KTB113 Storytelling and Performance
To view more information for this unit, select Unit Outline from the list below. Please note the teaching period for which the Unit Outline is relevant.
| Unit code: | KTB113 |
|---|---|
| Equivalent(s): | KTB217 |
| Credit points: | 12 |
| Timetable | Details in HiQ, if available |
| Availabilities |
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| CSP student contribution | $1,164 |
| Pre-2021 CSP student contribution | $996 The pre-2021 commonwealth supported place (CSP) contribution amount only applies to students enrolled in a course prior to 2021. To learn more, visit our Understanding your fees page. |
| Domestic tuition unit fee | $4,356 |
| International unit fee | $4,668 |
Unit Outline: Semester 1 2025, Kelvin Grove, Internal
| Unit code: | KTB113 |
|---|---|
| Credit points: | 12 |
| Equivalent: | KTB217 |
| Coordinator: | Kathryn Kelly | kl.kelly@qut.edu.au |
Overview
This foundational unit introduces dramaturgical and narrative theory embedded alongside the practical skills needed to create performance in a range of contexts, including that of First Nations storytelling, dramaturgy in performance-making and storytelling for drama and live performance. The unit requires no prior experience but can deepen and connect to existing knowledges of devising, dramatic text analysis, experiential theatre, and creative writing in other art forms. Students are introduced to First Nations perspectives on storytelling and how to engage with these with responsibility and respect. They develop dramaturgical skills in research and critical thinking as they write a dramaturgical critique, and the giving and receiving of feedback as they create their own performance texts. The unit culminates in a staged reading and performance of the performance texts, where the students can experience the full creative process in the writing of new performance texts.
Learning Outcomes
On successful completion of this unit you will be able to:
- Demonstrate collaborative processes that respect and recognise First Nations, Aboriginal and Torres Strait Islander storytelling.
- Demonstrate the ability to synthesise feedback in relation to performance writing and the creation of performance text.
- Apply the key concepts and techniques of performance-writing and dramaturgy within a range of contexts.
- Examine the social, historical and cultural contexts of performance, as they relate to a specific performance narrative.
Content
Through praxis, students will complete three modules that grow their professional practice skill sets, including understanding the traditions of First Nations storytelling; critical thinking and dramaturgy in performance-making and writing for dramatic performance.
Students will have an opportunity to grow their cultural understandings of First Nations storytelling and to integrate this cross-cultural awareness back into their growing capacity to generate texts for performance by exposure to First Nations playwrights and their perspectives on storytelling.
Students will be introduced to a range of dramaturgical theorists, including Elinor Fuchs, Noel Greig and Cathy Turner and Lynne K Behnrdt, as well as to narrative theorists in performance writing, ranging from Aristotle to contemporary Australian theorists like Julian Meyrick.
They will develop and apply a range of practical dramaturgical skills that grow their capacity to research, analyse, reflect, and to give and receive feedback.
Students will be introduced to basic concepts and techniques needed to develop performance texts and to apply these in the writing and presentation of their own script for live performance in its broadest form, from traditional theatre, to expanded performance, stand-up comedy, libretto and music theatre lyric.
Learning Approaches
Students will be introduced to perspectives on First Nations Performance and Storytelling traditions, dramaturgy, and performance writing through a mixture of lectures, readings and tutorial-based learning. Tutorials are concept and context based, and are task and activity based including exercises in storytelling, dramaturgy, and scriptwriting. Students will develop practical skills and approaches, drawing on significant ‘Toolkits’ that can assist in dramatic storytelling, dramaturgical and live-performance text analysis, and scriptwriting, as well as perspectives on First Nations storytelling.
Feedback on Learning and Assessment
Feedback in this unit is provided to you in the following ways:
- a range of formative tasks and roles will be offered to facilitate progressive feedback to assist you in your learning
- comments on summative assessment work in addition to criteria sheets, both for group work and individual endeavour
- criteria sheet grading.
Assessment
Overview
In this unit there are two individual assessments and one group item. Assessment Item 1 is an oral presentation based on your learning about First Nations storytelling. Assessment Item 2 is a Critique based on your critical thinking and application of dramaturgical and narrative theory. Assessment 3 is a performance where you work collaboratively on a written task with others to develop an original performance text.
Unit Grading Scheme
7- point scale
Assessment Tasks
Assessment: Oral Presentation
Oral story developed by students and delivered in tutorial
Assessment: Critique
You will apply the dramaturgical theory learnt in the Unit to a chosen text (you will be offered a diverse range) in order to develop your own critical response and to contextualise the historical, cultural and social dimensions of that performance text.
This assignment is eligible for the 48-hour late submission period and assignment extensions.
Assessment: Performance
Performance texts written and performed in collaboration with a dramaturg, or in a group
Academic Integrity
Academic integrity is a commitment to undertaking academic work and assessment in a manner that is ethical, fair, honest, respectful and accountable.
The Academic Integrity Policy sets out the range of conduct that can be a failure to maintain the standards of academic integrity. This includes, cheating in exams, plagiarism, self-plagiarism, collusion and contract cheating. It also includes providing fraudulent or altered documentation in support of an academic concession application, for example an assignment extension or a deferred exam.
You are encouraged to make use of QUT’s learning support services, resources and tools to assure the academic integrity of your assessment. This includes the use of text matching software that may be available to assist with self-assessing your academic integrity as part of the assessment submission process.
Breaching QUT’s Academic Integrity Policy or engaging in conduct that may defeat or compromise the purpose of assessment can lead to a finding of student misconduct (Code of Conduct – Student) and result in the imposition of penalties under the Management of Student Misconduct Policy, ranging from a grade reduction to exclusion from QUT.
Requirements to Study
Requirements
All students are requested to visit and review the Health and Safety information on the HiQ web pages (CIESJ Tier 1 HSE requirement)
For some students, this unit also may also require a Tier 2 CIESJ Health and Safety Induction which is provided by the technician on site in the theatre, workshop or studio.
Resources
Required Text/Equipment
- Required reading will be available online through the unit's Canvas site.
- Students are reminded that proper clothing appropriate for active studio work is required, including closed-in shoes.
Recommended References
- Other unit readings and reference material will be available online.
Resource Materials
Safety and protective equipment
Students are reminded that proper clothing appropriate for active studio work is required, including closed-in shoes.
Risk Assessment Statement
For risks associated with using campus buildings or QUT facilities, refer to the HiQ Health and Safety information. For CIESJ Tiers 2 and 3 Health and Safety requirements, you will be instructed on safe procedures and the required safety gear for all studio and workshop processes that are demonstrated
As all performance-makers understand, creating a performance potentially carries with it certain physical and/or emotional risks, both in the rehearsal room and in the theatre. Indeed taking risks is an integral component of the art form’s processes. Some rehearsal warm ups and exercises, and some performance events may include physically or emotionally strenuous activities. Managing this risk to ensure working conditions are safe, is always a high priority in the production process. It is therefore extremely important that if you are aware of personal physical or emotional vulnerabilities that make you feel unsafe or at risk in any way, you should immediately inform your tutor or director or stage manager, so that your situation can be evaluated and appropriate rectifying action can be taken.
Theatres and other performance spaces are also potentially dangerous places, particularly backstage during performances when low light conditions prevail. You will be warned by the stage manager, the production manager or the director of any specific risks that you will need to be aware of, when your project team first moves into the theatre. Whenever moving into a new performance space, you should always conduct your own risk assessment, and notify your team or director of any hazards you have personally identified.
Every effort is made by Drama staff at QUT to ensure that you work in a safe environment. Conversely you are absolutely expected to follow all safety rules, procedures and directions, and to ensure that you do not put at risk the safety of others, or yourself, or of the highest artistic fulfilment of the project in any way.
Course Learning Outcomes
This unit is designed to support your development of the following course/study area learning outcomes.CA01 Bachelor of Creative Arts
- Cite and discuss a broad and coherent knowledge of historical and contemporary cultural contexts for creative practice, including the contribution of Aboriginal and Torres Strait Islander knowledges.
Relates to: ULO1, Oral Presentation - Identify and demonstrate knowledge of the techniques and concepts underpinning your field of creative practice.
Relates to: ULO1, Oral Presentation - Demonstrate complex problem solving through iterative experimentation and the creative and critical development of ideas and outcomes.
Relates to: ULO1, Oral Presentation - Communicate independent learning clearly and coherently in diverse modes relevant to your field of creative practice.
Relates to: ULO1, Oral Presentation - Communicate, represent, and promote your work in ways relevant to your creative field.
Relates to: ULO1, Oral Presentation - Discern, critically analyse, and synthesise knowledge in complex creative and critical settings.
Relates to: ULO2, ULO3, Oral Presentation, Critique, Performance - Work productively as a leader and collaborator in disciplinary and interdisciplinary practices.
Relates to: ULO3, Performance - Formulate and apply an independent perspective through contextual research, reflection, and by acting on the informed critique of others.
Relates to: ULO2, Oral Presentation, Critique, Performance - Demonstrate respect for cultural and social differences, sustainability, and work with integrity across all practice and professional settings.
Relates to: ULO1, Oral Presentation - Operate with initiative, ethical judgement and professionalism, both alone and in groups.
Relates to: ULO3, Performance