Pyschology and Dramatic Arts

BUS157

Code	BUS157
School	EBSL
Module Level	1
Module Code	BUS157
Class	GE\|EL\|MA\|MI\|
Availability	DE\|SA\|
Semester	1
Credits	12
ECTS Credits	6
Contact Hours	60
Self Study Hours	60
Course Aims	Recognizing qualitative shortfalls in management skills, the Council For Excellence in Management & Leadership (CEML) highlights not only the lack of people management skills, but recognizes also an under-development of the ability to take action. The CEML argues that stronger management and leadership abilities are needed; far more related to practical and applicable skills including a more encouraging environment to stimulate development processes. Hence, current studies in management and leadership focus in particular on the development of self-awareness-and fulfilment, experiential components, and personal development mechanisms. The CEML also says that these skills should be developed from a very early age onwards, fostered by the Arts, sport and community activities which are all-important breeding grounds for early managerial leadership development.Bell and Taylor (2002) draw attention to discovering, realizing, and uncovering inner purposes and hidden resources; the search for the meaning based on human potential. They prioritize the experience over and above theoretical or explanatory frameworks as the bases for discovery of the self; self-knowledge through physical as well as emotional participation. Hence, leadership and management programs offer more and more New Age techniques (Beech 2000) ranging from meditation, visualization, hypnosis, therapy, yoga, philosophy, literature, film to the performing arts since and according to Caulkin (2000), the creative arts have something that management and business craves: imagination:
Learning Outcomes	A2, B2, C1, D1, D2, D3, D4
Presentation	According to Mintzberg, management is, above all, a practice, where art, science, and craft meet. Emphasis lies therefore on personal development via experiential - as well as individualized learning methods applied. Providing a practical experience that provides students the opportunity to develop and express their own understanding and point of view in an environment that gives constructive feedback within an environment which stimulates the 'free play', to bring out the energy that's inherent in people. Experiential action learning leaves room for improvisations which creates an immediate feedback circuit between imaging and action.
Reading Required	Aston, E, Harris, G (2006). Feminist Futures?: Theatre, Performance, Theory, Palgrave Macmillian, New York. Barba, E, (1994). The Paper Canoe: A Guide to Theatre Anthropology, Routledge, London Brook, P, (1995). There are no Secrets, Methuen Drama, London Brook, P, (1994). A Theatrical Casebook, Methuen, London Gough, R, Christie Judie, Watt, D, P, (2005). A Cosmology of Performance, Routledge, London Grotowski, J, (1991). Toward a Poor Theatre, Methuen Drama, London Hill, L, Paris, H (2006). Performance & Place, Palgrave Macillian, New York Kaplan E, W, Rudolph S. J. (2005). Images of Mental Illness Through Text & Performance, Edwin Mellen Press, Lewinston, New York Magarshack, D, (1995). Stanislavsky: A Life, Faber Drama, London Nelson R, Jones, D, (1995). Making Plays, Faber Drama, London Nicholson Weber A (2006). Making Theatre in the media age, Routledge, New York Pollard, T, (2005). Drugs & Theatre in early modern England, Oxford University Press, Oxford Stanislavsky, K, (1984). An Actor Prepares, Methuen Drama, London, Stanislavsky, K, (1984). Creating a Role, Methuen Drama, London, Stanislavsky, K, (1985). Building a Character, Methuen Drama, London Wolford, R, (1996). The Grotowski Sourcebook, Routledge, London Zarrilli, P, (1995). Acting (Re)Considered, Routledge, London, 1995
Asseseement Methods	Self/Peer-evaluation (Rehearsals, Workshops, Public Performance/Dramatic Play)