Artesis Plantijn Hogeschool Antwerpen
Koninklijk Conservatorium Antwerpen
campus Desguinlei
Desguinlei 25 - 2018 Antwerpen
T +32 3 244 18 00 - F +32 3 238 90 17
conservatorium@ap.be
Performance training 1 (music creation and performance art)12078/1829/2021/1/87
Study guide

Performance training 1 (music creation and performance art)

12078/1829/2021/1/87
Academic year 2020-21
Is found in:
  • Bachelor of Arts in Drama, programme stage 1
    Specialisation:
    • Music Creation and Performance Art
This is a single course unit.
Study load: 27 credits
It is not possible to enrol in this course unit under
  • credit contract.
  • exam contract (to obtain a credit).
  • exam contract (to obtain a degree).
Co-ordinator: Beijsens Patricia
Other teaching staff: Dom Elke, Helsen Andries
Teaching staff are not (all) known yet.
Languages: Dutch
Scheduled for: Academic year
This course unit is marked out of 20 (rounded to an integer).
Possible deadlines for learning account: 31.10.2020 ()
Re-sit exam: not possible.
Possibility of deliberation: You have to pass this course unit (will never be deliberated).
Total study time: 810,00 hours

Prerequisites

There are no prerequisites for this course.

Learning outcomes (list)

1. Artistic concept - 1.1. processing material
develops these personality states.
can incorporate a self-chosen subject into a song text.
can correctly assess his or her own use of the voice and can devise a melody which fits into his or her range.
assigns a personal interpretation to each part.
explores his or her most creative working methods.
addresses his or her own sub-personalities.
demonstrates that he or she is aware of his or her unique individuality.
uses him- or herself as the starting point in exploring his or her role.
1. Artistic concept - 1.2. shaping presentation
analyses his or her own theatrical translation of his or her own material.
uses his or her own material in theatrical narratives.
can merge a self-composed song text and melody to form an attractive unity, maintaining the quality of both.
makes a melody line for a song.
makes his or her imagination credible from a sensory point of view.
develops a theatrical awareness and knows the tools of an actor.
translates that emotional palette into theatrical gestures.
translates that interpretation into a scenic presentation.
1. Artistic concept - 1.3. audience
demonstrates his or her understanding of the value of interaction with an audience.
varies his or her emotional palette.
2. Technical aspects - 2.1. mastering parameters and structures
has insight into the indivisibility of form and content.
can dissect a text and sub-divide it into constituent parts.
can observe what is happening on the stage.
visualises the explored personalities on the stage.
tries out possible song structures.
demonstrates his or her theatrical sensitivities.
demonstrates the difference between acting in a rehearsal room and on stage.
relies on his or her imagination when undertaking an improvisation assignment.
2. Technical aspects - 2.3. physical and spatial consciousness
demonstrates his or her understanding of broad lines/fields of suspense.
demonstrates his/her awareness of physical and verbal abilities
2. Technical aspects - 2.4. technical means
can translate his or her solo theatrical performance from the rehearsal room to the stage.
3. Cooperation - 3.1. social and communication skills
can articulate what the artistic side of the discipline is.
can articulate his or her experience regarding artistic perception.
plays music with others in order to accompany a song.
3. Cooperation - 3.2.participation in an (interdisciplinary) artistic concept
functions in a musically secondary role to assist the frontman/frontwoman.
plays music with others in order to accompany a song.
works with others in arranging songs.
4. Positioning - 4.1. philosophical and (cultural) historical context
can articulate the difference between reality and theatrical imagination.
4. Positioning - 4.3. reflection
can formulate an opinion as to what will be shown on the stage.
can specify what he or she finds important as a spectator.
can formulate what his or her challenge is as a stage artist.
demonstrates his or her understanding of the various theatrical translations of a work, partly through observation of his or her fellow-students.
4. Positioning - 4.4. problem solving and planning
distils the commentary that is useful to him or her from the feedback given by the various coaches in a project by means of research.

Educational organisation (list)

Learning Activities
Artistic praxis300,00 hours
Work time outside of contact hours510,00 hours

Evaluation (list)

Evaluation(s) for first exam chance
MomentForm%Remark
Academic yearArtistic praxis100,00