Course Language:
İngilizce
Course Objectives:
The course aims to demonstrate a firm grasp of key concepts and theories of performance. Students are to identify, analyze, and interprete modes of performance, both framed and unframed.
Course Content:
Students are to identify and interpret objects/subjects of study in performance studies. The course includes play theories, rituals and global and intercultural performances.
Course Methodology:
1: Lecture, 2: Question-Answer, 3: Discussion, 12: Case Study
Course Evaluation Methods:
A: Testing, B: Homework, C: Performance.
Vertical Tabs
Course Learning Outcomes
| Learning Outcomes | Program Learning Outcomes | Teaching Methods | Assessment Methods |
| Ability of describing the reflections of the current problems associated with the visual arts and performing arts with a critical approach. | 4 | 1-2-3-4 | A-B-C |
| The acquisition of theoretical knowledge of new trends and modern plays related with other disciplines; such as antropology, sociology, ethnology, linguistic. | 5 | 1-2-3-4 | A-B-C |
Course Flow
| Week | Topics | Study Materials |
| 1 | What is Performance? | Marvin Carlson, “What is Performance”, Richard Schechner, “What is Performance?” |
| 2 | Introducing Theories of Performance | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 3 | Ritual, Play and Performance | Richard Schechner, Performans Theories. |
| 4 | Play. What is Play? What is Playing? | Richard Schechner, Performans Theories. |
| 5 | Performance Processes | Richard Schechner, Performans Theories. |
| 6 | Constituing Performance | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 7 | Midterm Exam | |
| 8 | Performing Texts | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 9 | Performing Drama | Drama, Performativity and Performance, W.B. Worthen. PMLA, Vol. 113, NO: 5. 1998. |
| 10 | Performing Culture | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 11 | Performing Social Roles. Performing Identities | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 12 | Performing Resistance. Analysis of performances | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 13 | Performing Technologies | Elizabeth Bell, Theories of Performance, SAGE, 2008. |
| 14 | Global and Intercultural Performances. Overview. | Richard Schechner, Performans Theories. |
Recommended Sources
| Textbook |
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| Additional Resources |
|
Material Sharing
| Documents | Documentaries, CD’s of Plays and Performances |
| Assignments | |
| Exams |
Assessment
| IN-TERM STUDIES | NUMBER | PERCENTAGE |
| Mid-terms | 1 | 30 |
| Quizzes | 2 | 20 |
| Assignment | 2 | 50 |
| Total | 100 | |
| CONTRIBUTION OF FINAL EXAMINATION TO OVERALL GRADE | 40 | |
| CONTRIBUTION OF IN-TERM STUDIES TO OVERALL GRADE | 60 | |
| Total | 100 |
| COURSE CATEGORY | Expertise/Field Courses |
Course’s Contribution to Program
| No | Program Learning Outcomes | Contribution | |||||
| 1 | 2 | 3 | 4 | 5 | |||
| 1 | The ability of interacting of the human kind with social, economic, political and especially the cultural heritage | * | |||||
| 2 | The ability of recognizing historical heritage and experience in the field of drama and acting,and approaching, interpreting and using critically this heritage and experience | * | |||||
| 3 | The ability of creating creative idea, project,show, performance etc.in the field of drama and acting. | * | |||||
| 4 | The ability of examining social relationships and the norms that are leading the serelationships with a critical approach and improving such suggestions as human and society-centered, cultural sensitive project, show, performance etc. | * | |||||
| 5 | The ability of defining the process of artistic creation in the field of drama and acting, describing this process orally or written in detail | * | |||||
| 6 | The ability of using absorbed knowledge and skills in the period of implementation in interdisciplinary works | * | |||||
| 7 | The ability of interpreting the material handled by relating between the acquired knowledge and experiences | * | |||||
| 8 | The ability of having absolute sovereignty of his instruments as the voice and body in the field of acting | ||||||
| 9 | The ability of seeing, defining the relationship between his way of thinking, spiritual World and society’s way of thinking and perception, and imroving the expression of his intrument by making use of these | ||||||
| 10 | The ability of transferring the designs /projects by using principles and developments of the contemporary acting and drama in the field of drama and acting to the performance of acting. | * | |||||
ECTS
| Activities | Quantity |
Duration (Hour) |
Total Workload (Hour) |
| Course Duration (Including the exam week: 14x Total course hours) | 14 | 3 | 42 |
| Hours for off-the-classroom study (Pre-study, practice) | 14 | 3 | 42 |
| Homeworks | 14 | 3 | 42 |
| Presentation | 8 | 2 | 16 |
| Midterm | 1 | 4 | 4 |
| Final Exam | 1 | 4 | 4 |
| Total Work Load | 150 | ||
| Total Work Load / 30 (h) | 5 |
None