Undergraduate Course Guide for 2026 by witsmarketing

UNDERGRADUATE COURSE GUIDE 2026

1st year

2nd year

PERFORMANCE PRACTICE 1A PERFORMANCE PRACTICE 1B

PERFORMANCE PRACTICE 2A PERFORMANCE PRACTICE 2B

THEATRE AND PRODUCTION 1A THEATRE AND PRODUCTION 1B

THEATRE AND PRODUCTION 2A THEATRE AND PRODUCTION 2B

FVPA 1A FVPA 1B LANGUAGE REQUIREMENT

THEATRE ARTS 3A THEATRE ARTS 3B

FVPA 2A THEATRE ARTS 2B

BA TAP c t u u r re t S

FVPA 3A FVPA 3B

PROFESSIONAL ELECTIVES (x 2) Performance Studies 3 Movement 3 Musical Theatre 3 Design 3 Directing 3 Writing 3 *CPM or DFL electives (if you qualify)

3rd year

RESEARCH PROJECT OR LONG ESSAY PROFESSIONAL ELECTIVES (x 2) Performance Studies 4 Movement 4 Musical Theatre 4 Design 4 Directing 4 Writing 4 *CPM or DFL electives (if you qualify)

4th year

TikTok @wosa_tap

Instagram @wsoa_tap Facebook @WSOA Department of Theatre and Performance Join our TAP students whatsapp group

ACADEMIC MAJOR FVPA LANGUAGE REQUIREMENT PRACTICAL CLASSES PERFORMANCE PRACTICE THEATRE AND PRODUCTION ACADEMIC MAJOR FVPA THEATRE ARTS PRACTICAL CLASSES PERFORMANCE PRACTICE THEATRE AND PRODUCTION

INDEX

TAP STAFF & WSOA COUNCIL 2033 STRATEGIC FRAMEWORK & TAP VISION OCCUPATIONAL HEALTH & SAFETY WITS THEATRE VENUES AND TEACHING SPACES GENERAL THEATRE ATTENDANCE CREWING POLICY & INDEMNITY

GENERAL INFORMATION

FIRST YEAR

SECOND YEAR

ACADEMIC MAJOR THEATRE ARTS FVPA PROFESSIONAL ELECTIVES PERFORMANCE STUDIES MOVEMENT DESIGN DIRECTING WRITING MUSICAL THEATRE

THIRD YEAR

ACADEMIC MAJOR LONG ESSAY OR RESEARCH PROJECT PROFESSIONAL ELECTIVES PERFORMANCE STUDIES MOVEMENT DESIGN DIRECTING WRITING MUSICAL THEATRE

FOURTH YEAR

FILM STUDIES CULTURAL POLICY AND MANAGEMENT DRAMA FOR LIFE

OTHER COURSES

GLOSSARY - SP WARININGS AND FLEXIBILITY POLICY - SUBMINIMUM RULE NOTIONAL HOURS - ASSIGNMENTS - ULWAZI AND COMMUNICATION CHANNELS - WRITING CENTRE - PLAGIARISM - AUDITIONING - POLICY ON CLASSROOM ETIQUETTE - REHEARSAL GUIDELINES - WEBSITE AND SOCIAL MEDIA - NOTICES AND ANNOUNCEMENTS - TAP CREWING POLICY - THEATRE PRODUCTIONS - EXAM INFORMATION - CCDU AND WITS CRISIS LINE - POLICY ON STUDENT OUTSIDE WORK (AS REVISED ON 25 NOVEMBER, 2017) - POLICY ON ASSESSMENT OF GROUP WORK (11 JANUARY 2019) - GENERAL BOUNDARIES AND SEXUAL HARASSMENT POLICY

STYLE GUIDE AND NOTES ON REFERENCING PLAGIARISM DECLARATION PERFORMERS AGREEMENT EQUIPMENT LOAN FORM

APPENDICES

STUDENT SURVIVAL GUIDE

GENERAL INFORMATION

TAP PERMANENT LECTURING STAFF Dr. Myer Taub PhD (UCT) Head of Department (Myer.Taub@wits.ac.za)

Associate Professor Dr. Samuel Ravengai MA, PhD (UCT) Samuel.Ravengai@wits.ac.za

Dr. Dalia Farah PhD (Helwan & CSU) Dalia.Farah@wits.ac.za

Dr. Kgafela oa Magogodi PhD (Wits) Kgafela.Magogodi@wits.ac.za

Néka Da Costa MA (University of London, RADA) Neka.DaCosta@wits.ac.za

Isana Maseko MTech (TUT) Isana.Maseko@wits.ac.za

Kamogelo Molobye MA (Rhodes University) Kamogelo.Molobye@wits.ac.za

Gavin Matthys MTech (TUT) Gavin.Matthys@wits.ac.za

Prince Lamla Honours (Wits) Prince.Lamla@wits.ac.za

Sinenhlanhla Zwane Honours (Wits) Sinenhlanhla.Zwane@wits.ac.za

Smangaliso Ngwenya MA (Wits) Smangaliso.Ngwenya@wits.ac.za

TAP & WITS THEATRE ADMINISTRATIVE STAFF THEATRE AND PERFORMANCE ADMINISTRATOR:

Relebogile Mabonda (relebogile.mabonda1@wits.ac.za) WSOA UNDERGRADUATE STUDENT ADMINISTRATION:

Hamisha Bhana (Hamisha.Bhana@wits.ac.za) WSOA POSTGRADUATE STUDENT ADMINISTRATION:

Maud Maphali (Maud.Maphali@wits.ac.za) WITS THEATRE CONSULTANT DIRECTOR

Malcolm Purkey (Malcolm.Purkey@wits.ac.za) WITS THEATRE OPERATIONS MANAGER

Lerato Sekele (Lerato.Sekele@wits.ac.za) WITS THEATRE TECHNICAL MANAGER

Julian August (Julian.August@wits.ac.za) WITS THEATRE PRODUCTION MANAGER

Hlomohang “Spider” Mothetho (Hlomohang.Mothetho@wits.ac.za) WITS THEATRE STAGE SERVICES MANAGER

Lindani Mxumalo (Lindani.Mxumalo@wits.ac.za) WITS THEATRE FRONT OF HOUSE MANAGER

Kabelo Pakwe (Kabelo.Pakwe@wits.ac.za) WITS THEATRE FRONT OF WARDROBE OFFICER

Maggie Molubi (Magdeline.Molubi@wits.ac.za)

CONTRACT AND SESSIONAL STAFF Various industry professionals. To be advised per course.

TAP derives its vision from the Wits University and Wits School of Art

WITS 2033 STRATEGIC FRAMEWORK Purpose Our purpose is to make a positive impact on society through: creating and advancing global knowledge; and fostering graduates to be leaders with integrity. Vision By driving innovation throughout the University, embracing the diversity of our people, disciplines and ideas, Wits will be a place where our students and staff thrive. We will strive to empower our graduates to be socially-responsive and adaptive to an ever-changing world. We will build on Wits’ 100 years of academic scholarship and research excellence, and use our abundance of knowledge, talent, and innovation to find solutions to the challenges of the 21st Century. Our locale will enable us to lead from the Global South, to serve as a hub of knowledge on the continent to advance inclusive and sustainable futures for all. We will be at the leading edge of innovation and academic excellence in the Global South. Click here to read more about the Wits 2033 Strategic Framework

WITS SCHOOL OF ARTS’ VISION Through advancing excellence in research, teaching and learning, the Wits School of Arts combines critical inquiry with artistic practice in ways that engage in transformative ways with our contemporary urban, African and global contexts.

TAP’S VISION AND VALUES Through advancing excellence in research, teaching and learning, the Theatre and Performance Department combines critical inquiry with artistic practice in ways that encourage transformative engagement with our contemporary urban, African and global contexts. We aim to produce graduates who are informed and critically aware practitioners and consumers of the arts, conscious of their cultural identity and socio-political environment, and invested in decoloniality, sustainability and ecology. We advocate for agency to instill academic freedom and to create work that speaks to our diversity, gender, race, ethnicity, disability, and internationalisation. While making and viewing this work, we are obliged to critically engage with it and to be honest about it to produce knowledge and to improve it. In creative practice and orthodox research, we value continuous, process-oriented improvement, collaboration, co-direction, co-publication, interdisciplinarity and shared ownership of our intellectual property and space. We commit to be guided by these ideals in our interaction with one another as we continue to build our artistic and academic community. Our values: Integrity | Accountability | Excellency | Collegiality Academic freedom | Critical engagement | Initiative Teamwork | Service Focus | Inclusivity / Diversity Interpersonal Relationships | Reliability / Dependability Continuous / Process improvement | Collaboration

Occupational Health and Safety It is the policy of the University of the Witwatersrand, insofar as is reasonably practicable, to comply with the Occupational Health and Safety Act No 85 of 1993 (and its regulations) as well as allied OHS&E related legislation, standards, and requirements to which the University subscribes. The University is committed to providing and maintaining, as far as is reasonable practical, a healthy, safe and risk-free working learning environment. The Wits School of Arts is committed to undertaking our part in complying with the University OHS&E policies. On a very immediate level, this means being aware of how your practice may at times inadvertently harm people in and around the School and surrounding environment. Should you have any queries about whether your work does present a risk, please discuss this with your supervisor or course coordinator. In case of emergency, contact the Safety Officers in your area. SAFETY OFFICERS Theatre and Performance Department (WSOA 2nd floor) Myer Taub (myer.taub@wits.ac.za) and Gavin Matthys (gavin.matthys@wits.ac.za) Theatre and Performance Department Es'kia Mphahlele Building (EM9 and EM16) Kamogelo Molobye (kamogelo.molobye@wits.ac.za) Wits Theatre Complex Julian August (julian.august@wits.ac.za)

Wits Theatre Venues and TAP Rehearsal Spaces Please note that the Wits Theatres are managed by theatre staff who are professionally trained to operate lighting, sound, set-building and sewing equipment. Please do not enter a Wits theatre venue without the supervision of the allocated venue manager, and do not operate the equipment without permission, supervision and the appropriate training to do so. In addition to our Wits Theatre venues, TAP students have access to our Wits Theatre Workshop and Wardrobe to borrow props, set and costumes for your creative projects towards your degree. Please note that students are not permitted to operate the machinery in the workshop and should consult Lindani Mxumalo (Lindani.Mxumalo@wits.ac.za) with any set-oriented requests. Should you require any assistance from the Wits wardrobe, contact Maggie Molubi (Magdeline.Molubi@wits.ac.za) or visit the wardrobe during their office hours to borrow items. All equipment and items must be loaned out and returned timeously. Rehearsal spaces, equipment and facilities are provided by the Department of Theatre and Performance and Wits School of Arts for the use of students registered for the undergraduate and postgraduate TAP degrees. These are partially funded by a portion of the fees that each student pays to study. The equipment, facilities, rehearsal spaces and materials belonging to the Theatre and Performance department and the Wits School of Arts and may only be used for work that is made towards the degree for which a student is registered and may not be used for private or commercial work.

Venue Bookings For bookings in EM9 or EM16 studios, sign up on the booking sheets outside each studio. For queries, contact Kamogelo.Molobye@wits.ac.za We use doodle (an online booking system) for students to book rehearsal space in the WSOA spaces (Studio 1 and 2, room 201 and room 120), and the Mezzanine, as well as available theatre spaces. Instructions for doodle are posted on Ulwazi. For queries, contact Sinenhlanhla.Zwane@wits.ac.za

General Theatre Attendance Students are required to attend specified WSOA and professional productions as well as student examination and showcase presentations as part of the academic programme. The Department will endeavour to make transport and ticket purchase arrangements in the case of non-WSOA productions. However, for WSOA productions, students may be required to make a co-payment contribution towards tickets as we are fostering a culture of support for the performance and creative industries. It is further expected that as students interested in live theatre and performance, you will take every available opportunity to see as many other productions as possible. This is in order that students become familiar and versed with the language of theatre and local theatre practice to develop a context and frame of reference for the theoretical material of their courses. You cannot study theatre and performance if you do not experience it and you cannot claim to be a competent theatre-maker, performer, designer, writer or director if you do not make it a habit to familiarize yourself with the local theatre scene.

TAP Crewing Policy Teaching and learning does not only take place in the classroom, but by having environmental access to Wits Theatre facilities that compare favourably to the facilities available in the theatre industry in South Africa and internationally. This policy has been developed to guide the selection and deployment of first and second years in crewing roles and to explain what is expected of them. While the more developed content on working in the theatre will be covered in your Theatre and Production I & II courses, this deployment of first and second years in the theatre space as crew members is to initiate them in the theatre industry by assigning them roles in stage management, workshop, wardrobe, backstage, lighting, sound and marketing. A crewing credit is a course requirement which will contribute to your exam mark for the Theatre and Production I / II courses. It is also a pre-requisite for any students interested in applying to major in Directing or Design in senior years. A crewing credit is a minimum of 80 hours each year - 40 hours for per semester in first and second year. This could be achieved on one or multiple productions, depending on the nature of the production and its needs. You will be assessed on your overall commitment to the role(s) you for fulfil as well as the quality of work you deliver. It is important that you demonstrate a solid commitment to the production team. Honing your understanding of “best practice” is a key aspect of this component, as is demonstrating you capacity to contribute productively to the overall success of a theatre production. This also includes set-up and strike of the production. You will receive a written comment and a status of poor, average, good, excellent. It is your responsibility to submit 1) a completed crewing credit form and 2) a completed log sheet to your Theatre and Production course coordinator. During your Theatre and Production IA course, you will visit the Wits Theatre to be inducted in Occupational Health and Safety, and introduced to the facilities and staff.

Indemnity All registered TAP students are please to sign an indemnity form at the start of each year. It will cover the period you are here with us studying your degree, both on campus and off campus for outings.

CLICK HERE TO SIGN THE FORM

FIRST YEAR

ACADEMIC MAJOR FILM, VISUAL AND PERFORMING ARTS 1A COURSE TITLE: Film, Visual and Performing Arts 1A SEMESTER: ONE COURSE COORDINATOR: Kate Bernberg (Kate.Bernberg@wits.ac.za) COURSE LECTURERS: Kate Bernberg, Dr. Catherine Duncan & WSOA staff In this course you will be introduced to key theories and methodologies in the areas of Film and Television, Theatre and Performance, Music, Digital and Visual Arts, and to a range of case studies from these different disciplines. Lectures, discussions, labs, tasks and assessments aim to develop your understanding of representation through a cultural studies lens, and related key concepts including conventions, medium, context, intention, interpretation, power and discourse, all of which are foundational to most areas of study in the arts. The first semester is divided into two Modules. The first Module focuses on ‘Jazz Cultures in Jo’burg & South Africa’, looking in particular at the early years of apartheid South Africa and the ways in which artists constructed nuanced identities and challenged flattened discourses through creative practices such as their photography, dress, music, film and writing. The second Module focuses on ‘Popular Cinema in South Africa’, with a focus on the early 21st century, interrogating the film industry and how it works to construct, sustain and challenge ideas of nationhood. These ideas are explored through a focus on film conventions, music and industry. We hope that through engaging with the material presented in this course you will gain a broad understanding of theories and practices in the field of film, visual and performing arts, a sphere which extends beyond the narrow confines of specialist studies, into our everyday lives, and our understanding of the world. Increasingly in the arts, discipline boundaries are being challenged and re-drawn. This course and its case studies will give you a basis on which to assess such developments.

FILM, VISUAL AND PERFORMING ARTS 1B COURSE TITLE: Film, Visual and Performing Arts 1B SEMESTER: TWO COURSE COORDINATOR: TBC COURSE LECTURERS: Joni Brenner, Dr. Donato Somma & WSOA Staff In this course you will continue to investigate key theories and methodologies in the areas of Film, Theatre, Music, Digital and Visual Arts. Further course information to follow.

LANGUAGE REQUIREMENT FULL YEAR First year students are required to complete two semester courses in one of the following languages: isiZulu, Sesotho or South African Sign Language (SASL). If a student is proficient in any two of the three languages (isiZulu, Sesotho or SASL), the student is advised to do one of the following: (i) register in a first-language stream for two courses in isiZulu or Sesotho, (ii) register for two courses in any one of the following: French, German, Italian, Portuguese, or Spanish, or (iii) formally apply to the Dean for exemption from the requirement to register for a language subject. Where an exemption has been granted, students must add a course yielding 36 credits in a subject approved by Senate. A student may also be granted a credit if s/he has completed the same or an equivalent

PRACTICAL CLASSES PERFORMANCE PRACTICE 1A COURSE TITLE: Performance Practice 1A SEMESTER: ONE COURSE COORDINATOR: Prince Lamla (Prince.Lamla@wits.ac.za) COURSE LECTURERS: Prince Lamla, Kamogelo Molobye, Gavin Matthys and various industry professionals This course introduces the student to the physical and technical training needed to prepare the body for performance. There is a key focus on readiness and the foundational training in the requisite skills for a performer and anyone intending to work in the theatre and live performance sector. The course is divided into three modules. Acting for Performance in Ensemble which will focus particularly on instilling and developing the skills of Ensemble Performance. This class will focus on South African presentational plays. The sessions will focus on holistic research approaches to South African plays and performance, and staging principles of Ensemble Performance. The student will engage with a selected play and, with the guidance of their lecturer, will work on ensemble approaches to the staging of the selected plays. These sessions also provide the platform for the student to begin to apply the skills covered in the Movement in Performance and Voice in Performance sessions. Movement in Performance focuses on developing connection; with oneself, the ensemble and the audience. With an examination of what the connection is as well as what is required to develop it. Voice in Performance focuses on technical training and the development of voice as a tool for performance with emphasis on realistic, mimetic and depictive facility. Movement in Performance and Voice in Performance classes will concentrate on instilling the skills of stamina, discipline, strength, performance focus, trust and control. There is an acute focus on anatomical, kinaesthetic and somatic awareness of the body and voice in order to enhance the student’s physical presence and awareness. These sessions focus on technical training and the development of the body and voice as tools for performance.

PERFORMANCE PRACTICE 1B COURSE TITLE: Performance Practice 1B SEMESTER: TWO COURSE COORDINATOR: Isana Maseko (Isana.Maseko@wits.ac.za) COURSE LECTURERS: Isana Maseko, Kamogelo Molobye, Gavin Matthys and various industry professionals This course follows the same format as the Performance Practice 1A course and is divided into three modules: Acting for Performance in Duologues; Movement in Performance; Voice in Performance. This course advances physical, vocal, and technical performance training with a key focus on Representational Performance. Acting for Performance in Duologues will focus particularly on introducing and developing the skills of Representational Performance. This class will focus on the staging of South African Theatre work. The sessions will focus on script work, text analysis and interpretation and staging principles of Representational Performance. The student will engage with a selected play text and, with the guidance of their lecturer, will work on representational approaches to the staging of an extract of the selected text. These sessions also provide the platform for the student to begin to apply the skills covered in the Movement Studies and Voice in Performance session. Movement Studies focuses on developing connection; with oneself, the ensemble and the audience. With an examination of what the connection is as well as what is required to develop it. Voice in Performance focuses on technical training and the development of voice as a tool for performance with emphasis on realistic, mimetic and depictive facility. Movement Studies and Voice in Performance classes will focus on instilling the skills of stamina, discipline, strength, performance focus, trust and control. There is an acute focus on anatomical, kinesthetic and somatic awareness of the body and voice in order to enhance the student’s physical presence and awareness. These sessions focus on technical training and the development of the body and voice as tools for performance.

THEATRE AND PRODUCTION 1A COURSE TITLE: Theatre and Production 1A SEMESTER: ONE COURSE COORDINATOR: Sinenhlanhla Zwane (Sinenhlanhla.Zwane@wits.ac.za) COURSE LECTURERS: TAP staff and various industry professionals This course introduces students to visual elements that form part of the theatre-making process. Using key vocabulary and terminology, students develop an understanding of the important role visual elements such as line, shape, form and colour play in shaping the aesthetic and narrative of live performance. Students are introduced to a range of production technology and theatre craft elements. Furthermore, this course focuses on developing practical skills in theatre production by engaging students in backstage and crewing roles. Through hands-on experience, workshops, and reflective practices, students will gain foundational knowledge in stage management, technical operations, and collaborative theatre-making.

THEATRE AND PRODUCTION 1B COURSE TITLE: Theatre and Production 1B SEMESTER: TWO COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Sinenhlanhla Zwane and Wits Theatre Staff This course introduces students to visual elements that form part of the theatre-making process. Using key vocabulary and terminology, students develop an understanding of the important role of visual elements such as line, shape, form and colour play in shaping the aesthetic and narrative of live performance. Students are introduced to a range of production technology and theatre craft elements. Furthermore, this course focuses on developing practical skills in theatre production by engaging students in backstage and crewing roles. Through hands-on experience, workshops, and reflective practices, students will gain foundational knowledge in stage management, technical operations, and collaborative theatre-making.

SECOND YEAR

ACADEMIC MAJOR FILM, VISUAL AND PERFORMING ARTS 2A COURSE TITLE: Film, Visual and Performing Arts 2A SEMESTER: ONE COURSE COORDINATOR: Dr. Alexandra Halligey (Alexandra.Halligey@wits.ac.za) COURSE LECTURERS: Dr. Alexandra Halligey & WSOA Staff ENTRY REQUIREMENTS: A pass in at least one module of Film, Visual and Performing Arts in first year. Theatre Arts 2B is a co-requisite. This course will introduce students to the expressive power of storytelling through different media with respect to the ways in which stories and their worlds are shaped by the affordances and limitations of different media (comics, videogames, films, television series, live performances, oral storytelling, music, dance, etc.) as well as the cultural contexts in/from which they are realised.

THEATRE ARTS 2B COURSE TITLE: Theatre Arts 2B SEMESTER: TWO COURSE COORDINATOR: Dr. Myer Taub (Myer.Taub@wits.ac.za) COURSE LECTURERS: Dr. Myer Taub, Gavin Matthys, Prince Lamla ENTRY REQUIREMENTS: Completion of FVPA 1A and 1B. FVPA 2A is a co-requisite. This course is designed to follow on the theoretical and historical focus you worked with last year, but also to ‘fill in the gaps’ in the material that you have studied thus far. We will be looking at theatre and performance through the contemporary trajectory and we will consider what could be termed the postcolonialist / post-dramatic trajectory, where we will read and understand a little more about an African aesthetic in contemporary theatre-making. We will focus on various elements of constructing, theorising and critiquing a theatrical experience, including visual/aesthetic choices, performer/audience relationship, the body, new definitions of text and the irruption of the real through a range of contemporary case studies. The material in this course engages with African, American and European case studies that reach from performance into performance art, from the stage to the streets. During the course of these fourteen lectures, you will be exposed to several different approaches to performance and theatre-making, in terms of the political contexts in which they exist. In each week’s focus, case studies, performances, proponents, philosophical approaches and visual images as well as film extracts will be used to illustrate the material. You will also be expected to source out your own case studies to solidify your understanding of the theoretical material being taught, as you prepare independently for the exam at the end of the term.

PRACTICAL CLASSES PERFORMANCE PRACTICE 2A COURSE TITLE: Performance Pracitce 2A SEMESTER: ONE COURSE COORDINATOR: Prince Lamla (Prince.Lamla@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye, Gavin Mtthys, Isana Maseko, and various industry professionals. ENTRY REQUIREMENTS: Performance students obtaining less than 65% in PP 1A and PP 1B must obtain permission of the HOD This module is framed around the concept of Afrocentricity, a term coined by Molefi Kete Asante. For the purpose of workshopping/devising ensemble performances, this module focuses on Africanist modes of performance that emphasise elevated embodied and textual modes of performance. It will draw upon various forms of heightened performance such as Gibson Kente's acting technique and Freddie Hendricks' "The Hendricks Method", as well as South African theatre and African aesthetics. The workshopping/devising process will draw on sources of stories and other forms of storytelling. The module will further explore key elements such as improvisation, chorus work, traditional children’s games, traditional song and dance; experimental theatre-making, and presentational acting techniques while using workshop theatre to develop, create, and write a 15 - 20 minute ensemble production with a dramatic structure. In addition, students will develop and perform 4 - 5 minute published one-handers assigned by their lecturers. The module will also encourage students to explore the exercises and projects in their mother tongues as a way of connecting with and drawing from the self when approaching the artistic world, which means identity and self-worth play an important role in theatre and performance. The practical work for this module will incorporate the thinking of African theatre thinkers and African thinkers from the diaspora, such as Sam Ukala, Kennedy C. Chinyowa, Robert Mshengu Kavanagh, Credo Mutwa, HIE Dhlomo, Samuel Ravengai, Sharell Luckett, Tia Shaffer, etc. The work is equally useful to aspiring actors as well as directors and writers. Voice and Movement Classes: Developing the concept of the neutral voice and body, both classes focus on the preparation of the voice and body for performance of heightened text and developing vocal and physical stamina and form matching vocal and physical power, range and expressiveness. Students will be expected to demonstrate an advanced level of vocal and physical agility and flexibility as well as a critical and theoretical vocabulary appropriate to the praxis. The course comprises of practical and written components where an ability to reflect critically on practical performance is necessary.

PERFORMANCE PRACTICE 2B COURSE TITLE: Performance Practice 2B SEMESTER: TWO COURSE COORDINATOR: Isana Maseko (Isana.Maseko@wits.ac.za) COURSE LECTURERS: TAP staff and industry professionals ENTRY REQUIREMENTS: Performance students obtaining less than 65% in PP 1A and PP 1B must obtain permission of the HOD This course focuses on representational modes of performance with a primary technical basis starting from Constantin Stanislavski and offering introductory exercises based in Meisner and Strasberg. Where useful, reference to Stella Adler and Uta Hagen will also be offered. In the first seven weeks of the module, each week’s practical work will draw on key principles and acting tools necessary to create powerful and engaging performances. In addition, text analysis and scene study work will help develop your understanding and skills in this area. This work is equally useful to future actors as it is to aspirant directors and writers. The key principles covered by the module include: The “Magic If” / “Acting As If”, Given Circumstances, Actioning, Beat Work, Affecting and being affected. You are expected to complete one of the thirteen readings each week. These readings support and develop the practical work done across the course. The written task will need to evidence your understanding of the key concepts, principles, and vocabulary that serve as the foundation of this mode of practice. Voice and Movement Classes: Developing the concept of the neutral voice and body, both classes focus on the preparation of the voice and body for representational performance, with an emphasis on developing vocal and physical stamina, with emphasis on extending range for intimate, contemporary, representational theatre forms. Students will be required to demonstrate an ability to perform a both text based and devised work for their final exam. Students will be expected to demonstrate an advanced level of vocal and physical agility and flexibility as well as a critical and theoretical vocabulary appropriate to the praxis. Guest lecturers will be invited to conduct master classes which will culminate in small projects designed to advance practical experience and proficiency as well as critical understanding of the work. The course comprises practical and written components where an ability to reflect critically on practical performance is necessary.

THEATRE AND PRODUCTION 2A COURSE TITLE: Theatre and Production 2A SEMESTER: ONE COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Dr. Dalia Farah, Sinenhlanhla Zwane, Wits Theatre Staff, and various industry professionals. ENTRY REQUIREMENTS: Students obtaining less than 65% in Theatre & Production 1A and Theatre and Production 1B must obtain permission of the HOD. Theatre and Production 2B is a co-requisite. This course equips students with essential visual, technical, and conceptual tools for theatre production. It emphasises the role of set, props, and costume design in shaping the aesthetic and narrative of live performance. Students will explore how visual elements such as line, shape, form, texture, and colour contribute to storytelling and audience engagement. The course integrates theoretical understanding with practical application through participatory masterclasses, lectures, and focused case studies. Students will engage in hands-on visual research, working with collage, drawing, and found objects to develop and present cohesive design concepts. They will also refine their ability to select, adapt, and integrate existing props and costumes to meet production requirements. A key focus is fostering collaboration, requiring students to work both independently and in teams to execute design solutions effectively. The contact hours follow two trajectories: a lab class emphasising practical applications and a theatre workshop series introducing students to production technologies and theatre crafts. By the end of the course, students will have developed a strong foundation in design visualization, technical drawing, and creative problem-solving, preparing them to contribute meaningfully to theatre production and scenography in various contexts.

THEATRE AND PRODUCTION 2B COURSE TITLE: Theatre and Production 2B SEMESTER: TWO COURSE COORDINATOR: Dr. Myer Taub (Myer.Taub@wits.ac.za) COURSE LECTURERS: Dr. Myer Taub and industry professionals ENTRY REQUIREMENTS: Students obtaining less than 65% in Theatre & Production 1A and Theatre and Production 1B must obtain permission of the HOD. Theatre and Production 2A is a co-requisite. Theatre and Adaptation is presented as a theatre making course to stimulate a language of theatre creation. Learners will work in groups to select from an assortment of African short stories, a piece which they adapt to a 7 minute stage play. The games and exercises which drive this course promote an enhanced awareness of writing for the stage or working theatrically. You will be engaged with a number of short tasks that will assist you in the process of prose-to-stage adaptation. Weekly presentations and feedback sessions with the course lecturers will be an essential element of developing your assignment. For final assessment, learners will be required to submit their rehearsal scripts and to showcase staged performances of their group pieces. Learners will need to demonstrate a strong grasp of the vocabularies of theatre making, devising and performance.

THIRD YEAR

ACADEMIC MAJOR In 3rd year your academic major will consist of Theatre Arts in Semester ONE and FVPA in Semester TWO. Semester ONE Theatre Arts 3A Theatre Arts 3B Semester TWO FVPA 3A (Quarter 3) FVPA 3B (Quarter 4) Kindly check the pre-requisites for the academic major on the following pages. MAKE SURE YOU REGISTER FOR BOTH MODULES OF THE ACADEMIC MAJOR IN EACH SEMESTER.

THEATRE ARTS 3A COURSE TITLE: Performance Theory SEMESTER: ONE COURSE COORDINATOR: Prof. Dr. Samuel Ravengai (Samuel.Ravengai@wits.ac.za) COURSE LECTURERS: Prof. Dr. Samuel Ravengai, Dr. Kgafela Magogodi ENTRY REQUIREMENTS: Completion of ALL modules of FVPA 1A, FVPA 1B, FVPA 2A and Theatre Arts 2B are pre-requisites. Theatre Arts 3B is a co-requisite. Each time a performance takes place, it proposes a theory or it follows a readymade theory. Performance theory is therefore not a preserve of the West, but any culture with a performance tradition. This course investigates theories of performance especially those developed in Africa through practice. As theory provides a lore of understanding it can blind its users to alternative ways of seeing and being. Theories gain such enormous power over a people by ingraining themselves in unconscious ways into their psyche and govern how they think and make meaning. When something violates the expectations that such theories create, it is considered pervasive. This course interrogates various theories of performance by questioning them and resisting the limits they may impose on scholars. This course offers an investigation into the definitions and theories of performance as constructed in theatre and performance. This will be undertaken through an examination and deconstruction of the mythic and ritualistic in diverse cultures with particular reference to contemporary South Africa. Critical thinking concepts are developed further by getting the students outside conventional ways of thinking and seeing the world from multiple perspectives. After the first six weeks the theories learnt are then applied to play text analysis. This course evaluates the currency of black aesthetics within contemporary play making practices in Africa. Through close and comparative readings of a selection of plays by writers from the continent, students will critically examine the varying articulations and often conflictual expressions of black language(s) of art. Diverse assumptions are made sharply visible in how the playwrights of the neo-colony are located differently in the complex interplay between power and playmaking. What are the challenges of making plays in a world where power demands art that reflects the ideological closures of rulers? Is there a place for resistance theatre where power wants to stage manage voices of artists? Students will examine the immensely variegated expressions of black aesthetics within post- colonial theatrical practices. It will seem appropriate here, to invite a survey of the long-standing dialogue between African playwrights and the idioms of global black culture. What is the import of these plays which harvest the mythic, the historical and the social dimensions of the black the experience? By looking at the signifying practices of playwrights and examining their transnational interactions and inter-textual conversations, we investigate the ways in which stories arguably seek to work through the prism of black aesthetics.

THEATRE ARTS 3B COURSE TITLE: Contemporary Performance SEMESTER: ONE COURSE COORDINATOR: Kamogelo Molobye (Kamogelo.Molobye@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye, Smangaliso Ngwenya, Neka Da Costa ENTRY REQUIREMENTS: Completion of ALL modules of FVPA 1A, FVPA 1B, FVPA 2A and Theatre Arts 2B are pre-requisites. Theatre Arts 3A is a co-requisite. This semester-long module is divided into three parts: 1. Part one, themed ‘Ways of Knowing’, is co-taught by Kamogelo Molobye and Smangaliso Ngwenya during the first three weeks of the semester. 2. Part two, themed ‘Ways of Seeing’ on Audience Reception Theory, co-taught by Kamogelo Molobye and Smangaliso Ngwenya in the second three weeks of the semester. 3. Part three, themes ‘Academically Speaking: Writing to Argue', taught by Neka Da Costa in the final three weeks of the semester. This course will be co-taught by the lecturers, who will collaboratively compile the core course material. This will facilitate a more dialogic approach to the course content and, we hope, demonstrate the dynamism of knowledge and creative exchange. We encourage students to regard lectures as an opportunity to build upon and contribute to the knowledge developed in the course. We value questions, contradictions, diverse perspectives and observations, informed challenges, and a spirit of collaboration between lecturers and students. The course content for the semester has been divided into themes each covering a cluster of relevant concepts and case studies over a period of two weeks per theme. As the course is concept-driven, we aim to demonstrate how these concepts apply to various case studies, enabling us to revisit and analyse them using different conceptual frameworks. This approach aims to equip you with the writing and critical thinking skills necessary for developing your own academic research in your fourth year and potentially in further postgraduate study.

FILM, VISUAL AND PERFORMING ARTS 3A COURSE TITLE: Aesthetics, Technologies and Commodity Cultures SEMESTER: TWO COURSE COORDINATOR: Benita de Robillard (BenitaDeRobillard@wits.ac.za) COURSE LECTURERS: Benita de Robillard ENTRY REQUIREMENTS: Pass in FVPA 2A AND the successful completion of BOTH modules of FVPA (1A & 1B) are pre-requisites for this course. Theatre Arts 3A and 3B Are Co-Requisites. FVPA 3B is a co-requisite. Synthesising critical perspectives across Game, Film, Visual, Performance, and Cultural Studies, this course will explore the interconnections of cultures, identities, aesthetics, economies, technologies, hierarchies of tastes, and power relations. The course will draw on case studies across the aforementioned fields of study to introduce key concepts, and explore questions, that are critical to the arts and culture in a rapidly changing technological landscape.

FILM, VISUAL AND PERFORMING ARTS 3B COURSE TITLE: Medium Process and Criticality SEMESTER: TWO COURSE COORDINATOR: Dr. Catherine Duncan (Catherine.Duncan@wits.ac.za) COURSE LECTURERS: Dr. Catherine Duncan ENTRY REQUIREMENTS: Pass in FVPA 2A AND the successful completion of BOTH modules of FVPA (1A & 1B) are pre-requisites for this course. Theatre Arts 3A and 3B are co-requisites. FVPA 3A is a co-requisite. This course allows for opportunities for varied and changing interdisciplinary teaching including but not limited to: Research methods in the arts and creative industry Lecture series with researchers in the School of-Arts and visiting scholars Intensive critical reading and writing in relation to current and specific exhibitions, installations, festivals, concerts, conventions, performances, or productions. -

PROFESSIONAL ELECTIVES In 3rd year you will select 2 Professional Electives from the options below (provided they do not clash on the timetable) to study in 3rd and 4th year. Be sure to check the Entry Requirements for each, which may include first and second year crewing credits. Please note that you may also be required to audition for a place in your preferred Professional Elective. Should you not qualify for your preferences, or should there be limited space, you may be asked to select a different combination. NOTE THAT CHANGING ELECTIVES IN THE MIDDLE OF YOUR SENIOR TRAJECTORY IS NOT ALLOWED EXCEPT BY PERMISSION FROM THE HOD, WHICH MAY NOT BE GRANTED.

PERFORMANCE STUDIES PERFORMANCE STUDIES 3A COURSE TITLE: Multi-disciplinary realism SEMESTER: ONE COURSE COORDINATOR: Isana Maseko (Isana.Maseko@wits.ac.za) COURSE LECTURERS: Isana Maseko and industry professionals ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. Performance Studies 3B is a co-requisite. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. An audition is required. The third year realism acting course is a multi-disciplinary course that explores performance in all its forms drawing on Stanislavsky and his proponents use of the method and realism. The practices of teachers, directors and actors such as Uta Hagen, Lee Strasberg, Stella Adler, Sanford Meisner, Joan Littlewood, Vsevolod Meyerhold, John Ledwaba, Thoko Ntshinga, John Kani, Barney Simon and others provide a diverse and comprehensive investigation of how realism practices can influence performance in all its forms. This work not only filters through text work, but also through the body, voice, the use of space, ensemble work, and devised realism theatre practices. A wide selection of contemporary texts and readings will be used to challenge student’s abilities and broaden exposure to a wide variety of literature. The course aims to develop the performer to move beyond personal habits, boundaries and notions of self and other in performance. The course requires considerable respect for oneself as well as for fellow performers. Discipline, focus, concentration, and a willingness to work with an open, honest and vulnerable attitude are a necessity.

PERFORMANCE STUDIES 3B COURSE TITLE: Performance Studies 3B: Theatre for Young Audiences SEMESTER: TWO COURSE COORDINATOR: Isana Maseko (Isana. Maseko@wits.ac.za) COURSE LECTURER: Neka Da Costa ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. Performance Studies 3A is a corequisite. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. An audition is required. This course aims to equip students with the creative skills and critical ability to generate their own work, both individually and collectively, through exploring one of the most valuable and far-reaching genres of theatre in South Africa and around the world: Theatre for Young Audiences / Children’s Theatre. In South Africa, Theatre for Young Audiences is an essential gateway into the professional theatre industry as it provides many employment opportunities for emerging performers. Far from dismissing it as an undervalued genre, actors in training should hone their skills in physical and vocal characterisation, movement, singing, storytelling, improvisation and comedy in order to conquer this demanding but rewarding genre. Young audiences are among the most honest and challenging to perform to, so we will create Theatre for Young Audiences to sharpen the actor’s tools. Together, we will create short productions for young audiences, embracing practices of play, spontaneity, reciprocity, self-discipline, collectively and outward thinking. This course aims to extend, challenge and rediscover students’ skills as socially aware, embodied performers who are responsive to exploring this mutlifaceted genre and discover ways of making new work for specific age groups and target audiences.

MOVEMENT NOTE: THESE COURSES CONSIST OF NINE CONTACT PERIODS PER WEEK AND FOCUS HEAVILY ON MOVEMENT AND THE PHYSICAL TECHNIQUE OF THE PERFORMER.

MOVEMENT 3A COURSE TITLE: Introduction to Ensemble Performance SEMESTER: ONE COURSE COORDINATOR: Kamogelo.Molobye (Kamogelo.Molobye@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye and Gavin Matthys ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. An audition is required. The Physical Theatre(s) course will be structured in a workshop setting to explore different modes of performance under the banner of Physical Theatre. The course will integrate critical frameworks into the practical processes of approaches to the form. The trajectory of the development of the mode of performance will attempt to chart the chronology of what it is understood to be today. The work will be guided by principles of ensemble creation. Different strategies founded on devising will be utilised toward the creation of multiple performances that challenge, critique, or relish in the existing definitions. A seminar presentation will be performed by the group to expand on the different possibilities of the form in contemporary South African performance. This theoretically engaged and practically expanded seminar will explore as many angles as there are individuals in the group toward providing a new unified definition that speaks to seen performances and singular examinations. The course will take on the task of asking: what is Physical Theatre? Thematic terrains will be mapped out throughout the course that investigate how, what, why, and when is Physical Theatre. The thematic topography will engage with the form’s structural and technical means to develop vocabularies that can ‘make it new’. The ensemble will devise a performance that responds to the core question of definition and integrate the learned vocabulary to redefine it for their contemporary performance.

MOVEMENT 3B COURSE TITLE: Introduction to Physical Theatre Laboratory SEMESTER: TWO COURSE COORDINATOR: Kamogelo.Molobye (Kamogelo.Molobye@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye and Smangaliso Ngwenya ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. Physical Theatre 3A is a co-requisite. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. An audition is required. Physical Theatre challenges the artist and performer to find new ways and mediums of creating theatre, dance, and movement outside of the boundaries of orthodox theatrical structures. The course is intended to challenge the artist to construct innovative methodologies of creating physical theatre that explores a motif and a vocabulary that could possibly become the artists’ creative signature. The intention of the course being structured as a laboratory is to encourage the artist and performer to negotiate and design praxes that will generate a movement and physical language that is specific to the student. Furthermore, the course seeks to ask the student: how can one create movement and physical theatre collaboratively with other mediums and materials? This is to say that the students will be challenged and tasked with constructing final products that make use of screen dance and videography elements.

DESIGN The Design Elective offers students the opportunity to apply scenographic skills in a structured, project-based approach, aligning with a four-semester learning trajectory that integrates set, costume, props, lighting, and spatial design within theatre production. Students will gain practical experience by designing productions staged by the Department in the Theatre Complex, working either individually or in groups, depending on production requirements. This hands-on engagement allows designers to collaborate with directors, present concepts in production meetings, and execute and stage their designs under professional guidance. Throughout the process, students will receive technical support from Wits Theatre staff in the Workshop and Wardrobe, along with a crew of first- and second-year students. This practical component supplements their design portfolio, which is presented to the external examiner at the end of each semester. A design credit is required for graduation, though it will not bear a mark - similar to TAP credits for crewing in first and second year. When productions for the following year are announced, students will be asked to submit three choices, with allocation based on their preferences and course progression.

DESIGN 3A COURSE TITLE: Set Design and Spatial Composition SEMESTER: ONE COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Dr. Dalia Farah, Sinenhlanhla Zwane ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Design 3B is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. First and second year crewing credits are required. This course introduces students to the foundations of scenography, emphasising set design, spatial composition, and sustainable practices. Students will explore key design elements such as scale and proportion, while analysing theatrical spaces (proscenium, thrust, arena, etc.) and their impact on scenography. The course integrates the psychology of colour and its impact on storytelling. Through research, technical drawing, and model-making students will develop skills to interpret texts for scenography. Additionally, students will be introduced to scenic construction techniques and visit the workshop for practical demonstration. The semester culminates in a conceptual set design project for a short play.

DESIGN 3B COURSE TITLE: Introduction to Costume Design SEMESTER: TWO COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Dr. Dalia Farah, Sinenhlanhla Zwane ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Design 3A is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. First and second year crewing credits are required. This course explores character design and spatial harmony, integrating costume, props, and set elements to achieve artistic unity in scenography. Students will examine the relationship between character development and visual storytelling, learning how costume choices reflect narrative, period, and cultural context. Practical explorations will include sourcing and modifying costumes, constructing key props, and revisiting set design principles. The course also introduces sustainable practices in costume and propmaking, alongside discussions on decolonial approaches to design. Case studies, workshops, and handson projects will deepen students’ understanding.

DIRECTING DIRECTING 3A COURSE TITLE: CONSTRUCTION OF A WORLD: Directing Methodologies and Approaches in Representational Theatre SEMESTER: ONE COURSE COORDINATOR: COURSE LECTURERS: ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Directing 3B is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. First and second year crewing credits are required, alongside participation in the organisation of Directing festivals and a written treatment. This is a foundational course in theatre directing aimed at equipping students with basic knowledge and skills to translate play texts into performances on stage. It explores philosophies, directorial theories and praxis that focus on staging realism as a genre, alongside the realisation of representational theatre in a South African context. The course is designed to develop skills in text analysis and interpretation, shaping and executing a directorial vision, and working with performers, designers, and other creative collaborators effectively. By combining a theoretical and contextual understanding of Representational theatre as a genre with a practical realisation of text and aesthetics through creative collaboration, students should gain an understanding of how to engage with text, storytelling, stage materials and creative collaborators to create a curated experience for an audience.

DIRECTING 3B COURSE TITLE: CONSTRUCTION OF A WORLD: Directing Methodologies and Approaches in Presentational Theatre SEMESTER: TWO COURSE COORDINATOR: Prince Lamla (Prince.Lamla@wits.ac.za) COURSE LECTURERS: Prince Lamla ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Directing 3A is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. First and second year crewing credits are required, alongside participation in the organisation of Directing festivals and a written treatment. Offering an antithesis to the re-presentational (mimetic / slice-of-life) style of texts and performance covered in the first semester, this course explores the concept of the presentational text and performance: that is, texts, performance styles and theatre practitioners - both locally and internationally – which are predicated on the pointed acknowledgement that theatre is an artificial construct and performance is a shared encounter between a performer and an audience. The course is designed to build upon and hone the skills learned in the previous semester, encouraging further development of research and text analysis, and an expanded exploration of directorial theories and practical methods/approaches. In addition, the course offers a wider study of presentational theatrical genres and conventions, which can include (but is not limited to) magical realism, storytelling, epic/expressionist theatre, absurd theatre, choreopoem, protest theatre, township theatre, physical theatre and visual theatre (as well as other contemporary genres and practices) in order to expose students to a variety of directorial and theatre making approaches which can translate text to performance. By combining a theoretical and contextual understanding of presentational styles with a practical application of the materials of theatre (which include space, time, the body, objects, metaphor, aesthetics, rhythm and the textscape), students should gain an understanding of how to create an intricate relationship between actors and audience, using compositional/aesthetic devices and theatrical metaphor as powerful storytelling tools which serve the chosen text and genre. This course intends to equip students to direct (research, analyse, audition, rehearse, collaborate and showcase) a live theatrical production as well as experiment with their newfound theatre making and directorial skills. While adaptation and creation are encouraged, we will use existing published presentational scripts as the basis for our explorations, as this course serves as a foundation for the creation of devised, new work in the first semester of the fourth year Directing course.

WRITING WRITING 3A COURSE TITLE: Introduction to Playwrighting SEMESTER: ONE COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Dr. Kgafela Magogodi and industry professionals ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Writing 3B is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. This creative writing practicum works to stimulate and develop the skills of the playwright. The eclectic mix of writing exercises in the workshops is designed to provide a practical understanding of the rudiments of play writing. You will write a ten minute play which will be taken through the process from idea generation to final editing. Some of the basic elements which you will investigate and experiment with are: Conflict, Action, Character, Dialogue, and Stage Directions. It is a participative workshop where you are also expected to read your work and invite constructive feedback. Rewriting must follow feedback. Your participation in critiquing each other’s work is as important as your written work. The process may also include workshops with guest playwrights. At the end of the semester you will submit your ten minute play for final assessment. The final project of the semester will be a staged reading of completed plays. A successful story will exhibit your grasp of building blocks of contracting play. Your play must display many creative elements which engage the reader’s or audience’s imagination. We encourage experiment and innovation from the writer.

WRITING 3B COURSE TITLE: One-hander playwrighting SEMESTER: TWO COURSE COORDINATOR: Neka Da Costa (Neka.DaCosta@wits.ac.za) COURSE LECTURERS: Neka Da Costa (Neka.DaCosta@wits.ac.za) ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1 and Theatre and Production 2. Writing 3A is a co-requisite. For students obtaining less than 65% aggregate pass in Theatre and Production 2, by interview and permission of the HoD. The course will introduce students to a basic understanding of one-hander playwriting and that specific dramaturgical style. Farther, the course will look at making links between African oral traditions (intsomi/ditshomo and poetry) and the one-hander, as a way of locating it within the African paradigm. We will read play texts to demonstrate this style and perspectives captured in dramatic writing. The plays will be analysed with a view on how each uses plot, character, action and language to create the world of performance. Plays will be read, discussed, and analysed according to their form, socio- political relevance and implications for contemporary audiences. Along the way, students will pay special attention to plot, scene, dialogue, imagery, setting, characterisation, and point of view, persona, research, syntax, and figurative language. Students will then practice writing in the various styles by crafting short scenes that demonstrate the strengths and possibilities of what they have learnt. These scenes will be the building blocks of a final play to be presented at the end of the semester.

MUSICAL THEATRE MUSICAL THEATRE 3A COURSE TITLE: Introduction to iNgoma - African Musical Theatre SEMESTER: ONE COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Sibusiso Mkhize, Smangaliso Ngwenya and Gina Shmuckler ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. Musical Theatre 3B is a co-requisite. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. Subject to interview and/or audition. This Musical Theatre Practicum introduces students to the foundations of African Musical Theatre. This course introduces students to the aesthetics and performance techniques that define African Musical Theatre. As part of their experiential studies, students will be expected to adapt and devise any African folktale into a musical theatre production which will be further explored in Musical Theatre 3B. Collaborative creation is a core principle where students will be devising song and dance inspired by African myths and folktales. Students will engage in rigorous practical workshops which place a special focus on vocal and physical training in African song and dance. Other areas of focus will be to develop strength, endurance and expressive capacity through traditional singing techniques, polyphonic harmonies and dynamic movement styles. Key theoretical concepts such as Afrocentricity, Ritual Drama and African Spirituality will be explored alongside the study of musical structures, lyrical composition and physical storytelling.

MUSICAL THEATRE 3B COURSE TITLE: Devising iNgoma - African Musical Theatre SEMESTER: TWO COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Sibusiso Mkhize, Smangaliso Ngwenya and Gina Shmuckler ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2. Musical Theatre 3A is a co-requisite. For students obtaining less than 65% aggregate pass in Performance Practice 2, by interview and permission of the HoD. Subject to interview and/or audition. This musical theatre practicum is an extension of Musical Theatre 3A and its focus is on developing African Musical Theatre aesthetic paradigms or iNgoma. You will be expected to stage the chosen and adapted African folktale into a musical theatre production. The course’s focus is to interrogate the process of devising or making a musical that follows Afrocentric modes of performance or creation. The interrogation of song and dance will be key and also how music can be imagined as a living character within the narrative or theatre-making process. The course will draw its theoretical inspiration from scholars and creatives such as Credo Mutwa, Zulumathabo Zulu, Sam Ukala, Tracie Chima Utoh-Ezeajugh & Ofobuike Nwafor, Molefi Asante and more. You will explore various forms of African styles of song, ritual performance, dance and forms of improvisation. You are required to sustain good vocal and physical alignment, as well as exhibit physical control, coordination and flexibility. Students are also expected to retain and execute choreography and song in a broad range of African styles and expression.

FOURTH YEAR

ACADEMIC MAJOR In 4th year you will continue with your Professional Electives and either do the Long Essay or Research Project.

LONG ESSAY / RESEARCH PROJECTS GENERAL INFORMATION Students entering their 4th year of the BA Hons degree (Theatre and Performance) must successfully complete four modules (units) of professional electives offered by the Department of Theatre & Performance AND either the Long Essay OR the Research Project. Please consult the Rules and Syllabus booklet for the rules regarding the fourth year of study in the BATAP degree.

GENERAL RESEARCH PROJECT INFORMATION Any research project module requires: • •

Passes in FVPA 2A and Theatre Arts 2B A pass in three of the four third year modules WTAP3041A, WTAP3042A, IACS3000A and IACS30001. Students who only pass three of these courses would only be allowed by the permission of the Head of Department to register for the Research Project. NOTE that a pass in all 4 third year courses is required to graduate

A Research Project is usually undertaken as part of a series of seminars and workshops. Students will select one option from a designated list of courses made available by TAP or IACS staff in any given year. If you wish to pursue a Master’s degree in the future, you are advised to take the Long Essay or a Research Project course with a substantial academic writing component. Research Projects use a number of different structures and class schedules. Some are spread over a full year, others are a semester long. Please ensure you are familiar with the date on which your chosen Research Project begins. A student who designates a course as their Research Project cannot take this course for standard credit as well. Each Research Project course will include research, reading, and writing components The Course Presenter will indicate how the final Research Project in that course will be tested, whether by academic paper or by creative/practical research (or both). All Research Projects will, nevertheless, have some written elements and be examined by an external examiner. The onus is on the person registered for the course to ensure that they identify a Research Project that aligns with their interests and can accommodate them. They must contact the Course Presenter to express their interest. Note that some Research Projects offer limited places and that a Research Project may be withdrawn if there are fewer than 5 students signed up for that course. Research Projects on offer change each year, depending on the capacity of TAP and IACS staff members.

RESEARCH PROJECTS COORDINATOR: Dr. Myer Taub (Myer.Taub@wits.ac.za)

LONG ESSAY COURSE TITLE: Long Essay SEMESTER: FULL YEAR COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Individual supervisors are allocated ENTRY REQUIREMENTS: Students may only take this option if they achieve a minimum of 70% aggregate across all four modules in the academic major during third year of study. Students who receive less than 70% for their 300 level courses in Theatre Arts and FVPA, must take the Research Project option. This course is primarily structured as independent research and writing, done by the student with guidance from their assigned supervisor. There are no weekly classes for this course, but students must attend a series writing/research workshops throughout the year to assist them with the content and structure of their Long Essay. The long essay must be based on research in an area related to one or more of the courses offered in the department, or to a staff member’s areas of expertise, and is to be considered independent research, although conducted under close supervision. Please submit a one page expression of interest regarding your area of investigation / case study by the start of the academic year. This expression in interest should be written in academic language and should provide a brief overview of what you would like to DISCOVER through the process of research. In this preliminary expression of interest you should indicate the supervisor you would like to work with. A supervisor will be available for each Long Essay, but it must be remembered that the supervisor’s function is to guide the student. Even when the supervisor reads the final draft, detailed corrections and comments are not to be expected. Your supervisor may elect to set their students to work together in a reading group. If this is the case, attending and participating in these reading groups is a requirement of the long essay process work. Long essay students will be required to complete a number of research tasks towards drafting their final essay (including writing a proposal). The second proposal and presentation constitute the midway point in the Long Essay process. Failure to complete this task or a decision by the panel not to pass the proposal because of inadequate preparation at this stage will result in exclusion from the course.

PERFORMANCE STUDIES PERFORMANCE STUDIES 4A COURSE TITLE: Training the “Thinking Actor” SEMESTER: ONE COURSE COORDINATOR: Isana Maseko (Isana.Maseko@wits.ac.za) COURSE LECTURERS: Isana Maseko and Neka Da Costa ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1, Performance Practice 2 and Performance Studies 3. Performance Studies 4B is a corequisite. For students obtaining less than 65% aggregate pass in Performance Studies 3, by interview and permission of the HoD. This course explores the concept of the “thinking actor” in South Africa. Throughout this course, students can expect to be trained as actors to make effective performance choices across multiple genres and apply various acting styles in a critical, collaborative and self-reflective manner. It also aims to cultivate young, resourceful professionals who can meet the varied and everchanging demands of the industry. This course will extend students’ knowledge and application of actors' tools (mind, body, voice and breath) to prepare them for the professional environment of the performer, using a variety of self-made and renowned local and international performance and theatre-making methodologies, techniques and approaches. This semester, we will focus on introducing students to voiceovers and radio drama, and acting for film and television. Ultimately this module aims to give you the tools to integrate your vocal and physical work with a real-world understanding of the professional environment of an actor in contemporary South Africa, and to enable you to adapt your approach to suit any brief in any genre or style. Students are expected to cross pollinate their knowledge from previous years and synthesise what they learn across all professional electives, rather than keep them separate in order to build their tools as a thinking actor.

PERFORMANCE STUDIES 4B COURSE TITLE: Training the “Thinking Actor” SEMESTER: TWO COURSE COORDINATOR: Isana Maseko (Isana.Maseko@wits.ac.za) COURSE LECTURERS: Isana Maseko and Neka Da Costa ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1, Performance Practice 2 and Performance Studies 3. Performance Studies 4A is a corequisite. For students obtaining less than 65% aggregate pass in Performance Studies 3, by interview and permission of the HoD. This course extends the concept of the “thinking actor” in taught in semester one. Throughout this course, students can expect to be trained as actors to make effective performance choices across multiple genres and apply various acting styles in a critical, collaborative and self-reflective manner. It also aims to cultivate young, resourceful professionals who can meet the varied and everchanging demands of the industry. This semester, we focus on preparing students for the professional environment of the performer through a series of masterclasses, and working towards the production of an industry showcase.

MOVEMENT NOTE: THESE COURSES CONSIST OF NINE CONTACT PERIODS PER WEEK AND FOCUS HEAVILY ON MOVEMENT AND THE PHYSICAL TECHNIQUE OF THE PERFORMER.

MOVEMENT 4A COURSE TITLE: Choregraphic Practices: Duets SEMESTER: ONE COURSE COORDINATOR: Kamogelo.Molobye (Kamogelo.Molobye@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye and Smangaliso Ngwenya ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2 and Movement 3. Movement 4B is a co-requisite.For students obtaining less than 65% aggregate pass in Movement 3, by interview and permission of the HoD. This laboratory environment challenges the student to actively participate with the lecturer in collaboratively devising, crafting and theatrically realising an original piece of Physical Theatre work. Focusing on the development of the total performer through the use of senses, intuition and intellect, this module seeks to explore authentic modes of devising, generating provocative, yet nuanced, vocabulary and modes of “meaning making”. Workshops involve developing unique performance signatures through autobiographical investigations and an integrated approach to theatre making. This requires students to situate themselves within the world of contemporary practice in order to recognise and develop their unique signatures within a larger theatrical context. This segment of the course continues to look at the integration of vocal work with movement and aids in preparing performers for the professional stage. Seminars aid in the study of the multitude of ways in which Physical Theatre works can be conceived and realised. This allows students to explore a variety of local and international practitioners, whilst interrogating their own approach to the investigation of the body, narratives and texts. The combination of practical and theoretical work aims to support the development of articulate Physical Theatre creators/performers, whilst weekly technique classes continue to develop powerful, strong, capable and receptive moving bodies. Students are expected to attend additional evening classes.

MOVEMENT 4B COURSE TITLE: Choregraphic Practices: Solos / Trios / Ensembles SEMESTER: TWO COURSE COORDINATOR: Kamogelo.Molobye (Kamogelo.Molobye@wits.ac.za) COURSE LECTURERS: Kamogelo Molobye and Smangaliso Ngwenya ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1 and Performance Practice 2 and Movement 3. Movement 4A is a co-requisite. For students obtaining less than 65% aggregate pass in Movement 3, by interview and permission of the HoD. This module allows students to develop their understanding of themselves as creator/ performers, interrogating the notion of “Multiple Intelligences” and challenging the student to investigate themselves as the source of concept and performance. Various approaches to accessing, generating and crafting material are explored practically and theoretically in order to broaden the understanding of the individual’s artistic context and embodied history. The module culminates with the performance of either a solo, trio or ensemble and the work is created, crafted and performed by the student and cast for a live performance and/or for digital platforms. The student will be challenged to create and solidify their movement language and choreographic signature in creating their final product.

DESIGN All Senior Design Students will apply their scenographic skills through project-based work, contributing to productions staged by the Department in the Theatre Complex. Working independently or in pairs depending on the number of students and productions per year -designers will gain hands-on experience collaborating with directors, presenting concepts at production meetings, and executing their designs in live performance settings. This process will emphasize sustainability, decolonial approaches, and experimental scenographic practices, integrating sets, costumes, props, and lighting into cohesive theatrical environments. Students will be encouraged to explore site-specific, communitybased, and multimedia scenography while being supported by Wits Theatre staff in Workshop and Wardrobe, as well as first- and second-year student crews. This practical engagement supplements the portfolio presented to the external examiner at the end of each semester. A design credit is required for graduation, though it will not bear a mark - similar to TAP credits for crewing in first and second year. When productions for the following year are announced, students will be asked to submit three choices, with allocation based on their preferences and course progression.

DESIGN 4A COURSE TITLE: Scenography in Contemporary Performance SEMESTER: ONE COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Dr. Dalia Farah and Sinenhlanhla Zwane ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Design 3. Design 4B is a co-requisite. For students obtaining less than 65% aggregate pass in Design 3, by interview and permission of the HoD. This course explores the synthesis of set, costume, props, and lighting in the creation of immersive theatrical environments, with emphasis on sustainability and decolonial scenographic approaches. Through a series of readings, seminars, and practical workshops, students will engage with key themes such as spatial perception, and alternative storytelling traditions. Theoretical and conceptual discussions will be deepened through case studies, critical analysis, and hands-on experimentation. The course culminates in a creative project where students analyze a text, develop interpretive scenographic concepts, and present a cohesive design integrating all scenic elements.

DESIGN 4B COURSE TITLE: Advanced Scenographic Practices SEMESTER: TWO COURSE COORDINATOR: Dr. Dalia Farah (Dalia.Farah@wits.ac.za) COURSE LECTURERS: Dr. Dalia Farah and Sinenhlanhla Zwane ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Design 3. Design 4A is a co-requisite. For students obtaining less than 65% aggregate pass in Design 3, by interview and permission of the HoD. This course equips students with the skills and methodologies needed to design and transform contemporary performance spaces. Through seminars, case study evaluations, and hands-on practical explorations, students will develop a dynamic and informed perspective on creating scenographic environments that challenge conventional theatre spaces. The course will address sustainability in theatre production, interdisciplinary experimentation, and the integration of digital and multimedia tools. Students will also engage with industry-relevant practices, including project development, health and safety compliance, and designing within budget constraints using both conventional and innovative methods. These skills will be applied in a final creative project, where students will conceptualize and present a complete scenographic design for a theatre production.

DIRECTING DIRECTING 4A COURSE TITLE: The Director as Theatre Maker SEMESTER: ONE COURSE COORDINATOR: Gavin Matthys (Gavin.Matthys@wits.ac.za) COURSE LECTURERS: Gavin Matthys ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Directing 3. Directing 4B is a co-requisite. For students obtaining less than 65% aggregate pass in Directing 3, by interview and permission of the HoD. This course locates and situates the student as both a theatre maker and devising director. The rationale of the course is to consider and explore various directing processes and approaches. Students will draw on acquired skills to facilitate, conceptualise, devise, and create dynamic and relevant creative work. Whilst interrogating elements of the self, the socio-historical, the socio-political, lived realities and experiences, students will be encouraged to access their lived-experience as an access point to create work that resonate and interlink contemporary contextual experiences of South African life. Further, the course will equip the student to engage with various theatrical elements as well as the collaborative interaction with the actor(s).

DIRECTING 4B COURSE TITLE: The Director in Production SEMESTER: TWO COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Dr. Kgafela Magogodi, Prince Lamla, Gavin Matthys and Neka Da Costa ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Directing 3. Directing 4A is a co-requisite. For students obtaining less than 65% aggregate pass in Directing 3, by interview and permission of the HoD. This course provides an opportunity to conceptualize, develop and produce a work in collaboration with designers and performers in one of the Wits Theatres – although you may choose to find an alternative space or site-specific location instead (provided permission is granted through the correct channels prior to the rehearsal and performance period). Your piece may either be a staging of an existing script (either published or self-written) OR you may develop the devised work you began in the first semester. In either scenario, you are expected to have a complete draft of your script by the end of the second week of the semester for your lecturers to review. Your final presentation must have a running time of 30-45 minutes and will form part of the 4th Year Director’s Festival. You will also be required to actively participate in and drive the marketing and production of the festival as part of this task.

WRITING WRITING 4A COURSE TITLE: Character Based Approaches SEMESTER: ONE COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Dr. Myer Taub and industry professionals ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Writing 3. Writing 4B is a co-requisite. For students obtaining less than 65% aggregate pass in Writing 3, by interview and permission of the HoD. The course will focus on contemporary theories and praxis in theatre that refer to styles of writing for theatre, considering language, ritual, premise, storyline, characterisation, etc. It speaks to the importance of language and how is it best served in the making of theatrical work. The aim is to foster voice/voices for the theatre through the development of theatre text, which are key and compulsory tasks of the course. The experience of critically analysing style and voice provides a space for the writing of solo works using personal testimony, storytelling and monologue, and analysing the style and technique involved in writing a one person play. The course also examines the development of characters and dialogue, looking particularly at issues of back stories, language and journey. In conclusion, the course explores personal testimony, monologue, storytelling, and dialogue and conversation as modes of writing for theatre, while intentionally disrupting and critiquing the Euro/Western lens in South African theatre.

WRITING 4B COURSE TITLE: Advanced Storytelling Techniques: Playwrights SEMESTER: TWO COURSE COORDINATOR: Dr. Kgafela Magogodi (Kgafela.Magogodi@wits.ac.za) COURSE LECTURERS: Dr. Kgafela Magogodi ENTRY REQUIREMENTS: Completion of ALL modules of Theatre and Production 1, Theatre and Production 2 and Writing 3. Writing 4A is a co-requisite. For students obtaining less than 65% aggregate pass in Writing 3, by interview and permission of the HoD. This creative writing practicum aims to provide a platform for you to write a full-length play script. You are encouraged to develop the work which you began in the first semester. Or, you may choose to form a play from the ground. The course is geared towards extensive drafting of a play script – writing and re-writing. You will be expected to present drafts in class and to read and engage with the work of your peers. You are required to build the capacity to receive and interpret peer and lecturer feedback. You will grapple with the languages of African theatre. You will work towards finding your own voice. By the end of the semester, you will have written a play that may help your transition into the professional world. You will have presented your first draft to a panel of professional readers/playwrights. For your final assessment you will organize and present a ‘staged’ reading for your play, and submit a written script (no longer than 1hour). Additionally, you will hand in a play synopsis and the writers’ note with your final draft.

MUSICAL THEATRE MUSICAL THEATRE 4A COURSE TITLE: Musical Theatre 4A SEMESTER: ONE COURSE COORDINATOR: Isana Maseko (Isana.Masego@wits.ac.za) COURSE LECTURERS: Smangaliso Ngwenya and industry professionals ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1, Performance Practice 2 and Musical Theatre 3. Musical Theatre 4B is a co-requisite. For students obtaining less than 65% aggregate pass in Writing 3, by interview and permission of the HoD. Understanding the musical as a theatrical medium that combines music, song, dance, design, lighting, acting, and staging to tell a story, drive the narrative, and show character development and conflict is essential. It is also essential to understand the genre's origins and how these elements work together, with the primacy of character and plot above their disciplines. Musicals as a genre are different from other theatrical mediums that may still incorporate music or dance, and it is vital to understand the genre's history to better understand its definition.

MUSICAL THEATRE 4B COURSE TITLE: Musical Theatre 4B SEMESTER: TWO COURSE COORDINATOR: TBC COURSE LECTURERS: TBC ENTRY REQUIREMENTS: Completion of ALL modules of Performance Practice 1, Performance Practice 2 and Musical Theatre 3. Musical Theatre 4A is a co-requisite. For students obtaining less than 65% aggregate pass in Writing 3, by interview and permission of the HoD. The course includes skills-based training through practical classes in singing, vocal harmony, vocal technique, voice placement, dance, choreography, strength training, and exposure to various dance forms and styles. The course fosters discipline, professionalism and an appreciation for the Musical Theatre form. The semester focuses on preparing solo, duet and group numbers for the final exam showcase and will include performance technique, choreography and singing styles for genres within Musical Theatre framework, and the Final Exam Showcase for industry professionals will be examined by an external examiner. The first semester will comprise of modules by industry professionals and practical classes in singing, dance, choreography and performance. The course will also include written assignments.

OTHER COURSES OUTSIDE OF THE DEPARTMENT

CULTURAL POLICY AND MANAGEMENT The CPM department offers 3rd and 4th year electives which can be chosen by TAP students, provided they qualify for them, there are no clashes in the timetable, and there is enough space in the courses.

THIRD YEAR COURSES INTRODUCTION TO CULTURAL POLICY AND MANAGEMENT COURSE TITLE: Introduction to Cultural Policy and Management SEMESTER: ONE CONTACT THE DEPARTMENT DIRECTLY FOR MORE INFORMATION ON COURSE COORDINATORS AND ENTRY REQUIREMENTS Responding to contemporary challenges faced by arts and culture organisations, companies and institutions in the South African and African context and the increasing need for sustainable growth of the cultural and creative industries (CCIs), there is a great need to groom competent Cultural Leaders, Cultural Policy Experts, Arts Managers, Arts Marketing Managers and Cultural Entrepreneurs who identify these challenges, trace their root causes and find solutions. Effective arts management and marketing are critical for establishment, growth, success and sustainability of cultural and creative industries. This course aims to groom managers who can facilitate and sustain production, exhibitions, distribution and consumption of cultural and creative goods and services in a ‘mixed economy’ context in South Africa and Africa. Effective arts, governance, management and marketing in the cultural and creative industries is dependent on a solid understanding of the purpose and value of the arts in society, value chain in CCIs, cultural policy frameworks, resources required to drive CCIs, role of key stakeholders, their relationships and the macro and micro cultural policy context. This course focuses on the centrality of cultural policy and arts management in the sustainability of the cultural and creative industries. The course will pay attention to the value of arts and culture, the context in which arts enterprises operate, the role and status of artists, arts companies, organisations, and institutions the triple ‘P’ bottom line in arts enterprises, and the markets, marketing strategies and practices. The course, which strives to find a balance between theory and practice, aims to introduce students to arts management and marketing as a ways of preparing them for an advanced course on arts marketing. Students are expected to have basic understanding of existing and potential markets and the various attributes of consumers of cultural goods and services.

FUNDING CONTEXTS IN CULTURAL AND CREATIVE INDUSTRIES COURSE TITLE: Funding Contexts in Cultural and Creative Industries SEMESTER: ONE CONTACT THE DEPARTMENT DIRECTLY FOR MORE INFORMATION ON COURSE COORDINATORS AND ENTRY REQUIREMENTS The role of the arts in society is critical, with multiple benefits. Funding, or resource mobilisation, is important to the sustainability of the arts. The course discusses resource mobilisation in the context of culture and the arts in South Africa.

FOURTH YEAR COURSES CULTURAL ENTREPRENEURSHIP COURSE TITLE: Cultural Entrepreneurship SEMESTER: ONE CONTACT THE DEPARTMENT DIRECTLY FOR MORE INFORMATION ON COURSE COORDINATORS AND ENTRY REQUIREMENTS The course focuses on key concepts and theories in cultural entrepreneurship within the formal and informal creative economy. Topics such as business models in the arts and culture sector and the professional practices of artists provide insights into business practices such as; legal entities, organizational forms and design, building teams, and understanding the difference between strategy and action. The use of local and international case studies is critical. Guest lecturers provide insightful information into existing practice. Students experience working at an arts organisation in a structured traineeship, which enables them to gain hands-on experience in cultural entrepreneurship.

ARTS MARKETING: CONTEXT, STRATEGIES AND PRACTICES

COURSE TITLE: Arts Marketing: Context, Strategies and Practices SEMESTER: TWO CONTACT THE DEPARTMENT DIRECTLY FOR MORE INFORMATION ON COURSE COORDINATORS AND ENTRY REQUIREMENTS This course teaches concepts and theories of understanding cultural goods, and how to develop and plan. It also delves briefly into how to access the appropriate audience for artistic programming i.e., audience development. You will create and design a marketing strategy conducive to organisational needs - plan, implement, monitor and evaluate market research.

FILM AND MEDIA STUDIES (INTERDISCIPLINARY ARTS AND CULTURE STUDIES - IACS) Please approach the IACS department directly if you are interested in Film Studies 4th year and research project courses.

DRAMA FOR LIFE (DFL) Please approach the Drama for Life department directly if you are interested Applied Drama, Theatre in Education and Drama Therapy 3rd and 4th year courses.

STUDENT SURVIVAL GUIDE

STUDENT SURVIVAL GUIDE Compiled by Prof Dr. Samuel Ravengai and Neka Da Costa The Department of Theatre & Performance is one of nine Departments (academic departments) within the Wits School of Arts (WSOA). WSOA is, in turn, one of several Schools within the Faculty of Humanities. This course guide is intended to assist students in understanding the manner in which the Department of Theatre & Performance operates, and its policies and procedures. If you have any suggestions about additional matter that should be included in this guide, please alert us.

ADD/DROP Check that you are correctly registered for the degree/courses you are taking (verify the codes!) during the first week of each semester, i.e., ADD/DROP week. Some students have noticed too late in the semester that there was an error in their registration. This may be your own mistake, or that of a University official, but it remains your responsibility to ensure you are correctly registered. Faculty will not amend your registration after the first week of the semester. If you are unsure of your curriculum you are advised to see Ms Hamisha Bhana. Please note the relevant pre-requisites for entry to the Academic Major and the 4th year Research Project Course / Long Essay.

SEMESTER A semester is a 14-week academic term. Each semester is divided into 2 quarters. Courses prefixed by the letter A are first semester courses, and those prefixed by B are second semester courses (except in the case of Theatre Arts IIIA and IIIB (which are first semester courses) and FVPA IIIA and IIIB, which are second semester courses). The academic year has two semesters.

TAP Acronym for the Department of Theatre & Performance, and one of 9 Departments within the Wits School of Arts (WSOA). The others include Film and Television, Music, Fine Arts, Cultural Policy and Management, Drama for Life, Curatorial, Public and Visual Cultures, Digital Arts and Interdisciplinary Arts and Culture Studies. TAP offices are located mainly in the 2nd floor of the WSOA Building (a.k.a. the Old Dental Hospital), although some offices are also located in Es'kia Mphahlele Building on the 16th Floor. During construction, our temporary offices are above the Wits Theatre Foyer and in DJ DU Plessis Building on West Campus.

VENUES Please familiarise yourself with the key venues utilised by the Department. These include classrooms, and rehearsal and lab spaces within the WSOA building (formerly the Old Dental Hospital, which explains the lingering clinical atmosphere!), the theatres, Traffic Office, Solomon Mahlangu House and several other venues on campus.

CLASS MARK/PROCESS MARK /EXAM MARK / YEAR MARK All undergraduate courses require class attendance and a series of projects, practicals, essays, and / or assignments. These constitute formative assessments, also known as the Class Mark or Process Mark (weighted 60% of the year mark). The class mark is posted with student names deleted on Ulwazi and WSOA notice boards prior to the final exam in the course, except in some professional courses where practical assessments are held prior to the end of term. The term “class mark” has been used interchangeably with “process mark”, but the University policy is now to settle on the term class mark. Students are entitled to their class mark in a timely manner prior to the exam. Students are advised to obtain a record of their class marks soon after the end of quarter 1 and quarter 3, and at least prior to any exam. The “exam mark” refers to the summative assessment of a course, and is weighted 40% of the year mark.

SP WARNINGS & SP REFUSAL SP stands for “Satisfactory Performance”. All undergraduate courses require class attendance and a series of projects and/or assignments – these constitute 60% of the year mark, and are also known as the Class Mark. The final exam/practical assessments constitute the other 40%. If a student misses classes, fails to submit essays/projects and/or fails to participate in class to the satisfaction of the course coordinator, they will be issued with a SP Warning. Such SP Warnings sent to the student via their student email and are shared with the WSOA Administrator. An SP Refusal may be issued if a student continues to fail to perform satisfactorily. The third SP warning constitutes an SP refusal, which means the withdrawal of eligibility of the student to present themselves for the final examination. If you miss one class without being granted flexibility, you will be issued one SP warning.

SUBMINIMUM RULE Some courses (including FVPA and the Theatre Arts) have introduced a new faculty rule from 2015 and now have a subminimum of 30-35%. This means you MUST achieve an average of 30-35% or above in the assignments during the term to be permitted to participate in the exam. Please ask your lecturer if this rule applies to the course/s you are taking and make sure you understand the weighting of the various assignments that make up the class mark. NB: As has always been the case, failure to submit an assignment will result in a mark of 0%. This will have a serious impact on your process mark and may mean that you do not meet the subminimum. Ensure that you have fully considered the consequences of not submitting work.

NOTIONAL HOURS All courses have approximately the same number of notional hours assigned to them. This is to ensure that students balance the focus of all of their subjects as well as to set a reasonable workload level. Your lecturers should be able to give you a sense of the number of hours and the expectations for the course at the beginning of the term.

Notional hours should give you a sense of how much work you are expected to do for the course on your own, and how much is shared class or contact time with your lecturer. For some courses this will be as high as 3:1 (I.e. three hours of self-study for every hour spent in the classroom) for other courses with a high level of practical work this might be as low as 1:1 (I.e. for every hour you spend in class you are expected to do an hour of work without supervision of your tutor or lecturer). These notional hours are very important for you to judge whether you are doing sufficient work to pass the course. Notional hours are also very helpful in planning what you can realistically take on in a given term. For example if you know you are already carrying an extra subject, you will quickly be able to tell that adding non-coursework performances and projects to your workload might not be a good idea. Finally, notional hours help you judge when what is asked or expected of you is unreasonable because it is interfering with other course demands. If this situation arises, please consult the course coordinator for the relevant subject.

ASSIGNMENTS/ESSAYS/PROJECTS All courses require students to complete assigned tasks during the semester. Such tasks count towards the class mark (a.k.a process mark), or towards a SP. Students should ensure they familiarise themselves with the weighting (in terms of mark allocation) of each task. All essays must be properly presented with a cover page that includes student name and number, the course code and title, the topic, due date, the lecturer/tutor name in full with the official declaration of plagiarism signed by you (see the Reference Guide at the back of this Course Guide).

WHAT IS CANVAS (ULWAZI)? Canvas is Wits’ e-learning platform, which is branded as ULWAZI. ULWAZI means ‘knowledge’ in isiZulu and ‘information’ in Sesotho. This is like a private website for all students and staff of the university and each course you are registered for will give you access to electronic resources specific to that course. These could include: Additional articles, video clips, music, links to resources elsewhere on the web. Some readings A way of submitting essays, assignments and online quizzes and tests. A calendar of important dates for the course. Contact details for your lecturers. Announcements Course Outlines You can access the e-learning site via this link: https://www.wits.ac.za/ulwazi/ You will need to use the same username and password as for your Wits email. Students are required to make the effort to familiarise themselves with the conventions of good academic writing and proper referencing of sources. Please see the TAP Style and Reference Guide at the back of this course guide (Appendix B).

STYLE GUIDE The Department uses the Harvard Style of referencing. All students are required to familiarise themselves with this style of referencing, and to use it consistently. See the back of this course guide.

WRITING CENTRE If you find that feedback in your essays mention your poor writing skills, you are advised to consult the Writing Centre (Wartenweiler Library) which can help you improve your writing skills so that you can communicate your ideas more effectively. Assignments submitted late will incur a penalty.

THE WSOA POLICY FOR DEDUCTIONS OF LATE WORK IS AS FOLLOWS: 5% for submissions 1 day late – whether 1 hour or 23 hours late. Thereafter, an additional 1% for each working day late. Students can hand in an essay at any time until the lecturer marking has returned the essays submitted on the deadline date. No essay will be accepted once the lecturer has returned essays to students.

PLAGIARISM Plagiarism is a serious offence. Penalties may include up to 100% deduction of marks and/or appearance before a disciplinary committee. The following practices will be considered to constitute plagiarism: 1.

Failure to acknowledge the ideas or written words of another person.

Copying from the written work of other students.

Submitting the same (or substantially similar) piece of work for multiple assignments

An essay or assignment which is composed substantially of quotes (whether acknowledged or not), i.e., there is little or no original contribution from the student submitting the essay/assignment.

All sources must be fully acknowledged (author surname(s), year of publication) in the text, and a FULL bibliographic reference (including information obtained on the Internet) must appear in the bibliography for every source cited. All instances of plagiarism will be filed in the student’s personal record file. A second or additional instance of plagiarism by a student will require appearance before a disciplinary committee.

TIME MANAGEMENT Students are advised to draw up a timetable of deadlines for the entire semester and which reflects all tasks and deadlines in all of the courses for which they are enrolled in order to identify “bottlenecks”. Students are also advised to start work on their essays/projects well in advance of due date, and should consult with their lecturers if they are having difficulty in coping with the demands of a course. Students are responsible for ensuring that assignments are submitted in a timely fashion, or that the necessary arrangements have been made for obtaining an extension. See also Notional Hours

FLEXIBILITY POLICY See TAP Flexibility and Late Penalties Policy Flexibility Policy for Assignments and Essays: The steps listed below must be followed when applying for flexibility: Fill in a Flexibility Request Form, which can be obtained online or at the WSOA Front Office. Only requests made using the official forms will be considered. Handwritten notes/emails/telephone calls/conversations with lecturers are not valid ways to request flexibility. Make sure you have attached all relevant material pertaining to your request, e.g. medical certificate/death certificate/affidavit etc. In the case of requests based on unforeseen work load pressure due to participation in a TAP production, a signature from the relevant lecturer/ director. Return the completed flexibility request form to the course coordinator and clearly indicate the name of the course coordinator it is for.

FLEXIBILITY POLICY FOR CLASSES MISSED In the case of students missing classes (tutorials, practicals, lectures) flexibility must be requested at least 24 hours prior to the class the student is going to miss, using the Flexibility form. Flexibility will only by granted for reasons that are deemed reasonable and sufficient by the course coordinator. Flexibility requests must be accompanied by all relevant supporting documentation. In the case of missing class due to unforeseen circumstances or emergencies students will have up to but no more than 24 hours after the class missed to apply for flexibility. Flexibility requests must be accompanied by supporting documentation. If students are caught in traffic or similar instances that result in students being late for class, the students must report to the class as soon as they arrive on campus, no matter how late the student is. If in any of these cases the course coordinator does not find the request sufficient or the documentation relevant, the request may then be sent to the flexibility committee.

AUDITIONING FOR TAP PRODUCTIONS Developing auditioning skills as a performer is an essential component of a solid performance training. The Department is committed to preparing you for a professional place of work. All TAP students are encouraged to audition for an official TAP production (staff production or Directing 3/Directing 4/Physical Theatre 3 / Physical Theatre 4 exam production) at which you must demonstrate appropriate preparation as per the audition brief. You are also expected to present yourself in an appropriate manner by adhering to accepted theatre best practice.

FIRST YEAR PERFORMANCE POLICY First year TAP students are allowed and encouraged to audition for all official TAP and student productions within the Department. However, they can only accept a role if they can demonstrate a commitment to their studies and crewing credits. First year students who do not maintain a good work ethic and participation record in academic activities will no longer be allowed to take part in any productions within their first year of study. We encourage all students interested in being a part of any work to be judicious when accepting a role. Students should understand that performing on stage in the Department is a privilege that needs to be earned and should not compromise your studies in any way. Similiarly, once you have been cast in a role, we expect you to commit to the production. If any circumstances arise where you can no longer adhere to your commitment, speak to the director in consultation with the HoD.

POLICY ON CLASSROOM ETIQUETTE This policy is developed to regulate interaction between staff and students and between students themselves in a workshop/lecture/meeting/performance/ laboratory or studio sessions. For rehearsals, please see policy guiding interactions. Students are expected to acquaint themselves with the basics of classroom etiquette. Disciplinary action will be instituted in cases of serious breach of classroom etiquette. Students are expected to behave courteously to fellow students, lecturers, administrative staff and technical staff. All students have a responsibility to: Be familiar with the information in course guides and related documents such as rehearsal guidelines for TAP students. Ignorance is no excuse in the eyes of the law. Arrive punctually for all meetings including research supervision and office consultations. If you are more than 15 minutes late you may be marked as absent and may not be allowed in the lecture room. Catch up on all material that has been missed due to late coming or absenteeism. Attend classes as required by the particular course. Inform the lecturer or tutor concerned timeously if an appointment cannot be kept. Not bring or consume food and drink in a teaching/rehearsal space (except bottled water). Switch off their phones during lectures, classes, laboratory sessions, rehearsals, and performances or film screenings. Permission must be requested from the lecturer or tutor for the video or audio recording of any lecture or tutorial

Participate actively in classes, including listening carefully to others. Be sensitive to other people’s feelings. Exercise self-control and discretion. Respect your own and other people’s property. Care and use of teaching spaces: If you have used props and substances, leave a teaching/rehearsal space clean and tidy for the next class. Windows must be closed, lights and technical equipment turned off; doors locked. During showcases, clean up the stage after your piece. Outside rehearsal time, you may not sit or use rehearsal furniture for any other purpose. Report any damage or breakage of furniture to the Theatre and Performance Department. All rehearsals must take place under working lights and not theatre lights. Keys must be returned immediately to Protection Services at the school office or to the Departmental office. When using facilities for teaching, performances, displays or installations health and safety regulations stipulate that there must be unobstructed access at all times to fire escapes, lifts and stairways.

POLICY ON REHEARSALS AND PRACTICUMS The Department of Theatre & Performance that is located within the Wits School of the Arts, has compiled these guidelines for lecturers, directors and students in rehearsal, practical classes, and in workshop situations. It is important that lecturers, directors, and students familiarise themselves with this document prior to beginning any practical process.

WHAT IS A REHEARSAL? A rehearsal is a period of time dedicated to the act of preparation for a public performance. There is an understanding that work in a rehearsal is complemented by work the student does in his or her own time, which includes line learning, character study, partner work, etc. During a rehearsal the duties of an actor will include but are not limited to: Playing a “character” entailing an investigation into the emotional reality of a fictionalised person or creature; this can mean portraying emotions and objectives which may be removed from the actor’s individual experience. Wearing the clothes and embodying the gestures and vocal characteristics of a fictionalised entity, sometimes donning garments and physical characteristics removed from the actor’s own age, gender, beliefs, preferences, etc. Engage in improvisation techniques designed to aid the actor in developing characterisation, relationships between characters, and other situations designed to enrich the “world of the play.” Undertaking vocal and physical exercises designed to warm up the voice and body, further the actor’s technical skills and unlock emotional responses in the body and voice.

Work in collaboration with other student actors, student directors, lecturers and guest directors, in cultivating a working environment conducive to focused and disciplined work. The student is expected to keep some sort of reference of the rehearsal process in the form of a journal or a script book, and is required to take detailed notes pertaining to the work, the rehearsal process, and their own development as performer, designer, director and/or stage manager.

WHEN IS A REHEARSAL SCHEDULED? During the week, rehearsals are scheduled between 5pm and 10pm and directors are encouraged to limit their rehearsals to a maximum of 4 hours on a weekday. Rehearsals may also take place on the weekends as negotiated with cast and crew. Rehearsals scheduled during official class times (i.e. weekdays 8am-5pm) should not require students to miss other classes for which they are enrolled. The same rule applies to the scheduling of any production meetings.

DEFINITION OF A PRACTICAL CLASS: The practical class is a space that allows for the integration of reading, thinking and application of ideas through demonstration, experience and interrogation. It is a session that is usually scheduled on the Department’s timetable, and is arranged by the year of study of the student is. On some occasions, a class may be scheduled that includes students from differing years. Some of the exercises that may be encountered in a class situation include but are not limited to: Intensive vocal, physical and emotional work that can be physically draining. Reflection and discussion of the work covered in class, and of the readings in the course reader. Energy releasing games and child-like “play” Some of the techniques employed in the professional courses are: Improvisation, contact improvisation, “trust exercises”, storytelling, mime, clowning, gestural work, movement and dance, vocal exercises, physical contact, deep breathing and meditation techniques, yoga, etc. The student is expected to develop the habit of extensive note-taking in a journal or notebook while in the practical class. This is essential to gauge the development of practical skills for both the student and the lecturer

POLICY ON NOTICES AND ANNOUNCEMENTS All announcements posted to the official Ulwazi course page, the School notice boards, and particularly the Theatre and Performance 2nd floor notice boards are deemed to have been read within 48 hours of posting.

Communication platforms Staff members communicate their expectations of students via various platforms (including Ulwazi, email and via student representatives) and it is the students’ responsibility to engage with all communication formats, including course outlines and course guides.

COURSE GUIDES These are prepared by each Department and offer an overview of the compulsory curriculum for a particular degree and of optional courses that may be included in this curriculum. They include other important information such as contact details for staff in the Department and also include useful information under the heading ‘survival guide for students’.

TAP COURSE OUTLINES/BOOKLETS A course outline is prepared by the course coordinator and issued in the first week of a course. It includes information on course content, course readings, assessment, and due dates for submission of assignments and it also includes staff contact details. Course outlines are posted on Ulwazi.

If staff members make any changes to what is specified in the course outline (e.g. course content, prescribed readings; assessment tasks, deadlines, mark allocations) these must be communicated to all students timeously.

WSOA WEBSITE www.wits.ac.za/wsoa provides information about WSoA, about each of the departments in it and about the teaching and research specialisations of staff members. The Head of School and each departmental head are responsible for monitoring this information and for making changes to it so that it remains both up-to-date and accurate.

SOCIAL MEDIA It is imperative for TAP students to familiarise themselves with the Wits Social Media policy. Students are Wits representatives both on and off campus, and need to conduct themselves in a respectful manner on social media platforms. TAP has social media channels which from time to time will post official examination and production photographs, and advertise some of the in process work our students are engaging in. If you do not wish to be filmed or photographed for the purposes of social media, please inform your lecturer, class representative or marketing representative. Various forms of social media are now widely used by both staff and students. However, they are not used by everyone and should not be the official channel of communication for important information or communicating with lecturers. Notice boards, email and the Ulwazi eLearning platform should be used for this purpose.

EMAIL All WSoA staff and students have a Wits email address. Email is an essential means of communication between staff members, between staff members and students and among students. All official communication will be sent to these Wits addresses and it is every staff member and student’s responsibility to check their account regularly. Students should note that it is acceptable for staff to take 2-3 days to respond to emails.

ULWAZI / ELEARNING PLATFORMS All courses have an eLearning component to them. These platforms are used for announcements to students and for posting readings, assessment tasks and tutorials. Students may be required to submit assignments electronically or take part in online assessment tasks. Such expectations should be regarded as part of the learning environment and course requirements. Where Ulwazi/eLearning platforms are an integral part of a course, students are responsible for accessing the platforms to respond to information, assessments and notices.

TELEPHONIC COMMUNICATION Students should contact staff members by using the work telephone number listed in the course guide or obtained from a Departmental administrator. Students are not entitled to have access to the private home or cell phone numbers of staff. In instances where staff members have made these numbers available to students, calls should only be made in ‘business hours’ (8am – 5pm) on weekdays, except in cases of emergency. Student contact with staff should preferably take place in consultation times by appointment, or via email, rather than via cell phone or social media. Each staff member is required to post consultation times on their office door, and should be available to students at these times, or by appointment. Part time or sessional staff that do not have an office should make arrangements with students for mutually convenient times at a suitable meeting place on campus.

WITS THEATRES The Wits Theatres is a service organisation within the university, providing support for the mounting of productions, and aspects of technical teaching and practical training for both the Departments of Theatre & Performance and Music. It handles the day to day running of the Wits Theatre complex which includes the Wits Theatre, the Amphitheatre and the Downstairs Theatre, as well as a comprehensive wardrobe and workshop. Wits Theatres also manages the Great Hall and the Nunnery (a small theatre space dedicated to the students of the Department of Theatre & Performance). The Wits Theatres not only mounts Wits School of Arts productions, but also rents out the Theatres to outsiders, including professional artists, and runs various projects during each year which serve the Wits Community.

COSTUMES, PROPS AND FURNITURE LOANS TAP students can borrow items from wardrobe and furniture store for the purposes of their academic/practical work. Students must always take full responsibility of costumes, furniture and props. Costumes, props and furniture must be replaced if lost, broken, or painted on without permission. Lecturer signature and a copy of student card is needed, before collecting the costumes and props from wardrobe.

POLICY ON WATCHING WSOA AND EXTERNAL THEATRE PRODUCTIONS The following policy has been developed to regulate and encourage the watching of live performance: Students are required to attend specified WSOA and professional productions as well as student examination and showcase presentations as part of the academic programme. The Department will endeavour to make transport and ticket purchase arrangements in the case of non-WSOA productions. However, for WSOA productions, students may be required to make a co-payment contribution towards tickets as we are fostering a culture of support for the performance and creative industries. It is further expected that as students interested in live theatre and performance, you will take every available opportunity to see as many other productions as possible. This is in order that students become familiar and versed with the language of theatre and local theatre practice to develop a context and frame of reference for the theoretical material of their courses. You cannot study theatre and performance if you do not experience it and you cannot claim to be a competent theatre-maker, performer, designer, writer or director if you do not make it a habit to familiarise yourself with the local theatre scene. As part of enriching student lives the Department of Theatre and Performance will use of part of students lab fees to pay for theatre outings. The excursions are open to TAP students only. Students who have indicated their intention to go for an outing must pay a refundable deposit of R30. Students who fail to show up, after putting their name down, will have their fee account charged for the price of the theatre ticket.

LAB FEES Lab fees are used for a variety of expenses associated with specific courses, inter alia, fees paid to the Wits Theatre, for use of theatre and workshop resources, cost of external examination, additional tutors, materials for design and production courses, field trips, reading packs, handouts and photocopies, first aid supplies, subsidisation of theatre tickets for students, and use of the Sturrock Park facilities.

CHANNELS OF COMMUNICATION For concerns, questions or grievances relating to a specific course, please consult one of the following (either personally, or via the Class Representative): The Lecturer OR The Course Coordinator OR The Year Coordinator for that specific area of study OR If unable to resolve matters through these channels, the Head of Department. For concerns or grievances relating to other matters, or questions relating to general curriculum planning, or of a personal nature, please consult one of the following Student Advisors:

UNDERGRADUATE: Hamisha Bhana Rm 112, (011) 717-4656, Hamisha.Bhana@wits.ac.za

POSTGRADUATE: Maud Maphali, Rm 114, (011) 717-4617 Maud.Maphali@wits.ac.za

TAP POLICY ON CREWING Teaching and learning does not only take place in the classroom, but by having environmental access to Wits Theatre facilities that compare favourably to the facilities available in the theatre industry in South Africa and internationally. This policy has been developed to guide the selection and deployment of first and second years in crewing roles and to explain what is expected of them. While the more developed content on working in the theatre will be covered in your Theatre and Production I & II courses, this deployment of first and second years in the theatre space as crew members is to initiate them in the theatre industry by assigning them roles in stage management, workshop, wardrobe, backstage, lighting, sound and marketing. A crewing credit is a course requirement which will contribute to your exam mark for the Theatre and Production I / II courses. It is also a pre-requisite for any students interested in applying to major in Directing or Design in senior years. A crewing credit is a minimum of 40 hours each year. This could be achieved on one or multiple productions, depending on the nature of the production and its needs. You will be assessed on your overall commitment to the role(s) you for fulfil as well as the quality of work you deliver. It is important that you demonstrate a solid commitment to the production team. Honing your understanding of “best practice” is a key aspect of this component, as is demonstrating you capacity to contribute productively to the overall success of a theatre production. . This also includes set-up and strike of the production. You will receive a written comment and a status of poor, average, good, excellent. It is your responsibility to submit 1) a completed crewing credit form and 2) a completed log sheet to your Theatre and Production course coordinator. During your Theatre and Production IA course, you will visit the Wits Theatre to be inducted in Occupational Health and Safety, and introduced to the facilities and staff.

CLASS REPRESENTATIVES Students are encouraged to ensure that “class reps” are elected for every course taught in the Department early in the semester. It is the duty of the class rep to bring to the attention of the course lecturers / coordinators any course-related questions or matters of concern from fellow students. See also WSOA School Council.

CONSULTATION All lecturing staff are required to avail themselves in their offices for consultations with students. Such consultation hours are posted on the relevant office doors, or are by appointment.

COURSE GUIDE The TAP Course Guide provides information on course listings and course descriptions offered within the Department of Theatre & Performance and is shared on Ulwazi. The Course Guide does not include course outlines. These must be obtained from the course presenter, and are usually available on Ulwazi for each course.

COURSE OUTLINES Students are provided with course outlines during the first week of classes. Students who register late for a course should obtain a course outline from the course presenter as soon as they enrol for the course. A course outline provides a course description, expected learning outcomes, the specific requirements of the course, a programme of activities, readings required, and mark allocations. Students are expected to familiarise themselves with the course outline and come to each class prepared. Course outlines are posted on Ulwazi and posted on the Theatre & Performance notice boards.

COURSE COORDINATORS Course coordinators are permanent staff members who oversee the administration of particular courses. Should you have a query or concern, you can approach the course coordinator yourself or through the class rep.

REQUESTS FOR A RE-MARK The protocol for any student who is unhappy with a mark should, in the first instance, set up an appointment with the lecturer who assigned the mark in order to discuss why they believe the essay/assessment should have been assessed differently. This protocol facilitates a relationship of mutual respect. The lecturer will discuss with you their grounds for the mark assigned. You are entitled to this. If, after you have had such a meeting, you still wish to have the essay or assessment remarked, you should make the request to the relevant lecturer. If they agree, you wait for the outcome (you should agree on a date for the return of the re-marked essay) or arrange a time to redo the assessment. If you are still unhappy with the mark, you can contact the course coordinator or the HoD who will arrange for a re-mark by another assessor. Course coordinators are normally listed on the course outline. If the lecturer is unwilling to re-mark your essay or assessment, you can contact course coordinator or the Portfolio Holder who will arrange for a re-mark by another assessor. If you are still unhappy, please contact the Head of the Department. Note that this process may result in a lower mark than the first time around.

REQUESTING LETTERS OF REFERENCE When asking for a letter of recommendation, be sure to make your request at least three weeks before your earliest deadline. Please ensure that the lecturer agrees to write you a letter of recommendation, i.e., do not assume that they will do so. Staff are not obliged to write such letters, and in many cases may not know you well enough to feel comfortable doing so. If they agree, you should then email the staff member about one week before the deadline to remind them of the approaching date. It is recommended that you include the following information. The more focused and detailed the letter is, the more effective it will be.

• • • • •

•

Full name that you will use in your application and name you used while enrolled as a student. (Expected) date of graduation and date of your first registration in The Wits School of Arts. A brief description of the programme or opportunity for which you require the letter. The names and dates of the courses you took / are taking and the grades you received. If possible, a copy of your academic transcript would be helpful. Please do not provide misleading information, as this will likely result in a withdrawal of the recommendation. A brief resume/CV that outlines any additional information including work experience, extracurricular activities, internships, awards, language abilities, or specialised skills. Stipulate what you would like the letter to focus on (e.g. intellectual capacity, leadership, a particular professional major, your academic major, etc.)

ALL of these materials should be submitted all at once in an organised and • professional manner.

EXAMS EXAM TIMETABLES For written exams, please consult the timetables issued by Faculty at the start of the semester. Practical exams are arranged internally by the department and should not clash with written exams.

EXTERNAL EXAMINATION All courses in 4th year or later (and some, such as the academic major at 3rd year level), are examined by external examiners (i.e. someone from outside Wits University). Courses at lower levels are moderated by an internal second examiner.

DEFERRED EXAMS Students who miss an exam must apply, with supporting documentation, for deferment from the Faculty of Humanities within 24 hours of the missed exam.

Please note that deferments for academic courses are NOT granted by a School or Department. Applications for deferment of a practical exam must be discussed first with the course coordinator for that course and with Ms Hamisha Bhana, the Student Liaison officer. Students should note that it is the policy of the Faculty to only grant ONE deferred exam in a student’s academic career/degree

COUNSELLING AND CAREERS DEVELOPMENT UNIT The CCDU is a support service on campus and provides counselling relating to academic skills, personal and social problems, career planning and employment, trauma, etc. TEL: 011 717-9140/32 EMAIL: info@ccdu.wits.ac.za THE WITS STUDENT CRISIS TEXTING APP offers real-time, crisis counselling and support through live chats and confidential sessions, from your smartphone, via the ICAS-Wits App, Free, 24/7 support from anywhere in South Africa with network coverage. Access the App: Search for ICAS On-the-Go on Google PlayStore or Apple iStore - Download and register, (your company code is: WIT001) WITS CRISIS LINE: 0800 111 331 ( TOLL-FREE - 24/7)

TAP FLEXIBILITY AND LATE PENALTIES POLICY for Assignments, Essays and Class Attendance Flexibility for Assignments and Essays applies to all TAP Courses. Flexibility for Class Attendance applies to Seminars and Professional Courses, including rehearsals. Flexibility can be applied for in cases of emergencies and for medical reasons. Flexibility forms must be submitted to lecturers with supporting documentation. Note that submission of a flexibility form does not automatically mean the lecturer will grant flexbility. This will depend on your circumstance and supporting documentation.

EMERGENCIES Flexibility granted in cases of emergencies will have to be supported by a letter of motivation, medical certificate and/ or an affidavit. Flexibility can only be applied for after the deadline in the case of emergencies and medical reasons.

MEDICAL REASONS Flexibility granted in cases of medical reasons will have to be supported by a legitimate doctor’s certificate. Flexibility can only be applied for after the deadline in the case of emergencies and medical reasons.

WORKLOAD PRESSURES In the case of flexibility requests based on unforeseen work load pressures, students must apply at least 24 hours before the deadline and include a letter of motivation along with the work completed thus far. The flexibility committee will convene and process the request once it has been referred by the relevant course coordinator. Flexibility cannot be applied for after the deadline in the case of workload reasons.

SUBMIT ASSIGNMENTS EARLIER Students are advised to submit assignments earlier if they cannot submit on the due date, including cases in which the due date is a religious holiday. Students must apply for flexibility (extensions for essays and or missed projects or classes) on the Flexibility Request Form which can be found on Ulwazi and at the WSOA Front Office.

Simply attaching a flexibility form to your assignment does not constitute flexibility. Flexibility has to have been formally granted by the course coordinator or the Flexibility committee who will affix their signatures to the form. The steps listed below must be followed when applying for flexibility: Fill in a Flexibility Request Form. Only requests made using the official forms will be considered. Handwritten notes/ emails/telephone calls/conversations with lecturers are not valid ways to request flexibility. Make sure you have attached all relevant material pertaining to your request, e.g. medical certificate/death certificate/affidavit/motivation, etc. In the case of requests based on unforeseen work load pressure due to participation in a production, a signature from the relevant lecturer/director. Return the completed flexibility request form and clearly indicate the name of the course coordinator it is for. Flexibility granted in cases of emergencies, and medical reasons will have to be supported by a legitimate doctor’s certificate or other appropriate evidence. The Flexibility request is processed by the course coordinator/flexibility committee. A copy of the form is kept on file within the Department and also in the student’s file which is lodged with Ms. Hamisha Bhana, the Student Liaison Officer. Students are advised that flexibility requests may be denied if the student demonstrates repeated/excessive instances of requests for flexibility. Students must receive email confirmation from their course lecturer or coordinator to confirm that flexibility was granted. or denied.

Students are advised that late submissions may result in work not being able to be returned to students before exam periods due to time constraints for markers.

LATE PENALTIES The WSOA policy for deductions of late work is as follows: All essays and assignments submitted late will incur a penalty of 5% for submissions 1 day late - [whether 1 hour or 23 hours late] Thereafter, an additional 1% for each day late Students can hand in an essay at any time until the lecturer marking has returned the essays submitted on the deadline date. No essay will be accepted once the lecturer has returned essays to students who submitted on time.

POLICY ON ASSESSMENT OF GROUP WORK (11 JANUARY 2019) UNIVERSITY OF WITWATERSRAND DEPARTMENT OF THEATRE AND PERFORMANCE

CONTEXT Currently, the department of Theatre and Performance uses different criteria for assessing ensemble work leading to different outcomes. When external examiners are asked to assess the work, sometimes they rely on their own means to give a final mark. In some cases only a group mark is given while in other cases both a group and an individual mark is given. There is need to provide a coherent policy to guide this process. This policy seeks to standardise the identification of performers, and propose methods of assessment The following policy shall be adhered to pertaining to group work At the end of each quarter, an assessment sheet shall be provided to the examiner with a clear marking rubric bearing the name and passport size photo of each performer. The examiner shall give each group a group mark. The examiner shall give each performer an individual mark. The final mark for the examination for each student shall be an average of the group mark and individual mark. The examiner may have a debriefing session with the group(s) as an entry point to the feedback. The criteria for assessment of individuals and groups shall be provided by the lecturer and should be included in the course outline at the beginning of each semester. Where the final group outcome is based on a process which contributes to the final mark, the process mark can be generated from the following: Self-assessment: each student marks his/her own work. Peer-assessment: each student marks another’s work. Oral commentary on the artistic output in the presence of an assessor. Written assignment and/ or its oral presentation before peers.

POLICY ON STUDENT OUTSIDE WORK (AS REVISED ON 25 NOVEMBER, 2017) The Department of Theatre and Performance believes that it is necessary to establish clear, holistic pedagogical and professional boundaries in relation to students undertaking performance work in order to: Ensure that our students are taught and trained in an atmosphere of learning, safety and wellbeing while expected to deconstruct, explore, reveal and reconstruct identity through movement, voice, improvisation, text and performance processes; Nurture a culture of creative experimentation and learning; Develop a respect for the “sacred” space of theatre; Facilitate intensive, consistent focused work of a professional nature; Develop an experimental understanding of the theoretical and methodological process of theatre and performance Careful reading of this Policy will show that the Department allows for flexibility and negotiation while remaining in line with most internationally recognised performance education institutions. While the formulation of policy on outside work is particularly complex in a School in which staff and students are performers and/or art makers, the following must be adhered to: The primary responsibility of students is to their studies. This means that attendance at lectures/tutorials/rehearsals/examinations must always take precedence over any form of outside work. Similarly the primary responsibility of staff is the fulfilment of the teaching roles specified in their appointment as full time, part time or sessional members of staff. However, as stated in the WSoA staff guide, subject to the University’s regulations, externally funded work may be undertaken for remuneration provided such work is of benefit to the research and teaching profiles of the staff member and of the school. The Department of Theatre and Performance has formulated policy on public performance, outside work, and the use of WSoA facilities and equipment for outside work and these must be adhered to by staff and students. Information about these policies can be found in the departmental course guide or obtained from lecturers in the department. Neither fellow students nor staff should coerce students into taking on outside work. All TAP students are encouraged to focus on their training and development within the intense course framework. Students may not perform in outside public events without the express permission of the Head of Department. In seeking permission to perform in outside events students are asked to submit a proposal which explains how their contractual obligations in outside work do not impact negatively on classwork, rehearsals, exams and performances. Students must accept responsibility and consequences of choices made to take extracurricular activities that impact negatively on their success or failure in the coursework.

GENERAL BOUNDARIES: Performance training is a domain in which taking on responsibility, for the self and for others in terms of interactive behaviour, is essential. Students must be aware that they will be challenged to be adventurous and to take risks in the performance classes, and that there are no guarantees that every experience will be unequivocally “good”. However, directors (whether a lecturer, a guest director, or student director) should be fully explicit in critically framing the techniques that will be employed during the rehearsal process. If at any point these techniques cause the actor to become uncomfortable beyond the parameters of the work, in a way that is hindering the process, then those issues should be approached with sensitivity by the director and resolved as soon as possible. If for any reason the student does not feel comfortable approaching the director, then the subject coordinator of the course (Performance Studies, Movement, Applied Theatre, etc.) should be approached as soon as possible. If that is not possible, please contact the Head of Department or the WSOA Student Liaison Officer (contact details at the end of the document). Please remember it is imperative to deal with these issues as soon as they occur.

IN A REHEARSAL SITUATION: Although the theatre relies on exercises to express human emotions, if an actor feels that some “sense memory” or emotional recall exercises are exploitative, or traverse the boundary between therapy and acting, then he or she must indicate this as soon as possible to the director or stage manager. All actors and directors have permission and, indeed, a responsibility to intervene any time the health and safety of an actor is in question. If any physical contact of a sexual nature is called for in a script, it will be addressed with sensitivity and privacy, and by pre-agreement. If any behaviour by any cast member, crew member or director causes an actor to feel uncomfortable they should approach the director, or the subject coordinator, or the Departmental Head, who will take steps to ensure the safety and respect of the whole cast. There will be no use of physical violence (slapping, hitting or punching) by an actor towards another actor. Violent scenes are never “real” but are carefully crafted to simulate violence, often with a fight scene choreographer if necessary, to ensure the actors injure neither themselves nor any other member of the cast or ensemble.

SOME NOTES ON CONTACT: During classes and rehearsals, actors can be expected to be touched on the abdomen, diaphragm area, hip flexor, sacrum, ribs, back, shoulders, neck, head and limbs to aid physical alignment and vocal release. A lecturer, director, or fellow student should ask permission before placing hands on a student’s body and from time to time a lecturer/director might call upon a student in order to demonstrate a certain exercise or technique. Appropriate language, when referring to parts of the body, shall be used by all participants. At no time in a class will a lecturer touch a student on any part of the body deemed to be sexually charged, usually defined as any part that would be covered by a bikini or underwear. No actor is ever asked to remove any clothing; actors, like training sportspersons, are required to dress in appropriate clothing to allow for movement.

Another form of contact which is not as visible as physical contact is psychological contact. A lecturer may be required to conduct exercises which reveal aspects of the student’s personal life, and this can cause discomfort in both parties. If the student feels that any of these exercises goes beyond theatre training, and senses that the lecturer may be extracting a personal response for their own gratification, they should raise the issue with the lecturer in question. It may have been inadvertent, but if the behaviour persists, then the student needs to contact the Subject Coordinator of the course, and if that is not possible, to contact the Head of Department or the Student Liaison Officer. A third issue may be the socialising that may occur between student and director/ lecturer during the rehearsal process. Due to the personal nature of the work, there may be a feeling of closeness that develops in the ensemble. This is absolutely normal. However, there also needs to be an awareness of the professional relationship between lecturer-director and student-actor which is defined by an unequal power dynamic. The following guidelines should be adhered to, to protect both the student and the director/lecturer: The lecturer/director will not invite students to his/her homes, unless it is for a cast party after the production has wrapped, and with the consent of the Head of Department. Should a special relationship occur between lecturers and students, full information must be provided to the line manager, in line with existing University protocols. All rehearsals are framed in the professional actor / lecturer/director context. Professionalism of the highest order is required and observed. This implies that boundaries are precisely established by all those concerned. Sexual Harassment: When a student feels that a boundary has been crossed and the overtures by a director, lecturer or fellow actor/student, are of a particularly sexual nature s/he can, and should, lodge an official complaint against the concerned individual. Complaints can be addressed to one or more of the following people:

Head of Theatre and Performance: Dr. Myer Taub (Myer.Taub@wits.ac.za) Student Liaison Officer for the Wits School of the Arts: Hamisha Bhana (Hamisha.Bhana@wits.ac.za) Wits Gender Equity Office Representative

Maria Wanyane (maria.wanyane1@wits.ac.za)

Due to the sensitive nature of an official allegation, it will be reviewed by people and structures outside of the Wits School of Arts. There will be an independent investigation into any official complaint made, and we encourage every student to report any instances of sexual harassment. The following is an official statement from the University Senate regarding sexual harassment: In higher education, it is imperative to the success of the academic project that students feel safe to explore, experiment, create, and innovate. Integral to fostering such a context is ensuring a lecturer- student relationship that is based on trust, integrity, and respect. Any violations of these principles have no place in our learning environment, and we as the University Senate stand firm in our intolerance of sexual harassment of any kind. We believe that the learning environment at Wits is a safe space for students and are committed to ensuring that the culture and mechanisms required to foster this are put in place. We believe that sexual harassment holds grave implications for the ability of the University to conduct its core mission. Any allegations must be taken seriously and investigated as a matter of priority. Here follows an excerpt on Wits University’s current policy on sexual harassment:

SEXUAL HARASSMENT: POLICY AND PROCEDURES: OBJECTIVES The objectives of this policy and these procedures are: • • •

•

to create a safe campus environment, which is free of sexual harassment and where sexual harassment is not tolerated; to establish a common understanding of what constitutes sexual harassment; to ensure that all staff and students receive appropriate information about sexual harassment and the procedures which should be followed if such harassment does occur; to ensure that any staff member or student who does experience sexual harassment will be offered the appropriate support.

STATEMENT OF POLICY 1.

Sexual harassment is a form of unfair discrimination which infringes on the rights of the individual/s being harassed and which constitutes a barrier to equity.

Sexual harassment transgresses the principles of non-discrimination demanded by the University, the Constitution and various pieces of legislation.

Sexual harassment undermines the dignity of an individual and erodes the atmosphere of trust and respect which is essential to academic and personal wellbeing.

Sexual harassment of staff and/or students, by staff and/or students, will not be tolerated at the University of the Witwatersrand.

The University will take appropriate action when it receives a complaint of sexual harassment.

It will be a disciplinary offence to victimise or retaliate against an employee or student who in good faith lodges a complaint of sexual harassment.

The University commits itself to providing a safe environment which is free of sexual harassment and is conducive to learning and working, for all students and staff.

DEFINITION The University accepts the following definition of sexual harassment: Sexual harassment is unwelcome conduct of a sexual nature, or other conduct based on gender or sexual orientation, affecting the dignity of women and men working, studying and/or living at the University. This conduct can include physical, verbal or non-verbal conduct which is perceived as unwelcome. Sexual harassment covers a wide range of behaviours, from offensive staring, gestures or comments, to physical assault and rape. Previous consensual participation in sexual conduct does not necessarily mean that the conduct continues to be welcome. [Please note that this is an extract – the full policy can be viewed here

CONCLUSION The goal of these guidelines is to create a safe space in which to take risks, feel vulnerable and create magical theatre. Actor’s concerns should be dealt with as soon as they arise, and with sensitivity and respect. The learning environment should not fraught, dangerous or emotionally distressing. Through fostering relationships based on mutual respect, discipline and commitment to the pursuit of excellence, we in the Drama Department can create exciting, vibrant and creative work

A NOTE ON WRITING AND REFERENCING Compiled by Joni Brenner Most writing tasks in this course ask you to write in your own words. This is because it indicates to us that you have really understood the material, and that is what we expect and reward: evidence that you have worked with a text sufficiently to get to the point where you can explain it in your own words, without using any jargon or pseudo-academic style writing. You can still, however, include short extracts or quotations from the texts you are reading and using – but these quotations need to be integrated into your own text. The following insert comes from “The Quality Writing Centre” at the University of Arkansas, USA: Including quoted material can be an effective way to enliven your own writing. But beware. You must use quoted material sparingly. The overuse of quotations can drown out your voice and leave the reader wondering what happened to you – the writer. Remember, that’s your name at the top of the paper! When to Quote (from Writing and Reading across the Curriculum, 9th Edition, Behrens and Rosen) 1. Memorable Language Use quotations when the author of your source material has written a phrase, sentence, or passage that is particularly powerful, vivid, or memorable. 2. Clear and Concise Language Use quotations when the language in your source material is so clear and economical that to attempt a paraphrase would be ineffective. 3. Authoritative Language Use quotations when you want to lend the authority and credibility of experts or prominent figures to your writing. If you are writing to persuade, quotations from authoritative sources can be especially useful in supporting your argument. Quotations can demonstrate to readers that your perspective on an issue has been developed through careful study and consideration of the opinions of credible figures in your field. Of course, one quotation might include all three of the above – a concise and powerful remark from a prominent figure. How to Integrate Quotations: Quotations should be integrated into your own sentences. Don’t drop quotations into your text without warning, and avoid standing quotations alone as sentences; instead, provide clear signal phrases, which include the author’s name, to prepare readers for the quotation: Although the bald eagle is still listed as endangered, the species has recovered numbers. According to ornithologist Jay Sheppard, “The bald eagle seems to have stabilized its population, at the very least, almost everywhere” (Sheppard: 96).

The following examples demonstrate ways to vary your signal phrases: In the words of author and activist Rick Bass, “... As Flora Davis has noted, “... Psychologist Sidney McMaynerberry offers an odd argument for this theory: “... Use active verbs in signal phrases to indicate the author’s tone and stance. Is your source arguing a point, making an observation, reporting a fact, drawing a conclusion, refuting an argument, or stating a belief? Choose an appropriate verb, such as one from the following list, to make the author’s stance more clear: ack nowledges

adds

admits

agrees

argues

assest

claims

comments

compares

concedes

confirms

contends

declares

denies

describes

disputes

Emphasizes

endorses

illustrates

implies

insists

maintains

notes

obser ves

points out

reasons

refutes

rejects

reports

responds

A NOTE ON WRITING AND REFERENCING Writing, quoting and referencing

What is referencing? Referencing is a technical aspect of writing that enables you to connect your ideas to the ideas of others. When we write an academic paper, we follow a standard set of rules about when and how to give credit to others for their work that we refer to. It is more than impolite to copy someone else’s work – it is illegal. In addition to giving credit to other people’s work, proper referencing also helps your readers to access your sources (the other writer’s whom you have quoted or whose ideas you have used). Proper referencing is therefore both respectful and useful to others. It is not difficult, but it is pedantic and requires meticulous attention to detail. Referencing will be marked strictly in every piece of writing you submit to us and incorrect referencing is an unnecessary way to lose marks. It’s not worth it, so start right away with learning the right referencing techniques. Ask your tutors or lecturers to help you if you are not sure that you are getting it right.

Components of the referencing system The Harvard System requires us to include references both in a reference list (appearing at the end of a piece of writing) and as in-text references (noted in the writing itself just after the point/idea you have used from another source). All in-text references must have the full source information in the reference list.

Reference Lists A reference list is an alphabetical list of the texts you have used in your writing that should be located at the end of your essay or assignment. Each reference should be on its own line and should be very specifically formatted as per the examples given in this booklet. Each text box below has the format for the reference list entries first, followed by how to reference the source in your own text (in text).

In-text referencing: A reference list is not enough to give credit to the authors you have referred to. Giving a shorter reference within the body of your writing at the moment of quoting or paraphrasing is also required, according to the general format (Author’s surname + Year: page number), for example (Sontag 1979: 4). There are more details on how to create these in-text references below. Items in a reference list follow a specific format, and we provide numerous examples below. For each category of reference we show how to include in-text references. With all aspects of referencing, pay attention to detail: note that the use of italics, capitalisation and punctuation is a way to emphasise some information more than others; it is just as important as the order of the information.

Books The single-author book is the basic unit of the referencing system and contains the basic elements that most references require. It follows the following structure: SURNAME OF AUTHOR, Initial. Year published. Title of Publication. Place of publication: Publisher. For example: •

SONTAG, S. 1979. On Photography. London: Penguin Books. In-text, to a specific page: (Sontag 1979: 5), or the book more generally: (Sontag 1979).

Note that the AUTHOR’S SURNAME is in capital letters, and the Title of Publication always appears in italics, and with capitalisation of the first word of the title and, where applicable, of the subtitle; all major words (nouns, verbs, adjectives, adverbs, and pronouns) in the title, including the second part of hyphenated major words (e.g. Rock-Paintings instead of Rock-paintings), even if this is not how it appears on the publication itself. Do not capitalise minor words such as articles (the, a, an) and linking words (with, from, and, or, nor, but, at, for, by, in, of, on, as, per…) unless it is the first word of the title.

Book chapters If you are only dealing with a very specific chapter in a book, it is useful to reference the chapter only by including the chapter title before the italicised title of the book, and the page numbers for that specific chapter are to be provided at the end of the reference. For example: DUTTON, D. 2009. Chapter 1: Landscape and Longing. The Art Instinct: Beauty, Pleasure and Human Evolution. Oxford: Oxford University Press, pp. 13-28.

Multi-authored books If the text has two or more authors, the names should be joined by the ‘&’ (ampersand) symbol. For example: • BOLTER, J. D. & GRUSIN, R. 2000. Remediation: Understanding New Media. Cambridge (Mass.): MIT Press. In-text, to a specific page: (Bolter & Grusin 2000: 55), or the book more generally: (Bolter & Grusin 1979). Note that subtitles of books are separated from the primary title with a colon. Note also that if the place-name can create confusion – i.e. is it Cambridge (U.K.) or Cambridge (Massachusetts)? – this requires disambiguation (see the example above).

If there are more than three authors, initials are to be followed by a comma (except immediately before the year). You need to include all authors in the reference list, but in the in-text reference, the additional authors are to be replaced by the words “et al.”, which is an abbreviation of the phrase “et alii” in Latin, meaning “and others”. For example: • HENDERSON, R. S., SMITH, P. G., ROSSITER, I. & KING, P. Q. 1987. The Tenets of Moral Philosophy. New York: Van Nostrand. In-text, to a specific page: (Henderson et al. 1987: 56), or the book more generally: (Henderson et al. 1987).

Edited books When the book is a collection of articles or texts, it is usually the editor’s or editors’ name which will be placed in the author position followed by the indication (ed.), or (eds) if there is more than one editor. (NB “ed.” is an abbreviation and so takes a full stop, whereas “eds” is a short form rather than a strict truncation and is therefore not followed by a full stop.) For example: ETHERINGTON, N. (ed.) 2007. Mapping Colonial Conquest: Australia and • Southern Africa. Crawley: University of Western Australia Press. • GARDNER, B. P. & SMITH, G. (eds) 1984. Child Psychology: An Introductory Guide for Parets and Teachers. Harmondsworth: Penguin.

Chapters in edited books The primary author’s surname is capitalised, while the editors’ names are written with normal capitalisation. The book title is listed in italics, while the name of the chapter is written in normal font. The page numbers are given at the end of the reference; the abbreviation “pp.” refers to a range of pages (as opposed to p. which refers to one page only). For example: • BOIVIN, N. 2004. Mind over Matter? Collapsing the Mind-Matter Dichotomy in Material Culture Studies. In: E. DeMarrais, C. Gosden & C. Renfrew (eds) Rethinking Materiality: The Engagement of Mind with the Material World. Cambridge (U.K.): McDonald Institute, pp. 63–71.

Books with no author The entity/organisation/project that produced the book (if different from the publisher) should become the author. If a book’s origin is unknown or uncertain, it is preferable to list the title in the author’s position. For example:

• STOW, G. W. 1930. Rock-Paintings in South Africa from Parts of the Eastern Province and Orange Free State Copied by George William Stow. Edited by D. F. Bleek. London: Methuen & Co. In-text, to a specific page: (Stow 1930: 9), or the book more generally: (Stow 1930).

Journal articles This category is also a standard kind of reference and follows a fairly straightforward format. Note that it is the title of the journal, and not the article, that is italicised. It is not necessary to include the place and publisher. SURNAME OF AUTHOR, Initial. Year published. Title of journal article. Title of journal Vol. no. (Issue no.), Season or month if applicable: page range. For example: • BUCHLOH, B. H. D. & MARTIN, J. H. 1989. The Whole Earth Show. Art in America 77 (5), May: 150-159. •

RICHARDS, C. 2007. Artless Beasts. Art South Africa 6 (1), Spring: 54-59.

REFERENCING MORE COMPLEX SOURCES While the book and journal still tend to dominate in the production of academic knowledge, the range of sources that can be referenced in your writing is expanding with new media, and you may find that your reference list format needs to stretch to encompass blogs, digital archives, email, films and videos, games, websites and so on. More complex and unconventional sources also include archival materials, book reviews, brochures, correspondence, course notes, dictionary entries, exhibitions, interviews and newspaper articles and television broadcasts. Additionally, many sources that you use may not have all the information you require, but you need to provide as much information as possible. We provide numerous examples here; if your source does not easily fit into one of these examples, adapt it to follow a comparable format, or consult a lecturer.

Book review Both the title of the book under review, and the title of the publication carrying the review, are italicised. The reference follows this format: SURNAME OF REVIEWER, Initial. Year published. Title of book review including Title of book being reviewed, OR Review of Title of book being reviewed by Author of book, Year of publication. In: Title of journal review is published in, Vol. no. (Issue no. if applicable), Season or date of issue if applicable: Page reference. For example: • REAGAN, M. 1997. Review of The Beach, by A. Garland, 1996. In: Village Voice 42, March 11: 56. • RICHARDS, F. 2006. White Hat/Black Hat. Review of Art since 1900: modernism, antimodernism, postmodernism, by H. Foster, R. Krauss, Y.-A. Bois & B. H. D. Buchloh, 2005. In: London Review of Books 28 (7), 6 April: 22-24. In-text, to a specific page: (Richards 2006: 22), or the review more generally: (Richards 2006).

Brochure Because a brochure tends to be more representative of the organisation/entity/project that produced it, rather than the author (who usually produces it on behalf of the organization), the name of the organisation sits in the author’s position, and the author (if known) comes at the end, as follows: NAME OF ORGANISATION THAT PRODUCED THE BROCHURE, Year. Title of brochure. Brochure. Edition (if more than one exists). Author: Initial. Surname. Place. For example: CONSTITUTION HILL, 2002. Welcome to Constitution Hill. Brochure. 1st ed. • Author: N. Brits. Johannesburg. In-text, to a specific page: (Constitution Hill 2002: 1), or the brochure more generally: (Constitution Hill 2002).

CORRESPONDENCE The exact date of the correspondence, if known, should be included in the reference, as well as the physical location of the original document and its reference number in the following pattern: SURNAME OF AUTHOR, Initial. Year. Description of the correspondence including the addressee, date of correspondence. Material type i.e. manuscript, typescript (archival reference number). City/place: Name of the archive/institution. For example: • MANDELA, N. 1977. Letter to the legal firm of Seedat Pillay & Co, exact date unknown. Manuscript. Johannesburg: Nelson Mandela Centre of Memory. • TYLOR, L. 1893. Letter to Edward Burnett Tylor, 20 October 1893. Tylor collection. Manuscript. Oxford: Pitt Rivers Museum. • WYLDE-BROWNE, H. C. B. 1937. Letter to Clarence van Riet Lowe, 3 February 1937. Manuscript. Van Riet Lowe collection (VRL-ECT-002). Johannesburg: Rock Art Research Institute. In-text: (Wylde-Browne 1937). COURSE NOTES The title of the lecture is not italicised because it is not a formally published source, and the reference should contain as much of the following information as possible: SURNAME OF LECTURER, Initial. Year of lecture. Title of lecture, date of lecture. Lecture notes (Course code). Name of Institution, City/place. For example: • BESTER, R. 2012. Questions and Intersections: Archives, Collections, Design, Exhibitions and Museums, 11 April 2012. Lecture notes (HART3001). Johannesburg: Wits School of Arts, University of the Witwatersrand. In-text (Bester 2012). DICTIONARY ENTRIES Dictionary entries follow the same format as other books, but the title of the dictionary replaces the author in the following pattern, because they are works that combine the work of many individuals over time, and in this sense are “authorless”: Title: subtitle, Date. Edition. Place: Publisher. For example: • Merriam-Webster’s Collegiate Dictionary, 1993. 10th edition. Springfield (Mass.): Merriam-Webster. In-text: (Merriam-Webster’s Collegiate Dictionary 1993: 301)

Many students have a bad habit of starting essays by quoting definitions out of the dictionary e.g. “The Oxford Dictionary defines art as…” Avoid referencing a dictionary unless you are defining a particularly complicated word. Rather use your own words to explain what the word means and extend this with particular reference to the course material. Films and videos As these are often collective works with different kinds of contributions from different people, the title sits in first position, but the director should be mentioned. The distributor is listed in the place of publisher, and this pertains to the particular edition of the film that you have seen (i.e. on DVD, at the cinema and so on). Title: Subtitle, Re-release date if applicable (Original release date in brackets if re-release). Format/medium. Directed by Initial. Surname. Country: Distributor. Examples (Film & Video): • Koyaanisqatsi: Life out of Balance, 2002 (1983). DVD. Directed by G. Reggio. U.S.A.: MGM Home Entertainment. • Cave of Forgotten Dreams, 2010. Theatre film. Directed by W. Herzog. France: Metropolitan Film Export . In-text: (Cave of Forgotten Dreams 2010) Games Games are also collective works, and so the title comes in the author position: Title, date. Format/medium. Place: Publisher.

•

For example: Assassins Creed III, 2012. Play Station®Vita. Montreal: Ubisoft.

•

Pong, 1972. Arcade game. Sunnyvale (Cal.): Atari. In-text: (Assassins Creed III 2012).

IMAGES AND ARTWORKS Images and artworks are also authored creative work and thus should be accredited accordingly. You are required to reference every image that you use in your scholarly work. Name and Surname of the artist(s), Title of work, year of production, medium of work, size. The collection it belongs to. Photo image by (Photographer’s name). Please note that you start with the name of the artist followed by the surname unlike the bibliography where you start with the surname of the author. This kind of referencing is used directly underneath the image used in-text and in the artwork-list at the end of your essay.

For example: • Joachim Schonfeldt, Villiersdorp Co-Op, 2004, Oil paint and varnish on hand carved wooden panel, 70 x 72.6 cm, JAG collection. Photo image courtesy of the ar tist. In-text: Schonfeldt’s Villiersdorp (2004) The same applies when the objects are without author/artist name(s): • Artist unrecorded, Xinorabaji (diviner’s waistcoat with beaded train) Tsonga -Shangaan, mid-late 20th century, textile beads and thread, 77 x 50.5cm, JAG collection. Photo image by Laura de Becker. In the case of no date information available: • Artist unrecorded, Xinorabaji (diviner’s waistcoat with beaded train) TsongaShangaan, c.1900 or date unrecorded, textile beads and thread, 77 x 50.5cm, •

JAG collection. Photo image by Laura de Becker.

INTERVIEW This type of reference must include both the person being interviewed (as author), as well as the interviewer, time, date and the recording medium: SURNAME OF PERSON INTERVIEWED, Initial. Year. Description of the interview including interviewer’s name and day, month and year. Place. Format. For example: • BRENNER, J. 2012. Interview with the author on 7 December 2012. Johannesburg. Cassette recording in possession of S. Vorster. In-text: (Brenner 2012). NEWSPAPER ARTICLES Note that the title of the newspaper is italicised, and not the title of the article. Volume and issue numbers should be included where known, but the date is essential. SURNAME OF AUTHOR, Initial. Year published. Title of article. Title of newspaper, Vol. no. (Issue no.) if available, Title of section if not the main section, Month Day: Page reference. For example: GRAZIA, W. & KISTNER, U. 2007. The Business of Academe. Mail & Guardian • 23 (4), Getting Ahead, January 26-February 1: 1. In-text: (Grazia & Kistner 2007: 1)

TELEVISION BROADCASTS This type of reference follows a similar pattern to films and videos: Title of Programme, Year. Title of episode. Television broadcast. Directed by Initial. Surname. Episode number, Season number. Place: Production company. Broadcast channel, Month Day. For example: Carte Blanche, 2012. Mangaung. Television broadcast. Episode 37, Season • 25. Johannesburg: Combined Artists. M-Net, December 9. In-text: (Carte Blanche 2012) THESES AND DISSERTATIONS This category follows a similar format to single-authored books, but the title is not in italics because it has not been formally published. SURNAME OF AUTHOR, Initial. Year submitted. Title. Format (Discipline). Place: Academic Institution. For example: • WINTJES, J. 2012. Archaeology and Visuality, Imaging as Recording: A Pictorial Genealogy of Rock Painting Research in the Maloti-Drakensberg through Two Case Studies. Ph.D. Thesis (Art History). Johannesburg: University of the Witwatersrand. In-tex t: .... Human settlements minister Tokyo Sexwale discusses the assassination of Hani (eNCA 2013) – and reflects on the impact of his death... Reference list: Remembering Chris Hani - eNCA 2013, YouTube, 10 April 2013, viewed 12 November 2016, <https://www.youtube.com/watch?v=yNjGiYORiis >. Note: Use pointed brackets around <URL> with full-stop after bracket. . WEBSITES You should be very critical of all your sources, especially websites. Generally it is good to avoid using information on encyclopaedic websites like Wikipedia. Always try to find the same information in a more formal source (online journals etc) before you quote from Wikipedia. If you cannot find central information like the author’s name or the date published you should be especially sceptical. When you reference a website you need to include the author, date, title of the website, title of the page, the stable URL address as well as the date you last accessed the website in the following format: SURNAME OF AUTHOR, Initial. Year published. Title of website. Title of page. Online. URL. Date Accessed.

YOUTUBE In-text references to information taken from YouTube should contain the title and date of production. When referencing a quote or comment from YouTube, refer to the person by name within your paper and give the title and year of broadcast either in parentheses or as part of your sentence: For example: • Tokyo Sexwale remembers Chris Hani… (eNCA 2013).

TWO WAYS TO REFERENCE There are two ways to refer to another author’s work: 1. A direct quote: This is when you take the text directly from another source, and include it in yours in inverted commas or quotation marks. 2. A paraphrased idea: This is when you use the author’s idea but rephrase it in your own words.

Most writing tasks in this course ask you to write in your own words. This is because it indicates to us that you have really understood the material, and that is what we expect and reward: evidence that you have worked with a text sufficiently to get to the point where you can explain it in your own words, without using any jargon or a pseudo-academic style of writing. You can still however include short extracts or quotations from the texts you are reading and using – but these quotations need to be integrated into your own text. The following insert comes from ‘The Quality Writing Centre’ at the University of Arkansas, USA: Including quoted material can be an effective way to enliven your own writing. But beware. You must use quoted material sparingly. The overuse of quotations can drown out your voice and leave the reader wondering what happened to you— the writer. Remember, that’s your name at the top of the paper! When to Quote (from Writing and Reading across the Curriculum, 9th Edition, Behrens and Rosen) 1) Memorable Language Use quotations when the author of your source material has written a phrase, sentence, or passage that is particularly powerful, vivid, or memorable. 2) Clear and Concise Language Use quotations when the language in your source material is so clear and economical that to attempt a paraphrase would be ineffective.

3) Authoritative Language Use quotations when you want to lend the authority and credibility of experts or prominent figures to your writing. If you are writing to persuade, quotations from authoritative sources can be especially useful in supporting your argument. Quotations can demonstrate to readers that your perspective on an issue has been developed through careful study and consideration of the opinions of credible figures in your field. Of course, one quotation might include all three of the above—a concise and powerful remark from a prominent figure. HOW TO INTEGRATE QUOTATIONS Quotations should be integrated into your own sentences. Don’t drop quotations into your text without warning, and avoid standing quotations alone as sentences; instead, provide clear signal phrases, which include the author’s name, to prepare readers for the quotation: Although the bald eagle is still listed as endangered, the species has recovered numbers. According to ornithologist Jay Sheppard, “The bald eagle seems to have stabilized its population, at the very least, almost everywhere” (Sheppard:96). The following examples demonstrate ways to vary your signal phrases: In the words of author and activist Rick Bass, “… As Flora Davis has noted, “… The Gardners, experts in Colorado Plateau archaeology, point out that “… Psychologist Sidney McMaynerberry offers an odd argument for this theory: “… Note the punctuation mark that precedes the quote, either a comma or a colon, except when the quote continues the leading sentence (as in the third example above). Use active verbs in signal phrases to indicate the author’s tone and stance. Is your source arguing a point, making an observation, reporting a fact, drawing a conclusion, refuting an argument, or stating a belief? Choose an appropriate verb, such as one from the following list, to make the author’s stance more clear: acknowledges

comments

describes

maintains

adds

compares

disputes

notes

responds

reports

admits

concedes

emphasizes

obser ves

shows

agrees

confirms

endorses

points out

states

argues

contends

illustrates

reasons

suggests

asserts

declares

implies

refutes

summarizes

claims

denies

insists

rejects

writes

Remember that when you refer to an author’s work – and for most writing tasks you will – you need to acknowledge his/her ideas. Tell your reader whose ideas you are using – and if you directly quote (word for word) any part of someone else’s text you need to reference it accordingly. Failure to reference properly will result in penalties. Start right away with learning the right referencing techniques. Ask your tutor for help if you are not sure you are getting it right. Direct quotes that are shorter than three lines can be integrated into your own paragraph using inverted commas, as below: Culture can be understood in many different ways. Cultural theorists, John Walker and Sarah Chaplin suggest that “more recently culture has been used to refer to any aspect of daily life which relates to a social context” (Walker & Chaplin 1997: 16). Your reference list – at the end of your assignment will need to include the full details of Walker and Chaplin’s book: • WALKER, J. & CHAPLIN, S. 1997. Visual Culture: An Introduction. Manchester & New York: Manchester University Press. If you directly quote more than three lines of someone’s text, then you must indent the quote. For example: Malcolm X has inspired many people and his motivation to improve his reading and writing skills whilst in prison continue to inspire many students: It had really been back in the Charlestown Prison, when Bimbi first made me feel envy of his stock of knowledge. Bimbi had always taken charge of any conversations he was in, and I had tried to emulate him. But every book I picked up had few sentences which didn’t contain anywhere from one to nearly all of the words that might as well have been in Chinese. When I just skipped those words, of course, I really ended up with little ideas of what the book said. So I had come to the Norfolk Prison Colony still going through only book-reading motions. Pretty soon, I would have quit even these motions, unless I had received the motivation that I did. I saw that the best thing I could do was get hold of a dictionary—to study, to learn some words. I was lucky enough to reason also that I should try to improve my penmanship. It was sad. I couldn’t even write in a straight line. It was both ideas together that moved me to request a dictionary along with some tablets and pencils from the Norfolk Prison Colony School. (Malcolm X and Alex Haley, 1964: 175) Malcolm X clearly understood the power of language and of becoming an articulate user of the English language. He saw it as a powerful weapon in the struggle for liberation and equality. Again, the reference list would contain the full details about this book: HALEY, A. 1964. The Autobiography of Malcolm X: As Told to Alex Haley. New York & Toronto: Ballantine Books.

WHAT A LOT OF STUDENTS TEND TO FORGET IS THAT WHEN YOU RE-PHRASE OR PARAPHRASE IDEAS YOU STILL NEED TO REFERENCE AND ACKNOWLEDGE YOUR SOURCE. For example: When an image is made and looked at, the viewpoint or ideology and the cultural position of the maker and that of the viewer meet. The viewer does not always have the same experience and perspective as the maker. Sometimes the values of one culture may be incompatible with those of another (Walker & Chaplin 1997: 12). This paragraph is not a direct quote – Walker & Chaplin have taken far longer to say this in their text! Their ideas have been summarised and re-phrased into a shorter text, but it is still based on their ideas, and so must be acknowledged. Paraphrased ideas need to be referenced. TIPS ON PARAPHRASING: Paraphrasing can be tricky. You need to make sure that you don’t copy the original author’s style or wording. Even if you have a reference, such borrowing would be considered plagiarism. Paraphrases should sound like you, using vocabulary and sentence structures that your reader would recognize as your work. To make sure you are not plagiarizing unintentionally, think about and jot down the source’s main points. Then, write your paraphrase without looking at the original. When you have finished, compare your paraphrase with the original: • Have you simply changed a few words to synonyms? Try again. Being handy with a thesaurus is not enough to make the sentence yours. • Have you included exact sequences of words from the original? If so, make sure to put quotation marks around those phrases, or re-write until the entire paraphrase is your words. • Have you retained the meaning of the original? Changing the author’s meaning is not plagiarism, but academic honesty requires you to represent other’s work accurately in your writing. Here’s an example of a good paraphrase: ORIGINAL To the extent that a woman’s selfimage is challenged or threatened by an unattainable ideal of an impossibly thin female physique, she may well become susceptible to disruption of her self-regard, and may be more likely to develop an eating disorder.

PARAPHRASE If a woman interprets the media’s representation of thinness as the ideal she must achieve, her sense of self-esteem might be threatened and even damaged, making her more likely to exhibit disordered eating patterns (Polivy & Herman, 2004, p. 2).

This section on paraphrasing is from: EPH Survival Guide: Citing and Documenting—Tips on Paraphrasing. Online. https:// web.williams.edu/wp-etc/acad-resources/survival_guide/Surviving/SurvivingContents.php. Date Accessed: 2016-12-14

Plagiarism Declaration and Essay Cover Sheet The Front Cover of your essay must contain the following information: ESSAY COVER SHEET Name: _______________________________________

Student Number: __________________

Course: _____________________________________

Course code: ______________________

Lecturer: _______________________________________________ Due date: _________________________ Topic: ________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________ ______________________________________________________________________________________

Plagiarism declaration 1.

I know that plagiarism is wrong. Plagiarism is to use another’s work and to pretend that it is one’s own.

I have used the author date convention for citation and referencing. Each signifi cant contribution to and quotation in this essay from the work or works of other people has been acknowledged through citation and reference.

This essay is my own work.

I have not submitted this work, or a substantial portion thereof, for assessment previously. I have not allowed and will not allow anyone to copy my work with the intention of passing it off as his or her own work.

5. 6.

I have done the word processing and formatting of this assignment myself. I understand that the correct formatting is part of the mark for this assignment and that it is therefore wrong for another person to do it for me.

____________________________ Signature

_____________________ Date

Performers Agreement Memorandum of understanding entered into between the WSOA, Theatre and Performance and WITS Theatre. And

Performer Name: ______________________________________ ID Number: ____________________________________ Role: _____________________________________________ WHEREBY 1. The abovementioned parties understand their responsibilities to jointly and in various capacities work together to create the production of _____________________ 2. The performer agrees to commit to the dates and times of the rehearsal and performance schedule and undertakes to always be present when required. 3. The performer understands what their particular responsibilities are on this production and agrees to carry them out to their best of their ability. 4. The performer agrees to being supervised by TAP and Wits Theatre staff in order to ensure that whatever the task at hand is, it gets done safely, efficiently and on time. 5. The WSOA/TAP and Wits Theatre undertake to create a nurturing and safe environment for the performer as they rehearse or crew on the production. 6. Both parties will be mutually respectful of each other and everyone on the creative and production team. 7. The performer understands that theatre making is an collaborative process and so undertakes to behave in a respectful and disciplined manner towards the director, the cast, crew, other students involved, Wits Theatre staff and ushers. 8. The performer understands that theatres can be potentially hazardous spaces for a variety of reasons and agrees to abide by the rules and regulations pertaining to Theatre Health and Safety or any instruction given to them by a Wits Theatre Staff member in order to ensure safety. 9. The performer understands that they may not enter into a venue without permission and make use of infrastructure without proper supervision. 10. The performer undertakes to abide by the rules of the spaces they are working in which may be the Wardrobe, Workshop, a theatre space etc. 11.

In return TAP pays R27,000.00

Signed on this day __________of

Year ___________

By: ______________________________________________________ Performer Signature

Equipment Loan Form Borrower`s name: _______________________________ Address: ____________________________________________________________ _____________________________________________________________________ _________________________________ Telephone :(H)____________________ (W)__________________ (C ellular)__________________ Email :__________________________________________________________

Details of loan:

Period of loan: ________________ From/On (date) ________________To (date) Address where the equipment will be used and stored, include details of travel: _____________________________________________________________________ ____________________________________________________________________ Conditions of loan: _____________________________________________________ _____________________________________________________________________ Loan approved by: _____________________________________________________

Description of loan: Photography/ Video/ Sound/ Display No. Item Model number Serial number

Insurance value

Agreement

I _____________________________ student /staff/number _________________, agree to the following: The loan was received in good order. I agree to take reasonable care of the equipment .I agree to store the equipment in a secure environment and take –all precautions against loss, theft or damage to the equipment .I agree to replace lost or stolen items and to cover cost of repair to damage items and to cover the cost of the insurance excess. Agree to take full responsibility for loss, damaged and or theft of the equipment. I acknowledge the equipment is accessible strictly for the purpose of University work (made for assessment towards degrees) and not for private usage or for commercial work.

Signature of borrower _________________ Date: _________________ Return date: ________________