MODULE SPECIFICATIONS

Module Title: Module Code: PX7402 Module Leader:

Actor and the Level:7 Alexandra Kazazou
Text Credit:30
ECTS credit: 15
Pre-requisite: Pre-cursor:

Co-requisite: Excluded combinations : Suitable for incoming

study abroad? No

Location of delivery: Other

If ‘Other’ please insert location here:
Metropolitan College Downtown Athens Campus
(to be extended to Pireus, Maroussi, and Thessaloniki campuses)

Summary of module for applicants:

This module focuses students on the development of the discrete yet dynamically
interrelated skills of acting, voice and movement. The students will act in a piece
of theatre in line with professional standards and rehearsal techniques.
This module aims to enable students

 To develop and play a character

 To work collaboratively with a sense of Company/Ensemble Complicate

 To interpret texts, ideas and emotions through voice and body

 To create and sustain an improvised rehearsal or performance with

discipline and spontaneity

 To create and communicate character through the use of the voice and
body

 To sing harmonically

 To read and interpret texts with vocal confidence

 To use the body in a free, safe and flexible manner

 To move with an awareness of space

 To assimilate and recall simple dance patterns demonstrating musicality

and rhythm

 To maintain stamina in specific movement tasks

 To understand the necessity for warm-up exercises

1
 Main topics of study:
Lectures, seminars and practical workshops examining the following areas:

 Character and characterisation

 Acting, performance and the performative

 The actor’s body

 The actor’s voice

 Improvisation as a means of discovering the who, what and how

 Beyond the method

 Physical and metaphysical theatre

 Acting and representation

This module will be able to demonstrate at least one of the following

examples/ exposures
(please tick one or more of the appropriate boxes, evidence will need to be
provided later in this document)
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Learning Outcomes for the module

Please use the appropriate headings to group the Learning Outcomes. While
it is expected that a module will have LOs covering a range of knowledge
and skills, it is not necessary that all four headings are covered in every
module. Please delete any headings that are not relevant. You should
number the LOs sequentially to enable mapping of assessment tasks.
Where a LO meets one of the UEL core competencies, please put a code
next to the LO that links to the competence.

 Digital Proficiency - Code = (DP)

 Industry Connections - Code = (IC)

 Social and Emotional Intelligence - Code = (SEI)

 Physical Intelligence - Code = (PI)

 Cultural Intelligence - Code = (CI)

 Community Connections and UEL Give-Back - Code = (CC)

 Cognitive Intelligence – Code = (COI)

 Enterprise and Entrepreneurship – Code = (EE)

At the end of this Module, students will be able to:

2
Knowledge
1. Analyse and evaluate their own performance as an actor as well as the
performances of others.(COI)(CI) (SEI)
2. Develop and perform different characters (PI)(IC)
3. Demonstrate voice, movement and specific performance techniques (such
as centring, balance, control and embodiment)(PI)(SEI) (COI)
Thinking Skills
4. Reflect on theoretical issues in their evaluation of the creative process of
acting.(COI)(SEI)
5. Critically engage with different approaches to acting and actor training(COI)
(CI)
6. Solve complex problems, identify and evaluate options and review
decisions(COI) (CI))(SEI)
7. Evaluate and integrate theory and practice in a wide range of
situations(COI) )CI)
Subject-based practical Skills
8. Warm-up vocally and physically and critically assess the need for such
activities (PI)(SEI)
9. Use space effectively with an awareness of company complicate (PI) (SEI)
Skills for life and work (general skills)
11. Critically assess their own performance work as well as that of others. (COI)
(CI) (SEI)
12. Read aloud confidently/presentation skills. (COI)(CI)

Teaching/ learning methods/strategies used to enable the achievement of

learning outcomes:
For on campus students:
A combination of lecture, seminar and acting workshops/training sessions.

Assessment methods which enable Weighting: Learning

students to demonstrate the Outcomes
learning outcomes for the module; demonstrated:
please define as necessary:

CW1 Practice Portfolio (136.5 hours) 65% 2, 3, 6, 8, 9, 10,12.

CW2 Critical Reflection (2000 35% 1, 4, 5, 7, 11
words)

Reading and resources for the module:

3
Core
Barton, Robert. (2017) Acting: Onstage and Off. 7th ed. Boston, MA : Cengage
Learning
Evans, M. (2015). The actor training reader. New York : Routledge
Illingworth, S. (2020). Exercises for embodied actors: Tools for physical actioning.
New York : Routledge, Taylor & Francis Group
Pitches, Jonathan, and Stefan Aquilina (2017) Stanislavsky in the world: the
system and its transformations across continents. London: Bloomsbury Methuen
Drama.
Stern, T. (2017). The philosophy of theatre, drama, and acting. Lanham: Rowman
and Littlefield
Stanislavsky, K. (2016) Το Βίωμα/ Η Ενσάρκωση: Η Δουλειά του ηθοποιού με τον
εαυτό του Αθήνα: Πλέθρον
Thomas, J. (2013). Script Analysis for Actors, Directors, and Designers, 5th
Edition. Boston: Focal Press.
Aston, E. and Savona, G. (1991), Theatre as Sign System. London: Routledge
Dean, P. (2002) Production Management: Making Shows Happen. London:
Crowood Press.
Fortier, M. (1997) Theory/Theatre. London: Routledge.
Read, A. (1993) Theatre and Everyday Life, London: Routledge

Recommended
Adler, Stella. (1978) The Technique of Acting. New York: Bantam Books
Artaud, Antonin. (1961) The Theater and Its Double. Translated by Mary Caroline
Richards. New York: Grove Press
Benedetti, Robert L. (2005) The Actor at Work. 9th ed. Boston and New York:
Pearson Education
Boal, Augusto (1992) Games for Actors and Non-Actors. Translated by Adrian
Jackson. London and New York: Routledge.
Brestoff, Richard (1995) The Great Acting Teachers and Their Methods. Lyme,
NH: Smith and Kraus
Brook, Peter (1968) The Empty Space. New York: Atheneum
Chekhov, Michael (1953) To the Actor. New York: Harper & Row
Cole, David (1992) Acting as Reading: The Place of the Reading Process in the
Actor’s Work. Ann Arbor: University of Michigan Press
Ewan, V., & Sagovsky, K. (2020). Laban's efforts in action: A movement handbook
for actors with online video resources. London : Bloomsbury Publishing
Felner, Mira (2004) Free to Act: An Integrated Approach to Acting. 2nd ed. Boston:
Pearson Education
Gillett, J., & Gutekunst, C. (2021). Voice into acting: Integrating voice and the

4
Stanislavski approach. New York: Methuen
Gordon, Mel (1987) The Stanislavsky Technique: Russia; A Workbook for Actors.
New York: Applause Theatre Book Publishers
Grotowski, Jerzy (1968) Towards a Poor Theatre. New York: Simon & Schuster.
Hagen, Uta. (1991) A Challenge for the Actor. New York: Macmillan Publishing
Harrop, John, and Sabin R. Epstein (2000) Acting with Style. 3rd ed. Needham
Heights, MA: Allyn &Bacon
Hutchinson, A. D. (2021). Michael Chekhov and Sanford Meisner: Collisions and
convergence in actor training. New York : Routledge
Hull, S. Loraine (1985) Strasberg’s Method as Taught by Lorrie Hull: A Practical
Guide for Actors, Teachers and Directors. Woodbridge, CT: Ox Bow Publishing,
Inc.
Linklater, K. (2013). Freeing the natural voice: imagery and art in the practice of
voice and language. Hollywood: Drama Publishers.
Lecoq, J. (2005) To ποιητικό σώμα. Αθήνα: Κοάν
Lessac, Arthur (1997) The Use and Training of the Human Voice. 3rd ed. New
York: Drama Book Specialists
Meisner, Sanford, and Dennis Longwell (1987) Sanford Meisner on Acting. New
York: Vintage Books
Merlin, Bella (2007) The Complete Stanislavsky Toolkit. London and New York:
Drama Publishers
Page, K. (2018). Advanced consciousness training for actors: Meditation
techniques for the performing artist. New York : Routledge
Parke, Lawrence (1994) Since Stanislavski and Vakhtangov: The Method as a
System for Today’s Actor. Hollywood, CA: Acting World Books
Peck, L. (2021). Act As A Feminist!: Towards A Critical Acting Pedagogy. S.L.:
CRC Press
Rodenburg, Patsy (1992) The Right to Speak. New York: Routledge
Shevtsova, M. (2020). Rediscovering Stanislavsky. New York: Cambridge UP
Silverberg, Larry. (1994) The Sanford Meisner Approach: An Actor’s Workbook.
Lyme, NH: Smith and Kraus
Spolin, Viola.(1963) Improvisation for the Theatre. Evanston, IL: Northwestern
University Press
Sholl, R. (2021). The Feldenkrais method in creative practice: Dance, music and
theatre. London : Methuen
Sikes, A. (2007). Representation and identity from Versailles to the present: The
performing subject. New York: Palgrave Macmillan.
Yakim, Moni (1990) Creating a Character: A Physical Approach to Acting. New
York: Backstage Books
Zarrilli, P. B. (1995). Acting (re)considered: Theories and practices. London:

5
Routledge.
Bibliography In Greek

Βαφιάς, Α. (2020) Αγωγή προφορικού λόγου: Η προφορά της κοινής νεοελληνικής

γλώσσας Αθήνα: Λεξίτυπον
Δημητριάδης, Δ. (2010) Πεθαίνω Σαν Χώρα Θεσσαλονίκη: Σαιξπηρικόν
Μαλεβίτσης Χ. (2010) Τα μήλα των εσπερίδων - Περί του τραγικού: Τομές στη
συνείδηση της εποχής μας Αθήνα: Αρμός
Παπαγιώργης, Κ, (2016) Ο Εαυτός Αθήνα: Καστανιώτης
Πλάτων (1992) Συμπόσιον Ή Περί έρωτος Αθήνα: Κάκτος
Χουρμουζιάδης Ν. (1998) Περί Χορού: Ο ρόλος του ομαδικού στοιχείου στο
αρχαίο δράμα Αθήνα: Καστανιώτης
Barba, E. (2001) Θέατρο: Μοναξιά, Δεξιοτεχνία, Εξέγερση Αθήνα: Κοαν
Barthes, R. (2011) Αποσπάσματα του ερωτικού λόγου Αθήνα: Κέδρος
(2008) Ο φωτεινός θάλαμος: Σημειώσεις για τη φωτογραφία Αθήνα: Κέδρος
Bergman, Ι. (1989) Αυτοβιογραφία: Η Μαγική Κάμερα Αθήνα: Κάκτος
Brook, P. (2016) Ο άδειος χώρος Αθήνα: Κοάν
Comey, J. (2006) Η τέχνη της υποκριτικής στον κινηματογράφο: ένας οδηγός για
ηθοποιούς και σκηνοθέτες Αθήνα: Αιγόκερως
Gombrowicz, W (2007) Η Πορνογραφία Αθήνα: Νεφέλη
Gortchakov, N. (1997). Βαχτάνγκοφ: Μαθήματα σκηνοθεσίας και υποκριτικής.
Aθήνα: Σέλας
Harari Y. (2015) Sapiens: Μια σύντομη ιστορία του ανθρώπου Αθήνα:
Αλεξάνδρεια
Kertesz, I. (2002) Εγώ ένας άλλος Αθήνα: Καστανιώτης
Kott, J. (2019) Θεοφαγία: Σκαριφήματα επί της αρχαίας Ελληνικής Τραγωδίας
Αθήνα: Εξάντας
Marshall, L. (2007) Το σώμα μιλά: Ζητήματα ερμηνείας και έκφρασης Αθήνα:
Κοάν
Mnouchkine, A. (2010) Η τέχνη του τώρα: Συζητήσεις με την Φαμπιέν Πασκώ
Αθήνα: Κοαν
Perec, G. (2000) Χορείες Χώρων Αθήνα: Ύψιλον
Sabato, E. (2019) Περί Ηρώων και τάφων Αθήνα: Μεταίχμιο
Saramago, J. (2001) Το κατά Ιησούν Ευαγγέλιον Αθήνα: Καστανιώτης
Shakespeare, W. (2016) Τα Σονέτα Δίγλωσση έκδοση, Ελληνικά – Αγγλικά
Αθήνα: Gutenberg
Journals
Stanislavski Studies. (2013-). Routledge.
Theatre, dance and performance training. (2010). Abingdon, UK: Routledge,
Taylor & Francis.
Stanislavsky, K. (2016) Το Βίωμα/ Η Ενσάρκωση: Η Δουλειά του ηθοποιού με τον

6
εαυτό του Αθήνα: Πλέθρον

Provide evidence of how this module will be able to demonstrate at least one
of the following examples/ exposures
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Indicative Activity
learning
and
teaching
time
(10 hrs per
credit):

1.
Student/tutor Activity: (e.g. lectures/seminars/tutorials/workshops/studio
contact time: work/moderated online discussions, online chat etc)
42 hours A combination of informal lecture/seminar, workshops and tutorials.

2. Student Activity: (e.g. seminar reading and preparation/assignment

learning preparation/ background reading/ on-line activities/group
time: work/portfolio/diary etc)
258 hours Seminar reading, weekly writing, group work, portfolio development

Total hours: 300

7
8
Module Title: Module Code: PX7 Module Leader:
Contemporary 403
Dr Theofilos (Fil) Ieropoulos
Performance Making
Level: 7
Credit: 30
ECTS credit: 15

Pre-requisite: Pre-cursor: N/A

Co-requisite: N/A Excluded combinations: N/A

Location of delivery: Other

If ‘Other’ please insert location here: Metropolitan College Downtown Athens
Campus
(to be extended to Pireus, Maroussi, and Thessaloniki campuses)

Main aim(s) of the module:

This module will introduce students to the field of 21st century performance
practices and methodologies. Throughout the term, students will explore a range
theoretical and practical skills required to conceive, devise and produce a
collaborative performance. Indicative topics of study include: interdisciplinary
composition; participatory and immersive practices; site specific/responsive
performance; and digital performance.

Main topics of study:

What does ‘performance’ actually mean today? How can performance be contemporary
when the ‘contemporary’ is ever-shifting at an alarming rate? In the last decade or so,
performance that disrupts the ‘usual’ theatre model has become mainstream
–‘immersive’. However, there are companies and artists out there who are pushing the
boundaries of audience engagement, and creating work that re-instigates the radical
nature of immersive and participatory performance practices in the 2020’s –both in the
offline and online spheres–addressing urgent cultural and political issues. This module
will introduce you to up-to-the-minute contemporary forms of performance that will
develop your practice in a way that speaks to, interrogates and / or compliments
emerging forms of contemporary theatre and performance. The work you explore and
create will be inventive, urgent and adaptive, and focus on the strength of collaboration.
The teaching on this module will consist of a mix of in-person workshops, online
seminars, visiting artist talks, independent tasks and group rehearsals. Throughout
each week, you will be asked to complete tasks via Microsoft Teams, read specific
sources and feedback via online seminars, watch or engage in performances (both live
and recorded) and complete group-based tasks.

Learning Outcomes for the module

At the end of this Module, students will be able to:
Knowledge
1. Articulate an approach to performance making (EE) (COI)
Thinking Skills
2. Reflect on theoretical issues as related to the production process (EE) (CI)
3. Solve complex problems, identify and evaluate options and review decisions (COI)
(PI)
4. Evaluate and integrate theory and practice in a wide range of situations (COI) (CI)
9
Subject-based practical Skills
5. Work collaboratively on a production project with a high degree of flexibility (PI) (SEI)
(COI)
Reading and resources for the module:
Core
Aston, E. and Savona, G. (1991), Theatre as Sign System. London: Routledge
Fortier, M. (2016) Theory/Theatre: An Introduction. London: Routledge.
Lavender, A. (2016) Performance in the Twenty-First Century: Theatres of
Engagement. London: Routledge.
Read, A. (1993) Theatre and Everyday Life. London: Routledge
Recommended Reading:
Alston, A. (2016) Beyond Immersive Theatre: Aesthetics, Politics and Productive
Participation. Basingstoke: Palgrave Macmillan.
Bial, H. (2004), The Performance Studies Reader, London: Routledge
Bishop, C. (2012) Artificial Hells. Participatory Art and the Politics of Spectatorship.
London: Verso
Boyle, M.S., Cornish, M., & Woolf, B. (Eds.). (2019). Postdramatic Theatre and Form.
London: Methuen Drama.
Carlson, M. (2018). Performance: a critical introduction. NY : Routledge
Cheng, & Cody, G. H. (2016). Reading contemporary performance: theatricality across
genres. London : Routledge, Taylor & Francis Group
Counsell, C. and Wolf, L. (2001) Performance Analysis. London: Routledge.
Dixon, S., & Smith, B. (2015). Digital Performance: A History of New Media in Theater,
Dance, Performance Art, and Installation. Cambridge, Mass, MIT Press.
Fisher, T. & Katsouraki, E. (Eds.) (2019) Beyond Failure. Oxon: Routledge.
Fragkou, M. (2018) Ecologies of Precarity in Twenty-First Century Theatre: Politics,
Affect, Responsibility. London: Methuen.
Goldberg, R. L. (2011). Performance art: from futurism to the present. London, Thames
and Hudson.
Goldberg, R. L. (2018). Performance now: Live Art for the 21st Century. London,
Thames and Hudson.
Greer, S. (2021). Queer Exceptions: Solo Performance In Neoliberal Times.
Manchester Univ Press.
Harvie, J. (2013) Fair Play: Art, Performance and Neoliberalism. Basingstoke: Palgrave
Macmillan
Johnson, D. (2015). Art of living: an oral history of performance art. New
York/Basingstoke, Palgrave Macmillan.
Johnson, E. P., & Rivera-Servera, R. H. (2016). Blacktino queer performance. [S.l.],
[s.n.].

10
Jones, A. (2021). In between subjects: a critical genealogy of queer performance. NY :
Routledge
Kaye, N (2000) Site-specific Art: performance, place and documentation, London:
Routledge
Kaye, N. (1994), Postmodernism and Performance, Basingstoke: Palgrave Macmillan
Keir Elam, (1996), The Semiotics of Theatre and Drama, London: Routledge
Lefebvre, H. (1991) [trans. D. Nicholson-Smith, first pub.1974] The Production of
Space, Oxford: Blackwell
Miles, M (1997) Art, Space and the City: Public Art and Urban Futures, London:
Routledge
Martin R (1990) Performance as Political Act; The Embodied Self, NY: Bergin & Garvey
Parker, A., & Sedgwick, E. K. (2013). Performability and performance. Johanneshov:
MTM.
Sandford, M. R. (Ed.) (1995) Happenings and Other Acts, London: Routledge
Schechner, R (2002) Performance Theory, London, Routledge
Sell, M. (2008). Avant-garde performance & the limits of criticism: approaching the
Living Theatre, happenings/fluxus, and the Black Arts Movement. Ann Arbor, Univ. of
Michigan Press.
Shulze, D. (2017) Authenticity in Contemporary Theatre and Performance. London:
Methuen.
St James, M. (2020). BEING IN TIME: performance art. ZIDANE Press.
Wilson, S. (2016). Art labor, sex politics: feminist effects in 1970s British art and
performance. https://doi.org/10.5749/minnesota/9780816685738.001.0001.

Bibliography In Greek
Core
Ανδρεάδη, Ι (2020) Performance: Από τη Θεωρία στην πράξη (Σκηνοθεσία - Φιλοσοφία
- Πολιτισμός) Αθήνα: Κάππα Εκδοτική
Αυγητίδου, Α (2013) Performance Now V.1: Επιτελεστικές πρακτικές στην τέχνη και
δράσεις In Situ Αθήνα: Ιων
Γερογιάννη, Ε (2019) Η Περφόρμανς στην Ελλάδα 1968-1986 Αθήνα: FUTURA
Μήτρου, Ι (2020) Performance Art: Ασυνείδητο, σώμα, παραστασιακή πράξη Αθήνα:
Μπαρμπουνάκη
Πατσαλίδης, Σ. (2019) Θέατρο και Θεωρία: (Μετα) Μοντέρνες διαδρομές σε τόπους,
ουτοπίες και ετεροτροπίες Θεσσαλονίκη: University Studio Press

Indicative Activity
learning and
teaching
time (10 hrs
per credit):

11
1. Student/tutor Activity (e.g. lectures/seminars/tutorials/workshops/studio
interaction, some work/moderated online discussions, online chat etc):
of which may be
online:

36 Weekly lectures, seminars, workshops, technical surgeries

6 Tutorials

2. Student Activity (e.g. seminar reading and preparation/assignment preparation/

learning time: background reading/ on-line activities/group
work/portfolio/diary, studio work etc):

258 Seminar/lecture preparation, assignment preparation, background reading,

portfolio preparation
Total hours (1 300
and 2):

Module Title: Module Code: PX7003 Module Leader:

Devised Project Level:7 Simos Kakalas
Credit:30
ECTS credit: 15

Pre-requisite: Pre-cursor:

Co-requisite: Excluded combinations : Suitable for incoming

study abroad? No

Location of delivery: Other

If ‘Other’ please insert location here: Metropolitan College Downtown Athens
Campus
(to be extended to Pireus, Maroussi, and Thessaloniki campuses)

Summary of module for applicants:

This module is designed to introduce students to the practical and theoretical skills
necessary in order to collaboratively devise a piece of theatre. By producing a
cross-institution performance project, students gain a practical understanding of
key aspects of working as an ensemble, physical theatre, source work and
devising. The students will engage with current theory and contemporary
performance practices emerging out of heritage sites / archival material and the
ethical implications of verbatim and historical performance. The students will also

12
have the opportunity to engage in specific archival research with a collaborative
partner of a cultural organization in Athens.

Main topics of study:

- To develop a range of skills required to devise theatre collaboratively

- To develop an understanding of how both devised and text-based scenes work

This module will be able to demonstrate at least one of the following

examples/ exposures
(please tick one or more of the appropriate boxes, evidence will need to be
provided later in this document)
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Learning Outcomes for the module

Please use the appropriate headings to group the Learning Outcomes. While
it is expected that a module will have LOs covering a range of knowledge
and skills, it is not necessary that all four headings are covered in every
module. Please delete any headings that are not relevant. You should
number the LOs sequentially to enable mapping of assessment tasks.
Where a LO meets one of the UEL core competencies, please put a code
next to the LO that links to the competence.

 Digital Proficiency - Code = (DP)

 Industry Connections - Code = (IC)

 Social and Emotional Intelligence - Code = (SEI)

 Physical Intelligence - Code = (PI)

 Cultural Intelligence - Code = (CI)

 Community Connections and UEL Give-Back - Code = (CC)

 Cognitive Intelligence – Code = (COI)

 Enterprise and Entrepreneurship – Code = (EE)

At the end of this Module, students will be able to:
Knowledge
1. Articulate different methodologies and approaches to contemporary
performance making(COI)

13
Thinking Skills
2. Reflect on theoretical issues in their evaluation of the contemporary
performance process(COI)(CI)
3. Critically engage with different approaches to contemporary devising
performance(IC)
4. Solve complex problems, identify and evaluate options and review
decisions(CI)(SEI)
5. Evaluate and integrate theory and practice in a wide range of situations(IC)
(CI)
6. Demonstrate initiative and originality in realising devised scenes (IC)(COI)
(CI) (SEI)

Subject-based practical Skills

7. Devise theatre collaboratively (PI)(IC) (COI) (CI) (SEI) (CC) (EE)
8. Create theatre in response to stimulus such as archive for an external
audience(PI)(CI) (IC)(COI)(SEI) (CC) (EE)
Skills for life and work (general skills)
9. Critically assess their own performance work as well as that of others. (COI)
(CI) (SEI)
10. Think critically.(CI) (SEI) (COI)
11. Engage confidently in academic and professional discourse (IC) (SEI)
(COI)

Teaching/ learning methods/strategies used to enable the achievement of

learning outcomes:
For on campus students:
A combination of lecture, seminar and acting workshops/training sessions.

Assessment methods which enable Weighting: Learning

students to demonstrate the Outcomes
learning outcomes for the module; demonstrated:
please define as necessary:
CW1 Performance 65% 1, 2, 3, 4, 5, 6, 7, 8,
10

CW2 Critical Reflection (2000 35% 1, 2, 3, 4, 5, 9, 10,

words) 11
Reading and resources for the module:

14
Core
Cantrell, T. (2013). Acting in documentary theatre. NY : Palgrave Macmillan
Govan, Nicholson & Normington (2007) Making a Performance – Devising
Histories and Contemporary Practices London: Routledge
Milling, J. & Heddon, D. (2015) Devising Performance – A Critical History London:
Palgrave
Spolin, Viola (2000) Improvisation for the Theatre Illiinois: North Western
University Press

Recommended
Auslander, Philip (1997) From Acting to Performance : Essays in Modernism and
Postmodernism, London; New York: Routledge.

Etchells, Tim (2000) Certain Fragments Text and Writings on Performance

London: Routledge
Greig, Noel (2005) Playwriting London: Routledge
Bogart, Anne (2001) A Director Prepares London: Routledge
Clements, Paul (1993) The Improvised Play:The Work of Mike Leigh London:
Methuen
Dieffenbacher, J. I. U. K. (2021). Clown: The Physical Comedian. London:
Bloomsbury Publishing PLC.
Etchells, Tim (2000) Certain Fragments Text and Writings on Performance
London: Routledge
Graham, S., & Hoggett, S. (2014). The Frantic Assembly Book of Devising
Theatre. Hoboken: Taylor and Francis.
Johnstone, Chris (1998) House of Games: Making Theatre for Everyday Life
London: Nick Hern Books
Hammond, W. (2008). Verbatim verbatim: Contemporary documentary theatre.
London: Oberon Books.
Kempf, L., Moguilevskaia, T., Université de Nancy II., & NEST (Organization).
(2013). Le théâtre néo-documentaire: Résurgence ou réinvention. Nancy: PUN,
Éd. universitaires de Lorraine.
Lamden, G. (2004). Devising: A handbook for drama and theatre students.
London: Hodder & Stoughton.
Linklater, Kirstin (1994) Freeing the Natural Voice Quite Specific Media Group
Martin, C. (2013). Theatre of the Real. (Theatre of the Real.) Basingstoke:
Palgrave Macmillan.
Oddey, Alison (1994) Devising:A Practical and Theoretical Handbook
London:Routledge

15
Pisk, Litz (1998) The Actor and His Body London: Methuen
Radosavljević, D. (2013). Theatre-making: Interplay between text and performance
in the 21st century. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.
Robinson, Davis. (2017). A practical guide to ensemble devising. London :
Palgrave
Spolin, Viola (2000) Improvisation for the Theatre Illiinois: North Western
University Press
Summerskill, C. (2021). Creating verbatim theatre from oral histories. NY:
Routledge
Zinder, D. G. (2009). Body, voice, imagination: A training for the actor, inspired by
Chekhov. New York, NY: Routledge.

Bibliography In Greek

Bogart, A. (2020) Το Βιβλίο των Viewpoints: Πρακτικός οδηγός των Viewpoints και
της σύνθεσης Αθήνα: Πατάκης

Brecht, B. (2015) Μικρό όργανο για το Θέατρο Αθήνα: Θεμέλιο

Johnstone, K. (2011) Impro Ο αυτοσχεδιασμός στο θέατρο Αθήνα: Εκδόσεις

Οκτώ

Provide evidence of how this module will be able to demonstrate at least one
of the following examples/ exposures
Live, applied project
Students will create practice based performance work for an public facing
production

Company/engagement visits
Students will engage with an external partner in a creative project

Company/industry sector endorsement/badging/sponsorship/award

Indicative Activity
learning
and
teaching
time
(10 hrs per
credit):

1.
Student/tuto Activity: (e.g. lectures/seminars/tutorials/workshops/studio
r contact work/moderated online discussions, online chat etc)
time:
A combination of informal lecture/seminar, workshops, tutorials,

16
45 hours and technical surgeries.

2. Student Activity: (e.g. seminar reading and preparation/assignment

learning preparation/ background reading/ on-line activities/group
time: work/portfolio/diary etc)

255 hours Seminar reading, weekly writing, group work, portfolio development
Total hours: 300

17
 Module Title: Module Code: Module Leader:
PX7529 Antonios Galeos
Research Methods in Level: M
Creative Practice Credit: 30
ECTS credit:

Pre-requisite: N/A Pre-cursor: N/A

Co-requisite: N/A Excluded combinations : N/A

Is this module part of the Skills University-wide option: No

Curriculum? No
Location of delivery: Other
If ‘Other’ please insert location here: Metropolitan College Downtown Athens Campus
(to be extended to Pireus, Maroussi, and Thessaloniki campuses)
Summary of module for applicants:

This module provides students with a range of research methods and skills necessary for
undertaking production-based dissertation work as part of their degree. It will be based on
a series of seminars, lectures, technical workshops and tutorials that allow the student to
develop a written and production-based prototype or first version of the dissertation
submission. The module aims to encourage the production of innovative source
materials, plans, conceptual and technical experimentation and research work that maps
the subject matter and demonstrates the formal strategies to be employed.

Main topics of study:

Through the lectures and seminars students will examine and explore the varied and
multiple methods involved in researching, proposing and developing a critical media
production. This will include the politics and ethics of research, examining existing
creative works through textual analysis, the use of archival and electronic sources and the
relationship of discursive theoretical positions to production-based work. Students are
expected to formally present their research and undergo a viva examining their final
practical proposal.

This module will be able to demonstrate at least one of the following examples/ exposures

Live, applied project

Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award
Learning Outcomes for the module

Where a LO meets one of the UEL core competencies, please put a code next to
the LO that links to the competence.

 Digital Proficiency - Code = (DP)

 Industry Connections - Code = (IC)
 Emotional Intelligence Development - Code = (EID)
 Social Intelligence Development - Code = (SID)
 Physical Intelligence Development - Code = (PID)
 Cultural Intelligence Development - Code = (CID)

18
  Community Connections - Code = (CC)
 UEL Give-Back - Code = (UGB)
 Cognitive Intelligence – Code = (COI)

At the end of this module, students will be able to:

Knowledge
1. Understand research designs for creative practice in relation to their practical and
theoretical underpinnings
2. Formulate a theoretically and practically valid research plan on a question of their
choosing

Thinking skills
3. Reflect on the ethical implications of their choices of research strategies.
4. Critically assess the reliability and validity of production-based research carried
out by others.
5. Develop a critical awareness of the relationship between theory and practice.

Subject-based practical skills

6. Identify the practical implications of a particular research design for creative
cultural projects.
7. Acquire independent critical skills in the production of performance, writing
practice, and digital media projects.
8. Develop independent critical thought for performance, writing practice, and digital
media projects.

Skills for life and work (general skills)

9. Present the justifications for the research plan and project proposal.
10. Extend and improve ability to research, plan, organise and create.
11. Propose strategies for overcoming the problems inherent in undertaking research
in sensitive areas

Teaching/ learning methods/strategies used to enable the achievement of learning

outcomes:

There will be 12 three-hour taught sessions consisting of lectures, seminars,

presentations and production-based surgeries. There will also be production
workshops in which the students will also receive individual tutorial support for the
conceptual and technical demands of their production based coursework. Students
are expected to spend approximately 22 hours per week in private study and
preparation for assessment
Assessment methods which enable students Weighting: Learning
to demonstrate the learning outcomes for the Outcomes
module: demonstrated
CW1: Pre-proposal brief (Equivalent 1,000 words) 30% 1,2,3,4,5
CW2: Practice Research Final Proposal (Presentation – 70%
1,2,3,4,5,6,7
20-30 minutes)
,8,9,10,11

19
Indicative Activity
learning and
teaching time
(10 hrs per
credit):
1. Student/tutor Activity (e.g. lectures/seminars/tutorials/workshops/studio
interaction, some work/moderated online discussions, online chat etc):
of which may be
online:
36 Weekly lectures, seminars, workshops

Tutorials, technical demonstrations

12
2. Student learning Activity (e.g. seminar reading and preparation/assignment
time: preparation/ background reading/ on-line activities/group
work/portfolio/diary, studio work etc):

252 Seminar/lecture preparation, assignment preparation, background

reading, portfolio preparation
Total hours: 300

Reading and resources for the module:

Core:
Glesne, C.(2018) Η ποιοτική έρευνα Οδηγός για τους νέους επιστήμονες Αθήνα:
Μεταίχμιο
Kershaw, B. & Nicholson, H. (2011) Research Methods in Theatre and Performance
Edinburgh: Edinburgh University Press.
Nelson, R. (2013) Practice as Research in the Arts – Principles, Protocols, Pedagogies,
Resistances. London: Palgrave.
Smith, H. & Dean, R. (2009) Practice-led Research, Research-led Practice in the
Creative Arts. Edinburgh: Edinburgh: Edinburgh University Press

Background Reading:
Altman, R. (ed.), 1992, Sound Theory / Sound Practice, Oxford: Routledge. Atkinson,
P. Delamont, S., (et al.)(eds.), (2007). Handbook of Ethnography. London:
Sage.
Banes, S.(2006). The Senses in Performance. London: Routledge.
Bell, Julia, & Paul Magrs, (eds.), 2000, The Creative Writing Coursebook, London:
Macmillan.
Berger, A. A. (1991). Media Research Techniques. London: Sage. Chapter Two:
‘Research logs’.
Billing, J., Lind, M. & Nilsson, L. (eds.) (2007). Taking the Matter into Common Hands:
Contemporary Art and Collaborative Practices London: Blackdog Publishing.
Blaxter, L., Hughes, C., & Tight, M. (2001). How to Research. Buckingham: Open
University Press.
Blom, L.(2004) The Intimate Act of Choreography Alton Dance Books Ltd. Bolton,
G. (2001). Reflective Practice: Writing and Professional Development
London: Paul Chapman.
Boulter, Amanda, 2008, Writing Fiction: Creative and Critical Approaches, London:

20
Palgrave.
Boylan, Clare, (ed.) 1993, The Agony and the Ego: The Art and Strategy of Fiction
Writing Explored, London: Penguin.
Buckland, T. J. (Ed.). (1999). Dance in the field: theory, methods and issues in dance
ethnography. Basingstoke: Macmillan.
Bulmer, M. (ed.) (1984). Sociological Research Methods: an introduction [second
edition] Basingstoke: Macmillan.
Bull M., & Back L., 2003, The Auditory Culture Reader, Oxford: Berg.
Burgess, R., (ed.) (1992). Field Research: A Sourcebook and Field Manual London:
George, Allen and Unwin.
Campbell, Joseph, (1993), The Hero With a Thousand Faces, Boulder: Paladin
Books.
Carr, W. & Kemmis, S. (1986). Becoming Critical: Education, Knowledge and Action
Research London: The Falmer Press.
Chion, M., 1994, Audio Vision, Columbia: Colombia University Press.
Collins, Brandilyn. 2002 Getting Into Character: Seven Secrets a Novelist Can Learn
from Actors, Hoboken, NJ: John Wiley.
Corbitt, J., & Nix-Early, V. (2003). Taking it to the streets: using the arts to transform
your community Great Rapids, MI: Baker Books
Dean, P. (2002). Production Management – Making shows happen Marlborough:
Crowood.
Eagleton, Terry, 2003, After Theory, London: Alan Lane.
Etchells, T., & Forced Entertainment. (2003). Imaginary evidence. Sheffield: Forced
Entertainment.
Foster, S. (1995). Corporealities: Body, Knowledge, Culture and Power. London:
Routledge.
Fraleigh, S.H. & Hanstein, P. (eds.) (1999)Researching Dance: Evolving Modes of
Inquiry. Dance Books.
Freeman, M., (1993) Rewriting the Self: History, Memory, Narrative London:
Routledge.
Fyfe, G. & Law J. (eds.)(1988). Picturing power: visual depiction and social relations.
London: Routledge.
Gibaldi, J. (1999) MLA Handbook for writers of research papers New York: Modern
Language Association of America.
Gibson, Andrew, 1996, Towards a Postmodern Theory of Narrative Edinburgh:
Edinburgh University Press.
Gray, A. 2002 Research Practice for Cultural Studies London: Sage
Hamilton, P. (ed) (2005) Visual Research Methods (Four Volume Set) London: Sage.
Hennessy, B. (1993). Writing feature articles: a practical guide to methods and
markets Oxford: Focal Press.
Hewson, C. [et.al] (eds) (2002) Internet research methods A Practical Guide for the
Social and Behavioural Sciences London: Sage.
Hawthorne, Jeremy, 2000, A Glossary of Contemporary Literary Theory, Oxford: Hodder
Arnold Publication.
Hooper-Greenhill, E. (2000) Museums and the interpretation of visual culture
Routledge: New York, London.
Hughes, C. (2002) Key Concepts in Feminist Theory and research London: Sage
Jensen, K.B (ed) (2002) A Handbook of Media and Communication Research:
Qualitative and Quantitative Methodologies London: Routledge.
Jones, A. (2002) The feminism and visual culture reader London: Routledge. Kester,

21
G. (2004) Conversation Pieces: Community and Communication in Modern
Art California: University of California Press.
Kimbell, L. (ed.) 2004 New Media Art: Practice and Context in the UK 1994 – 2004
London: Arts Council of England.
Kundera, Milan, 2002, ‘The Art of the Novel’, in Contemporary British Fiction, eds. R.
Lane, R. Mengham, & P. Tew, Cambridge: Polity Press.
Lodge, David, 1988, Modern Criticism and Theory: A Reader, Harlow: Longman. Lodge,
David, 1992, The Art of Fiction, London: Penguin.
Luckhurst, Roger, & Marks, Peter (eds.) 1999, Literature and the Contemporary:
Fictions and Theories of the Present, Harlow: Longman.
Madison, D.S. (2005). Critical Ethnography: Methods, Ethics, and Performance
London: Sage.
Malbon, B. (1999). Clubbing: Clubbing Cultures and Experience London: Routledge.
Malnig, J. (2009). Ballroom, Boogie, Shimmy Sham, Shake: A Social And Popular
Dance Reader Champaign: University of Illinois Press.
May, T. (1993) Social Research: Issues, Methods and Process Buckingham: Open
University Press.
Mitchell, K. (2009). The Director’s Craft - A handbook for the theatre London:
Routledge.
Pelias, R. J. (1999). Writing performance: Poeticizing the researcher's body.
Carbondale [Ill.: Southern Illinois University Press.
Pink, S. (2001) Doing visual ethnography: images, media and representation in
research London: Sage.
Reiser, M. & Zapp, A (eds.) (2002) New Screen Media: Cinema/Art/Narrative
London: BFI
Schafer, R. Murray, 1994, The Soundscape: the Tuning of the World, Rochester,
Vermont: Destiny Books.
Schiffrin, Andre, 2001, The Business of Books, London: Verso.
Schneider, R., & Cody, G. (eds.) (2002). Re:Direction – A theoretical and practical
guide London: Routledge.
Steiner, George, 1979, Language and Silence, London: Penguin. Thomas, H. (1997).
Dance In The City New York: St. Martin's Press.
Thomas, H. (2003). The Body, Dance and Cultural Theory Basingstoke: Palgrave
Macmillan.
Thomson, A. (2002). Critical reasoning: a practical introduction London: Routledge.
Tighe, Carl, 2004, Writing and Responsibility, Oxford: Routledge.
Truax, B. 2001, Acoustic Communication, Ablex Press.
Wells, L & Lister, M. (2001) ‘Seeing Beyond Belief: Cultural Studies as an Approach to
Analysing the Visual’ in the book Handbook of Visual Analysis by Theo Van
Leeuwen and Carey Jewitt (eds.) (2001) London: Sage.
Wayne, M. (1997) Theorising Video Practice London: Lawrence & Wishart. Volger, C.
1999, The Writer’s Journey, London: Pan.
Online:

Animarts:The Art of the Animateur http://www.animarts.org.uk/

Casting http://www.spotlight.com/
Centre for Creative Media Research – Bournemouth http://www.artlab.org.uk/
Collaboration and Ownership in the Digital Economy (CODE)
http://www.cl.cam.ac.uk/CODE/rel_texts.html
Community Arts Network http://www.communityarts.net/readingroom/index.php
Creative Partnerships in Education:

22
 http://www.capeuk.org/publications.html
Leonardo electronic magazine - Archive at The National Theatre
http://www.nationaltheatre.org.uk/7058/archive/the-archive.html
The Director’s Guild http://www.dggb.co.uk/
The Theatre Museum at the V&A http://www.vam.ac.uk/collections/theatre_performance/
The, University of East London. (2009).
Yearbook: Crossing Conceptual Boundaries: University of East London. MIT press
http://mitpress.mit.edu/e-journals/LEA/GALLERY/gallery.html
Rhizome arts digest http://www.rhizome.org
The Actors Union http://www.equity.org.uk/
The Arts Council of Great Britain: http://www.artscouncil.org.uk/ The
http://www.uel.ac.uk/hss/research/yearbook/index.htm
The University of East London Research Open Access Repository (roar@uel)
http://dspace.uel.ac.uk/jspui/community-list
The Whitney Portal to Net Art http://www.whitney.org/artport/resources/index.shtml

Journals:
University of Chicago. (1974-). Critical inquiry. Chicago: University of Chicago
Press.
Journal for Artistic Research, online.
https://www.jar-online.net/
Journal of Visual Culture, Sage publications, London (electronic form via Athens
account)
http://www.sagepub.com/journal.aspx?pid=264
Journal of Media Practice, Intellect, London (electronic form via Athens account)
http://www.intellectbooks.co.uk/ppjournals.php?issn=14682753
Lee, R. ‘Journal keeping as an aid to research: some ideas’, The Weaver: a forum
for new ideas in education, No. 1. Available online at
http://www.latrobe.edu.au/www/graded/RLed.html
PARtake: The Journal of Performance as Research
https://www.partakejournal.org/about

Bibliography In Greek
Core
Μαυρολέων Α. (2010) Η Έρευνα Στο Θέατρο Ζητήματα Μεθοδολογίας Αθήνα: Ι. Σιδέρης
Recommended
Αρβανίτης Θ. Δ. (2005) Οδηγός Επιβίωσης του ηθοποιού στον κινηματογράφο και στην
τηλεόραση: Μαθήματα υποκριτικής Αθήνα: Καστανιώτης
Βαροπούλου, Ε (2011) Το θέατρο στην Ελλάδα Η Παράδοση του καινούργιου 1974-2006
(Δύο τόμοι) Αθήνα: Άγρα
Βερνίκος, Ν., Δασκαλοπούλου Σ. (2002) Πολυπολιτισμικότητα: οι Διαστάσεις της
Πολιτισμικής Ταυτότητας Αθήνα: Κριτική
Γλυτζούρης, Α. (2011) Η Σκηνοθετική τέχνη στην Ελλάδα: Η ανάδυση και η εδραίωση της
τέχνης του σκηνοθέτη στο Νεοελληνικό Θέατρο Κρήτη: Πεκ (Πανεπιστημιακές Εκδόσεις
Κρήτης)
Glesne C. (2018) Η Ποιοτική Έρευνα : Οδηγός Για Νέους Επιστήμονες Αθήνα: Μεταίχμιο
Μαυρομούστακος, Π. (2005) Το θέατρο στην Ελλάδα 1940- 2000 Μια επισκόπηση
Αθήνα: Καστανιώτης
Μπάρμπα Ε. (2019) Κάψε Το Σπίτι : Για Τη Σκηνοθεσία Και Τη Δραματουργία Αθηνα:
Δωδώνη
Παπαδοπούλου Ε, Παπαποστόλου Π, Στέφος Ε (2013) Εκπαιδευτική Έρευνα : Από Την
Ποιοτική Στην Ποσοτική Ανάλυση Ρόδος: Εκδόσεις Εύδημος
Παπακωνσταντίνου, Ε. (2018) Odc Ensemble Βυρσοδεψείο, ένα θέατρο στα χρόνια της

23
 κρίσης / Vyrsodepseio, A Theatre in Times of Crisis Αθήνα: Νεφέλη
Πούλου, Α. (2020) Η Αρχαία Ελληνική Τραγωδία Και Το ψηφιακό Θέατρο: Ερείπια,
μεταμορφώσεις, δραματουργίες Αθήνα: Αιγόκερως
Πούχνερ, Β (2011) Μια Εισαγωγή Στην Επιστήμη Του Θεάτρου Αθήνα: Παπαζήσης
Ρακκάς Γ. (2007) Σύγχρονες Βαβέλ Μετανάστευση, Πολυπολιτισμικότητα, Συγκρούσεις:
Από τον Άγιο Παντελεήμονα στην προσφυγική κρίση Αθήνα: Εναλλακτικές Εκδόσεις
Συλλογικό (2017) Θεατρικότητα και Θεωρία Θεσσαλονίκη: Νήσος
Ταχματζίδης Δ. (2020) Η Οικονομική πολιτική στο χώρο του θεάτρου: Η περίπτωση του
Δη.Πε.Θε. Βέροιας Αθήνα: Ατέχνως
Συλλογικό (2010) Φύλο @ Έρευνα Κείμενα Θεωρίας του Φύλου από τη Γερμανία
Αθήνα: Μεταίχμιο

Provide evidence of how this module will be able to demonstrate at least one of the
following examples/ exposures
Live, applied project

Students will be undergoing their research project, which will culminate in creating
practice based performance work for an industry facing showcase as part of PX7002

Company/engagement visits

Company/industry sector endorsement/badging/sponsorship/award

Indicative Activity
learning
and
teaching
time
(10 hrs per
credit):
1.
Student/tuto Activity and hours (Defined as lectures, seminars, tutorials, project
r interaction: supervision, demonstrations, practical classes and workshops, supervised
time in studio/workshop, fieldwork, external visits, formative assessment,
work based learning (not placements)).

36 Weekly lectures, seminars, workshops

12 Tutorials, technical demonstrations

2. Student Activity (e.g. seminar reading and preparation/assignment preparation/
learning background reading/ on-line activities/group work/portfolio/diary
time: preparation, unsupervised studio work etc):
Seminar/lecture preparation, assignment preparation, background
252
reading, portfolio preparation
Total hours: 300

Module Title: Module Code: PX7010 Module Leader:

24
 Level:7

Mental Wealth: Credit:30 Dr Eleni-Reveka Staiou

Professional Life
ECTS credit: 15
- Performance
Praxis

Pre-requisite: PX7529 Pre-cursor: PX7529

Co-requisite: Excluded combinations: N/A Suitable for incoming

N/A study abroad? No

Location of delivery: Metropolitan College Downtown Athens Campus (to be

extended to Pireus, Maroussi, and Thessaloniki campuses)

Summary of module for applicants:

This module will provide students with the opportunity to develop an innovative
practice as research performance methodology that can lead to the
production work of a high creative and technical standard. They will pursue self-
initiated work, which demonstrates a critical understanding of the approaches,
practices and knowledge acquired earlier in the course and applied to their
project and develop an advanced understanding of research methodology and
project management for production-based work. The students will demonstrate
an understanding of theoretical perspectives pertinent to performance practice,
to contain a coherent implementation of research methodology and pre-
production planning and show evidence of original research.

Main topics of study:

Building each one of the eight basic competencies physical intelligence, cultural
intelligence, cognitive intelligence, social and emotional intelligence, digital
proficiency, entrepreneur and enterprise, industry connections and community
connections.

This module will be able to demonstrate at least one of the following

examples/ exposures
(please tick one or more of the appropriate boxes, evidence will need to be
provided later in this document)
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Learning Outcomes for the module

Please use the appropriate headings to group the Learning Outcomes. While
it is expected that a module will have LOs covering a range of knowledge
and skills, it is not necessary that all four headings are covered in every

25
module. Please delete any headings that are not relevant. You should
number the LOs sequentially to enable mapping of assessment tasks.

Where a LO meets one of the UEL core competencies, please put a code
next to the LO that links to the competence.

 Digital Proficiency - Code = (DP)

 Industry Connections - Code = (IC)

 Social and Emotional Intelligence - Code = (SEI)

 Physical Intelligence - Code = (PI)

 Cultural Intelligence - Code = (CI)

 Community Connections and UEL Give-Back - Code = (CC)

 Cognitive Intelligence – Code = (COI)

 Enterprise and Entrepreneurship – Code = (EE)

At the end of this Module, students will be able to:
Knowledge
1 Apply research methods and conduct innovative
technical/conceptual/theoretical research to create a practice as research
performance methodology (COI)(CI) (IC) (EE)
Thinking skills
2.Identify a specific area of study and production and acquired in-depth and
critical understanding of relevant issues, debates and practices.(IC) (COI) (CI)
(SEI) (CC)
Subject-based practical skills
3 Produce creative productions and indust ry f ocused event to a high
theoretical, creative and technical standard (IC)(SEI) (IC) (CI) (SEI) (PI)
(EE)
4 Develop a digital portfolio that is industry facing (DP) (IC) (COI) (CI) (SEI)
(EE)
Skills for life and work (general skills)
5 Knowledge of advanced level of industry understanding (IC)(CI)(COI)
(SEI) (EE)
6 Develop a foundation for advanced postgraduate research and production.
(COI) (PI) (SEI) (CI)
Teaching/ learning methods/strategies used to enable the achievement of
learning outcomes:
For on campus students:
This module is primarily run on a tutorial basis. The first part of the
module will have taught seminars to familiarise the students with the
parameters of research and production in preparation for their
dissertation consisting of seminars, informal presentation and
discussion. On acceptance of the proposal, as mutually agreed between

26
 students and staff, students will be assigned supervisors with appropriate
knowledge and expertise to guide them through the development of the
project. Students will amount to at least 6 hours of tutorial supervision and
are expected to engage in approximately 22 hours per week of private
study. Students will be responsible for arranging meetings with
supervisors and are expected to submit and present regular drafts /
practice evidence of their work in progress. Students are also free to
develop relationships with outside organizations and research centres, if
appropriate to the aims and criteria of the module.
Assessment methods which Weighting: Learning Outcomes
enable students to demonstrate demonstrated:
the learning outcomes for the
module; please define as
necessary: 1,2,3,5,6
75%
CW1 Practice Portfolio -
Performance Process
(130 hours) 4
25%
CW2 Digital Journal / Portfolio
(1500 words)

Reading and resources for the module:

These must be up to date and presented in correct Harvard format unless a
Professional Body specifically requires a different format
Core
Αρβανίτης, Δ. (2005) Οδηγός επιβίωσης του ηθοποιού στον κινηματογράφο και
την τηλεόραση. Αθήνα: Καστανιώτης.
Balme, C. (2012) Εισαγωγή στις Θεατρικές Σπουδές Αθήνα: Πλέθρον
Barton-Farcas, S. (2018). Acting and Auditioning for the 21st Century: Tips,
Trends, and Techniques for Digital and New Media. Milton: Routledge.
Dworkin, A. P. (2020). The entrepreneurial artist: Lessons from highly successful
creatives. Lanham: Rowman & Littlefield

Evans, A., & Evans, A. (2013). Secrets of performing confidence: For musicians,
singers, actors and dancers. London : Bloomsbury

Freebody, K., Balfour, M., Finneran, M., Anderson, M., & Springer International
Publishing AG. (2018). Applied Theatre: understanding change. Cham: Springer
Schinke, R. J., & In Hackfort, D. (2016). Psychology in professional sports and
the performing arts: Challenges and strategies. London : Routledge
Ζακόπουλος Ν. (1990) Η ψυχολογία του Ηθοποιού. Αθήνα: Δωδώνη.
Reading
Abbé-Decarroux, F., Grin, F., Université de Montréal., & Conférence
internationale sur l'économie de la culture. (1990). Risk, risk aversion and the

27
demand for performing arts. Montréal: Université de Montréal, Centre de
recherche et développement en économique.
Aquilina, S., & Sarco-Thomas, M. (2018). Interdisciplinarity in the performing
arts: Contemporary perspectives. Malta : Malta University Press
Aragay, M., Middeke, M., & Walter de Gruyter GmbH & Co. KG. (2019). Of
Precariousness: Vulnerabilities, Responsibilities, Communities in 21st-Century
British Drama and Theatre. Berlin: De Gruyter
Ανδρεάδη, Ι. (2010) Αλλάζοντας τους παλμούς της καρδιάς: Συζητήσεις με την
Κάτια Γέρου. Αθήνα: Καλειδοσκόπιο.
Baker, J. (2009). Secrets of voice-over success: Top voice-over actors reveal
how they did it. Boulder, CO: Sentient Publications.
Balfour, M. (2003). The use of drama in the rehabilitation of violent male
offenders. Lewiston, N.Y: E. Mellen Press.
Balme, C. B., & Fisher, T. (2021). Theatre institutions in crisis: European
perspectives. NY : Routledge
Becker, L. (2012). The organized actor: The workbook and planner for the
serious actor. New York : Triple Threat Ventures
Bernstein, J. S., & Kotler, P. (2014). Standing room only: Marketing insights for
engaging performing arts audiences. NY : Palgrave Macmillan
Blumenfeld, R. (2006). Tools and techniques for character interpretation: A
handbook of psychology for actors, writers, and directors. Pompton Plains, N.J:
Limelight Editions.
Brody, J. (2015). The actor's business plan: A career guide for the acting life.
London : Bloomsbury
Dunmore, S. (2020). An actor's guide to getting work. London: A & C Black,
Cobb, P., Ball, S. L., Hogan, F., Artspire (Online community), & New York
Foundation for the Arts. (2011). The profitable artist: A handbook for all artists in
the performing, literary, and visual arts. New York: Allworth Press.
Fischer, J., & Carell, S. (2017). The actor's life: A survival guide. Dallas:
BenBella Books
Gaylin, D. H. (2016). A profile of the performing arts industry: Culture and
commerce. NY : Business Expert Press
Genshaft, L. (2012). Bridging Theatre and Visual Art: The Role of an Applied
Theatre Practitioner in an Art Museum. Saarbrücken: Lambert Academic
Publishing
Goodall, J. R. (2008). Stage presence. London: Routledge.
Henry, M. L., & Rogers, L. (2010). How to be a working actor: The insider's
guide to finding jobs in theater, film and television. New York: Back Stage Books.
Hepplewhite, K. (2020). The Applied Theatre Artist: Responsivity and Expertise
in Practice. Cham : Springer International
Hougham, R., & Jones, B. (2017). Dramatherapy: Reflections and praxis.

28
London : Palgrave Macmillan
Institute for Career Research. (2015). Career as an actor.
Kemp, R. (2012). Embodied acting: What neuroscience tells us about
performance. London: Routledge.
MacNeill, C., & Peter Lang Ltd. (2018). Applied theatre with looked-after
children: Dramatising social care. Oxford: Peter Lang
Moore, R. (2017). The artist's compass: The complete guide to building a life
and a living in the performing arts. New York : Touchstone
Page, K. (2019). Psychology for actors: Theories and practices for the acting
process. NY : Routledge
Piazza, L. A. (2017). The concept of the new: Framing production and value in
contemporary performing arts. Leverkusen-Opladen : Budrich UniPress Ltd
Rea, K. (2021). The outstanding actor: Seven keys to success. London: Methuen
Stein, T. S., & Lynch, R. L. (2016). Leadership in the performing arts. New York :
Allworth Press
Trott, L. (2020). Actors' & performers' yearbook 2020. London : Methuen
Vail, J. (2012). How to be a HAPPY ACTOR in a Challenging Business: A Guide
to Thriving Through It All. North Charleston, SC: CreateSpace.
Young, J. W. (2013). A Technique for producing ideas. West Valley City, Utah:
Waking Lion Press-Editorium, LLC.
Journals:

Provide evidence of how this module will be able to demonstrate at least one
of the following examples/ exposures
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Indicative Activity
learning and
teaching
time
(10 hrs per
credit):

1. Activity (e.g. lectures/seminars/tutorials/workshops/studio

Student/tuto work/moderated online discussions, online chat etc):
r

29
 interaction,
some
of which may
be
online:
Weekly lectures, seminars, workshops, technical surgeries
20
Tutorials, technical demonstrations
16
2. Student Activity (e.g. seminar reading and preparation/assignment
learning preparation/ background reading/ on-line activities/group
time: work/portfolio/diary, studio work etc):

Seminar/lecture preparation, assignment preparation, background

264 reading, portfolio preparation
Total hours: 300

Module Title: Module Code: PX7002 Module Leaders:

Performance Level:7 Aristedes Servetalis
Platform
Credit:30 Efstathia Birba
ECTS credit: 15

Pre-requisite: Pre-cursor:

Co-requisite: Excluded combinations : Suitable for incoming

study abroad? No
Performance Praxis

Location of delivery: Metropolitan College Downtown Athens Campus (to be

extended to Pireus, Maroussi, and Thessaloniki campuses)

Summary of module for applicants:

This module is provided for students to create an innovative practice

based performance work for an industry facing showcase. It is designed to
give students the opportunity to pursue self-initiated research and
production, based on an area of their choice. The performance work should
demonstrate an understanding of theoretical perspectives pertinent to
performance practice, to contain a coherent implementation of research
methodology and pre-production planning and show evidence of original
research. A technical competence commensurate to postgraduate
standards is also expected. The reflective writing element enables students
to demonstrate the practice as research underpinning the performance.
This module will provide students with the opportunity to pursue self-
initiated work, which demonstrates a critical understanding of the
approaches, practices and knowledge acquired earlier in the course.
Students will develop an advanced understanding of research methodology

30
and project management for production-based work. Provide students with
the opportunity to develop production work to a high creative and technical
standard. Produce a written component that is based on critical reflection.

Main topics of study:

 Provide students with the opportunity to pursue self-initiated work,

which demonstrates a critical understanding of the approaches, p
ractices and knowledge acquired earlier in the course.
 Develop an advanced understanding of research methodology an
d project management for production-based work. Provide studen
ts with the opportunity to develop production work to a high creati
ve and technical standard.
Produce a written component that is based on critical reflection.

This module will be able to demonstrate at least one of the following

examples/ exposures
(please tick one or more of the appropriate boxes, evidence will need to be
provided later in this document)
Live, applied project
Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Learning Outcomes for the module

Please use the appropriate headings to group the Learning Outcomes. While
it is expected that a module will have LOs covering a range of knowledge
and skills, it is not necessary that all four headings are covered in every
module. Please delete any headings that are not relevant. You should
number the LOs sequentially to enable mapping of assessment tasks.

Where a LO meets one of the UEL core competencies, please put a code
next to the LO that links to the competence.

 Digital Proficiency - Code = (DP)

 Industry Connections - Code = (IC)

 Social and Emotional Intelligence - Code = (SEI)

 Physical Intelligence - Code = (PI)

 Cultural Intelligence - Code = (CI)

 Community Connections and UEL Give-Back - Code = (CC)

 Cognitive Intelligence – Code = (COI)

 Enterprise and Entrepreneurship – Code = (EE)

At the end of this Module, students will be able to:

31
Knowledge
1. U n d e r t a k e p r a c t i c e research methods and apply innovative
technical/conceptual/theoretical research to their production and written
work.(COI) (IC)(CI) (SEI)(DI)
Thinking skills
1. Identify a specific area of study and production and acquired in-depth
and critical understanding of relevant issues, debates and practices.
(COI) (CI)(IC) (SEI) (DI) (CC)

Subject-based practical skills

3 Produce creative productions to a high theoretical, creative and technical
standard (IC)(PI) (CI) (COI)(SEI) (EE)
4 Have enhanced their skills of exposition and reflexivity in written work.
(COI)(IC) (CI) (DI)

Skills for life and work (general skills)

5.Demonstrate advanced level of practical and creative skills to a
professional standard of production.(IC)(PI) (CI) (IC) (SEI) (EE)
6 Create and produce an industry focused showcase event (IC)(PI) (CI) (COI)
(SEI) (CC) (EE)

Teaching/ learning methods/strategies used to enable the achievement of

learning outcomes:
For on campus students:
This module is primarily run on a tutorial basis. The first part of the
module will have taught seminars to familiarise the students with the
parameters of research and production in preparation for their
dissertation consisting of seminars, informal presentation and
discussion.
On acceptance of the proposal, as mutually agreed between students and
staff, students will be assigned supervisors with appropriate knowledge
and expertise to guide them through the development of the project.
Students will amount to at least 6 hours of tutorial supervision and are
expected to engage in approximately 22 hours per week of private study.
Students will be responsible for arranging meetings with supervisors
and are expected to submit and present regular drafts of their work
in progress. Students are also free to develop relationships with outside
organizations and research centres, if appropriate to the aims and criteria
of the module.
Assessment methods which enable Weighting: Learning Outcomes
students to demonstrate the learning demonstrated:
outcomes for the module; please
define as necessary:

CW1 Practice Portfolio - Performance 60% 2,3,5,6

Process
(160 hours)

32
CW2 Essay 20% 1,2, 4,
(40 hours)

CW3 Promotional Portfolio 20% 1,2,3,4,5,6

Reading and resources for the module:

Core
Fischer-Lichte, E., & In Weiler, C. (2021). Dramaturgies of interweaving: Engaging
audiences in an entangled world. New York, NY : Routledge
Sapio, George. 2017. Workshopping the new play: a guide for playwrights,
directors, and dramaturgs. Milwaukee: Applause Theatre & Cinema Books

Κεσισογλου Β. (2014) Οπτικοακουστική Παραγωγή: Διεύθυνση παραγωγής,

βοηθός σκηνοθέτη, σκριπτ Αθήνα: Αιγόκερως
Kleon, A. (2014). Show your work!: 10 ways to share your creativity and get
discovered. New York: Workman.

Reading
Agustin, Julio, and Kathleen Potts. 2017. The professional actor's handbook:
from casting call to curtain call. Lanham: Rowman & Littlefield
Canton, U. (2011). Biographical theatre: Re-presenting real people?.
Basingstoke: Palgrave Macmillan.
Glaudini, Maria Cominis. (2017). Rehearsing in the zone: a practical guide to
rehearsing without a director.Iowa : Kendall Hunt
Davies, Gill. 2000. Create your own stage production company. New York: Back
Stage Books.
Haber, M., & Babchick, B. (2012). How to get the part ... without falling apart!.
Los Angeles: Lone Eagle Pub. Co.
Heim, Caroline. 2016. Audience as performer: the changing role of theatre
audiences in the twenty-first century. Abingdon, Oxon: Routledge.
Kincman, Laurie. 2021. The stage manager's toolkit: templates and
communication techniques to guide your theatre production from first meeting to
final performance. New York : Routledge
Mcconachie, B. 2015. Engaging audiences: a cognitive approach to spectating in
the theatre. NY: Palgrave Macmillan.
Meadows, M. (2018). Self-Disciplined Producer: Develop a Powerful Work Ethic,
Improve Your Focus, and Produce Better Results.Oklahoma City : Meadows
Publishing
Morettini, Donna. 2010. The philosophical actor: a practical meditation for
practicing theatre artists. Bristol, UK: Intellect.
Morris, E. (2017). Rhythm in acting and performance: Embodied approaches and
understandings.NY : Bloomsbury Methuen
Niermann, Timo. 2019. Collaborating backstage: breaking down barriers for the
creative network. New York : Methuen
Stribling, Zachary, and John Holloway. 2021. Illustrated theatre production
guide.NY : Routledge
Vogel, Frederic B. 2007. Commercial Theater Institute Guide to Producing Plays
and Musicals. Applause Theatre & Cinema Books.

33
 Provide evidence of how this module will be able to demonstrate at least one
of the following examples/ exposures
Live, applied project

Students will create an innovative practice based performance work for an

industry facing showcase

Company/engagement visits
Company/industry sector endorsement/badging/sponsorship/award

Indicative Activity
learning and
teaching time
(10 hrs per
credit):

1. Student/tutor
contact time:
30 hours Activity: (e.g. lectures/seminars/tutorials/workshops/studio
work/moderated online discussions, online chat etc)
20 hours Tutorial supervision, technical surgeries
2. Student Activity: (e.g. seminar reading and preparation/assignment
learning time: preparation/ background reading/ on-line activities/group
work/portfolio/diary etc)
250 hours Assignment and tutorial preparation, research, reading,
production- based work.
Total hours: 300

For office use only. (Not required for Programme Handbook)

Assessment Pattern for Unistats KIS (Key Information Sets) Weighting:

Coursework (written assignment, dissertation, portfolio, project output)
Practical Exam (oral assessment, presentation, practical skills assessment)
Written Exam

HECoS Code:
UEL Department:

34