history of Irish theatre from 1950 to the present, placing emphasis on the importance of Beckett for an understanding of Irish drama.
(Language of instruction: English)

Learning Outcomes
  1. Identify key moments in Irish theatre history since 1950
  2. Describe and analyse the importance of social, cultural and economic factors in the development of Irish theatre history since 1950
  3. Produce a written research essay that deploys the skills of archival research, textual analysis, and performance analysis.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "Modern and Contemporary Irish Drama" by John Harrington
  2. "Contemporary Irish Plays." by Patrick Lonergan
The above information outlines module DT6101: "Irish Drama and Theatre from Beckett to the Present" and is valid from 2016 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6121: Fieldwork And Theatre Business


Semester 2 | Credits: 10

This module is focussed on professionalisation strategies and processes in the field of drama and theatre at large. Topics including long-range professional career planning in a variety of theatre and performance disciplines, producing, project preparation, grant writing, tax law for artists and more will be covered through interactive workshops.
(Language of instruction: English)

Learning Outcomes
  1. Identify a range of roles and professional areas in the field of theatre and performing arts.
  2. Exhibit knowledge of the scope and interrelationship of major organisations in the field of theatre and performing arts in Ireland.
  3. Create and implement a plan for individual professional development in the field of theatre and performing arts.
  4. Critically reflect on a work experience with an organisation in the field of theatre and performing arts.
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "So You Want To Be A Theatre Producer?" by James Seabright
    ISBN: 978185459537.
  2. "How To Start Your Own Theatre Company" by Reginald Nelson
    ISBN: 978155652813.
The above information outlines module DT6121: "Fieldwork And Theatre Business" and is valid from 2017 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6122: Performance Lab


Semester 1 | Credits: 10

This course explores the relationship between theory and practice in a laboratory format that combines making and staging work with critical investigation. The purpose of this course is to provide students with a critical vocabulary for approaching practice as research that will result in the creation of new devised or staged work guided by student's shared intellectual and artistic interests. The first part of the semester will be focused on a survey of divergent approaches to the creative process in contemporary performance practice by way of artist accounts, film viewings and performance outings, and engagement with critical theory focused in theatre and performance studies. In the second half of the semester, students will work in groups with instructor supervision to create or stage a collective work that engages a research problem or question resulting in public performance of these works. Students will also complete a final research paper locating their performance project and its desired interventions in genealogies of theatre and performance practice. Assessment: Weekly written assignments, practical classroom exercises, group performance project and final research paper.
(Language of instruction: English)

Learning Outcomes
  1. Compare and contrast varying methods of contemporary theatre making
  2. Experiment actively with contemporary physical theatre and devising techniques in a collaborative workshop format
  3. Create an original performance or stage an original interpretation of a piece for performance
  4. Demonstrate advanced skills of group collaboration
Assessments
  • Continuous Assessment (100%)
Module Director
Lecturers / Tutors
Reading List
  1. "Frantic Assembly Book of Devising Theatre" by Frantic Assembly
    ISBN: 978-113877701.
  2. "A Director Prepares" by Anne Bogart
    ISBN: 978-041523832.
  3. "Postdramatic theatre" by Hans-Thies Lehmann; translated and with an introduction by Karen J?urs-Munby
    ISBN: 0415268133.
    Publisher: London ; Routledge, 2006.
The above information outlines module DT6122: "Performance Lab" and is valid from 2018 onwards.
Note: Module offerings and details may be subject to change.

Optional DT6129: Producing and Curation Ideas Lab


Semester 2 | Credits: 10

In this module, students work through phases of developing a project that will aim to find innovative solutions to key problems in the creative arts. Established methodologies for working through a project from an idea to its realization are explored through weekly seminars and practical sessions. While the module involves the development of key skills (structuring workshops, pitching for a project) and critical thinking it will also place strong emphasis on learning through doing. There will be a presentation of the project at the end of the semester. The project developed will form the basis for the larger project explored in the practice as research dissertation.
(Language of instruction: English)

Learning Outcomes
  1. Develop a critical understanding and engagement with key theoretical frameworks and methodologies.
  2. Application of methodologies and theories in the field of creative arts in the development of an idea to its realisation.
  3. Develop a pitch presentation that persuasively communicates ideas with a foundation in implementation strategy.
  4. Write a research plan for larger practice as research project.
Assessments
  • Continuous Assessment (50%)
  • Oral, Audio Visual or Practical Assessment (50%)
Module Director
Lecturers / Tutors
Reading List
  1. "New Media in the White Cube and Beyond" by Christiane Paul
    ISBN: 9780520243972.
  2. "Why are artists poor?: The Exceptional Economy of the Arts" by Hans Abbing
    ISBN: 9053565655.
    Publisher: Leiden University Press
  3. "Performance Theory" by Richard Schechner
    Publisher: Routledge
  4. "Art and its Institutions: Current Conflicts, Critique and Collaborations" by Nina Montmann
    Publisher: Black Dog Publishing
The above information outlines module DT6129: "Producing and Curation Ideas Lab " and is valid from 2019 onwards.
Note: Module offerings and details may be subject to change.

Why Choose This Course?

Career Opportunities

Graduates of NUI Galway writing programmes have gone on to doctoral programmes in the humanities, to teaching, to employment in journalism, magazine editing, travel writing, technical writing, and public relations as well as publishing anthologies and books of poetry, fiction, and nonfiction. In the field of theatre, our graduates have gone on to write for such theatres as the Abbey (Ireland) and the Traverse (Scotland), while many have also staged their own works at Festivals in Dublin, Galway, Edinburgh and elsewhere.

Who’s Suited to This Course

Learning Outcomes

 

Work Placement

Study Abroad

Related Student Organisations

Course Fees

Fees: EU

€6,400 p.a. 2019/20

Fees: Tuition

€6,176 p.a. 2019/20

Fees: Student levy

€224 p.a. 2019/20

Fees: Non EU

€15,550 p.a. 2019/20

Postgraduate students in receipt of a SUSI grant—please note an F4 grant is where SUSI will pay €2,000 towards your tuition.  You will be liable for the remainder of the total fee.  An F5 grant is where SUSI will pay TUITION up to a maximum of €6,270.  SUSI will not cover the student levy of €224.

Postgraduate fee breakdown = tuition (EU or NON EU) + student levy as outlined above.

Find out More

For more information about the course, please contact:

Dr Miriam Haughton
Director of Postgraduate Studies in Drama, Theatre and Performance
E: miriam.haughton@nuigalway.ie
T: +353 91 494 485

 

Downloads

  • Postgraduate Taught Prospectus 2019

    Postgraduate Taught Prospectus 2019 PDF (12.6 MB)