Theatre Studies Modules

Theatre Studies offers a wide range of modules in contemporary approaches to thinking about performance, as well as thinking through practice. They are grouped in three strands:
For Cohort 2014 to Cohort 2018: Timeframes, Cultural Practices and Perspective on Performance.
For Cohort 2019 onwards: Framing Histories, Cultures in Practice and Researching Performance

Modules focus on specific theatre and performance cultures, histories, movements, practices and ideas, such as pre-modern Asian theatres, cinematic and digital practices, popular culture, cultural performance in Asia and applied theatre. Across the range from introductory modules (including General Education modules) to more specialised topics, the modules share a common commitment to understanding how theatre is made and the contexts in which it has significance for its communities.

One of the most distinctive things about Theatre Studies is the range of activities it entails. At NUS, these diverse kinds of learning include:
• Lectures and seminars
• Workshops, practical sessions and group projects
• Working on productions and creating performances
• Field trips to the theatre and other events
• Independent study and thesis writing
• Practice research with staff members
• Internships with professional companies and arts institutions

Unless otherwise stated, all level 1000–3000 modules carry 4 modular credits (MCs), while all level 4000 modules carry 5 MCs (except TS4401 which carries 15 MCs). For more details on the modules below, consult IVLE or contact the course lecturer.

Modules offered in AY2019/2020 Semester 1

Robin LOON

This module will provide students with foundational knowledge of the different aspects of, approaches and discursive contexts relating to the study and praxis of theatre and performance. The module will also introduce students to the various forms of classical and contemporary performance practices and their attendant modes of analyses: combining play analysis, theatre history & theory. Using complementary content-centred lectures and practice laboratory, the module creates an environment where students simultaneously engage with module content while investigating its relations to the creation of theatre and performance.

Strand: Non-stranded (from Cohort 2014)
Pre-requisite: Exempted from NUS Qualifying English Test, or passed NUS Qualifying English Test, or exempted from further CELC Remedial English modules.
Preclusion: GEM1003
Cross-listing: GEM1003
Maiya MURPHY

This module introduces theatrical histories and theories across a variety of global traditions. As a broad overview, this module juxtaposes significant traditions to think through how theatre is related to its historical context, how theory has arisen from or shaped practice, and how history itself is constructed by historians. Students will investigate a variety of forms including those transmitted through oral, embodied, and text-based methods.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: Nil
Natalie HENNEDIGE & Nora SAMOSIR

This module focuses on key figures and aspects of contemporary performance as a means of learning about innovative approaches to theatre practice. Taking the works of a significant dramatist, director, theorist or theatre/performance genre as their starting point, students will investigate the resulting aesthetic and conceptual innovations, and explore their implications for current approaches to performance making more generally. As such, the module combines creative and critical practice, and features a variety of reflective, analytical and practical assessment tasks, including a group performance project.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Nora SAMOSIR

This module looks at how one’s voice is made and how one can modulate it. Students will get an understanding of the physiological processes that produce voice and the relationship between mind and body in vocal communication. Hence this is also a very practical workshop using techniques developed by actors and singers that will improve the resonance and musicality of the speaking voice and also vocal strength and endurance. Using verse, prose and dramatic text, students will work on vocal characteristics – pitch, intonation patterns, pace and pausing, placement – and so improve their oral delivery.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
LIANG Peilin

Asian theatre practitioners of the twentieth century have greatly contributed to the conception and formation of modernity in Asia. This module highlights three key historical moments in Asia’s modernising process: Asia’s initial contacts with Europe and America at the turn of the century; the postwar era between the 1960s and the 1980s when political activism was at its height; and the more recent global and local theatre collaborations in the region. This module combines the study of theatre history, play texts, and digital recordings of performances to trace the development and evolution of modern Asia from a theatre’s perspective.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
LIANG Peilin

This module develops students' theoretical and practical perspectives of Applied Theatre, a term that embraces different strands of socially engaged theatre, and focuses on the 'usefulness' of theatre in various educational and community contexts. Through exploring a range of practical approaches deployed by some key practitioners in the field, students are guided to think critically about how the social efficacy of theatre can be promoted and debated. Leading approaches are re-examined in light of context‐ and culture‐specific situations, and students' practical experience form a basis to engage with theoretical questions and issues of creating participatory theatre in non‐conventional settings.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Preclusion: TS4880B
Edna LIM

This module provides an introduction to the basic tenets of performance studies (i.e. performance and performativity) and applies them to a study of popular culture in a global arena. Through a variety of texts including films, video games, public speeches, and social media posts, the module teaches how the production and circulation of popular forms can be read as performance: how they are produced of packaged for consumption, how the consumer relates to them and how their success or failure is measured. It will show the pervasiveness and relevance of performativity in everyday physical and online interactions.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Edward CHOY

The module shifts the study of acting practices from theatre makers to teachers and theorists of acting who have worked with performers primarily known for their work on screen. These may include the likes of: Stella Adler, Lee Strasberg, Maria Ouspenskaya, and Michael Chekhov, all of whom were closely associated with Stanislavski and the Moscow Art Theatre. This module will also study screen performers who exemplify certain epochs and/or styles of screen acting. Students are expected to analyse these performances, and in turn produce screen recordings demonstrating and developing what they have learned from these performers and their trainings.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Corrie TAN

This module will cover the writing and the critical aspect of theatre criticism - the art of writing theatre reviews. The role of the theatre critic will be examined in conjunction with the stylistic and formal contents of theatre criticism. The module will explore the uses and elements of theatre criticism with a heavy emphasis on the practical applications of the techniques and skills of writing play analysis in communicating the theatrical experience to the reader. This module will also explore the different modes of publishing in old and new media and examine how they affect reviewer-reader communication.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
YONG Li Lan

Shakespeare’s plays have been known in many parts of Asia for about 100 years, and contemporary Asian theatre practice shows at once a great diversity of approaches to them, and patterns of common interest in production and reception. This module takes recent productions from different theatre cultures to compare how Shakespeare’s texts are engaged through non-realist aesthetic principles, and how self-reflexive treatments of naturalism, as well as new scripts based on his plays, interact with the cultural values represented by Shakespeare in the East and Southeast Asian region. Assessment includes the option of a creative project.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003 or EN1101E or GEK1000
Note: Can be read by EN students in fulfilment of EN major requirements at level 3000, as a recognised module.
Miguel ESCOBAR

What is the form and function of theatricality in contemporary Asian society? This module seeks to answer this question by investigating a range of collective practices of symbolic action and meaning‐making that have become known as "cultural performance". The methodological perspectives of Performance Studies will be deployed to contextualise cultural performances that contribute so arrestingly to social reality in East and Southeast Asia. Students will participate in a field trip and learn a variety of research techniques such as practice‐based inquiry, interviews, performance analysis, historical analysis and visual ethnography to develop individual research projects throughout the semester.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS or 28 MCs in GL/GL recognised non-language modules, with a minimum CAP of 3.20 or be on the Honours track.
Graham WOLFE

This is not a course about Postmodernism. This is a course examining the relationship between Postmodernism and Theatre, their tensions and complement. The course will examine notions of theatricality and persformativity that have come to characterise Postmodernism. Related ideas of simulacra and rehearsal, occularism and spectatorship, self-consciousness and self-reflexivity will be debated and discussed. Postmodernism as style, attitude and as mode will be pitched against performance aesthetics and theatre techniques to further explore the relationship between the two. The course will also locate Singapore theatre practices in the context of a global postmodernity.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS, with a minimum CAP of 3.20 or be on the Honours track.
Robin LOON

This module examines popular media-mediated events “as” performance. The module will investigate the way in which ‘mediatised’ (i.e., media-mediated) and popular events “perform” and shape the audience’s perception of reality. Conversely, the module will also examine how media-mediated performance is influenced by audience interests and perceptions. The focus will be on popular media-mediated events like sports, reality TV, the internet to illustrate how they constitute different modes of performances while sharing similar performativities. The module will also focus on cross-genre, inter-disciplinary performances while also examining notions of the spectacular and spectacle in contemporary visual culture.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS or 28 MCs in GL/GL recognised non-language modules, with a minimum CAP of 3.20 or be on the Honours track.
YONG Li Lan

This module provides a study of how the literary and performance traditions associated with Shakespeare’s work are mobilised and transformed by the visual cultures of contemporary cinema. Through the intersections between the mediums of the dramatic text, theatre and film, the course examines central issues that shape Shakespeare’s currency and circulation in the cinema: the values attached to authenticity and performance traditions, the Shakespearean actor, the appropriation and parody of the “universality” of Shakespeare, and the transformation of the meaningfulness of his plays through visuality and spectacle.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS or 28 MCs in EN or 28 MCs in GL/GL recognised non-language modules, with a minimum CAP of 3.20 or be on the Honours track.
Note: Can be read by EN students in fulfilment of EN major requirements at level 4000, as a recognised module.
Alvin Lim

Doing performance can teach us things that watching it cannot. This module uses performance practice as a research methodology to investigate otherwise inaccessible questions of creativity, embodiment, and performance processes. The three main components of the module include: defining a research question, designing and conducting experiments/observations, presenting the outcomes. Students will conceptualise and execute their own research project, in a relationship of collaborative research with artists. The nature of the project determines the resulting presentation: multi-media talk, lecture-demonstration, or short performance or workshop. The module will also focus on case studies from a range of cultural and stylistic sources.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS, with a minimum CAP of 3.20 or be on the Honours track.
Modular Credits: 15

The Honours Thesis is usually done in the second semester of a student’s registration in the Honours Degree Programme.

Strand: Non-stranded (from Cohort 2014)

Pre-requisite:
Cohort 2012 and before: Completed 110 MCs, including 60 MCs of TS major requirements with a minimum CAP of 3.50.
Cohort 2013-2015: Completed 110 MCs including 60 MCs of TS major requirements with a minimum SJAP of 4.00 and CAP of 3.50, or with recommendation by the programme committee. Students may seek a waiver of the SJAP pre-requisite from the department if they have a minimum CAP of 4.25 after completing 110 MCs.
Cohort 2016 onwards: Completed 110 MCs including 44 MCs of TS major requirements with a minimum SJAP of 4.00 and CAP of 3.50, or with recommendation by the programme committee. Students may seek a waiver of the SJAP pre-requisite from the department if they have a minimum CAP of 4.25 after completing 110 MCs.

Preclusion: TS4660

Note: Please register TS4401 manually with the Department.
Documents containing important information on TS4401 should be downloaded from “Documents and Forms.
The Independent Study Module is designed to enable the student to explore an approved topic within the discipline in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head’s and/or Honours Coordinator’s approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and must be worked out between the student and the lecturer prior to seeking departmental approval.

Strand: Non-stranded (from Cohort 2014)

Pre-requisite:
Cohort 2012-2015: Completed 100 MCs, including 60 MCs in TS, with a minimum CAP of 3.20.
Cohort 2016 onwards: Completed 100 MCs, including 44 MCs in TS, with a minimum CAP of 3.20.

Preclusion: TS4401

Note: Please register TS4660 manually with the Department.
Documents containing important information on TS4660 should be downloaded from “Documents and Forms.”
Miguel ESCOBAR

This module provides a broad-based critical and methodological foundation for advanced research in theatre and performance. Taking one example from each of three aspects of performance a script, a live performance, and a media/cultural performance the module trains students to examine and compare the critical positions and questions posed by a range of theoretical texts with different approaches, priorities and methodologies. Core topics are the mutually transformational modalities of textuality and performativity, live and mediated performance, and non-traditional critical and performance practices. Students are guided in formulating a research proposal and project, which forms the main coursework component.
Independent research plays an important role in graduate education. The Independent Study Module is designed to enable the student to explore an approved topic in Theatre Studies in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head's and/or Graduate Coordinator's approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and the balance of written and other components must be worked out between the student and the lecturer prior to seeking departmental approval.

Note:
(1) Word limit: 4,000 – 6,000 words, the lower limit being permissible only where the project involves a substantial amount of practical work, and is agreed with the supervisor.
(2) Workload: Minimum 10 hours per week. The precise breakdown of contact hours, assignment and preparation is to be worked out between the lecturer and the student, subject to Departmental approval.
Independent research plays an important role in graduate education. The Independent Study Module is designed to enable the student to explore an approved topic in Theatre Studies in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head’s and/or Graduate Coordinator’s approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and the balance of written and other components must be worked out between the student and the lecturer prior to seeking departmental approval.

Note:
(1) Word limit: 6,000 – 8,000 words, the lower limit being permissible only where the project involves a substantial amount of practical work, and is agreed with the supervisor.
(2) Workload: Minimum 10 hours per week. The precise breakdown of contact hours, assignment and preparation is to be worked out between the lecturer and the student, subject to Departmental approval.

Modules offered in AY2019/2020 Semester 2

Maiya MURPHY

This module will provide students with foundational knowledge of the different aspects of, approaches and discursive contexts relating to the study and praxis of theatre and performance. The module will also introduce students to the various forms of classical and contemporary performance practices and their attendant modes of analyses: combining play analysis, theatre history & theory. Using complementary content-centred lectures and practice laboratory, the module creates an environment where students simultaneously engage with module content while investigating its relations to the creation of theatre and performance.

Strand: Non-stranded (from Cohort 2014)

Pre-requisite: Exempted from NUS Qualifying English Test, or passed NUS Qualifying English Test, or exempted from further CELC Remedial English modules.
Preclusion: GEM1003
Cross-listing: GEM1003
Alvin LIM

This module explores the historical trajectories of traditional Asian theatres and the ways in which they have evolved due to colonialism, nationalism and globalisation. Combining focused studies on traditional theatre forms and their contemporary iterations with cross-geographical comparison, this module provides the analytical tools to examine Asian theatres as they evolve. The traditional/contemporary dynamic will be further explored in practical sessions and thematic discussions, through the study of classical scripts, masks, stages, and costumes from Sanskrit drama, Noh theatre and Xiqu. Students interested in South Asian studies, Chinese studies and Japanese studies will benefit from this module.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: Nil
Preclusion: GEM2001
Cross-listing: GEM2001
-

This practical introduction to the comprehensive range of concepts, principles and practices in marketing focuses on arts and culture-related products, services and industries. Besides drawing attention to vital distinctions in the marketing of for-profit versus not-for-profit organisations, the latter of which characterises the majority of arts agencies in Singapore, the political, sociological and economic factors which influence those working in the arts will also be examined. This module is targeted at students interested in arts administration or Theatre students wishing to hone their skills in the managerial aspects of the arts.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Maiya MURPHY

Actors and their craft stand at the centre of many theatrical traditions. Yet what is acting is, and who actors are, remain subjects of intense fascination, which continue to be explored in live performance, as well as through writings by practitioners, scholars and critics. This module combines practical workshops and critical reading to explore diverse approaches to acting and to investigate the role and status of the actor within the art form of theatre, and in society at large. Focusing on actor development and the process of acting, assessment tasks highlight the importance of participation, reflection and presentation.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Graham WOLFE

This module focuses on the close reading of dramatic texts in order to study the dynamic relationship between text & performance. Through the examination of 4 major modern playwrights working in different historical, geographical and cultural contexts, this course will explore the development of modern drama in the twentieth-century, the significance of text as the basis of theatrical realisation, the variety of staging possibilities engendered by the dramaturgy of the play-text, and the synergistic partnership of word and action in creating the huge variety of text-based theatre in the twentieth-century. Can be read by EN students in fulfilment of EN major requirements at Level-2000, as a recognised module

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E or EN1101E or GEM1003
Edna LIM

This module focuses on the conventions of a variety of film genres and styles, ranging from Hollywood and Chinese cinemas to Bollywood and animation. It traces the development of each genre, examining its defining characteristics, the role and influence of the star system and individual stars such as actors and directors, and its relations to other film styles and industries. Through a group creative project, students will make a film that involves the practical application of critical ideas.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Preclusion: GEM2026
Robin LOON & Nora SAMOSIR

Modular credits: 8

The final practical project in the Theatre Studies curriculum provides students with a structured and guided opportunity to research, develop and produce an original performance piece. Working in a group under the supervision of a guest director, students conduct independent contextual research and contribute creatively to the collaborative process. The performance will be shown to a public audience, and each student will offer a research presentation analysing the process, choices and outcomes of individual work in the context of the group project. This is an essential module for Theatre Studies major students, taken in Year 3 of a student’s enrolment.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: TS major students who have completed a minimum of 80 MCs.
Note: Non-TS major students should not access this module.
Alvin LIM

This module explores the rich spectrum of performance practices in Southeast Asia, such as ritual theatre, dance drama, storytelling, and puppetry. The performative heritage of performance traditions and religious theatres in the region will be examined and compared with contemporary iterations. Through key theoretical approaches, students will learn to understand each practice in its changing socio-cultural contexts, and its aesthetics. They will trace the genealogy of Southeast Asian performance practices in relation to their historical entanglements with Asian traditions and Western forms. Students interested in theatre, religious studies, sociology and history may find this module useful.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
LIANG Peilin

This module will study the usefulness and relevance of ‘intercultural theatre’ as an approach to productions that combine different theatrical forms and cultures. It aims to explore the critical issues and implications of intercultural theatre, a term largely used by Western critics, from specifically Asian positions to practice, and to assess interculturalism as an approach against other concepts such as adaptation, cultural ownership, and cultural ‘borrowing’. The study of various theoretical approaches and performance texts in this module will be related to broader issues such as (post)colonialism, globalisation, and transnationalism.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite: TS1101E or GEM1003
Edna LIM

This module explores the many ways in which theatre and film are distinct but closely inter-related mediums. The bulk of the module focuses on close analysis of texts that have been adapted from the stage to the screen, examining performativity within those texts and how the essential properties that define the stage and the screen contribute to and facilitate particular ways for performing such texts. Notions of theatricality and the cinema will be interrogated, especially in relation to how cinema can be ‘theatrical’ and the theatre ‘cinematic’. Teaching and assessment modes include lectures, seminars, workshops and guided practical coursework.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite: Nil
Nora SAMOSIR

Building on skills learnt in TS1101E, this module aims to deepen the understanding of different theatrical styles and how such understanding can be applied to make effective performance choices with special emphasis on the performer’s vocal expressiveness. Students explore texts selected from a range of periods and genres through exercises, scene study, and rehearsal.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E
YONG Li Lan

The oriental – as figure, setting, story and / or acting style – has played varied roles in theatre histories. This module investigates archival materials, modes of transmission and Avant-Garde theatres, to study key aesthetics and ideas through which imaginings of the oriental were secreted in and by English and European theatrical performances from the 18th to the 20th centuries. The workings of orientalism will provide a vantage point from Asia for reviewing constructions of theatre history, and analysing historical issues in performance.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite: TS1101E
Robin LOON

This module offers students a way to approach theatre and performance through the matrix of gender. Students will be exposed to selected discourses on feminism, masculinity, transgenderism. This module will focus on the issues of language, body, theatricality and performativity and explore how the gender discourses can inform the students’ engagement with these issues, particularly in relation to aesthetics and embodiment. Incorporating a critical, examination of selected play-texts, this module will lead students to develop a project where they can either construct a creative response to a play or a devised reflection on their process of researching gender in theatre.

Strand: Cultural Practices (Cohort 2014 to Cohort 2018) /
Cultures in Practice (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS, with a minimum CAP of 3.20 or be on the Honours track.
LIANG Peilin

The module trains students to become independent performance-based researchers in applied theatre. Students further develop their critical and creative skills through exposure to key practical approaches and critical theories in the field. To consolidate skills in integrating practice with theory, students will undertake Performance as Research projects of considerable scope with attention given to the social and cultural complexity of specific communities and contexts. Applied theatre as a form of social intervention, community engagement and knowledge production will be examined.

Strand: Perspectives on Performance (Cohort 2014 to Cohort 2018) /
Researching Performance (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS, with a minimum CAP of 3.20 or be on the Honours track.
-

Live performance is a vibrant and dynamic art form, and innovations in aesthetics and technique mean that it is constantly changing. Over the course of this module, students will conduct a critical assessment of recent developments in performance practice, and of their implications for performance theory and analysis. Recent trends in performance and scholarship will be surveyed, informed by a combination of publications, electronic resources, and theatre-going. Students will be assessed on their capacity to develop informed responses to the work, to conduct and present independent research into current trends, and to reflect critically on the concept of the ‘contemporary’.

Strand: Timeframes (Cohort 2014 to Cohort 2018) /
Framing Histories (Cohort 2019 onwards)

Pre-requisite:
Completed 80 MCs, including 28 MCs in TS, with a minimum CAP of 3.20 or be on the Honours track.
Modular credits:15

The Honours Thesis is usually done in the second semester of a student’s registration in the Honours Degree Programme.

Strand: Non-stranded (from Cohort 2014)

Pre-requisite:
Cohort 2012 and before: Completed 110 MCs, including 60 MCs of TS major requirements with a minimum CAP of 3.50.
Cohort 2013-2015: Completed 110 MCs including 60 MCs of TS major requirements with a minimum SJAP of 4.00 and CAP of 3.50, or with recommendation by the programme committee. Students may seek a waiver of the SJAP pre-requisite from the department if they have a minimum CAP of 4.25 after completing 110 MCs.
Cohort 2016 onwards: Completed 110 MCs including 44 MCs of TS major requirements with a minimum SJAP of 4.00 and CAP of 3.50, or with recommendation by the programme committee. Students may seek a waiver of the SJAP pre-requisite from the department if they have a minimum CAP of 4.25 after completing 110 MCs.

Preclusion: TS4660

Note: Please register TS4401 manually with the Department.
Documents containing important information on TS4401 should be downloaded from “Documents and Forms.”
The Independent Study Module is designed to enable the student to explore an approved topic within the discipline in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head’s and/or Honours Coordinator’s approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and must be worked out between the student and the lecturer prior to seeking departmental approval.

Strand: Non-stranded (from Cohort 2014)

Pre-requisite:
Cohort 2012-2015: Completed 100 MCs, including 60 MCs in TS, with a minimum CAP of 3.20.
Cohort 2016 onwards: Completed 100 MCs, including 44 MCs in TS, with a minimum CAP of 3.20.

Preclusion: TS4401

Note: Please register TS4660 manually with the Department.
Documents containing important information on TS4660 should be downloaded from “Documents and Forms.”
Edna LIM

In recent years, the vitality and currency of Asian cinema has resulted in texts that can no longer be viewed as merely artefacts of a particular culture or nation. This module looks at how film industries in Asia have engaged with global cinema through various forms of negotiations that assert, compromise or consume national, cultural or conventional distinctions. We assess the implications of a conglomerate Asian cinema by examining the current trend of transnational Asian films, the translatability of conventions and adaptability of ideas within Asia itself as well as between Asia and dominant cinemas like Hollywood.
YONG Li Lan

Shakespeare is by far the most produced and adapted western playwright in East Asian theatre cultures. Approaches to translating, performing and re‐writing his plays have changed over time, and are now at their most diverse and experimental. Correlatively, connections and relationships between Asian and Anglophone performance histories have also matured. Using translated and annotated archival recordings, this module examines the historical contexts and theatrical concerns of East Asian Shakespeare performances, relating them comparatively to Anglophone and European textual and performance histories. It is jointly taught by NUS and The Shakespeare Institute, University of Birmingham as a distance learning module.
LIANG Peilin

How do societies use performance to mediate between the past and the present? This module addresses the question by considering the place of performance in the forging of history, the use of performance analysis as a means of gaining insights into historical events, and the function of performance as a process of remembering. Combining historical case studies and contemporary performances from local, regional and international contexts from colonial encounters and memorial rituals to trauma plays historiography is studied alongside the ways in which theatrical and other performances play a role in both reinforcing and challenging prevailing cultural memories.
Independent research plays an important role in graduate education. The Independent Study Module is designed to enable the student to explore an approved topic in Theatre Studies in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head's and/or Graduate Coordinator's approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and the balance of written and other components must be worked out between the student and the lecturer prior to seeking departmental approval.

Note:
(1) Word limit: 4,000 – 6,000 words, the lower limit being permissible only where the project involves a substantial amount of practical work, and is agreed with the supervisor.
(2) Workload: Minimum 10 hours per week. The precise breakdown of contact hours, assignment and preparation is to be worked out between the lecturer and the student, subject to Departmental approval.
Independent research plays an important role in graduate education. The Independent Study Module is designed to enable the student to explore an approved topic in Theatre Studies in depth. The student should approach a lecturer to work out an agreed topic, readings, and assignments for the module. A formal, written agreement is to be drawn up, giving a clear account of the topic, programme of study, assignments, evaluation, and other pertinent details. The Head’s and/or Graduate Coordinator’s approval of the written agreement is required. Regular meetings and reports are expected. Evaluation is based on 100% Continuous Assessment and the balance of written and other components must be worked out between the student and the lecturer prior to seeking departmental approval.

Note:
(1) Word limit: 6,000 – 8,000 words, the lower limit being permissible only where the project involves a substantial amount of practical work, and is agreed with the supervisor.
(2) Workload: Minimum 10 hours per week. The precise breakdown of contact hours, assignment and preparation is to be worked out between the lecturer and the student, subject to Departmental approval.