VMC1 comprises an introductory survey to varying aspects of Western Art, Architecture & Design and visual/material culture from Classical times to the advent of Modernism in the early 20th Century. The course is thematic in nature but the broader contexts of production, consumption and reception are major considerations in the evaluation and analysis of images, artefacts, architectural structures, Interior Design and performance/media-based work.

1. Recognise the importance of historical, social and cultural conditions that relate to an exploration of visual and material culture in general and the fields ofart, design, media and architecture in particular.

2. Understand how art/design/media & architectural culture changes with context.

3. Explorethe use and application of relevantcritical and theoretical terms and vocabularies relevant to the discipline-specific field and/or area.

4. Apply basic research processes and strategiesand identify suitable research sources for the analysis of discipline-specific artefacts, pieces, media and/orstructures.

5. Identify relevant historical periods, styles and cultural, scientific and technological timelines when engaging in visual interpretations and use this material intheir own project/studio work.

This module introduces learners to the history of film within the wider cultural, aesthetic, and technological movements/contexts of the 20th and 21st centuries. Learners will study key filmmakers such as D.W. Griffith, Sergei Eisenstein, Leni Riefenstahl, Vittorio, de Sica, Akira Kurosawa, Orson Welles, Lars Von Trier, Paul Thomas Anderson, Paul Haggis, Haifaa-alMansour, Kathryn Bigelow, Alejandro González Iñárritu, for example. Learners introduced to terms and concepts for "reading" of film and to key movements in cinematic history.

1. apply the terms and concepts of film studies to analysis of film text
2. analyse relationship of prescribed films to eachotherand to their cultural, social, aesthetic and historical contexts
3. demonstrate analytical competency in understanding and reading film style in terms of cinematic movements
4. present ideas and lead class in discussion of prescribed film, using film clips
5. construct a writtenanalysis of filmdemonstrating ability to \”read\” filmic elements and to engage in cultural analysis
6. research cultural, aesthetic and historical contexts ofprescribed film as well as research readings/interpretationsof the film text

Emerging from the twilight of the 19th century, experimental artists revolted against traditional aesthetic boundaries in search of more fundamental forms of creative expression. This module introduces learners to a variety of poets, directors, playwrights and novelists who shattered contemporary rules by creating their own. Learners will be given an overview of the history of experimental writing generally related to the literary movements of Dada, Surrealism, Literature of the Absurd, Le Nouveau Roman, Oulipo, magic realism, speculative fiction, fabulist fiction and bizarro fiction. The module will examine structural, stylistic and thematic innovations including the use of non-sequitur, parataxis, collage, absurd situations, anti-heroes/heroines, ironic bathos, cut-up techniques, stream-of-consciousness, hybrid discourse, genre mashing, alternate cultures, hyperbole, unconventional syntax, fragmented narration and metafiction.

1. Identify and analyse avant-garde, innovative or experimental practices ina range of literary work.

2. Develop his or her own experimental practice in one or more genres studied for this module.

3. Write an accompanying reflective essay exploring the nature of the avant-garde and explaining why their work can be defined as experimental orinnovative.

4. Examine the theory, philosophyand tradition of experimental literature, drama and writing.

This practical module focuses on enhancing students' physical, spatial and vocal awareness through a series of technical exercises designed to cultivate professional skills in voice and movement. Throughout the module, students will develop and refine various physical and vocal techniques and principles, applying these skills to solo/duet/group compositional studies for performance. Students are encouraged to assess their individual progress, integrating feedback, reflection and research into their learning process.

1. Apply voice and movement techniques in warm-ups and training development.
2. Demonstrate increased self-awareness in the use of voice, body and space.
3. Integrate diverse vocal and physical techniques into the performance.
4. Experiment with a range of vocal and movement techniques to discover new expressive possibilities.
5. Embody concept, compositional elements, structure and presentative skills within the creative process and performance.
6. Evaluate the development of practice in a reflective journal.

7. Synthesise vocal and movement techniques in selected projects.

A further exploration of the practice of stage management and technical production in the performing arts. The learner explores the roles of production manager, technical manager and stage manager in the production and running of a stage performance. It teaches the practical skills of technical/stage management in collaboration with other students in a fully realised production situation.

Topics include technical script analysis, scheduling, cue markings and prompt scripts, organisational requirements, technical rehearsals, digital theatre technologies, show calling and technical operation. Working collaboratively will be key to this module.

1. Prepare and manage a prompt copy, which defines actors’ movements and calls,technical cues, stage elements, props and moving scenery.
2. Understand the roles of production manager, technician andstage manager in allthe various stages of a production process.

3. Be able to analyse and interpret the script, plans, models and designs for all relevant technical and production information.
4. Prepare for rehearsal and obtain all necessary resources, such as props, costumes, and settings.
5. Give cues for lighting, sound, cast entrances, moving scenery and other performance elements.
6. Demonstrate an understanding of OH& S issues and take appropriate actions where necessary.
7. Demonstrate a familiarity with the configuration and operation of the lighting, sound & multimedia equipment found in a modern theatre /performance space.

This module is designed to enable the learner to develop the ability to create a believable characterisation through the medium of heightened or poetic text.

1. adhere to the professional requirements of a theatre practitioner
2. apply research and textual analysis to characterisation
3. employ appropriate techniques towards characterisation
4. display appropriate voice and movement skills and apply them to the demands of non-naturalistic depiction of character and heightened or poetic texts
5. apply direction creatively
6. document, reflect on and evaluate the creative process and personal progression
7. demonstrate an ability to apply the Michael Chekhov technique principlesof characterisation and transformation to the chosen text

This studio based module prepares the learner with specialist skills to understand the nature of scenography. Texts are explored through reading, discussion and in-depth analysis to develop imaginative responses. Practical exercises are created to demonstrate the integrity of the proposed scenographic ideas. Students learn how to encounter a physical performance space and how to collaborate. Visual research, with particular emphasis on Art History is encouraged. Learners acquire techniques in two and three dimensional forms to express their ideas and interpretations of text. Presentation to their peers is an integral part of the design process.

1. Develop in-depth exploration and interpretation of the written text in the context of design for performance along with advanced research skills,
2. Recognise scenography as a reflection of the emotional world of the play.
3. Explore the use of space for the physical and imaginative requirements of the text.
4. Produce a portfolio of scenographic designs that will include research, moment drawings and scale models for a prescribed play in a specific theatre venue.
5. Develop critical abilities in research of histories of art, culture and visual representation.

This module has been developed to provide the learner with the knowledge and skills associated with Technical Drawing and Model Making for practitioners of Theatre Design. The skills are intended to concisely and clearly communicate all needed specifications to transform an idea into a physical form. The learner shall be able to interpret and communicate designs and ideas in 2D and 3D.

1. Carry outsite measurements of a performance space.
2. Use pre-determined measurements, employ an appropriate scale and produce a ground plan and elevations of a performance space.

3. Implement model-making skillsto explore set design concepts through form, scale, colour etc.
4. Useaground plan in order to create a scaled 3D model of the performance space.
5. Execute model making skills to create 3D model which articulate devloped design solutions.

This module will focus on photography from the practical aspects of making single images to the realisation of full photographic projects. Students will be introduced to the work of practitioners, both historical and current, with a view to their critical and creative contexts. The project briefs will encourage students to develop projects responding to both directed and open briefs.

1. Produce photographs that express intended meanings and concepts.

2. Produce photographic projects which form a coherent whole.

3. Demonstrate stronger photographic skills andforms of image manipulation.

4. Integrate photography into their wider practice and research.

5. Deliver critical response to own work and that of others, both written and in class.

This module is designed to develop practical and intellectual skills to explore a wide range of acting techniques, styles and genres. Research, rehearsal and performance of 20th century texts enable the student to develop the ability to create a believable characterisation in different acting styles and demonstrate a functional knowledge of the systems and theories which inform them: realism, epic theatre and the theatre of the absurd.

1. adhere to the professional requirements of a theatre practitioner
2. make appropriate and creative use of research
3. analyse text as a means of defining character and show the ability to take textual references into characterisation
4. develop a systematic methodology towards characterisation
5. demonstrate ability to present character in a believable manner within the appropriate style and convention for the selected text
6. develop skills which will ensure a range of capabilities in voice and movement
7. take and apply direction
8. document, reflect on and evaluate the creative process

This module introduces students to twentieth-century modern literature, including poetry, plays and novels. Writers include W.B. Yeats, T.S. Eliot, Ezra Pound, John Keats, Franz Kafka, Virginia Woolf, Adrienne Rich, Derek Walcott, Mary Shelley, Percy Shelley, E.M. Forster, Samuel Beckett, Luigi Pirandello and James Joyce for example. Changes in science, industry, technology, mass production, urbanisation as well as approaches to religion are examined. Issues of gender, identity, culture and politics are explored. The practical aspect of this module requires learners to work with primary and secondary level students using a selection of modern texts as the foundation for ideas for a series of workshops they will organise and carry out.

1. critically examine a range of texts from a modernist context

2. understand the diverse trends surrounding modernism

3. develop team working skills which will practically demonstrate modernism in seminars and workshops

4. carry out a series of workshops using modernist texts as their inspiration

5. Become familiar with the artistic philosophies of modernist writers

This module introduces learners to facilitation strategies and provides opportunity to practically apply techniques in workshop environment. Emphasis is on the facilitation process and acquisition of skills, culminating in the structuring and delivery of facilitated workshops to primary and secondary school students. Theories of applied theatre and practical facilitation methodologies explored. Learners develop collaborative skills, planning and designing the workshop in self-directed teams, and they learn strategies for creative thinking inspiring others in storytelling whether it is visual, dramatic or storytelling through words.

1. Outline and communicate strategies/techniques for facilitating others
2. Apply facilitation techniques to empower others in an act of learning
3. Collaborate withothers ina team,making decisions, assigning tasks, collating information and achieving common goals
4. Apply strategies for brainstorming and creative thinking, generating ideas with others to creatively access the Shakespeare text
5. Structure, design and deliver a facilitation workshop for Leaving Certificate students
6. Critically evaluate a Shakespeare play, analysing themes, genre, and cultural context
7. Generate written documents that record personal growth, moments of learning, shifts in praxis and reflect on learner as facilitator

Physical Theatre introduces students to the physical work of the actor and the world of professional, specialised actor training. Predominately practical in nature, it challenges the student to adopt the body as their sole means of expression thereby heightening awareness of the need to train the body and regard it as a powerful and under-utilised tool of the contemporary actor.

1. use the body as a mode of expression and a starting point toward its mastery in performance
2. develop physical controlin physicalperformance through such techniques as rhythm, body articulation,flexibility, strength, co-ordination, balance, discipline, playfulness, spontaneity, precision and imagination
3. experience a style of theatre that places the actor as the central point for theatrical creation where the primary focus is physical rather than textual
4. Understand the importance of the physicality of the actor in the creation of visual, metaphorical theatre
5. work as an ensemble, creating both solo and group compositions
6. understand the professionalism and dedication required of the professional actor
7. identify the roots of physical theatre and its place in the world of theatre

A practical module that explores a range of processes and approaches to devising theatre for the stage and other contexts. Students will develop the skills to initiate, explore, develop and notate a devised show.

They will move from initial ideas to final product through a series of exploratory workshops.

1. Understand the dramaturgical variables necessary for structuring a devised project.
2. Develop a new range of critical and communicative competencies
3. Know how to develop an ensemble capable of dynamically creating safe and active spaces for dialogue.
4. Know how to produce an imaginative and fully defined characterisation and performance.
5. Be able to deploy available resource to maximum effect in the production of a piece of devised theatre.

This module is designed to further develop the interdisciplinary nature involved in the process of creating theatre. It enables learners to develop methodologies in the context of visual and material culture which define directorial approaches from a range of possibilities through shared experiences. It provides the learner with practical experience working with peers in small groups. Learners will explore 20th century key theatre and visual art movements and examine dominant influences to inform and enhance their development. They will further develop directing skills in terms of approaches to the technical aspects of theatre production (sound and lighting design) and develop a deeper understanding of the complete theatrical language of live performance. Their individual responses to conanical 20th century texts will be developed.

1. recognise the interdisciplinary and collaborative nature of creating a work of theatre/performance
2. process information on a range of visual, cultural and creative disciplines which can inform and develop the process of creating performance
3. explore how original concepts can be realised in in the creation of a work of theatre
4. articulate and reflect on the challenges, successes and failures of the process verbally and in writing
5. demonstrate understanding of key 20th century practitioners who have strongly influenced the development of theatre and performance movements
6. explore space, objects,cultural and visual material to create images that convey meaning
7. develop an understanding of the complex nature of theatre production including the importance of lighting and sounddesign

This module has been developed to provide the learner with the knowledge and skills associated with Technical Drawing and Model Making for practitioners of Theatre Design. The skills are intended to concisely and clearly communicate all needed specifications to transform an idea into a physical form. The learner shall be able to interpret and communicate designs and ideas in 2D and 3D and will be introduced to computer added design (CAD).

1. Carry outsite measurements of more complex national performance spaces
2. Use pre-determined measurements, employ an appropriate scale and producea well finishedground plan and elevation of a national performance space.
3. Implement perspective drawing skills to explore and express set design concepts.
4. Usea derived ground plan and elevation in order to create a more detailedscaled 3D model of the performance space.
5. Create a well finished scaled plan and elevation of the developed set design.

This studio based module further prepares the learner with specialist skills exploring the nature of scenography, Students are introduced to the history of Theatre Design and Stage Technology. Texts are explored through reading, discussion and in-depth analysis to develop imaginative responses. Practical exercises are created to demonstrate the integrity of the proposed design/performance ideas and how 'action' is designed . Field trips are arranged to develop investigative skills. Students learn how to encounter a physical performance space. Research, particularly visual, is encouraged. Skills in costume design and rendition are developed. Learners use two and three dimensional forms to express their ideas and interpretation of text and present to their peers as an integral part of the design process. Learners design sets and costumes for plays in specific venues and collaborate on a realistic basis to achieve a finished design.

1. Develop in-depth exploration and interpretation of the written text in the context of design for performance along with advanced research skills
2. Recognise scenography as a reflection of the emotional world of the play
3. Explore the use of space for the physical and imaginative requirements of the text
4. Produce a portfolio of scenographic designs that will include research, moment drawings and scale models for a prescribed play in a specific theatre venue.
5. Develop critical abilities in research of histories of art, culture and visual representation

This module aims to introduce students to the necessary creative and technical skills to produce a simple video project. Students will work individually and in groups from proposal through shooting to video editing.

1. Originate and develop a project proposal for a video production.

2. Shoot a very short independent piece, bearing composition, sequencing and audio in mind.

3. Work within a small group to initiate, organise and shoot a short video on a proposed and agreed topic.

4. Edit the video into a finished form, incorporating titles, transitions, and color grading, including export to final formats suitable for online delivery.

5. Deliver a written reflection on the experience; lessons learned, practitioners they studied, notes on the outcome.

In this module learners investigate "Live Art" practices and create original works/happenings that integrate performance, installation, music, media arts and socially engaged practices. Performance history approached from non theatrical methods such as Surrealist, Dadist, Futurist, Fluxus, Situationist and resistant performance movements including Punk and postmodern performance. Module explores history and theory of the avant garde in visual and performance art and explores how performance and installation provoke and implicate the viewer, address the location specifically and perform a cultural/political intervention. Use of the photo/digital image from 1980s into the 21st century studied in reference to identity and cultural politics. Artists explored might include, Laurie Anderson, Pina Bausch, Joseph Beuys, Christo, Gilbert & George, Piero Manzoni, Andres Serrano, Cindy Sherman, Robert Wilson.

1. identify, delineate and operate in a contested space
2. record and document live art project
3. contextualiselive art workin the historical, cultural and theoretical movements of the 20th and 21st centuries
4. create a work/performance that engages/implicates an audience
5. project manage event or \”happening\”
6. stage manage and organise supportive technology for a live art event
7. analyse and critique live art work

Directing 3 explores postmodern theatre directing, bringing together critical theory and contemporary theatre practice to provide valuable tools for directing in today's expansive performance world. Postmodern theatre places new and novel demands on stage directors. It is more experimental, and the boundaries of what constitutes a performance have shifted. Dialogue is no longer always the primary mode of communication, and music, sound, movement, and other visual elements will be explored as ways to make meaning onstage. Learners will develop skills across relevant creative disciplines and inter-disciplinary practices in a highly collaborative environment. Using visual and cultural research, demonstrations and presentations, learners will reflect on a variety of approaches to the development of theatre by key practitioners and dominant forces, including e.g. Meyerhold, Brecht, Beckett, Artaud, Wilson, Foreman, Mitchell and others.

1. Learners will have an understanding of the dominant forces of theory and practice in the development of theatre in a postmodern world

2. Learners will explore the interchange between performance and e.g. visual art, movement, theatre, writing, sound, multi-media and so on,in a collaborative environment.

3. Learners will have an understanding of the dynamics of space and how spacial principles inform all aspects of postmodern performance.

4. Learners will examine various sign-systems that can be manipulated by directors to bring about ‘meaningful’ communication in a postmodern context.

5. Learners will know the process of transforming a playscript or concept into a living postmodern performance.

This module explores the intellectual history of postmodernism, and will consider a range of postmodern styles, political contexts and aesthetic practices for literature and performance. The module examines the work of theatre companies, productions, designers, writers, philosophers and plays in an effort to explore how postmodern performance practice encapsulates some of the definitions of the postmodern and how this transforms the theatrical, performance and literature landscape.

1. Understand the various generic and formal manifestations of postmodernism in writing practices including poetry, fiction and the dramatic arts

2. Examine the problematic conceptual history of postmodernism

3. critique a range of writing and performance media from the postmodern framework

4. understand the visual potential of photography, painting, lighting, colour, mood; or the impact of devising, the internet facebook and secondlife on the postmodern moment

5. investigate the impact of postmodernism on issues such as gender, cultural identity, violence, nationhood and power for example

This module aims to provide students with the capacity to analyse and evaluate their individual vocal, physical and emotional inhibitors. They will work with appropriate vocal and physical exercises and techniques, applying them to text and choreography to develop creative and original responses. They will be expected to design and deliver appropriate warm-ups, increase self-awareness and perform to a high professional standard.

1. Devise and delivervocal and physical warm-ups that focus on the physical, technical, emotional, and psychicneeds of a given role.

2. Use the body and voice effectively in a creative, imaginative, expressive way, appropriately synthesising training in both voice and movement.

3. Explore and apply presentedphysical and vocal principlesto create appropriate individual and group responses to creative stimuli and complicity.

4. Perform with spontaneity, physical, psychic, emotional and vocal clarity, playfulness, awareness of space, dynamic, rhythm, empathy and presence.

5. Advance their intellectual, emotional and performance competencies through actively changing acquired physical, vocal and psychological habits, reflective journalling and integratingthe training process into their professional and personal lives.

6. Apply, compose and evaluatetools of improvisation and compositional devices within the creative process and performanceofduet/trio composition study.

7. Utilize research and appropriate literature to support and extend their knowledge of voiceand movement training.

Year 3 seeks to integrate the ensemble focus of Year 1 and the learners' individual development of Year 2 into a coherent rehearsal and performance practice. Students will prepare for and rehearse a full-length play and perform it to an audience.

1. demonstrate a high level of professional conduct
2. demonstrate a well-grounded knowledge and understanding of the world of the playwright, the world of the play and the style of presentation required by the director
3. display an appropriate and fully developed characterisation
4. select appropriate choices from a range of voice and movement skills
5. collaborate as an active member of an integrated ensemble
6. consistently demonstrate the high levels of energy and vitality necessary to sustain and support the work at all times and the ability to develop a part through rehearsal into performance and from one performance to the next
7. show the ability to relate to an audience based on the Chekhov Technique principles of giving, receiving and establishing communion with the audience.

8. document, reflect on and evaluate the creative process and personal progression

This module further explores costume design and its role in the process of making theatre and film. Skills in costume design and rendition are further developed. Texts and characters are explored through collaborative exercises with a designer as part of a creative team to inform the process of designing costumes. Preliminary skills in researching visual material and techniques in costume design rendition are further developed; combining elements of colour, fabric textures and visual research. Students will develop an understanding of character in performance in terms of age, social status, occupation etc. and through period or unique fantasy framing. Learners expand their technical awareness of the technical requirements of the actor as well as reflecting on character analysis.

1. Research and source information necessary for costume design
2. Develop an understanding of costume design in relation to the interpretation of individual characters and the overall tone of a production
3. Explore texts in relation to the physical and imaginative requirements of the play and its characters.
4. Produce a portfolio of costume designs that will include research, moment drawings, sketches.
5. Acquire skills in research, visual representation and drawing.
6. Understand differences in designing a costume for stage or screen.

7. Learn to work as part of a creative team, present and articulate designs, enhance communication skills, decision making, problem-solving skills, time management, organising and planning skills.

This studio based module further prepares the learner with specialist skills for exploring the nature of scenography from research and design through to full production. Skills of analysis, exploration and interpretation of written texts in the context of theatre design are expanded. Texts are explored through reading, discussion and in-depth analysis to expand imaginative responses. Practical exercises are advanced to demonstrate how 'action' is the basis of design. Field trips are arranged to nurture investigative and research skills. Students learn how to encounter a physical performance space. Visual research is particularly encouraged. Skills in rendition are developed. Learners use two and three dimensional forms to express their interpretation of text and present to their peers. Learners design for plays in specific venues and work with budgets and collaborate on a realistic basis to achieve a finished and, in collaboration with others, a fully realised design.

1. Develop in-depth exploration and interpretation of the written text in the context of design for performance along with advanced research skills
2. Recognise scenography as a reflection of the emotional world of the play
3. Explore the use of space for the physical and imaginative requirements of the text
4. Produce a portfolio of scenographic designs that will include research, moment drawings and scale models for a prescribed play in a specific theatre venue
5. Develop critical abilities in research of histories of art, culture and visual representation
6. Develop the ability to work in a team and within a budget and time frame to fully realise a design for production

This module has been developed to provide the learner with the knowledge and skills associated with Technical Drawing and Model Making for practitioners of Theatre Design. The skills are intended to concisely and clearly communicate all needed specifications to transform an idea into a physical form. The learner shall be able to interpret and communicate designs and ideas in 2D and 3D. The learner will further develop skills in CAD for Theatre Design including 3D computer modelling.

1. Request plans, elevations and technical specifications of a nationalperformance space.
2. Use plans and translatesametoexecute an AutoCAD plan and elevationofa performance space.
3. Use plans and translate sametoexecute a detailed 3D model of the designated performance space.
4. Produce an AutoCAD ground plan and elevationof the set design, as well as 3D modelling of set elements.

5. Use digital media to capture theatrical moments illustrated within theconstructed 3D model for presentation and portfolio purposes.

This module introduces learners to lighting design and digital technologies used in the theatre. The aim of this module is to provide opportunities for learners to develop skills in technical design practices for performance. Learners will participate in an individual and/or group project related to the performing arts and will also be advised to take an approved work placement relevant to the field. Learning experiences available include the opportunity to design, plan and deliver a collaborative and inter-disciplinary creative project over the duration of the semester working with other students and with visiting professionals. Field trips are arranged to nurture investigative and research skills. Students learn how to encounter a physical performance space and its technical facilities, using computer controlled lighting boards, robotic lighting instruments and audio visual projection.

1. undertake a project that will develop technical abilities as a designer and creative practitioner

2. have reflected on the interchange between theatre, performance,art, film, digital media and other disciplines

3. further develop digital and media skills

4. explore the use of lighting design as a creative element in the dramaturgy of a performance

5. have enhanced awareness of theatre and interdisciplinary disciplines through contemporary use of digital technologies and explore the wider landscape of performance related technical disciplines

6. demonstrate best practice in productivity, time management and planning for the technical requirements of lighting and digital design

This module considers the application of the actor's technique to the business of acting to camera. It will also explore the shift in screen acting practise and philosophy around motion capture and acting to absent places or characters. It will look at how performers and visual and special effects crew work together to produce work of aesthetic value and verisimilitude in an industrial system of technological reproduction.

1. Demonstrate an understanding of the vernacular of film making terminology pertaining to the actors relationship to the camera

2. Demonstrate a competency in the art of self taping for audition.

3. Demonstrate an ability to deliver a believable performance under highly artificial circumstances.(Green screen, Composite image)

4. Choose and use the acting tool most appropriate to the acting circumstance (Draw fromChekhov Technique/Suzuki/Viewpoints/Stanislavsky Method)

In this module the learner will develop, participate in a process, and perform a small number of solo/small group performances around given themes or texts.

The learner is guided through an autonomous yet collaborative creative process that will serve to demonstrate the skills acquired throughout the course and further the development of the learner as a competent theatre practitioner, demonstrating their creative individuality and autonomous skill base as an emerging artist.

The learner will demonstrate a clear understanding of the theoretical underpinning of their process and engage in theorised practice.

1. demonstrate competencies as an autonomous yet collaborative practitioner

2. display an embodied understanding of one or more tool from the Michael Chekov technique

3. have developed a portfolio of performance (monologue/duologue/group piece)

4. demonstrate a number of technical skills in he areas of lighting /sound/set/ stage management

5. apply the Chekhov technique of the Psychological Gesture to one or more of the pieces developed.

Creative Writing Practice will introduce writers to a range of writing, reading, and editing, including playwriting, short story writing and poetry. Learners will gain confidence in the craft and technique of writing as well as establishing their own voice. Learners will be challenged to play, experiment and take risks in their work.

1. write a bite-size play

2. write a piece of flash fiction

3. Write a poem – a haiku/a sonnet/a poem in free verse

4. Examine the craft and technique of various forms of writing

5. Produce samples of writing which mimicwell established writing styles

6. Read a diverse amount of writing across a range of genre

This module allows the learner to exploring the nature of event and performance in theatre and non-theatre settings from research and design through to full production. Skills of analysis, experimentation and interpretation of a wide range of sources can be explored using a variety of methods and skills, expanding the context of theatre design and design for performance. Themes will be explored through investigation, reading, discussion and in-depth analysis to expand imaginative responses. Practical exercises and skill based exploration will inform the direction of the design and performance as well as critically and practically informing the decisions for the overall production. Students learn how to encounter new platforms and situations for performance, allowing for a new interpretation of space, audience and scenarios. Learning experiences available include the opportunity to design, plan and deliver a collaborative and inter-disciplinary creative project over the duration of the semester. Visual research is crucial and practical theatre 'makings' skills are developed. The learners will bring together the audience, place and event in a cohesive, professional and innovative way, encouraging broad and creative thinking as well as advancing the skills needed in the production of any type of performance.

1. Develop in-depth exploration and interpretation of events and performance in the context of design for production.

2. Recognise scenography as a reflection of the emotional world of event and performance.

3. Explore the use of space and place for the physical and imaginative requirements expression and story telling

4. Produce a portfolio of designs for performance that will include research, moment drawings and scale models for a performance or event.

5. Develop critical abilities in research of histories of art, culture, visual representation and audience reception.

6. Develop the ability to work in a team and within a budget and time frame to realise a fully produced event/ performance.

The aim of this module is to provide learners with the opportunity to carry out independent research and to submit a written researched document of 6,000-8,000 words in an area related to the performing arts. Dissertations can be practice based involving designing, directing or performing a piece of theatre which serves as the basis of the research; the research can be based on a research question investigated through primary research/studies undertaken by the learner; or, the research can be wholly based on secondary research. Dissertations will demonstrate ability to source information within a designed framework or methodology, contextualise research, engage in critical analysis, and present findings.

1. define a research problem or question
2. to consider varying methodological approaches and to adopt framework suitable to topic being researched
3. to employ primary and secondary research strategies
4. produce and present a research dissertation proposal, defining area of research and rationale, outlining the value of this research
5. read widely and critically reflect on literature, demonstrating knowledge of current scholarship and debates in specified area
6. produce a dissertation that evaluates and synthesises written materials and displays evidence of independent research skills
7. discuss and presentresearch objectives, methods, findings and conclusions and engage in interactive discussion of the work, answering questions, calrifying points and defending the work
8. coordinate interaction and communicationwith external groups connected to the research in the form of interviews, focus groups, questionnaires etc

This module focuses on "Shakespeare" as a site of cultural production, a space in which identity is negotiated and worked out. Learners introduced to Shakespeare comedy, tragedy, romance and history plays, locating those texts within the social, cultural and historical context of the early modern period and the interpretative moments including our own that have shaped meaning in the texts. Critical methodologies will be applied to the texts including feminism, cultural materialism, psychoanalysis and historicism. The module will also look at contemporary appropriations of Shakespeare , particularly film adaptations, in which our own "culture" is reproduced and contested.

1. analyse and evaluate Shakespeare within the social, cultural and historical context of the early modern period
2. interpret texts through the framework of different critical methodologies, including feminism, cultural materialism, psychoanalysis and historicsim
3. creativley interpret a scene from a Shakespeare play in collaboration with others
4. analyse and interpret Shakespeare plays in terms of generic expectations
5. engage with critical texts and articulate and present these ideas in written summary and seminar discussions
6. document learning events, praxis, and collaborative process developing skills as a working practitioner

The module facilitates an extensive exploration and analysis of a range of texts and acting processes through the learners' independent individual and small group work. Learners are required to conduct a piece of independent practical research, leading to the selection of texts and their preparation for solo performance and scene work. Learners will take individual responsibility for editing, staging and performing their audition material with the guidance of the acting tutors. The Audition Show will be performed to a public audience and the representatives of the professional theatre industry.

1. develop the work ethic required of a professional actor
2. research and select audition and scene material, establishing a file of duologues and monologues for potential inclusion in the Audition Show or use in professional auditions
3. apply textual analysis and character study practically, through increasingly independent rehearsal and classroom performance of monologues and duologues
4. apply a broad range of vocal and physical, psychological and emotional skills and techniques to support characterisation, demonstrating an ability to select the appropriate tools from Michael Chekhov Technique to enhance characterisation.

5. create and perform fully developed imaginative characterisation in a broad range of parts, genres and acting styles, (Chekhov/Stanislavsky/Viewpoints/Suzuki)

6. creatively engage in staging and self-directing selected audition pieces
7. form a view of his/her professional casting potential, and knowledge of potential areas of future employment
8. present her/himself to potential employers as a skilled, versatile and informed actor.

This practical module is designed to consolidate and develop further the technical voice work of the previous years; strengthen vocal support and power; secure a developed vocal technique for spoken and sung voice; introduce a selection of dialects from the English-speaking world; encourage ownership of the voice through the independent management of practical study and performance. It will further develop the work of the previous years in movement; introduce movement skills that strengthen the student's technique; broaden the imaginative and stylistic use of movement and underpin acting studies.

1. Demonstrate an extended ability to deploy appropriate vocal behaviour in all aspects of voice.
2. Support, place and sustain the voice in large performance spaces.
3. Demonstrate an extended practical ability to speak both modern and heightened text expressively, involving carefully detailed analysis and interpretation and the deployment of a variety of appropriate vocal means in performance.
4. Show evidence of dialect acquisition by being able to speak selected dialects with some conviction, relating them to character and text.
5. Construct individually focused warm-ups and cooling down exercises for voice and movementand be equipped to undertake daily practice designed to develop the voice and movement.

6. Demonstrate an increased level of fitness complexity and expressionof performed movement.

7. Sustain a good level of engagement, across a range of movement and dance styles.
8. Demonstrate an increased vocabulary and imaginative use of different movement and dance styles.
9. Show an ability to connect physical skillsto character in production.

10. Reflect on personal progress in vocal and movement practice through a reflective practice journal.

This module is designed to challenge the learner's interpretative and collaborative abilities. By engaging with a major Shakespearian play,Shakespeare offers an opportunity for both critical and creative thinking; learners will design a major play by Shakespeare or equivalent playwright. They reflect constructively on their strengths and weaknesses by interrogating the text from a spatial, imaginative, cultural, visual and philosophical perspective.The relationship of director and designer and the nature of the creative collaboration is examined. Problem solving requiring technical, imaginative and aesthetic responses is broadened. Evidence of research into the political, social, historical, cultural and psychological background of the selected text, along with clear professional, presentation and communication skills, will form an integral part of the project design.

1. Devise and present a design project based on a major play expressed through a chosen performance relateddiscipline incollaboration with a professional director
2. Explore and expand boundaries of visual communication through interrogation of selected text.
3. Delivervisual and oral presentations of design ideas tojustify approaches and choices.
4. Assess the technical and creative requirements of their project and harness the resources available to them for the production of their project.

This module has been developed to provide the learner with the knowledge and skills associated with Technical Drawing and Model Making for practitioners of Theatre Design. The skills are intended to concisely and clearly communicate all needed specifications to transform an idea into a physical form. The learner shall be able to interpret and communicate designs and ideas in 2D and 3D to a professional standard.

1. Request plans, elevations and technical specifications of an internationalperformance space.
2. Use plans and translatesametoexecute an AutoCAD and hand-drawnplan and elevation ofa designated international performance space.
3. Produce AutoCAD and hand-drawn sections of set design.
4. Use plans and translate sametoexecute a detailed 3D model of the designated performance space in extreme detail and to a professional standard.

5. Use digital media to capture theatrical moments illustrated within theconstructed 3D model for presentation and portfolio purposes.

This module prepares the learner for transition into performance related industry. Personal responsibility and self- motivation are encouraged. Project work will demonstrate accumulative skills in scenographic design. Project work will be partly realised in a professional environment through performance, film or multi media. Learners will demonstrate an awareness of organised work practices and integrate them into the realisation of the project, applying skills and understanding of responsibilities on a professional level .Learners will also develop skills in monitoring, archiving and recording their work. Contact with the industry is an important component of the course and industry practitioners will have specialist input. Learners will prepare a portfolio of their work to a professional standard; prepare, organise and present a showcase exhibition, as well as fine tuning presentation and communication skills.

1. Devise and produce a performed/filmed/multimedia project that demonstrates accumulative skills in scenographic design, applying effective management skills in the realisation of the project.
2. Demonstrate an awareness of consistent, organized professional work practices.
3. Co-ordinate, monitor and record the graduation project, applying skills and understanding of production objectives and collaborative responsibilities.
4. Have prepared a high quality portfolio for professional presentation that exhibits full potential and competency.
5. Have specialist input from professional practitioners in the industry.
6. Plan, prepare and present graduation showcase exhibition and related activities.

This module has been developed to provide the learner with the knowledge and skills associated with Professional Theatre Design Presentation, Technical Drawing and Model Making (including 3D printing and computer controlled cutting) for practitioners of Theatre Design in a professional studio environment. The skills are intended to concisely and clearly communicate all needed specifications to transform an idea into a physical form for production. The learner shall be able to interpret and communicate designs and ideas in 2D and 3D to a professional standard and for the collaborative working practices in the creative industries. Their professional studio skills will be developed according to industry needs and standards.

1. Request plans, elevations and technical specifications of an internationalperformance space.
2. Use plans and translatesametoexecute an AutoCAD and hand-drawnplan and elevation ofa designated international performance space.
3. Produce AutoCAD and hand-drawn sections of set design.
4. Use plans and translate sametoexecute a detailed 3D model of the designated performance space in extreme detail and to a professional standard.

5. Use digital media to capture theatrical moments illustrated within theconstructed 3D model for presentation and portfolio purposes.
6. Understand the industry needs for collaborative working practices – including professional communication, time management and budgeting skills

This module explores the development of Irish theatre since before the foundation of the State to contemporary Irish theatre. Particular reference will be paid to key creative practitioners, texts, and the programme of productions at the turn of the last century and also productions running at the time of module delivery. Through lectures and talks with guest practitioners (designers, directors, playwrights, actors, etc), learners gain an understanding of creative directions and challenges in historical as well as contemporary Irish theatre. In seminars, current scholarship and critical methodologies in relation to the study of the texts explored, from postcolonial, feminist, and historicist to generic and performative. Playwrights might include W.B. Yeats, Lady Gregory, Teresa Deevy, Marina Carr, Christina Reid, Thomas Kilroy, Conor McPherson, Thomas Murphy, Enda Walsh, Martin McDonagh, , Vincent Woods, Michelle Read, Christian O'Reilly, for example; directors might include Patrick Mason, Gary Hynes, Lynne Parker, Michael Keegan Dolan; designers might include, Monica Frawley, Frank Hallinan‑Flood, Joe Vanek.

Students will also write a flash play as a way of understanding dramaturgy, structure, plot, characterisation and so on.

Students will make a pitch to direct an Irish play as a way of demonstrating their position as a practitioner entering into the artistic industry at the end of this semester.

1. undertake primary and secondary research in relation to theatre practice in Ireland

2. produce informed critical responses (oral and written) to performances and texts studied

3. design and deliver oral presentation on professional theatre practitioner or company in Ireland

4. demonstrate critical analysis and ability to apply critical methodolgies as interpretative strategies

5. produce academic essay capturing primary and secondary research undertaken, critical analysis and ability to synthesise and interpret findings

6. demonstrate professionalism and resourcefulness in undertaking primary research, communicating with external groups and presenting research in a public forum

This module develops the learners awareness of the development and practice of the professional world they will be part of. Learners will have the knowledge and skills to enter the cultural/arts sectors with assurance, awareness and integrity.

Students will consider the following subject matter: their region/city/country as a cultural resource; effective use of funding resources, arts centres, theatres, libraries, galleries, museums and so on. Students will become aware of various professional bodies in Ireland and outside of Ireland; they will become acquainted with the differences in cultural/business approaches to working in the UK, the US, and parts of Europe where our Institute has direct partnerships or connections.

1. Students will write a general CV, and a CV focussed on their specific area of training

2. Students will complete a funding application to the Arts Councilof Ireland, including a business for their proposed project

3. Students will make a pitch for funding to their local county council on an imagined project

4. Students will write a director’s pitch to an American theatre company of their choice

5. Students will apply to Ireland and the UK for funding for a cross-border project

6. Students will join a professional body of their choice in their related field

7. Students will do a mockaudition (actors) / present a portfolio (designers) to their peers

8. Students demonstrate health and safety issues, and legal issues that might be considered in their imagined projects

This module uses the performance texts of WB Yeats as a point of entry for a collaborative, non literature based approach to the examination , editing, physical scoring and performance of an collective response to an assigned text.

In this final phase of the actor's training the learner(s) are reacquainted with a full ensemble approach to performance that also includes elements of solo and group performance. In this phase the learners are encouraged to conceive of themselves as creative artists in their own right.

1. Learners will explore the physical approach to staging Yeats,(employing somatic principles) thereby bypassing a literary or dry reading of the text.

2. Learners will embody the formallanguage of the text in a process of experimentation, exploration and final performance of a response to aYeats play

3. Learners will demonstratethe ability to integrate different performance-disciplines leading to a public sharing (i.e. Laban principles; composition tools from Michael Chekhov Technique/Stanslavisky/Suzuki/Viewpoints/Corporeal Mime and Contemporary Dance)

4. Building a collaborative framework, students will apply fully their previous skills in order to invent a common language of performance

5. Demonstrate the ability to devise, notate andedit, work in a collaborative enviornment

In the last semester of the course learners will be involved in two theatre productions: a final year show of a specific theatre genre and a graduation show. Both productions seek to replicate professional theatre practice as closely as possible. Students will be auditioned, cast, and directed in full-length plays and perform to public audiences.

1. apply the work ethics required of a professional actor
2. apply research, analysis, knowledge and understanding to create imaginative and original characterisation
3. apply a broad range of vocal and physical, psychological and emotional skills and techniques to support characterisation
4. consistently demonstrate the high levels of energy and vitality necessary to sustain and support the work at all times
5. sustain fully developed imaginative characterisation throughout a full-length show and from one performance to the next
6. engage with the audience to convey meaning
7. demonstrate professional practice skills