Playwriting & Dramaturgy, MA

National University of Ireland, Galway
Type

Master's programs

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Course Overview

The MA in Playwriting and Dramaturgy cultivates the growth of the individual writer through an intensive one-year immersion in an ensemble-based learning environment. Based at the O’Donoghue Centre for Drama, Theatre and Performance, you will be immersed in a natural environment for creating and thinking about theatre practice. 

As a student, you will take modules on playwriting and other forms of theatre practice through which you will have the opportunity to specialise further, based on your own skills and interests. You will cultivate your skills as writers of dramatic texts (playwriting) but also increase your knowledge of a wide range of theatrical structures and forms (dramaturgy) to expand yourrange as artists. As a writer on this programme, you will hone your craft through intensive mentorship and a rigorous programme of modules, workshops and theatre trips that places your individual work in the context of the contemporary theatre industry and the history of theatre craft. The programme concludes with a playwriting dissertation advised by a professional writer and features a public reading of the your new work at the O’Donoghue Centre.

Why choose this course?

The course draws on NUI Galway’s long track record of producing award-winning playwrights, theatre critics, academics and practitioners. The course facilitates the development of the your individual  playwriting craft by exposing you to a range of theatre practices within an ensemble-based learning environment. You are are based at the world-leading centre for study and research in Irish theatre and performance. Given  NUI Galway’s rich tradition of student productions, you will also have ample opportunities to stage their plays. And with Galway’s vibrant creative scene, you can see world-class work throughout the academic year. 

NUI Galway also has one of the world’s great Irish theatre archives. As a student on this course, you will be able learn from the best—consulting manuscripts and promptbooks by such writers as W.B. Yeats, J. M. Synge, Sean O’Casey, Tom Murphy, Brian Friel, Thomas Kilroy, Marina Carr, Enda Walsh, and many more.

Applications and SelectionsWho Teaches this CourseEntry RequirementsAt least a Second Class Honours, Grade 2 (H2.2 or GPA 3.0) undergraduate degree, a personal statement addressing their theatre experiences and aims, two letters of reference, and a writing sample (5–6 pages)—this can be an academic essay, creative writing or theatre reviews. Entry for candidates with significant relevant experience may be possible. Applicants who do not meet the minimum entry requirements may be admitted via a qualifying exam if they have relevant professional experience, or be admitted to the PDip. Students who do not meet the Honours degree requirement but have a Level 7 (Merit 2) degree may be admitted to the PDip course, with the possibility of progressing to the MA if they receive a minimum of 60% in their course work during the year.Additional Requirements

Course Outline

All students take core modules in playwriting and dramaturgy. Students then can choose optional modules that address a diverse range of specialised topics in the field of performance, directing, theatre business, applied theatre, theatre history, archival research and more. 

After classes conclude, students work on the completion of a new play or piece of writing for performance with a mentor in the profession.  This work will receive a public staged reading in early summer at the O’Donoghue Centre for Drama, Theatre and Performance. 

A key aspect of the course is the preparation of candidates for success upon graduation: we provide advice on submitting plays for production, or other forms of writing for publication. Regular workshops with writers form a key part of the course.

Curriculum Information

Course and module offerings and details may be subject to change.Glossary of Terms

Credits
You must earn a defined number of credits (aka ECTS) to complete each year of your course. You do this by taking all of its required modules as well as the correct number of optional modules to obtain that year's total number of credits.
Module
An examinable portion of a subject or course, for which you attend lectures and/or tutorials and carry out assignments. E.g. Algebra and Calculus could be modules within the subject Mathematics. Each module has a unique module code eg. MA140.
Optional
Required
Semester

Year 1 (90 Credits)

Semester 1 | Credits: 10

This module introduces students to dramaturgy as a discipline with varied historical roots and as a practice that is diverse, sophisticated, and vital to contemporary theatre. It aims to equip students with the theoretical underpinnings and the intellectual tools with which to contribute confidently and effectively as dramaturgs in a rehearsal process (whether it be on a classic or modernist play, or in a devised production). Students complete the module by partnering with students mounting live performance projects for the module "Performance Lab."(Language of instruction: English)

Learning Outcomes

  1. Investigate the range of roles and functions required of a dramaturge in both historical and contemporary contexts.
  2. Analyse the role and function of a dramaturge on a range of theatre and performance projects arising out of a variety of institutional contexts and aesthetic approaches.
  3. Articulate the difference between structural, production and institutional dramaturgy.
  4. Evaluate the practice of dramaturgy as applicable to other roles in the theatre including director, playwright, designer and actor among others.
  5. Execute a variety of dramaturgical roles and functions through class exercises, assignments and projects (including engagement with student projects from the module 'Performance Lab').
  6. Negotiate the risks and demands of collaborative work through the execution of dramaturgical work on assigned student peer performance projects.
  7. Critically assess your personal practice as a dramaturge in terms of historical and theoretical fluency, skills at collaborating with other artists and your use and manipulation of supporting resources in engaging with your assigned student peer performance project.

AssessmentsLecturers / Tutors

  1. "New dramaturgy" by edited by Katalin Trencsényi and Bernadette Cochrane.ISBN: 1408177080.
  2. ISBN: 1403996563.
  3. ISBN: 0521081882.
  4. ISBN: 1585103322.

The above information outlines module DT6113: "Applied Dramaturgy" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Required

DT6126: Writing about Theatre and Performance

Semester 1 | Credits: 10

This module explores the theory and practice of writing about and for theatre. It focusses on reviewing, blogging, memoir, biography, and other forms of writing about theatre. Classes feature practice-based workshops.

Learning Outcomes

  1. work on reconstructing performance through the use of archival resources
  2. Understand the distinction between writing for specialist and non-specialist audiences, and apply that distinction in the composition of reviews and other forms of writing.
  3. Apply the skills of giving editorial feedback to peers both in person and in writing.

Assessments

  1. "Writing for Theatre." by Mark Fisher

The above information outlines module DT6126: "Writing about Theatre and Performance" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Required Semester 1 | Credits: 10

A weekly writer’s workshop in which Students will explore fundamental dramaturgical playwriting strategies and structures through analysis of plays from different genres and in-class writing tasks. (Language of instruction: English)

  1. Develop prompts for starting and completing written work
  2. Plan, structure and complete original short play
  3. Critically reflect on writing and situate it within established genres

AssessmentsLecturers / Tutors

  1. Publisher: Nick Hern Books
  2. Publisher: Nick Hern
  3. Publisher: Routledge

Note: Module offerings and details may be subject to change. Required Trimester 3 | Credits: 30

The playwriting portfolio consists of a written play and a critical reflection on the process of writing the play. The playwriting component may take any stylistic form but should be a complete work that would run for a minimum of 40 minutes in performance.The completed play will be submitted to the supervisor with an accompanying 5,500 word written account of the writing process that situates her/his practice in a historical and theoretical context. The dissertation will be submitted as one document (play and critical reflection essay in one document) (Language of instruction: English)

  1. Incorporate feedback and redraft scenes
  2. Select and apply appropriate playwriting technical and practical approaches and skills
  3. Demonstrate skills of researching and reviewing the relevant literature and lineage of practice
  4. Situate their project within the context of the existing body of work (lineage of practice)
  5. Critically analyse and evaluate the intellectual journey and practice development embedded in their project
  6. Document and critically reflect on the process of creation

Assessments

  1. "How Plays Work" by David Edgar
  2. "The Writers Journey" by Christopher Vogler

The above information outlines module DT6104: "Portfolio" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Required Semester 2 | Credits: 10

This workshop based module not only explores dramatic adaptation across different media but also uses the concept of adaptation to explore a range of playwriting strategies and dramaturgical approaches. Through the examination of play texts and writing tasks students will learn ways to adapt fiction and documentary materials for the stage and for radio. Similarly, in two hour sessions, they will also examine the adaptation of established dramaturgical models such as the hero’s journey and the fairytale along with the more radical adaptation strategies of contemporary theatre. Students should be prepared to read work aloud in class and will learn to critique each other’s work.

Learning Outcomes

  1. Chart and adapt dramaturgical structures across a range of different styles of theatre
  2. Complete a short play( 20 minutes in duration) and a longer play (at least 40 minutes in duration).
  3. Adapt a novel or short story to the stage
  4. Adapt literature and drama for radio
  5. Write a piece of documentary theatre
  6. Critically reflect on their playwriting practice

Assessments

  1. "How do Plays Work" by David Edgar
  2. "The Writers Journey" by Christopher Volger

The above information outlines module DT6124: "Playwrights' Workshop II: Adaptation" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Optional Semester 1 | Credits: 10

This is a course for actors and directors exploring Chekhov technique through practice, journal and essay. Following a thorough practical introduction to certain key concepts of Qualities, Psychological Gesture, Centres and Atmosphere, the student will move on to working on scenes and speeches. The experiential component will be backed up by discussion of various chapters of ‘To The Actor’ by Michael Chekhov, and analysis of the training DVDs of the Michael Chekhov Association.(Language of instruction: English)

Learning Outcomes

  1. Demonstrate theoretical knowledge of the theory of Chekhov's work academically and its placement in the the history of actor training.
  2. Have some ability in the practise of the technique, in particular, but not exclusively, Qualities, Radiating and Receiving, Centres, General and Personal Atmosphere, Psychological Gesture and Composition.
  3. Select and apply at least two of Chekhov's concepts to a scene from a given play.
  4. Execute written self assessment response of the practical work.
  5. Practically apply the techniques to directing theatre.
  6. Assess the technique by comparing it to at least one other practical performance technique they know about or of which they have experience.

AssessmentsLecturers / Tutors

  1. "On the Technique of Acting" by Michael Chekhov
  2. "Lessons for the Professional Actor" by Michael Chekhov
  3. "Three Sisters" by Anton Chekhov (trans. Michael Frayn)

The above information outlines module DT6108: "Exploring Michael Chekhov Technique" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change. Optional

DT6102: Irish Drama and Theatre from Wilde to O'Casey

Semester 1 | Credits: 10

(Language of instruction: English)

Learning Outcomes

  1. Identify, describe and analyse key moments in Irish theatre history from 1890 to 1930, with special focus on the Irish literary revival.
  2. produce a substantial research paper that deploys the skills of archival research, textual analysis and performance analysis.

AssessmentsLecturers / Tutors

  1. ISBN: 0393932435.
  2. ISBN: 978-140817528.

The above information outlines module DT6102: "Irish Drama and Theatre from Wilde to O'Casey" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change. Optional

EN6118: Digital Literature, Arts, and Creative Practice

Semester 1 | Credits: 10

Postgraduate introduction to digital creative practice in literature and other arts. The course will explore the ways in which new technologies have been used in the creation of born-digital works of literature and other arts, and the wider cultural impact of these developments.(Language of instruction: English)

Learning Outcomes

  1. Describe how new media technologies have been used in the processes of literary and other creative practices.
  2. Articulate a comprehensive picture of the expanding field of born-digital creative work
  3. Analyse and critique a range of aesthetic practices associated with digital arts and literature.
  4. Describe the theoretical and methodological implications of digital creative practice.
  5. Employ a selection of digital tools and platforms as a form of creative and critical inquiry.

Assessments

  1. ISBN: 0801855799.
  2. "Writing space" by Jay David BolterISBN: 0805829199.
  3. ISBN: 0817354220.Publisher: University of Alabama Press
  4. "Digital Art and Meaning: Reading Kinetic Poetry, Text Machines, Mapping Art, and Interactive Installations" by Roberto SimanowskiISBN: 0816667381.Publisher: Univ Of Minnesota Press

The above information outlines module EN6118: "Digital Literature, Arts, and Creative Practice" and is valid from 2017 onwards. Note: Module offerings and details may be subject to change. Optional Semester 1 | Credits: 10

'Thinking about Theatre' introduced students to a selection of key thinkers on Western theatre and performance. Texts to be considered include extracts from Plato's 'The Republic,' Aristotle's 'The Poetics,' Sidney's 'Defense of Poesy,' Diderot's 'The Paradox of the Actor,' and Schiller's 'On the Tragic Art.' A range of contemporary thinkers--including Alain Badiou and Jacques Rancière--will also be considered.

Learning Outcomes

  1. Analyse and relate strands of debates in critical discourse regarding theatre and performance over time
  2. Apply theoretical knowledge to the completion of an original research essay
  3. Situate theories of theatre in their historical contexts
  4. Formulate a coherent idea of the social and functions of theatre

AssessmentsLecturers / Tutors

  1. ISBN: 9780140455113.
  2. "The aesthetics of mimesis" by Stephen HalliwellISBN: 0691092583.
  3. ISBN: 9780631227083.
  4. "Modern theories of drama" by edited and annotated by George W. BrandtISBN: 0198711395.
  5. ISBN: 9780472119073.
  6. "An Actress Prepares" by Rosemary MalagueISBN: 9780415681575.

Note: Module offerings and details may be subject to change. Optional

DT6116: Critical Theory for Film and Theatre (S1)

Semester 1 | Credits: 10

This course introduces students to key critical theorists in the fields of film studies and drama, theatre and performance studies. We will explore the critical intersections and divergences between these interrelated and interdisciplinary fields, as well as their divergences, through taking an approach that identifies keywords and concepts that frame and organise trends in critical theory.(Language of instruction: English)

Learning Outcomes

  1. Identify key theorists and methodologies in the fields of film studies, and drama, theatre and performance studies
  2. Articulate the differences between key theoretical movements including Marxism, poststructuralism, feminist theory and LGBT studies as they impact on the research agends of these fields
  3. Analyse the stakes and outcomes of key debates in these theoretical and methodological areas
  4. Develop and sustain original theoretical arguments using case studies particular to the student's unique area of research
  5. Propose and execute an original research essay

Assessments

  1. "How to Do Things with Words" by J.L. Austin
  2. "Writing and Difference" by Jacques Derrida
  3. "The Presentation of Self in Everyday Life" by Erving Goffman
  4. "Unmarked: The Politics of Performance" by Peggy Phelan
  5. "Cities of the Dead: Circum-Atlantic Performance" by Joseph Roach
  6. "Performing Remains: Art and War in A Time of Theatrical Reenactment" by Rebecca Schneider
  7. "Discipline and Punish: The Birth of The Prison" by Michel Foucault

The above information outlines module DT6116: "Critical Theory for Film and Theatre (S1)" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change. Optional

EN6109: From Globe to Globe: Contextualising Shakespeare on stage and on screen

Semester 2 | Credits: 10

This module focuses on reading Shakespeare’s plays, and their adaptations, contextually. Students will be encouraged to locate their readings of the plays amid early modern discussions of a variety of religious-political topics before moving to consider the shaping influence of historical and cultural contexts on recent filmic and theatrical translations of Shakespeare’s plays from across the globe. In this regard, the module will investigate the malleability of Shakespeare as a cultural icon across a variety of languages and cultures, and focus particularly on adaptions in languages other than English. * Seminar discussion of the adaptations will attend to political and linguistic context and cultural tradition, and confront issues of location, translation, representation and generic difference. Across the course, students will be invited to consider the complex speaking positions that reside within these intercultural exchanges and investigate Shakespeare’s status as a global signifier of cultural capital. (Language of instruction: English)

  1. understand recent developments in the digital and global interpretation of Shakespeare’s work
  2. demonstrate awareness of how Shakespeare is performed across nations and cultures.
  3. critically assess the plays of Shakespeare and the processes through which they have been appropriated
  4. offer intelligent analysis of literary texts and visual samples
  5. engage with post-colonial criticism and performance and film criticism
  6. demonstrate research skills appropriate to postgraduate study

Assessments

  1. "Shakespeare in China" by Murray LevithPublisher: Continuum
  2. Publisher: Routledge

The above information outlines module EN6109: "From Globe to Globe: Contextualising Shakespeare on stage and on screen" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Optional Semester 2 | Credits: 10

This course introduces students to core concepts and practices in the field of applied theatre techniques which includes but is not limited to educational theatre, Theatre for Social Change, community arts/theatre,Theatre of the Oppressed and other Boalian techniques, theatre for development, and prison theatre. (Language of instruction: English)

  1. Distinguish between different working methodologies and genres within the larger field of applied theatre.
  2. Analyse key debates over ethics and collaboration in this field of practice.
  3. Building on our practical classroom exercises, lead basic exercises from each major genre of applied theatre discussed in class.
  4. Interrogate the role of the faciliator in applied theatre work.
  5. Propose a framework for their own independent applied theatre project.
  6. Demonstrate knowledge of a more advanced repertoire of activities and techinques from one targeted area of specialisation in applied theatre.

AssessmentsLecturers / Tutors

  1. "Theatre of Good Intentions: Challenges and Hopes for Theatre and Social Change" by Dani Snyder-Young
  2. "Games for Actors and Non-Actors" by Augusto Boal
  3. "Community Performance: An Introduction" by Petra Kuppers
  4. "Local Acts: Community-Based Performance in the United States" by Jan Cohen-Cruz

The above information outlines module DT6109: "Applied Theatre" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change. Optional

DT6101: Irish Drama and Theatre from Beckett to the Present

Semester 2 | Credits: 10

This course explores the history of Irish theatre from 1950 to the present, placing emphasis on the importance of Beckett for an understanding of Irish drama. (Language of instruction: English)

  1. Identify key moments in Irish theatre history since 1950
  2. Describe and analyse the importance of social, cultural and economic factors in the development of Irish theatre history since 1950
  3. Produce a written research essay that deploys the skills of archival research, textual analysis, and performance analysis.

AssessmentsLecturers / Tutors

  1. "Contemporary Irish Plays." by Patrick Lonergan

The above information outlines module DT6101: "Irish Drama and Theatre from Beckett to the Present" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change. Optional Semester 2 | Credits: 10

This module is focussed on professionalisation strategies and processes in the field of drama and theatre at large. Topics including long-range professional career planning in a variety of theatre and performance disciplines, producing, project preparation, grant writing, tax law for artists and more will be covered through interactive workshops. (Language of instruction: English)

Learning Outcomes

  1. Identify a range of roles and professional areas in the field of theatre and performing arts.
  2. Exhibit knowledge of the scope and interrelationship of major organisations in the field of theatre and performing arts in Ireland.
  3. Create and implement a plan for individual professional development in the field of theatre and performing arts.
  4. Critically reflect on a work experience with an organisation in the field of theatre and performing arts.

AssessmentsLecturers / Tutors

  1. ISBN: 978185459537.
  2. ISBN: 978155652813.

Note: Module offerings and details may be subject to change. Optional 12 months long | Credits: 10

This module integrates MA students into key theatrical production roles on productions staged with BA students in collaboration with staff or guest artist directors. Students contribute centrally to performance responsibilities related to acting, direction, dramaturgy, design and/or management that necessitate peer management and the creation of original content (including material for performance or performance/rehearsal management plans). (Language of instruction: English)

  1. Execute key responsibilities involved in specialized theatre roles such as stage manager, actor, designer.
  2. Administer one or more defined leadership roles within a live theatrical production from rehearsal through public performance as measured by key factors including management of peers, size of role, and independence of design process and execution as possible.
  3. Lead and organise innovative solutions to production problems.
  4. Supervise the delegation of responsibility for solving production problems to peers in consultation with team members and staff in artistic roles.
  5. Analyse theatre techniques and design materials including light, sound and costume in relationship to a complex and developed understanding of theatre history through engagement with independent research relevant to the production in final research essay.
  6. Articulate and probe the relationship between practical experience learned from previous production experiences with challenges and successes experienced during this process.
  7. Track and analyse the evolution of their individual and independently developed production concept such as original design, staging of a scene or movement sequence, or execution of a large acting role with demonstrable originality over the course of the entire process.

AssessmentsLecturers / Tutors

  1. ISBN: 0415404398.
  2. ISBN: 0141189223.
  3. "Stage management" by Gail PallinISBN: 1848420145.
  4. ISBN: 0521612322.
  5. "The Routledge companion to theatre and performance" by Paul Allain and Jen HarvieISBN: 0415257212.Publisher: London ; Routledge, 2006.

Note: Module offerings and details may be subject to change. Optional Semester 2 | Credits: 10

This course provides students an introduction to modern and contemporary directing practice, using case studies and engaging in practical exercises. (Language of instruction: English)

  1. Put into practice key directing strategies from the modern, postmodern, and post-dramatic traditions
  2. direct a small or large ensemble, using techniques worked on in class
  3. Identify and describe the distinctions between devised and text-based directing.

AssessmentsLecturers / Tutors

  1. "On Directing" by Katie Mitchell

The above information outlines module DT6119: "Directing for Stage" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Optional Semester 2 | Credits: 10

A practical and theoretical introduction to twentieth-century acting and performance techniques with special emphasis on Artaud, Grotowski, and Peter Brook. (Language of instruction: English)

  1. Describe and put into practice modern and contemporary theories of ensemble
  2. Describe and put into practice the ideas of key practitioners, such as Boal, Brook and Chekhov.

AssessmentsLecturers / Tutors

  1. "Towards a Poor Theatre" by Jerzy Grotowski

The above information outlines module DT6120: "Ensemble Acting and Devising" and is valid from 2018 onwards. Note: Module offerings and details may be subject to change. Optional

DT6117: Critical Theory for Film and Theatre (S2)

Semester 2 | Credits: 10

This module will introduce students to the conceptual and methodological considerations generated by a practice-based approach to research. Practice-based research is an original investigation undertaken to gain new knowledge partly by means of practice and the outcomes of that practice.Through a combination of seminars, guest-lectures and case studies, students will explore and assess the diversity of approaches which constitute practice-based research in the fields of film and theatre.(Language of instruction: English)

  1. Articulate the possible relationships between the practice and written components of a practice-based research project
  2. Articulate the history of practice-based research and the range of approaches which have constituted practice-based research projects
  3. Write a practice-based research proposal
  4. Present an argument for including a practice-element within a proposed research project
  5. Display an awareness of the challenges involved in undertaking practice-based research
  6. Construct a realistic timeline for undertaking a practice-based research project

Assessments

  1. "Research Methods in Theatre and Performance" by Baz Kershaw and Helen Nicholson, eds.
  2. "Practice as Research in the Arts: Principles, Pedagogies, Resistances" by Robin Nelson
  3. "What A Body Can Do: Technique as Knowledge, Practice as Research" by Ben Spatzs
  4. "Practice-Led Research: Research-Led Practice in the Creative Arts" by Hazel Smith and Roger Dean

The above information outlines module DT6117: "Critical Theory for Film and Theatre (S2)" and is valid from 2016 onwards. Note: Module offerings and details may be subject to change.

Why Choose This Course?

Career OpportunitiesGraduates of NUI Galway writing programmes have gone on to doctoral programmes in the humanities, to teaching, to employment in journalism, magazine editing, travel writing, technical writing, and public relations as well as publishing anthologies and books of poetry, fiction, and nonfiction. In the field of theatre, our graduates have gone on to write for such theatres as the Abbey (Ireland) and the Traverse (Scotland), while many have also staged their own works at Festivals in Dublin, Galway, Edinburgh and elsewhere.Who’s Suited to This CourseLearning Outcomes€15,550 p.a. 2019/20

Postgraduate students in receipt of a SUSI grant—please note an F4 grant is where SUSI will pay €2,000 towards your tuition.  You will be liable for the remainder of the total fee.  An F5 grant is where SUSI will pay TUITION up to a maximum of €6,270.  SUSI will not cover the student levy of €224.

Postgraduate fee breakdown = tuition (EU or NON EU) + student levy as outlined above.

Find out More

Dr Miriam HaughtonE: miriam.haughton@nuigalway.ie

 

About NUI Galway

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Master's programs

Galway%2C%20Ireland

Galway , Ireland