PERF06006 2019 Introduction to Voice and Movement 1
Full Title
Introduction to Voice and Movement 1
Transcript Title
Introduction to Voice and Move
Code
PERF06006
Attendance
80 %
Subject Area
PERF - 0215 Performing Arts
Department
YADA - Yeats Academy Art Dsgn & Arch
Level
06 - Level 6
Credit
05 - 05 Credits
Duration
Semester
Fee
€
Start Term
2019 - Full Academic Year 2019-20
End Term
9999 - The End of Time
Author(s)
Una Mannion, Declan Drohan, Niall Colleary, Rhona Trench, Bernie Meehan, Agnes Pallai, Marketa Formanova
Programme Membership
SG_APERF_H08 201900 Bachelor of Arts (Honours) in Performing Arts
SG_GPERS_S06 202400 Certificate in Personal and Vocational Development
SG_GLIFF_S06 202400 Certificate in Life Skills and Vocational Development
SG_APERF_H08 202400 Bachelor of Arts (Honours) in Performing Arts
SG_GPERS_S06 202400 Certificate in Personal and Vocational Development
Description
This module introduces students to the fundamentals of movement and vocal production in the field of performing arts. Students explore basic anatomy and physiology and will examine various techniques in both movement and voice to develop the body in performance. They will develop awareness of posture, flexibility, body and vocal articulation, resonance, vocal projection, breath control, sensory and spatial awareness. Student-centred learning of “whole person” (kinaesthetic, aesthetic, cognitive and psychological-social aspects) through movement and voice is crucial element of the introduction to the module complexity.
Learning Outcomes
On completion of this module the learner will/should be able to;
1.
Demonstrate understanding of voice training skills.
2.
Demonstrate knowledge of basic anatomy and physiology and apply this to voice and movement production.
3.
Develop vocal range, clarity, sensitivity and understand the psycho-physical nature of voice.
4.
Demonstrate movement exploration and understanding of introduced movement techniques and principles.
5.
Identify and explore basic movement elements within the creative process of making the choreography.
6.
Rehearse, perform and present work, synthesise voice and movement techniques and principles effectively and safely.
7.
Work co-operatively with other students.
8.
Develop independent self-reflection and observation of individual training needs.
Teaching and Learning Strategies
Student-centred strategies for teaching Voice and Movement.
Student learning incorporating aspects as following:
- Kinaesthetic – motor development (moving and learning)
- Aesthetic - personal (artistic) growth
- Cognitive – intellectual (thinking, perceiving and processing)
- Psychological – social (feeling and interacting)
Module Assessment Strategies
100% structured practical assessment
Repeat Assessments
attendance
Solo Project
Indicative Syllabus
- Fundamentals of Movement and Voice:
- Introduction to basic anatomy and physiology - awareness of psycho-physical inhibitors
- Exploring and understanding of Locomotor and Non-Locomotor movements as basic mover's motor skills
- Focus on body alignment, posture, neutral position, placement of weight, moving from the centre of gravity – involvement of the whole self
- Importance of warm up and cooling down exercises to develop muscular strength and flexibility
- Fundamentals of Alexander Technique
- Breath support and control
- Relaxation
2. Specific Voice Skills:
- Breath support and control
- Development of tone
- Projection
- Pitch
- Articulation
- Colour in voice
3. Specific Movement Skills:
- Understanding and exploring of Locomotor and Non-locomotor movements as basic motor skill
- Energizing body through movement tempo and specific rhythm
- Introduction to spatial awareness using Laban principles
- Introduction to fundamentals of mix contemporary dance techniques (Duncan, Cunningham, Graham, Humphrey) to develop movement memorisation and quality of performed movement.
4. Introduction to Choreography:
- Exploration and expression of performed movement
- Basic elements of choreography and form of structuring movement and group awareness in duet, trio, ensemble
- Relationship between movers in time: use of Unison and Canon
Coursework & Assessment Breakdown
Coursework & Continuous Assessment
100 %
Coursework Assessment
| Title | Type | Form | Percent | Week | Learning Outcomes Assessed | |
|---|---|---|---|---|---|---|
| 1 | Individual Progress and Observation | Practical | Individual Project | 50 % | OnGoing | 1,2,3,4,6,8 |
| 2 | Ensemble Work | Project | Group Project | 50 % | OnGoing | 1,2,4,5,6,7 |
Full Time Mode Workload
| Type | Location | Description | Hours | Frequency | Avg Workload |
|---|---|---|---|---|---|
| Supervision | Performance Space | Voice | 2 | Weekly | 2.00 |
| Supervision | Performance Space | Movement | 2 | Weekly | 2.00 |
| Independent Learning | Not Specified | Independent Learning | 4 | Weekly | 4.00 |
Total Full Time Average Weekly Learner Contact Time 4.00 Hours
Part Time Mode Workload
| Type | Location | Description | Hours | Frequency | Avg Workload |
|---|---|---|---|---|---|
| Supervision | Performance Space | Voice | 2 | Weekly | 2.00 |
| Supervision | Performance Space | Movement | 2 | Weekly | 2.00 |
| Independent Learning | Not Specified | Independent Learning | 4 | Weekly | 4.00 |
Total Part Time Average Weekly Learner Contact Time 4.00 Hours
Module Resources
Non ISBN Literary Resources
Berry, C. Voice and the Actor, London: Harrap. 1973
Dennis, A. The Articulate Body: The physical training of the actor, New York: Drama Book. 1994
Laban, R. & L. Ullmann The Mastery of movement, Northcote House. 1998
Linklater, K. Freeing the natural voice, London: Nick Hern Books. 2006
Houseman, B. Finding Your Voice, New York, Routledge. 2002
Newlove, J. Laban for actors and dancers, New York: Routledge. 1993
Rodenburg, P. Working with the voice, New York, Routledge. 1992
Sabatine, J, Movement training for the stage and screen, London: Black. 1995
2012, Susan Au & James Rutter, Ballet and Modern Dance, Thames and Hudson Ltd.
1998, Jean M. Brown, Naomi Mindlin & Charles Humphrey Woodford, The Vision of Modern Dance: In the Words of Its Creators, Princeton Book Company,
2015, Andrea Mantell Seidel, Isadora Duncan in the 21st Century: Capturing the Art and Spirit of the Dancer's Legacy, McFarland
2013, Eric Franklin, Dance Imagery for Technique and Performance - 2nd Edition, Human Kinetics
2006, Karen Sue Clippinger, Dance anatomy and kinesiology 1st Edition, Human Kinetics
2010, Jacqui Haas, Dance Anatomy, Human Kinetics, USA
Journal Resources
none
URL Resources
none
Other Resources
None
Additional Information
Appropriate flat space: studio/ hall/ room without carpet but best with sprung floor
Hume Hall/ Black Box/ MPC Studio/ alternative suitable space
Access to sound system, PC with projector/screen
Portable white board
Yoga Mat (for each student)