School of Theatre, Performance and Cultural Policy Studies
TH233 Composing, Listening, Performing
Question: I have noticed that you write durations that are beyond the possibility of performance.
Answer: Composing's one thing, performing's another, listening's a third. What can they have to do with one another?
The module seeks to promote an understanding of a form that has functioned as a constituent element of theatre, shares with it a number of characteristics and in the last century, arguably, has brought into play what we now regard as 'performance'. The module's concern with composers,, listeners and musicians provides students with a counterpoint to the more familiar notions of playwright, audience and actor and it is the distinctions and points of contact between these two sets of activities and their attendant forms that will precipitate the practical project at the end of the term.
This optional second year module reflects and extends the emphasis on the interdependence of theory and practice in the Theatre Studies undergraduate programme. The work of John Cage continues to reverberate through Performance Studies; his centrality is recognised in the course structure that positions his interventions at the fulcrum of the module (listening). The tripartite division of the course acknowledges in turn the activities that constitute music as a time-based art, commencing with avantgarde composition in the first half of the twentieth-century, continuing with experimental music and its concerns with the reception of the work and concluding with what 'performing' music might entail.
The ability to play a musical instrument should not impede successful completion of the module.
Tim White (T dot White at warwick dot ac dot uk)
Spring: Thursday 1100-1300 G52
Assessment [50% examined]
50% - Practical examination - PROPOSAL FORM
Generic Assessment Criteria for Practice