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Royal central

Prospectus

UnderGraduate

PostGraduate

RESEARCH

2017

Short Courses & Training

The Royal Central School of Speech and DramaUniversity of LondonEton Avenue, London NW3 3HY, UKTelephone: +44 (0)20 7722 8183Email: enquiries@cssd.ac.ukwww.cssd.ac.uk

CSSDLondon

School of Speech & Drama • University of London

A Complete conservatoire

For today’s fast-moving

Performing Arts industry

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About Central

06 Why Central?10 International Students12 Staff

14 StaffResearch16 Central’s Portfolio

Undergraduate Courses

22 BA (Hons) Acting

23 Overview

24 Acting

26 ActingCDT

28 ActingMusicalTheatre

30 BA (Hons) Drama, Applied Theatre and Education

34 BA(Hons)Drama,AppliedTheatreandEducation:WritingforPerformance

36 BA (Hons) Theatre Practice

37 Overview

38 CostumeConstruction

40 DesignfortheStage

42 PerformanceArts

44 ProductionLighting

46 PropMaking

48 Puppetry:DesignandPerformance

50 ScenicArt

52 ScenicConstruction

54 StageManagement

56 TechnicalandProduction Management

58 TheatreLightingDesign

60 TheatreSound

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I remember well the Central prospectus I read when I was seeking a drama school education back in the 1980s.

Itwasslimmerthanthisone,butithadalifeandanidentitythatseemedtosetitapartfromotherschoolsandcollegesatthetime.Centralwasmyfirstchoicebecauseithadarealsenseofhistoryandareputationforstayingaheadofthegame.

Iamdelightedtoreportthatissomethingthathasneverchanged.Centralisconstantlyevolvingandnowoffersevengreateropportunitiesasoneoftheleadingdramaconservatoiresintheworld.Itremainslinkedtoitsgloriouspastwhilelookingforwardtotheever-changinglandscapeinhighereducation.

ThisprospectusismuchmorefarreachingthantheoneI(still)havefromthirtyyearsagoand,whileitclearlysetsouttherangeofcoursesavailable,itwon’ttellyouwhyyourexperienceasaCentralstudentwillbeextraordinary.Thatyoucanonlydiscoverbybeinghere,becausethatiswhenyouwillengagewiththeinspirationalmenandwomenwhoteachatCentral.

AsIwasfortunateenoughtodiscover,theywillgiveyouauniqueeducationthatpreparesyoufortheprofessionyouareabouttoenterbut,bestofall,theywillgiveyouaneducationforlife.

Message from the president

Michael Grandage CBE

President

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Central stands at the forefront of training and research in the Dramatic Arts.

Graduateemploymentstatisticsareamongstthehighestinoursector,andourresearchhasrecentlybeenassessedas‘WorldLeading’–andisuniqueintherealmofdramaconservatoires.TheratioofundergraduateapplicationstoplacesisthehighestofanyUKuniversity.

Whilstouractorswinmanyofthemostcovetedawards,worldwide,andfrequentaccoladesinthemedia,abroadrangeofindustryorganisationsrankCentralasthegoldstandardinleadershipoftechnicalanddesignwork.Sotoo,Centralcontinuesasapioneeringforceintheapplicationofdramaticskillsinmanysocialcontexts…readontofindoutmore!

Wehopethatyouwillwishtoexploretherangeofcourses,bothundergraduateandpostgraduate,setoutinthisprospectus.Dovisitforanopenday,orcometoourregularpublicproductions–focusedaroundthehistoricEmbassyTheatre.

Ourfacilitiesarewidelyregardedtobeexemplarywithfurtherspecialisedstudiosandperformancespacestobeaddedaspartofadynamicnewdevelopment.

Professor Gavin Henderson CBE

Principal

Introducing Central

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Why Central?

Central’salumniaretobefoundinalldepartmentsoftheatre,filmandtelevision,inthemusicindustry,ineducationandincommunityartsorganisations.Centralgraduatesproducefestivalsandhelptolight,design,make,directorstagemanageshowssuchastheOlympicopening,closingandmedalceremonies.Ourgraduatesalsoteach,researchandrenewtheirsubject,findingnewapplicationsfortheatre,developingnewaudiences,engagingwithnewcommunitiesandmakingdramacountinsociety.

Centralisaspecialistcollegefortheperformingarts:acollegeofspecialistsandacollegeforspecialists:inacting,actortraining,appliedtheatre,theatrecraftsandmaking,design,dramatherapy,lighting,movement,musicaltheatre,performance,producing,puppetry,scenography,stagemanagement,sound,teachertraining,technicalartsandproduction,theatrestudies,voice,writingandmuchelsebesides.ThisdistinctiveprovisionhasrecentlyledtoitsselectionforConservatoiresUK–anothersignificantaccoladefortheSchoolfollowingthegrantingofitsRoyaltitle.

Theculturalindustriesarebuiltoncreativecollaborationbetweensuchspecialists.Thisiswhycollaboration,collegialityandcommunicationsarecoretoourprinciplesandapproach.AsastudentorPhDcandidateatCentralyouwilllearnmuchfromyourfellowstudents,aswellascollaboratingwithyourtutors,lecturersandsupervisors,takinganactiveapproachtoyourlearningortraining.Weexpectyoutobringasenseofenquiry,alongwithareadinesstoargueapointinanacademicdiscussionandtohaveyourpreconceptionschallenged.

Weworkcloselywithindustryprofessionalstoensure that the way you learn is relevant to the wayyouwillwork.

Wealsoencourageyoutochallengetraditions,innovateandtakecreativeandintellectualriskswithinavibrantresearchenvironment.Accordingtothe2014ResearchExcellenceFramework,CentralranksasthetopUKdramaconservatoireforworld-leadingresearch,andamongthetopUKuniversitiesforworld-leadingimpactindrama

A complete conservatoire for today’s fast-moving performing arts industry, Central prepares you for the professional world as a specialist in your subject. Your future career is at the heart of the curriculum.

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research.ThisenvironmentofdiscoveryandinnovationalongsidethedevelopmentofnewknowledgethroughpracticeandscholarshipinformsandenrichesallofCentral’sactivitiesasaspecialistcollegeofdrama,performanceandthetheatrearts.

Environment

CentralissetinHampstead,aquiet,leafycornerofLondon,whereitfacestheacclaimedHampsteadTheatreandaleisurecentrewithalargepoolandgym,acrossaplazawherearegularmarketsellsgreatcoffee,freshproduceandinternationalfood.Thisplazaactsasaforumthatinformallyextendsourcampus.Fromhere,trainstakeyoudirectlyintotheheartofLondonintenminutesorless.

Central’sfacilitiesareamongtheUK’sbest.Attheheartisthehistoricandnowfully-refurbishedEmbassyTheatre.WhereEdwardGordonCraigstagedDido And Aeneas(1900),PaulRobesonperformed(1933-35)andJoanLittlewoodstagedEwanMacColl’sUranium 235(1952),ourstudentsnowperformworkbyaward-winning21stcenturyplaywrightssuchasalumniRebeccaLenkiewiczandJessicaSwale.

Aroundthisiconicauditorium,youwillfindfully-equippedscenicandpropsworkshops,craftanddesignstudios,rehearsalrooms,editsuites,experimentalsoundandlightingstudios,fivefullyfunctioningblackboxtheatrespaces,abusywardrobedepartmentandaspecialistlibrary.

Thebuildingisahiveofactivity–constantlybuzzingwithcreativity,Centralisnotonlyforstudents;itiswellknownasameetingplaceforthetheatreandperformanceindustries.Professionalscomeandgo,deliveringmasterclassesandseminarsordevelopingtheirownwork.ManyoftheleadinginternationalauthoritiesindramaandperformanceworkatCentral,visitustogivelecturesorcomeheretodeliverresearchseminars.MostofCentral’scoursesandmanyofourstaffareengagedinpractice-basedresearch.Itisacampusburstingattheseamswithactivityanddiscussion.Studentsclusteronthestepsandintheatriumrehearsing

lines,ordiscussingprojectsandyoucanusuallyhearthesoundofmusicpracticecomingfromsomewhere.

Thecanteenandcoffeebarspacessellgood,subsidisedfoodtokeepbodiesandmindsnourishedandenergetic,andbetweenmealtimesthesespacesarehubsfordiscussion.Butit’snotallwork:intheeveningsthestudent-runbaralsoofferstherangeofentertainmentyouwouldexpectinaplacelikeCentral.

ThebestwaytoseeCentralistovisitus.Wehaveaseriesofopeneventsforallourcoursesthroughouttheyear.Seewww.cssd.ac.ukoremailopenevents@cssd.ac.ukforup-to-datedetails.

Being a student at Central

Centralisnotabuildingoragroupofpeople,butaprocessoflearninganddiscovery,ofexperimentationandreflection,ofproductionandpedagogy.Aswellasteaching,membersofouracademicstaffareactivelyinvolvedindevelopingtheirfieldsandcreatingnewknowledgeaspractitionersintheirownright.Centralwelcomesandactivelyencouragesadiverseandinternationalstudentandstaffbody.

Withinthisparticipatoryprocess,staffandstudentshaveresponsibilitiestooneanother.

Staffundertaketoensure:

>asafe,supportiveandinclusiveenvironmentinwhichtostudy

>highstandardsofteaching,support,adviceandguidance

>accesstoactivitiesthatwillenhanceemployabilityandpersonaldevelopment

>regularcontinuingprofessionaldevelopment>supportforstudentparticipationinacademicdevelopmentandcoursemanagement,includingelectionsofrepresentatives

>accesstoarangeofpastoralsupportservices,includingtheprovisionofadviceonfinancialsupport

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>clearlydefinedaccesstotheLearningCentre,library,ITandotherfacilities

>thatbothpracticeandresearchareconductedethicallyandadheretotheSchool’sethicsguidance

>thattheyabidebyalloftheSchool’sHealthandSafetypolicyandallothercodesandpolicies.

Inturn,studentsundertaketo:

>treatstaff,visitorsandtheirfellowstudentsequitably,professionallyandrespectfully

>respecttheacademicjudgementoftheinstitution

>attendinduction,participateintimetabledclassesandattendmeetingswithtutors

>obtainagreementfromtheSchool,inadvance,foranyessentialabsences

>takeresponsibilityformanagingtheirownlearning:activelyengagingintheircourseensuringtheyspendsufficientregulartimeinprivatestudy,andparticipatingfullyingrouplearningandassessmentactivities

>submitassessedworkbystateddeadlinesandactivelyparticipateinfeedback

>makepromptpaymentofchargesmadebytheinstitution

>returnpromptly,andingoodcondition,anyequipmentloanedbytheinstitution

>supportCourseRepresentativesandparticipateinsystemswhichwillleadtoimprovementsinthequalityoflearningandteaching

>respectthephysicalenvironmentoftheinstitutionandbehaverespectfullytowardsallmembersoftheSchool’scommunityanditsneighbours

>ensurethatbothpracticeandresearchareconductedethicallyandadheretotheSchool’sethicsguidance

>abidebyalloftheSchool’sHealthandSafetypolicyandallothercodesandpolicies.

When you enrol as a student at Central you will haveaccesstoLearnzone(theSchool’svirtuallearningenvironment),whereyouwillfindcourseandstudenthandbooksthatwillgiveyouinformationaboutthethingsthatareexpectedofyouandwhatyoucanexpect.

StudentscometoCentralbecausetheyareseriouslycommittedtotheirsubject,andbecausetheywanttolearn.Weworktohighstandards,andwedonotpromisethattrainingorstudyingatCentralwillbeeasy–indeed,wesetouttochallengeyourpreconceptions,yourunderstandingsandyourabilities.

Weareconfident,however,thatifyoucomeherepreparedtobechallengedandtoworkhard,thatyourtimeatCentralcouldchangeyourlife.

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SenateHouse,UniversityofLondon

EmbassyTheatre

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David JubbAlumnus,TheatreProducer,ArtisticDirector,BatterseaArtsCentre

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International students

Central is a vibrant, international community. Students from approximately 40 different countries are warmly welcomed to Central at undergraduate, postgraduate and research degree level.

OneofCentral’sgreatbenefitsisitsLondonlocation.Whetheryoujoinusforone,two,threeorfouryears,youwillhaveachancetoexperiencearichnessanddiversityofperformancethatatouristcanonlyglimpse.

IfyouareconsideringcomingtostudyatCentralfromanothercountry,werecommendthatyoumakeyourselfawareofwhattoexpectinaUKuniversitycollege–modesofstudyandwaysoflifemaybequitedifferentfromwhatyoumightexpectinyourownhomecountry.Werunfreesessionsonunderstandingsomeofthesethingsonceyouarehere,butitwouldalsohelpyoutoresearchbeforeyouarrive.

Ifyouhavequestionsaboutanyaspectofstudy,donothesitatetoaskatyourauditionorinterview.WhenyoufirstjoinCentral,assomeonewhoisnotfromtheUK,youwillreceiveanInternationalStudentGuideandwillbeinvitedtoparticipateintheInternationalStudentStudyWorkshops,whereyoucanshareexperiencesandreceiveadvice.TheStudents’UnionhasanInternationalStudentOfficerandtheAdmissionsandStudentRecruitmentOfficestaffareavailabletohelp.

Auditions and Interviews

Centralhostsinternationalauditions/interviewsformanyofitsundergraduateandpostgraduatecourses.Inthepastauditions/interviewshavetakenplaceinSingapore,HongKong,Toronto,NewYork,Chicago,Bangkok,Sydney,Santiago,Bogotá,LosAngelesandSanFrancisco.Datesfortheseauditions/interviewswillvary,buttheygenerallytakeplaceinFebruary,MarchandApril.SeeFurtherInformation(page109).

ENGLISH LANGUAGE REQUIREMENTS

AllofCentral’scoursesaretaughtinEnglishandmostcourseshaveastatedInternationalEnglishLanguageTestingSystem(IELTS)requirementof7.0.Evenifyouspeakthelanguage,however,youmayencounterthingsthataredifferent,or

unexpectedinthewaystudentsaretaughtorareexpectedtolearnintheUK.

SUPPORT FOR INTERNATIONAL STUDENTS

Youwillbeabletoaccessawholerangeofsupport,adviceandguidanceonceyouarearegisteredstudent.Thisincludesadviceonfinance,theCounsellingServiceandotherservicesofferedthroughtheStudentAdviceService.Itincludesfreesessionsthatsupportyoutodevelopyourlearningskills,andspecificone-to-onetutoring,shouldyouneedit,tohelpyoudevelopyouruseofEnglishwithacademicpurpose.MoreinformationaboutthisrangeofsupportisavailableonCentral’swebsite(www.cssd.ac.uk/international-students)andaspartoftheapplicationandregistrationprocess.

ONE WEEK PRE-COURSE

StudentsfromcountriesotherthantheUKmaytaketimetoadjusttoacademicstudyataUKuniversity,andtakingpartinthispre-coursecanhelpwiththisprocessofadjustment.Thecourseisforallnon-UKstudentsandisnotprimarilyaboutlanguagelearning.However,ifEnglishisyoursecondorotherlanguage,thecoursewillenableyoutodevelopyourconfidence,specificallyintalkingabouttheatreandperformanceandwillprepareyoutostudy,sothatyoucanembarkonyourdegreeprogrammefullyprepared.ApplicantsshouldreadImportantInformationrelatingtoShortCourses(page116).

Course outline:

>gettoknowCentralandLondon>undergraduate/postgraduatestudyorientation>Englishwithacademicpurpose:familiariseyourselfwithsubject-specificlanguageandUK-specificterminology

>modesoflearningandteachingatCentralasaUK-basededucationinstitution

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>communicatingwithpeersandstaffatCentral(e.g.levelsofformality)

>informationsessionsonaccommodation,financeandotherpracticalaspectsoflivingandstudyinginLondon.

Key features:

>thecourseisintendedforstudentswhoarestartingundergraduateorpostgraduatedegreecoursesinSeptemberorOctober

>itinvolvestutor-ledclassesandtherewillbetwopre-arrangedtheatrevisitsintheevenings(costsareincludedinthecoursefee)

>somestudentsmaytakethiscourseasaresultofarecommendationfromatutoratthepointofaudition/interview

>manystudentsarenotrequiredtotakethiscourse,butdosoinordertobetterpreparethemselvesfortheirfuturestudiesandtheirexperienceasastudentintheUK.

VISAS

Ifyourequireavisa,pleaseensureyouallowenoughtimeforonetobeissued.Centralwillprovideyouwithavisaletteronceregistrationandpaymentforthecoursearecomplete.

For further information, or to book a place on the one week pre-course, call +44 (0)20 7559 3912 / +44 (0)20 7449 3648, or email admissions@cssd.ac.uk.

‘Iwouldn’tchangemytimeatCentralforanything.CentralgavemetheopportunitytoexploremypracticeandpushedmetodothingsIneverthoughtIcoulddo.I’vemetincrediblepeoplewithwhomIhopetokeepworking,andIfeelveryinspiredtokeepexploringthepossibilitiesofmywork.Allthedifficultiesandchallengestogethere,andwhilebeinghere,havebeenworthitconsideringallthatIfeelI’veachieved.’ Ana Diaz-Barriga-Lopez, MA Advanced Theatre Practice – Mexico

‘CentralgavemethemostadventurousexperienceinstudyingScenography;itisarewardingjourneyindeed.Iwasabletoworkboldlyinindependentunitsandworkintellectuallyincollaborativeunits.Centralofferedmeanopportunitytogetintouchwithcurrentpractitionersintheatreandhaveconversationswiththem.ItenabledmetohaveadialoguebetweenwhatIexperiencedinmycountryandwhatishappeningintheUK.Forme,Centralprovidedavitalplatformtoworkinternationallyduringandafterthecourse.’ Minglu Wang, MA Scenography – China

‘WhenIfirstvisitedCentral,formyaudition,IhadthefeelingthatIwasathome.ItwaskindofoddsinceitwasthefirsttimeIhadvisitedLondonandIdidn’tknowanyonehere.Everyonewassohelpfulandsupportive.Ithoughtitmightbeonlybecauseoftheauditions,butitwasn’t.HereIfoundmyvoiceasanartist–which,combinedwithalltheskillsthatI’velearnt,makemefeelmoreconfidentaboutmyfuturecareerinthiscompetitiveindustry.AndIhavealwaysbeensupportedbythestaffandmyclassmates–youcannotfeelhomesickwhenyouareathome.’ Valentin-Borisov Stoev, BA Acting CDT – Bulgaria

‘StudyingabroadwasalwaysoneofmydreamsandCentralmadethisdreamcometrue.Centraltakesgoodcareofinternationalstudents.Ithelpedmegetintothenewenvironmentalot.Ireallyappreciatethat.Studyingherehastaughtmehowtobeprofessionalinthefieldoftheatre,howtocultivatethisprofessionandhowtorespectitproperly.Makingtheatreonaprofessional levelisthemostvaluablethingIhavelearned atCentral.’ Huai-Chieh, Yu, MA Advanced Theatre Practice – Taiwan

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Staff

Professor Gavin Henderson,CBE,HonFRCM, HonFBCM,FRNCM,FTCL,HonCTL,MA,CCIM, Principal

Deborah Scully,DMS,PGDip,FRSA, DeputyPrincipal/DeputyCEO, ClerktoGovernors

Professor Ross Brown,BA,FHEA, DeanofSchool

Professor Maria Delgado, BA,MA,PhD,FRSA,MAE,SFHEA,DirectorofResearch

Catherine McNamara,PhD,PFHEA,ReaderinAppliedTheatre,ProDean/DirectorofLearning,TeachingandStudentExperience

FACULTY

Nicola Abraham,BA,MA,PhD,Lecturer, AppliedTheatrePractices

Joshua Abrams, MA,PhD,FHEA,DeputyDean(Academic)

Catherine Alexander,BA,ReaderinTheatreMaking,CourseLeaderActing–CollaborativeandDevisedTheatre(BA)

Joel Anderson,BA,DEA(UniversityofParis),PhD,SeniorLecturer,CourseLeaderMATheatreCriticismandDramaturgy

Cariad Astles,BA,MA,Lecturer,CourseLeaderPuppetry:DesignandPerformance

Professor Paul Barker,MMus,PhD,GGSM,CourseLeaderMAMusicTheatre

Jane Boston,AdvDip,BA,MA,PrincipalLecturer,CourseLeaderMA/MFAVoiceStudies,HeadofTheInternationalCentreforVoice

Jessica Bowles,BA,PrincipalLecturer,CourseLeaderMA/MFACreativeProducing

Amanda Brennan,BA,MA,PrincipalLecturer,CourseLeaderMAActingforScreen

Experience Bryon,BMus,PhD,SeniorLecturer,CourseLeaderMA/MFAPerformancePracticeasResearch

Ben Buratta,BA,MA,Lecturer,AppliedTheatrePractices

Selina Busby,BA,PGCE,MA,PhD,PrincipalLecturer,CourseLeaderMAAppliedTheatre,PGCertificateAppliedTheatrewithYoungPeople

Professor Gilli Bush-Bailey,BA,MA,PhD,ChairinWomen’sPerformanceHistory

Alyson Coleman,MA,PhD,Lecturer,DramaandMovementTherapy

Geoffrey Colman,BA,MA,FRSA,HeadofActingandProgrammeLeaderBA(Hons)Acting

Paul Colwell,Lecturer,TheatreProductionPractices

Tom Cornford, BA,PGDip,PhD,Lecturer,TheatreandPerformance

Aldona Cunningham,BA,PGCE,FHEA,SeniorLecturer,CourseLeaderDesignfortheStage

Diana Damian-Martin,BA,MA,Lecturer,PerformanceArts

Sarah Davey-Hull,BA,MA,Lecturer,CourseLeaderMAActingContemporary

Simon Donger,BA,MA,PhD,Lecturer,CourseLeaderMA/MFAScenography

Lucinka Eisler,BA,Lecturer,Movement

Vanessa Ewan,LCMD,SeniorLecturer,Movement,Co-CourseLeaderMA/MFAMovement:DirectingandTeaching

Stephen Farrier,BA,MA,PhD,FHEA,PrincipalLecturer,CourseLeaderBA(Hons)Drama,AppliedTheatreandEducation

Tony Fisher,BA,MA,PhD,ReaderinTheatreandPhilosophy,CourseLeaderMAWritingforStageandBroadcastMedia,ProgrammeConvenorResearchDegrees

Wendy Gadian,BA,PPRNCM,PrincipalLecturer,CourseLeaderActing–MusicalTheatre(BA)

Deborah Garvey,BA,MA,Lecturer,Voice

Debbie Green,MA,SeniorLecturer,Movement

Sarah Grochala,MA,PhD,Lecturer,Leader MFAsecondyearWritingforStageand BroadcastMedia

Professor David Harradine,BA,MA,PhD,ProfessorofInterdisciplinaryPractice

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Jessica Hartley,BA,PGCE,MA,PhD,Lecturer,TheatreandPerformanceStudies

Richard Hougham,MA,PrincipalLecturer,CourseLeaderDramaandMovementTherapy

Julian Kelly,GMusRNCMPPRNCM,Lecturer,MusicTheatre

Lynne Kendrick,BA,MA,PhD,FRSA,SeniorLecturer,NewTheatrePractices

Katharine Low,BA,MA,PhD,Lecturer,CommunityPerformanceandAppliedTheatre

Peter Maccoy,BSc,PGCert,FHEA,SeniorLecturer,TheatreProduction,CourseLeaderStageManagement

Professor Sally Mackey,BA,PGCE,MA,PhD,FHEA,FRSA,AssociateDirector(ResearchandProgrammes)

Carla Mardle,BA,Lecturer,CourseLeaderScenicArt

Peter McAllister,BA,PGDip,MA,SeniorLecturer,Acting

Cathleen McCarron,MA,Lecturer,Voice

Nick Moran,BSc,C&GTeachingCert,MA,FHEA,SeniorLecturer,CourseLeaderProductionLightingandTheatreLightingDesign

Ian Morgan,BA,MA,SeniorLecturer,CourseLeaderMA/MFAActorTrainingandCoaching

Nick Moseley,BA,PGCE,MA,FHEA,PrincipalLecturer,CourseLeaderActing(BA)

Jane Munro,BA,MA,PhD,Lecturer,Movement

Ben Naylor,BA,Lecturer,CourseLeaderMAActingClassical

Daron Oram,BA,MA,SeniorLecturer,Voice

Joanna Parker,BA,SeniorLecturer,Scenography

Giulia Pecorari,MA,Lecturer,CostumeConstruction

Daniël Ploeger,BMus,PhD,ResearchFellow

Sinéad Rushe,BA,DEA(UniversityofParis),PGDip,MA,SeniorLecturer,ActingandMovement

Lucie Shilton,BA,Lecturer,CostumeConstruction

Professor Simon Shepherd, MA,MLITT,PhD,EmeritusChairinTheatre

Andreas Skourtis,BA,MA,Lecturer,Scenography

Vesna Stanojevic,BA,SeniorLecturer,Acting

Amanda Stuart-Fisher,BA,MA,ReaderinContemporaryTheatresandPerformance

Ayse Tashkiran,BA,PGCert,SeniorLecturer,Co-CourseLeaderMA/MFAMovement:DirectingandTeaching

Caroline Townsend,PGCert,PGDip,FHEA,PrincipalLecturer,ProgrammeLeaderBA(Hons)TheatrePractice

Madaleine Trigg,BA,Lecturer,PerformanceArts

Donato Wharton,BA,MSc,Lecturer,SoundforTheatreandPerformance

Gareth White,BA,PhD,ReaderinTheatreandPerformance,CommunityPerformanceandAppliedTheatre

Claudette Williams,PGDip,SeniorLecturer,Voice

Nicholas Wood,BA,PGCert,MA,SeniorLecturer,CourseLeaderMA/MFAAdvancedTheatrePractice

Martin Wylde,BA,PGCert,MPhil,PrincipalLecturer,ProgrammeLeaderMAActing

Dot Young,BA,Lecturer,CourseLeader PropMaking

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Staff RESEARCH

ResearchatCentraladdressesvariousdomainsofknowledge,includingartisticcreation,advancedtechnicalcapability,socialapplicationandperformancetheory.

Researchactivityisinformedbyandfeedsintoindustrypractices,benefittingfromtheSchool’scloseaffiliationwiththeperformingartssector.

Central’sresearchcultureislocatedinclusterswherestaffmayconnectthroughcollaborationanddialogueacrossareasofmutualinterestsuchas:

> acting, movement, and voice> applied theatre> contemporary dramaturgies> concepts and contexts> cultural histories of performance> international theatre practices> music theatre and sound> puppetry and object theatre.

Apublicresearchseminarseries,Theatre Workings,inviteskeyresearchersintoCentralregularlytosharetheirideasandfindings.

Centralalsohostsmasterclasses,workshops,seminarsandperformanceswhereresearchistestedanddisseminated.VisitingscholarsandresearchfellowstakepartintheSchool’sresearchactivities.

Centralenjoyscloseworkingrelationshipswitharangeofindustrypartnersandotherrelevantorganisations(e.g.NGOs,localauthorities,charitabletrusts).Staffandstudentspresenttheirresearchthroughlectures,seminars,paneldiscussionsandQ&Asattheatres,filmfestivals,museums,localauthorities,charityevents,educationalsettings,academicconferencesandmanymore.

AtthelastResearchExcellenceFramework(2014),overtwo-thirdsoftheresearchsubmittedbyCentralwasjudgedtobe‘internationallyexcellent’or‘world-leading’.TheSchoolhasbeendescribedasanexampleof‘theemergenceofanewkindofresearchinstitutionintheperformingarts,bridgingthecreativeindustriesandtheacademy’andas‘world-leadinginpracticeasresearch’.

Central supports a dynamic research community of staff and postgraduate research students (PGRs). In addition to published books and articles, much of the research undertaken at Central is based in practices.

AHRCfundedresearchproject:Challenging concepts of ‘liquid’ place through performance practices in community contexts 2011-2014.PrincipalInvestigatorProfessorSallyMackey.Photo:DaynaBrannick

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Central’s Portfolio

Central’s portfolio of degree courses offers a high level of choice, as shown in the undergraduate and postgraduate sections of this prospectus.

ItisrecommendedthatyoureadthefollowingentriescarefullyandseeCentral’swebsite(www.cssd.ac.uk)todownloadmoredetailedcoursespecifications.

Weareawarethatterminologiesvary.TermslikeStageManagementmightbeusedtocoverarangeofdifferentprofessionalrolesatschoolandyetdonotevenexistasaterminsomecountries.AppliedTheatremightbeknownbydifferentnamesindifferentregionsandsectors.Itisimportantthereforethatyouareabsolutelysurethatthecourseyouareinterestedinistherightoneforyou.

Overview of Central’s courses

At undergraduate level, thereare16courses:

>threeconservatoireactingcourses,eachwithadifferentspecialistfocusandeachleadingtotheawardofBA(Hons)Acting

>12differentspecialisttheatrepracticecoursesthatworkcollaborativelytogetherwithinonedegreeprogrammeandresultintheawardofBA(Hons)TheatrePractice

>BA(Hons)Drama,AppliedTheatreandEducation,whichoffersstudentsabroaderpracticalcourseofstudyleadingtoanumberofdifferentcareeroptionsandwithaspecialistpathwayinWritingforPerformance.

At postgraduate level,thereare15specialistMAcourses,anumberofwhichhaveMFAversions,allowingforanextendedsecondyearindependentprojectandaqualificationrecognisedasa‘terminaldegree’inAmericanandotherinternationaluniversities.

>11MAcoursesinspecialistperformance- relatedpractices:

–twointensiveconservatoirecoursesinContemporaryandClassicalActingleadingtotheawardofMAActing

–MAActingforScreen

–MAMusicTheatre

–threeMA/MFAsthatdevelopspecialistsinpedagogiesandsystemsoftheperformingbody:MA/MFAVoiceStudies,MA/MFAMovement:DirectingandTeaching,MA/MFAActorTrainingandCoaching

–threeMA/MFAsforcreativeindividuals–Scenography,CreativeProducing,Writing

–MADramaandMovementTherapy.

>Fourcoursesonwhichstudentscandeveloptheirexistingspecialistpracticesorinterestsinnewways:

–MAAppliedTheatrewithtwostrands(DramaintheCommunityandDramaEducation;DramaandtheCriminalJusticeSystem)

–MA/MFAPerformancePracticeasResearch

–MA/MFAAdvancedTheatrePractice

–MATheatreCriticismandDramaturgy.

AnoteaboutdirectingatCentral:

Central’sresearchenrichedconservatoireenvironmentistheidealplacetodeveloptheknowledge,creativityandpracticalunderstandingstudentswillneedtoonedaybeasuccessfuldirector.WhilefamousdirectorshavetrainedatCentral,wechoosenottoofferoneorthodoxdirectortrainingprogramme.Instead,severalofourcoursesprovideanidealfoundationfromwhichtodevelopasadirector,dependingonyourinterests,skillsandexperience.

Mostsuccessfuldirectorsprogresstotherolehavingfirstgainedanin-depth,practicalunderstandingofdramaturgy,collaborativecreativityandproductionprocesses,andfromworkingintheatreinanothercapacity.AllofCentral’sundergraduatecoursesoffersucha

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backgroundand,indeed,graduatesofallthreeofCentral’sundergraduatedegreeshavegoneontoeventuallybecomedirectors.Forsome,however,theurgetodirectcomesslightlylater,perhapshavingundertakenafirstdegreeinadifferentsubject.Severalofourpostgraduatedegreesprovideanexcellentgroundingindirecting,dependinguponyourspecialistareasofinterest.

MA/MFA Advanced Theatre Practice Thiscourselooksspecificallyatdirectinginrelationtointerdisciplinarycollaboration,devising,practicaldramaturgiesandcompany-basedwork.

MA/MFA Actor Training and Coaching Eachcourseenablesyoutounderstanddirectingthroughaparticularfocusonworkingcloselywithactors.

MA Theatre Criticism and Dramaturgy Thiscourseenablesyoutodevelopagreaterunderstandingofdramaturgy,placingyourexistingpracticeinurbanculturalandcriticallandscapes.

MA/MFA Performance Practice as Research Eachcourseenablesyoutoconsideryourindividualpracticeasresearch,andisidealforthosewhomightwanttodirectaspartofalongtermindividual‘enquiry’,professionallyorwithintheacademy.

MA Applied Theatre Thiscourseencouragesthefacilitator-director,workinginarangeofcommunitycontexts.

Centralalsoacceptspractice-basedortraditionalPhD/MPhilproposalsinthefieldofdirecting.

TherearemanyfamousdirectorswhohavetrainedatCentral:Michael Grandage CBE(Acting),TheatreDirectorandProducer,ArtisticDirectoroftheMichaelGrandageCompany;Deborah Warner CBE(TheatrePractice),DirectorofTheatreandOpera;Daphna Attias(AdvancedTheatrePractice),ArtisticDirectorofPeut-êtreTheatre,andCo-ArtisticDirectorofDanteorDie;Terry O’Donovan(AdvancedTheatrePractice),Co-ArtisticDirectorofDanteorDie,andCo-ArtisticDirectorofTOOT;Bijan Sheibani (AdvancedTheatrePractice),AssociateDirectorattheNationalTheatre;Orla O’Loughlin(AdvancedTheatrePractice),TheatreDirector,ArtisticDirectoroftheTraverseTheatre,Edinburgh;Mark Down (AdvancedTheatrePractice),ArtisticDirectorofBlindSummitTheatreCompany.

‘Oneoftheinterestingthingsaboutdirectingisthatthereareasmanywaystodirectaplayastherearedirectorstodoit.Theonlythingthatweprobablyshareincommonisthatweallsignapieceofpaperatsomepointtoagreetodeliversomethingonacertaindate.’MichaelGrandage1

1Shepherd,S.2012.Direction,Basingstoke:PalgraveMacmillian

MAPerformancePracticeasResearch,BrinkFestival

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Undergraduate Courses

www.cssd.ac.uk/course-finder Please see Important Information (page 116).

Central’staughtundergraduatecurriculaareclusteredintothreebroadareas:actingandperformance;productionanddesign;andappliedtheatreanddramaeducation.Anumberofscholarshipsandbursariesareavailabletosupportstudentsthroughouttheirstudy(seepage112).

BA(Hons)ActingCDTandBA(Hons)TheatrePractice, Ivanov byAntonChekhov,publicproduction

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22 BA (Hons) Acting

23 Overview

24 Acting

26 ActingCDT

28 ActingMusicalTheatre

30 BA (Hons) Drama, Applied Theatre and Education

34 BA(Hons)Drama,AppliedTheatreandEducation:WritingforPerformance

36 BA (Hons) Theatre Practice

37 Overview

38 CostumeConstruction

40 DesignfortheStage

42 PerformanceArts

44 ProductionLighting

46 PropMaking

48 Puppetry:DesignandPerformance

50 ScenicArt

52 ScenicConstruction

54 StageManagement

56 TechnicalandProductionManagement

58 TheatreLightingDesign

60 TheatreSound

Productionworkshop

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BA(Hons)ActingMusicalTheatreandBA(Hons)TheatrePractice,West Side StorybyArthurLaurents/LeonardBernstein/StephenSondheim, publicproduction

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Andrew Garfield

Nonso Anozie

Graduated 2004, recent film credits include The Amazing Spider-Man 2, 99 Homes, and Martin Scorsese’s Silence with Liam Neeson and Benicio del Toro, scheduled for release in 2016.

‘Itcanbeaplayground.Thecoreteachersinspireandcanrevealpartsofyourselfthatyoumightnotknowexisted–ifyouallowthemthattrustandopenness,youcanexperiencetruecreativity.Itcanbetestingandastruggle,butthat’swheremostofthelearninghappens.IfeelthatmytrainingatCentralultimatelyshowedmehowgenerousyoucanbeinthisprofession.Youdefinitelygetoutofitwhatyouputin.Youareyourownmaster.Theteachers’expertiseissacred.Ifyou’reluckyenoughtobeinacreativeenvironmentwiththem,giveallofyourselftoit,butneverlosewhoyouare.Itallultimatelycomesfromwithinyou.Andjustplay.’

Graduated 2002, recent film credits include Cinderella, directed by Kenneth Branagh with Cate Blanchett and Derek Jacobi, Pan with Hugh Jackman, and television credits include Game of Thrones and Zoo.

‘Centraldidn’tforce-feedmeaboutwhattobe.CentralgavemeinfiniteoptionssothatIcouldchoosewhichonestotakeonboardandbuildmycraft.Everyoneatdramaschoolhadtalent.AtCentralyouaregiventimeandthetoolssoyoucanimproveyourskill.Withskillyourtalentcanshine.’

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Central’s professional actor training is legendary. Award-winninggraduatesincludeCushJumbo,ZoëTapper,NonsoAnozie,StephenTompkinson,ClaireBloom,JudiDench,RupertEverett,KevinWhately,JossAckland,MartinFreeman,ZoëWanamaker,GaelGarcíaBernal,JamesPurefoy,AndrewGarfield,JackDonnelly,KitHarington,JulieChristie,LaurenceOlivier,CarrieFisher,HaroldPinter,VanessaRedgraveandNatashaRichardson.

The BA (Hons) Acting offersthreespecialistcourses:Acting, Acting Collaborative and Devised Theatre (CDT) and Acting Musical Theatre.Intensiveconservatoiretrainingrequiresutterdedicationanddemandscourage,intelligence,witandgenerosity.

Historically,Centralactorshavealwaysbeenencouragedtoadoptapragmaticapproachtotheirtraining,drawinguponmultipleperformancetheories,ratherthansubscribingtoaparticulardoctrineormethod.Thethreespecialistundergraduateactingcourseslistedintheprospectusreflectthiseclecticismandcelebratethemanyandvariedtechniquesavailabletotheactorwantingtoworkintheatre,television,filmandradio.

Thethreecoursesexistwithinathrivingconservatoireenvironment–hometoadynamicrangeofrelatedperformancedisciplinesatbothundergraduateandpostgraduatelevel.Trainingiscontextualisedalongsiderelevantprofessionaladviceandisstructuredinsuchawayastograduallyequipthestudentwithathoroughunderstandingoftheindustry.

Professionalpreparation(includingmeetingswithagents,castingdirectors,producersanddirectors,aswellasmockauditions/castingsandaWestEndshowcase),hasmeantthat,inrecentyears,ahighpercentageofstudentssecureagentrepresentationupongraduation.

PerformancesbyActingalumnihavelongbeenrecognisedbymajorawardssuchastheBAFTAs,Oscars,GoldenGlobes,OlivierAwards,TonyAwards,LondonEveningStandardTheatreAwardsandTheSundayTimes/NationalTheatreIanCharlesonAwards.

Mostrecently,alumnihavebeenawardedaBritishAcademyTelevisionAwardforBestActor,PrimetimeEmmyAwardforOutstandingSupportingActorinaMiniseriesoraMovie,MTVMovieAwardforBestHero,BritishAcademyTelevisionAwardforBestSupportingActor,EmpireAwardforBestActor,GothamIndependentFilmAwardforBestEnsemblePerformance,SanDiegoFilmCriticsSocietyAwardforBestEnsemblePerformance,ArielAwardforBestActorandEmergingTalentAwardattheLondonEveningStandardTheatreAwards.

AllpotentialstudentsarerequiredtoattendauditionsheldinLondonandinternationally.Seetheauditionrequirementsection(page110)forfurtherdetailsonhowtoapply.

Geoffrey Colman Head of Acting

BA (Hons) Acting Overview

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A comprehensive classical and contemporary actor training, this demanding course nurtures students through a life-changing journey.

Studentsarechallengedtoachievetheirfullpotentialasactorsandacquireskillsforworkinginthefullrangeofactingcontexts.Thephilosophyofthecoursecanbesummedupbythewords‘embodiment’,‘imagination’and‘interaction’.Thetrainingdevelopstheactor’sbodyandvoiceasstrongandeffectivecommunicatorsofthought,emotionandintention,andopensuptheimaginationsothattheactorcancreateandsustainthree-dimensionalworldsfromtheplaywright’stext.Theseprocessesinvariablytakeplaceinaninteractivecontextsothattheactorisconstantlylearningtorespondtooutsidestimuli–whetherpeople,objectsoratmosphere–inanopenanduncensoredway.

StudentsareentitledtofullEquitystatusupongraduation.

ACTING

Duration:three years full-time, October start | Award:BA (Hons) Acting(accreditedbyDramaUK) (360credits/Level6) | Application:UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W410 CourseLeader:Nick Moseley(seeStaff,page13) PleaseseeImportantInformation(page116).

Year 1Freeinganddiscovering:studentsstartfromtheuniquenessofselfwithinthegroupcontextandtherigourofthetrainingstudio,andlearntoworkwithtruthandintegrity,openingupandreleasingthebody,voiceandimagination,anddevelopingapersonalprocessandcraftthroughwhichtobuildcharacterandlivetruthfullywithinafictionalworld.

Bylearningtoliveandbreatheinthemoment,studentsstarttodiscoverthecreativepotentialoftheactingspace.

YEAR 2 Stretchingandgrowing:buildingonthisexperience,studentsexpandtheirphysicalandemotionalrange,developingtheartoftransformationandworkingimaginativelyfromwithinworldsandcharacterswhicharesubstantiallyremovedfrom theirown.

Studentsalsolearntotransferskillstotelevisionandradio,andtowardstheendoftheyearstarttothinkaboutapplyingtheirtrainingwithinindustrycontexts.

YEAR 3 Applyingthecraft:throughaseriesofcontrastingpublicproductionsandrecordedmediaprojects,studentsapplyanddeveloptheircraftwithinsimulatedprofessionalcontexts,whileatthesametimeengagingintheprocessofinterfacingwiththeindustryandlearninghowtosurviveasaworkingactor.

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Professional Focus TheActingcoursehasstrongandgrowinglinkswiththeindustry.Centralemploysprofessionaldirectorsfromthesecondyear,andinvitesarangeofindustryprofessionalstodelivertalksandworkshopsonsubjectsfromauditiontechniquetorehearsingShakespeare.RecentguestsincludeacclaimeddirectorsMichaelGrandage,LindsayPosnerandMaxStafford-Clark,andwell-knownactorssuchasJamesPurefoyandKitHarington.Actingstudentsgainprofessionalworkwhilestillonthecourseandthereareregularvisitsbymajortheatrecompanies,suchastheRoyalShakespeareCompany,AlmeidaTheatreandOutofJoint,whogivetalksandholdworkshops.

RECENT VISITING STAFFDirectors, AuriolSmith(OrangeTree,RoyalExchange),RichardBeecham(CrucibleSheffield,Chichester),AngieLangfield(BelgradeTheatreCoventry),DugaldBruce-Lockhart(Propeller),BillBuckhurst(Shakespeare’sGlobe),SarahBerger(Casualty), RolfSaxon(Woman In Gold),RussellBolam,EllisJones,BillBuckhurst.

Visiting Professionals,IanBrener(TheatreRoyalHaymarket,Sadler’sWells),PaulHarris(Harry Potter),NickdiCola(Billy Elliot)PetaLily(TheatreduMouvement),MarkStreet(ForbiddenTheatreCompany),ChrisPavlo(BBCRadio),PhilipFoster(Thriller),MaryHowland,JonathanTafler,JoeAtkins.

BEYOND CENTRALRecent graduate successes include: Theatre, Baba in Hero’s Welcome writtenanddirectedbyAlanAyckbourn,StephenJosephTheatre;StrakerinMan And Superman, NationalTheatre;War Horse, Behind The Beautiful Forevers, NationalTheatre; Punk Rock, The Birthday Party,ManchesterRoyalExchange;As You Like It, Guildford ShakespeareCompany,Vienna’sEnglishTheatre;The Fastest Clock In The Universe, Chariots Of Fire,HampsteadTheatre;Days Of Significance,RoyalShakespeareCompanyTour;Twelfth Night,Regent’sParkOpenAirTheatre;The Hypochondriac,EnglishTouringTheatre;The Merchant Of Venice, The Taming Of The Shrew, Richard II,RoyalShakespeareCompany;Filumena,AlmeidaTheatre;The Changeling, Advice For The Young Heart,GreenwichTheatre;Eight

Miles High,RoyalCourtLiverpool;A Clockwork Orange,TheatreRoyalStratford East; Fear Of Music, Out of Joint; The Man Who Pays The Piper, The Breadwinner, The School For Scheming,OrangeTreeTheatre;Great Expectations,HotbuckleProductions;Kindertransport,NumberOneTour;Rebecca,Kneehigh.Television,JonSnowinGame Of Thrones,HBO;Desperate Romantics, Survivors, Doctor Who Christmas Special, Casualty, Holby City, Doctors, Call The Midwife, Emma, Pramface, Atlantis, BBC; Skins, The Inbetweeners, E4; Hollyoaks,Channel4;A Touch Of Frost, Doc Martin, Coronation Street, Cilla,ITV;Stella,Sky1;Vikings,HistoryChannel;Hetty Feather, The 4 O’Clock Club, CBBC; Crossbones,NBC.Film, title role in AngLee’sBilly Lynn’s Long Halftime Walk,TriStarPictures;Atonement,UniversalPictures;The Social Network,ColumbiaPictures;The Amazing Spider-Man 2,ColumbiaPictures/MarvelEnterprises;Boy A,CubaPictures/Film4;Gli Zii,featurefilm;In The Name Of Freedom,shortfilm;The Duchess,Pathé;Pompeii,TriStarPictures/ConstantinFilms/FilmDistrict;Base,KareemDavis.Radio, Moby Dick,BBCRadio4.

Lindsey Campbell

Graduated 2013, first professional London stage debut was in The Harvest at the Soho Theatre, currently filming The Holly Kane Experiment, British feature directed by Tom Sands, and will shortly play the lead in Michael Boyd’s production of Right Now at the Bush Theatre.

‘MytimeatCentralgavemetheessentialtrainingandknowledgeIneededtodevelopasanactoratthestartofmycareer.Thecourseoffersawidevarietyofteachingthat nurtures and liberates your creativity.IhavealsogainedahugesupportnetworkthatIknowwillalwaysbethere,insideandoutsideofCentral.’

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This innovative and rigorous actor training emphasises the creation of new theatre and embraces a multi-cultural and multi-disciplinary methodology. Studentswillgraduatewiththeskillstoworkinclassicalandcontemporarytheatre,film,radioandscreen,aswellasbeingaccomplishedmakersoftheirownwork.

ActingCDTcelebratesthecreativepotentialofcollaborativeprocessesaswellasthedevelopmentoftheindividualactor.ThecoreactortrainingincludesthepsychophysicaltechniquesofJacquesLecoq,MichaelChekhov,KonstantinStanislavski,KristinLinklaterandMosheFeldenkraisandemphasisesanembodiedandexperientialapproach.Aswellasdevelopingrehearsaltechniquesforscript-basedwork,thecourseencouragesactorstoexplorethemostup-to-dateformsoftheatreandfilmmakingandtohaveafullcreativeandpoliticalengagementwiththeirwork.

StudentsareentitledtofullEquitystatusupongraduation.

ActingCDTisincreativepartnershipwith

ACTING CDTDuration:three years full-time, October start | Award:BA (Hons) Acting (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W410 CourseLeader:Catherine Alexander (seeStaff,page12)PleaseseeImportantInformation(page116).

Complicite new LH.6 (2014).A/W:Layout 1 9/12/14 12:13 Page 1

Year 1Actinganddevisingpractice:throughprogressiveworkonacting,scriptanalysis,voice,movement,devising,ensemble,singing,danceandimprovisation,studentsbegintoundophysicalandvocalhabits.Theydevelopopennessandsensitivitytospace,imageandimpulseandcultivatepsychophysicalconnectivity.Studentsapplytheseapproachestoworkonpoetry,verbatim,observationandstorytelling,aswellasstudioworkonthreeplays.

YEAR 2 Transformingthroughactinganddevising:throughcontinuedandextendedworkstudentsmovetowardsgreaterexpressivityandtransformationacrossabroadrangeofcharactersandgenres.Thisisappliedtoafull-lengthdevisedperformance,Americanscenes,radiodrama,comedyofmannersandclassicaltragedy.Uniquely,thiscourseenablesthefullintegrationofdesign(sound,lighting,video,set)intheautumnterm.Theclass-basedtrainingconcludeswithathreeweekclownintensiveandaseriesofprofessionalpreparationworkshops.

YEAR 3 Testingcreativityandactorprocesses:throughproducingpublicperformancesforpayingaudiences,agents,castingdirectorsandindustryprofessionals,studentswilldeveloptheirartistryandindependence.Studentswillworkonatleasttwoplaysandonedevisedtheatrepiece,aswellasundertakingradioandscreentraining(includingrecordingvoiceclipsandshowreels,andwriting,shootingandeditingashortfilm).Oneofthethirdyearperformancesisusuallyperformedoff-siteataprofessionalLondontheatrevenue,asistheannualshowcase.

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TFISAYO AKINADEGraduated 2011, recently appeared in Cucumber for Channel 4, Banana for E4, A Midsummer Night’s Dream for BBC, and in The Vote at the Donmar Warehouse.

‘TheActingCDTcoursehasbeeninvaluabletome.Itsgreateststrengthisthatthroughdetailedandvariedtrainingitnurturesrealversatilityinanactor:anabilitytoadapttoalmostanysituation.Thishasbeenhugelybeneficialtomewhenmovingbetweenworkingonthestageandscreen.Thetechniquesyoulearnonthecourseareuniversalandcaneasilybeappliedtoanymedium.Forexample,theworkwedidonJacquesLecoqandMichaelChekhovmadescreenworkfeelinstantlyfamiliar.ActingCDTgivesyouaroundedtraininganditchallengesthelimitsofyourimagination-makingyouthinkmorefreelyandcreatively.’

Professional Focus PermanentmembersoftheActingCDTstaffregularlyworkonprofessionaltheatreprojectsand,fromtheoutset,theActingCDTstudentswillworkcloselywithprofessionaltheatrecompaniesandemergentorprofessionallyactivedirectors.Inrecentyears,studentshavehadworkshopsandcreatedperformanceswithComplicite,FilterTheatre,CatherineTate,LucyPorter,Ridiculusmus,JohnHegley,InspectorSands,DeclanDonnellan,MaxStafford-Clark,RobinSoans,TanikaGupta,TransportTheatre,BlindSummit,theTEAM(NewYork),outofIncandQuiconque.Filmandtheatreprofessionalsareofteninvitedtoholdresearchanddevelopmentworkshopswithstudents,whomaygoontoworkonthoseproductions.

RECENT VISITING STAFFDirectors, NancyMeckler(SharedExperience,RSC),MelChurcher(Control, Charlie And The Chocolate Factory),WilsonMilam(RoyalCourt,Donmar,TonyAwardNominee),DouglasRintoul(TransportTheatre,HampsteadTheatre),YaelShavit(YoungVic:JerwoodDirectorsAward),JohnWright(ToldbyanIdiot),DominicRouse(ConcernedArchitect,Headlong),

GráinneByrne(ScarletTheatre),SimonMcBurney(Complicite),JoyceHenderson(Complicite,NationalTheatre),JemimaJames(Complicite,TheatreO).Visiting Professionals, TanikaGupta(RoyalCourt,RSC,BBC),AllyCologna,MaxMackintosh,ImogenKnight(OldVic,RoyalOperaHouse,Sadler’sWells),MaeveDiamond,StephenKemble(RSC,BirminghamRep),VickiManderson(NationalTheatreofScotland),LucyCullingford(RSC),DavidAshley,NgChoonPing(RoyalExchangeHodgkissAwardwinner),JulieSpencer(Shakespeare’sGlobe),RobertBowman(RSC,NT,LivingPictures).

BEYOND CENTRALRecent graduate successes include: Theatre, Lionboy, The Encounter,Complicite;Barbarians,YoungVic;Moon On A Rainbow Shawl, Emil And The Detectives, People, Places, Things, Three Days In The Country, The Amen Corner, NationalTheatre;A Midsummer Night’s Dream,BristolOldVic;Beautiful Burnout,FranticAssembly;The Roaring Girl,The White Devil,RSC;The Alchemist,LiverpoolPlayhouse; Let The Right One In,NationalTheatreofScotland;The Vote, The Silence Of The Sea, Making Noise Quietly,DonmarWarehouse;The Mystae, A Human Being Died

That Night,HampsteadTheatre;Richard II, Money The Game Show, Waiting For Godot, Refugee Boy,WestYorkshirePlayhouse;Truth And Reconciliation,RoyalCourtTheatre;Powder Monkey,ManchesterRoyalExchange;War Horse,WestEndand Broadway; Romeo And Juliet, Hamlet, A Midsummer Night’s Dream,Shakespeare’sGlobe;The Duchess Of Malfi,TheOldVic;Fear Of Music,OutofJoint.Television, Stella,Sky1;Downton Abbey, Foyles War, A Touch Of Frost,ITV;Banana, Youngers,E4;One Child, EastEnders, The Ark, Peaky Blinders, Wallander, The Village, Inspector George Gently, Casualty, Holby City, Doctor Who, Robin Hood, Our Girl, Doctors, Call The Midwife, New Tricks, BBC; Cucumber, Hollyoaks, Fresh Meat, Drifters, Blackout, Channel 4; Law And Order,Hallmark;Game Of Thrones,HBO.Film, She Who Brings Gifts,AltitudeFilms;Gravity, Sherlock Holmes,WarnerBros.;New Worlds,CompanyPictures;Good People,MillenniumFilms;World War Z,ParamountPictures;The Rochdale Pioneers,Film4;The Look Of Love,Film4/BabyCowProductions/RevolutionFilms;This Is Not Happening,PicnicFilms;Cinderella,John Carter,Disney/Pixar.

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Year 1Classesandworkshops:afulltimescheduleinactingfundamentals,actingthroughsong,spoken/sungvoice(including1:1weeklysinginglessons)ballet,jazz,ballroomandcontemporarydance,clowning,textanalysis,musicaltheatrerepertoireandensemblesinging.StudentsundertakeperformanceprojectsthatincludeChekhov/Dostoyevsky/PinterscenesandShakespearecomedy.

YEAR 2 Continuingpracticaltraininginalldisciplines:performanceprojectsincludeBrecht,Orton,Greektheatre,contemporaryAmericanscenes,comedyofmanners,aSondheimmusicalandShakespearetragedy.Secondyearstudentsperformapublicproductionbookmusicalalongsidefinalyearstudents.

YEAR 3 Focusisonprofessionaldevelopment:withpublicproductionperformances(plays,musicals,actor/musicianshows),aWestEndindustryshowcase,actingforcamera(includingaprofessionalshowreel),radiotraining(includingavoicereel)andrecordingaprofessionalsungvoicereel.

Previousplaysinclude:Pentecost (Edgar),The Man Of Mode (Etherege),Too Clever By Half(Ostrovsky),Black Snow (Bulgakov).Musicals:Sweet Charity, West Side Story, City Of Angels, Cabaret, Grease.Newcommissions:Keeping The Faith (NorthernSoul),THE WISH!, THE TWEE MUSKETEERS!, Sleeping Cutie(rockandrollactor/musopantomimes).

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The Acting Musical Theatre course offers intensive training in the core musical theatre disciplines of acting, singing and dancing, with the emphasis firmly on acting. Studentsgraduatewiththeskillstoworkinclassicalandcontemporarytheatre,musicals,featurefilm,televisionandradio.Thecoursehasoutstandinglinkswiththeperformingartsindustryandthisisreflectedinthewiderangeandhighpercentageofgraduateemployment.

StudentsareentitledtofullEquitystatusupongraduation.

ACTING MUSICAL THEATREDuration:three years full-time, October start | Award:BA (Hons) Acting (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W410 CourseLeader:Wendy Gadian (seeStaff,page12)PleaseseeImportantInformation(page116).

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Kadiff Kirwan

Graduated 2011, credits include City Of Angels and Teddy Ferrara at the Donmar Warehouse, Home at the National Theatre, the BBC3 comedy Crims, and Chewing Gum television series on E4.

‘Thisisclassicalactingtrainingwithanedge.Thereisn’tacourselikethisoutthereatanyotherdramaschool.ItgavemeallthetoolsIneededtogetagreatstartasaprofessionalactorinthisridiculouslyhardprofession.Iwon’tliebysayingthatitwaseasy–nothingworthwhileis.SincegraduatingIhavebeenfortunateenoughtohavebeeninproductionsofplays,musicalsandonTV,attheNationalTheatre,theDonmarandonvariousUKandworldtours.ThisisthecoursethathadahandinmakingithappenandforthatIameternallygrateful.’

Professional Focus Themajorityoftheteachingisdeliveredbyvisitinglecturers.Allstudentsonthecourseengagewithindustryprofessionalsonaweeklybasis.Therearemanyexternalperformanceopportunitiesthroughoutthetrainingandthecoursecollaborateswithawiderangeofartists,theatrecompaniesandproducers.RecentcollaborationsincludetheNationalTheatre(NTConnectionsandNTStudio),AndrewLloydWebber(ReallyUsefulGroup),BryonyKimmings,CompliciteandPinkFloyd(fortheproducersshowcaseofTheWall),DerbyLIVE(co-producersforthetouroftheautumntermpublicproduction),RoyalCollegeofMusic(OperaSchool)andRoyalNorthernCollegeofMusic(SchoolofComposition).ThecourseenjoysaclosecollaborationwiththeAndrewLloydWebberFoundationwhichgenerouslyco-supportstheteachingpostofALWAssociateMusicalDirector.

Studentscurrentlybenefitfromahighlevelofexternalscholarshipandbursarysupport(tohelpwithfeesandlivingexpenses)fromthefollowingtrustfunds:IanFlemingAwardforMusicalTheatre(twoscholarships),OlivierBursaryAward,LionelBartFoundation,PilkingtonTrust,DavidDayAwardforMusicalTheatre,AndrewLloydWebberFoundation,andtheFergalO’MahonyFoundation.

RECENT VISITING STAFF Directors, AnnaLedwich,PhilipFranks,MartinParr,RobertShawCameron,MariaFriedman,EdHughes,AnthonyBanks,KellyHunter,JaneBertish.Musical Directors, PhilipBateman,

CatherineJayes,MichaelHaslam,BenHolder.Dance, LynneThomas,LizzieGee,EllenJakubiel(ballet).Acting, CarolHarvey,AndreiBiziorek.Actor Movement, MarkBell(clowning),ErikaCuk(Decroux);Sung Voice, VeronaChard,SarahLeonard;Spoken Voice, Annie Morrison,ElspethMorrison,JessicaHiggs.Acting for Camera,DavidHounslow,EmmaCunniffe.Radio, HarryMyles,ColleenPrendergast.Professional Preparation, Sir CameronMackintosh,DavidGrindrod,AnjiCarroll,LauraStanczyk(NewYork),MichelleBraidman,CliveRowe.

BEYOND CENTRAL Recent graduate successes include: Theatre, Hangman, RoyalCourtandWyndhamsTheatres;Mr Foote’s Other Leg,HampsteadTheatreandTheatreRoyalHaymarket;RoyalShakespeareCompany2015season;War Horse, The Curious Incident Of The Dog In The Night-Time, Chariots Of Fire, Home, Othello, The Elephantom, NationalTheatre;Wolf Hall and 2014season,RoyalShakespeareCompany;Viva Forever, PiccadillyTheatre;The Judas Kiss,DukeofYork’sTheatre;Great Expectations,VaudevilleTheatre;Goodnight Mister Tom,PhoenixTheatre;The Recruiting Officer, The Physicists,DonmarWarehouse;The Wild Bride/Midnight’s Pumpkin,Beggar’s Opera,KneeHigh;A New World,Shakespeare’sGlobe;Equus, To Kill A Mockingbird,UKtours;The Little Prince,LyricBelfast;Hurts Given And Received, The Wrestling School, RiversideStudios;The Railway Children,WaterlooStation;The Lion, The Witch And The Wardrobe,KensingtonGardens.Regional Theatre, Jesus Christ Superstar, Arena tour; Hairspray, UKtour;The

History Boys,Mercury,Colchester;Jack And The Beanstalk,LiverpoolPlayhouse; Barnum, CameronMackintosh,ChichesterFestivalTheatre.Christmas shows 2014,leadingrolesatLyricHammersmith,EverymanTheatreLiverpool,CornExchangeNewbury,TheQuarterinChester,TheParkinFinsburyPark.Television, Sound Of Music Live!,ITV;Olyvarin Game Of Thrones, The Red Tent, HBO; Killjoys,CanadianTV;Call The Midwife, Banana, E4; Murdered By My Boyfriend,BBC;MrSelfridge,EastEnders(regularcharacter/leadingrole);The Syndicate, Black Mirror, Holby City, Doctors(guestcharacters);Great Expectations, Money, BBC; Horrible Histories,CBBC; Whitechapel,ITV;Black Mirror, Shameless,Channel4;Misfits, The Inbetweeners, E4.Film, AngelinX-Men Apocalypse,Killjoys, Dark Souls, Pride, Tulip Fever,Mr Turner, Les Misérables, W.E., Hereafter, X-Men: First Class, Age Of Heroes. Musicals (London), City Of Angels,DonmarWarehouse;Mamma Mia, Stephen Ward, Sweeney Todd,Aldwych;Merrily We Roll Along, PinterTheatre;Jersey Boys,PiccadillyTheatre;Les Misérables,Queen’sTheatre;Oliver,TheatreRoyalDruryLane;SohoCinders,SohoTheatre. UK tours, The Two Worlds Of Charlie F, Dead Dog In A Suitcase and Other Lovesongs,Kneehigh,Sister Act, Avenue Q, Les Misérables 25th Anniversary European Tour, Joseph And The Amazing Technicolor Dreamcoat, Dreamboats and Petticoats, Spring Awakening, EnglishTheatreFrankfurt;Brassed Off,TheTouringConsortiumCompany.Radio, SBLT(Single But Living Together), Great Expectations,BBCRadio4.

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Year 1Explorepracticalandtheoreticalperspectives:studypractices,conceptsandideasrelatingtodrama,appliedtheatreandperformance.Studentsareintroducedtodramainarangeofcommunityandeducationalcontexts,undertakepracticalunitsexploringtheatremaking,andarealsoinvolvedinafull-scaleproduction.

YEAR 2 Undertakefully-realisedperformances:inCentral’sstudiotheatres(e.g.SimonStephens’Pornography,HeinerMüller’sExplosion Of A Memory,SarahKane’s4.48 Psychosis,HaroldPinter’sMountain Language),orplaywritingandfilmmakingoptionsusingCentral’sexcellentfacilities.

Furtherlectureprogrammes:basedaroundplaytextsandtheroleofdramaasaforceforchangeincontemporarysociety.Studentsstudyappliedtheatrecontextsthroughstudyunitsandacollaborativeoutreachproject,workingasagroupcreativelyinLondonorbeyond,includingoverseas.

YEAR 3 Focusonprofessionaldevelopment:studentspursuetheirownspecialistinterestsfurther.Unitsincludeadissertation,afinalstudent-ledpracticalprojectandaterm-longplacement.Thedegreeconcludeswithaspecialistlectureseriesdeliveredbyartists,academicsandresearchers,whoarepioneeringinthefieldofappliedtheatre.

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Drama, Applied theatre and education Duration:three years full-time, October start | Award:BA (Hons) Drama, Applied Theatre and Education (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W490 | CourseLeader:Dr Stephen Farrier (seeStaff,page12)PleaseseeImportantInformation(page116).

Making theatre to inspire others and taking performance skills into communities, learn how theatre making can change lives on this world-leading course.

TheBA(Hons)Drama,AppliedTheatreandEducation(BADATE)bringsstudentsintocontactwithperformancemakingoutsideoftraditionaltheatrespacesandworksincommunitycontexts,aimingtobringaboutchangeandtransformationincommunitiesandtoparticipantsfromallwalksoflife.

Studentslearntomaketheatreandacquirepracticalknowledgeandunderstandingofhowtheatremakingcanbeharnessedtochangelives.Focusingonawiderangeofpracticesinnumerousdiversesettings–suchasschools,hospitals,prisons,pupilreferralunits,refugeescamps,communitycentres,playgrounds,parks,andnursinghomes,intheUKandabroad–thecoursehasalongheritageofinnovativeandcutting-edgeresearchandpractice.BADATEgraduatesarehighlyemployableandleadthefieldinappliedtheatreinternationally.

Exploringbothpracticalandtheoreticalperspectives,studentsengagewitharangeofpractitioners,performancestylesandplaytexts.Livelydebateisacornerstoneofthecourseandstudentsenergeticallydiscussissuesrelatedtoperformance,community,educationandappliedtheatre.

BADATEgraduateshavehigh-levelprofessionalskillsbecauseCentralworksincollaborationwithmanyprofessionalorganisationsandpractitioners.Studentsparticipateinplacementsandoutreachworkinmanycommunity,health,educationandartssettingswithinLondonandbeyond.

Whilstdevelopingonthecourse,studentsacquireskillsinareassuchasdevising,directing,performing,playwritingandfilmmakinganddevelopandproducetheirowndevisedprojectspresentedatCentral’sstudiospaces.Studentsparticipateinaprofessionalquality,fully-realiseddirectedproduction.Examplesofpreviousproductionsincludesite-specifictheatrecommissionedbytheFusestreetartfestivalinKent,touringensembleworkfortheunder-fives,atouringtheatreineducationshowinthenorthofEnglandandopen-airperformancesattheMinackTheatreinCornwall.

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Studentsworkalongsideanimpressiverangeofvisitingprofessionalpractitioners,playwrights,filmmakersandappliedtheatrespecialistsfromarangeofprestigiousorganisationssuchasTamashaTheatre,theRoyalCourtTheatre,Complicite,TalawaTheatreCompany,LondonBubbleTheatreCompany,GreenwichandLewishamYoungPeople’sTheatreandSynergyTheatreProject.

Studentslearnthroughadynamicprogrammeofformallectures,essaywriting,workshops,skillssessions,movementandvoiceclasses,seminars,

performancework,groupandindividualpracticeandplacementlearning.BeingatCentralmeansstudentsbenefitfromthespecialistexpertiseandresourcesavailableduetothecourse’suniquepositioningwithinadramaschool.

Webelievethatexcellentprofessionalapplieddramatheatremakersareskilledbothpracticallyandintellectually.Asaresultweworkwithstudentstohelpthemconsidertheoryinpracticeandthepracticeoftheory,engaginginasupportedandrigorousapproachtothinkingandreflectingaboutappliedtheatre.

Segun Olaiya Graduated 2012, Drama Facilitator and Programme Coordinator at Instinct PR, previously worked at the Talawa Theatre and Lyric Theatre Hammersmith.

‘Asamaturestudent,Ineverthoughtuniversitywasforme.IfyouhadaskedmeafewyearsagowhatI’dbedoing,IwouldnothavethoughtthatIwouldhavegonetoCentraltostudy.Itgoestoshowthatifyouhavetherightsupportsystemsandnetworksaroundyou,anythingispossible.Forme,thejourneywasaboutexpectingtheunexpectedandembracingitwithoptimism,acceptingthechallenge.Ifeelthatmanydoorshaveopenedthatwereonceclosedtome.’

Minackrehearsals

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Assessmentiscarefullyintegratedintotheexperienceoflearningandstudentsareencouragedtoplacetheirownexperiencesandpracticeattheheartoftheirstudies.Thediverseassessmentmethodsadoptedbythecourseincludepresentations,practice,dramaworkshops,researchprojects,traditionalessays,adissertationandprofessionalplacementwork,whichisassessedbyprofessionalsworkingintheindustry.

BADATEworkscloselywithmajororganisationsinternationallyandintheUK,andhasexcellentpartnershipswithintheappliedtheatreindustry.StudentshaveonemajorplacementinYearThreeandexperienceinaprofessionalcontextinYearTwo.IntheUK,companiesincludetheRoyalCourtTheatre,NationalTheatre,UnicornTheatreforChildren,GraeaeTheatreCompany,HalfMoonYoungPeople’sTheatre,CleanBreak,Shakespeare’sGlobe,LondonBubbleTheatreCompanyandanumberofsmaller,innovative,communityfocusedtheatreorganisations,such asLittleFishTheatreCompany.

Somestudentshavetheopportunitytotravelandexploretheuseofdramaindiversecommunitysettings.InrecentyearsstudentshaveundertakenprojectsinplacessuchasKosovo,Romania,Thailand,NewYork,SouthAfrica,ZimbabweandMumbai.Mostofthisworkisundertakeninpartnershipwithinternationalartsorganisations,whichworkcloselywithcoursetutorsandstudentstodesign,developanddeliverprojects.

Centralhastheonlyappliedtheatrecourseswherestudentshaveaccessto£60,000fundingfromtheLeverhulmeTrusttosupportdistantprojects(seewww.cssd.ac.uk/content/applying-theatre-training-through-outreach-awards).

Shakespeare’sGlobeplacement

AlumnicompanyFullHouse.Photo:ShaunArmstrong/musta.com

The Bird’s Song, Year2performance

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Placements and Professional Focus Throughoutthedegreestudentshavetheopportunitytoworkincollaborationwithawiderangeofindustryprofessionalsfromvisitinglecturersandworkshopsbyleadingpractitionersandacademicsinthefieldofappliedtheatre,tocreatingprojectsandperformanceswithprofessionalcompaniesandartists.Thecoursenurturesrelationshipswithlocal,nationalandinternationalcommunityandeducationalartsorganisations,fromTenderinnorthLondon(involvedinthepreventionofdomesticviolenceandsexualabuse)toSibikwaArtsCentreinBenoni,SouthAfrica,andfromCamdenCarersinnorthLondon(involvedinsupportandrespiteforfamilyandunpaidcarers)toSNEHAinMumbai(NGOsupportingmothersandchildrenacrossIndia).

Thestudentexperiencewithindustryvariesfromsmall-scalecollaborativepracticetopeer-professionalplacements.Professionalcompaniesarealsoinvitedtocreatenewpracticewithstudents,eitheron-siteatCentral,oratoff-sitetheatrevenuesandperformancespaces.

Forexample,overthepastfewyearsstudentshaveworkedwithanumberofdifferenttheatrecompaniesattheMinackTheatreCornwall,includingCartoondeSalvoandTwistingYarn.Studentshavealsoparticipatedinstaff-ledresearchprojectsandworkshopsledbyartistsfromcompaniessuchasGraeaeTheatreCompany,TheatreCompanyBlahBlahBlah,IceandFireTheatreCompany,PunchdrunkTheatreCompany,NationalTheatreandtheRoyalCourtTheatre.

AllstudentspaticipatinginplacementswillberequiredtocompleteaDisclosureandBarringService(DBS)check.Thisisamandatorygovernmentsafeguardingschemeforallthoseseekingtoworkinanycapacitywithminorsorvulnerableadults.

RECENT VISITING STAFF AleckyBlythe,Playwright(London Road);OladipoAgboluaje,Playwright(The Hounding Of David Oluwale, The Christ Of Coldharbour Lane),PerformanceArtist;OlaAnimashawun,ArtisticAssociate,RoyalCourtTheatre;ProfessorJamesThompson,authorofPerformance Affects; Professor HelenNicholson,authorofApplied Drama: The Gift Of Theatre;JennySealeyMBE,ArtisticDirector,GraeaeTheatreCompany;RobWatt,YouthProgrammeManager,NationalTheatre;PeteHiggin,EnrichmentOfficer,PunchdrunkTheatreCompany;TerryO’Leary,AssociateArtist,CardboardCitizens;BolaAgbaje,Playwright(Gone Too Far!, Off The Endz);VickyIrelandMBE,DirectorandFounderofActionforChildren’sArts;KarenTomlin,Director;VishniVelada-Billson,DirectorandAssistantHeadofEducation(Learning)atCleanBreakTheatreCompany.

BEYOND CENTRAL Graduate employment and career pathways include: Director,FabricateLondon,Advocreate.DramaWorker,ImmediateTheatre.Education and Drama Facilitator,OpenMindsTheatreCompany,CapitaEducation.Education Associate,YorkTheatreRoyal.Project Support Officer,GreenwichCouncil.WorkshopLeader,ExeterNorthcottTheatre.Creative Arts Teacher,KemnalCollege.DramaEducator,BigfootTheatreCompany.Project Manager,YoungPeopleProgrammes,RoyalShakespeareCompany.Education Events Officer,Shakespeare’sGlobe.Assistant Director,RoyalCourtYoungWriters’Programme.Youth and Outreach Worker, Playwright and Youth Worker,AlmeidaTheatre.Animateur,C&TTheatreCompany,HarrowArtsCentre.Assistant Director,OxfordPlayhouse.Creative Projects Facilitator,MakeBelieveArts.Trainee Director,SalisburyPlayhouse.Head of Theatre Studies,TheCorwin-Russell

School,Massachusetts,USA.Head of Education,HallforCornwall.Associate Director,BirminghamRep.Broadcast Production Assistant,BBCExtendScheme.Freelance Director and Winner of the 2011 Elsa Roberts Prize for Directing.Playwrights,Ovalhouse,TamashaTheatreCompany.Creative Projects Manager,SheffieldTheatres.Executive Producer,dreamthinkspeak.Co-Artistic Director,LittleFishTheatreCompany.Founder members of companies,MilkPresents,FullHouse.

Recent further study, teacher training courses, master’s degreesinPerformancePractices,DevelopmentStudies,andDramaandMovementTherapy.Research degrees at Central and other universities.

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Year 1Exploringconceptsandideas:relatingtoappliedtheatreandwritingforperformanceinlectureprogrammesandworkshops.Studentsareintroducedtodramaandwritinginarangeofperformanceandcommunitycontexts,andundertakepracticalunitssuchasaproduction,devisingandplaywriting.Currently,thisproductionisamajorprojectspreadovertheentiresummertermandisadevisedperformance.

YEAR 2 Workshops/masterclasses/studyunits:studentsengagewithprofessionalplaywrightsandtheatremakersandproduceashortextractofscripttobepresentedatarehearsedreading.Furtherlectureprogrammesarebasedaroundwritingforperformance,playtextsandtheroleofdramaasaforceforchangeincontemporarysociety.

Studentswillexperiencetheroleofthewriterinanappliedtheatrecontextthroughstudyunitsandacollaborativeoutreachproject,workinginagroupcreativelyinLondonorbeyond,includingoverseas.

YEAR 3 Focusonprofessionaldevelopment:studentspursuetheirownspecialistinterestsfurther.Unitsincludeadissertation,andafinalperformancewriting-focusedpracticalproject.Thedegreeconcludeswithaspecialistlectureseriesdeliveredbyartists,academicsandresearchers,whoarepioneeringthefieldofdrama,theatre,performanceandappliedtheatre.

Drama, Applied theatre and education: WRiting for PerfoRManceDuration:three years full-time, October start | Award:BA (Hons) Drama, Applied Theatre and Education (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W490 | CourseLeader:Dr Stephen Farrier (seeStaff,page12)PleaseseeImportantInformation(page116).

Learn how to make theatre while focusing on the writer’s role within a wide range of performance contexts.

ThispathwayoftheSchool’slongestablishedandhighly-regardedBA(Hons)Drama,AppliedTheatreandEducation(BADATE)programmecentresaroundsociallyengagedpracticewhilstintroducingthedramaturgicalskillsofwriting.StudentstakingtheBA(Hons)TheatrePracticePerformanceArtscourse(seepage42)mayjointheWritingforPerformancepathwayforcertainunitsofferingavibrantmeshingofwritingatundergraduatelevelatCentral.Studentswillparticipatepracticallywiththeprocessesofwritingforperformance,whilstalsoengagingwiththedifferenttheoriesandpracticesoftheatremaking,performanceandappliedtheatre.

Studentswillworkalongsideprofessionalwritersandengagewitharangeofvisitingtheatrepractitionersfrommanydifferentdisciplines.Theywillinterrogatetheroleofthewriterwithinthecreativeprocessandinvitestudentstoengageinnewanddiverseapproachestowritingforperformance,includinggenressuchasdocumentaryandverbatimtheatre,soloandgroupdevisedperformanceaswellaswritingforliveartanddigitalmedia.

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WritingforPerformancesharescorelearningelementswiththeBADATEprogramme.Throughoutthethreeyearsofstudy,studentsencounterawiderangeoflearningandteachingstylesandengagewithlearningthroughpracticalworkshopsandtheatremaking,aswellaslecturesandseminars.

Akeycomponentisanemphasisoncollaborationleadingtoengagementwithabroadrangeofperformancepractices,keypractitionersandwriterswithinthefieldoftheatre,dramaandperformanceandwithdiverseparticipantgroupsandcommunities.Studentshavetheopportunitytoparticipateandcreateprojectsincollaborationwithotherstudentsandexploretheroleofthewriterwithindifferentcommunity-specificcreativeprojects.Central’svibrant,contemporarytheatremakingenvironmentoffersanexcitingandsupportiveenvironmentfordevelopingasawriterforperformance.

Aswellasfocusingonwritingforperformance,studentswillexperiencetheprocessofmakingtheatreasaperformerandareintroducedtoworkshopandfacilitationskills.Studentsparticipateinafully-realiseddirectedproductionmadeforaspecificaudienceandhavethe

opportunityofgeneratingscriptsforrehearsedreadingsinfrontofsupportiveaudiences.

Assessmentiscarefullyconnectedtotheexperienceoflearningandstudentsareencouragedtopositionthemselvesattheheartoftheirlearning.Theassessmentmethodsusedincludepresentations,practice,dramaandwritingworkshops,researchprojects,traditionalessays,adissertationandthecreationofnewwriting,someofwhichwillbeviewedbyprofessionalsworkingintheindustry.

CentralworkscloselywithmajororganisationsinternationallyandintheUKandhasformedexcellentpartnershipswitharangeofprofessionalnewwritingorganisationsandmanyinnovativeandcuttingedgepractitionersandwriters.OrganisationsincludetheRoyalCourtTheatre,NationalTheatre,Headlong,YorkTheatreRoyal,CleanBreak,Shakespeare’sGlobeandLondonBubbleTheatreCompany,aswellasotherinnovative,communitybasedtheatreorganisationssuchasSceneandHeard,LittleFishTheatreCompanyandApplesandSnakes.

StudentscanapplyforLeverhulmefunding(seepage32).

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Placements and Professional Focus Throughoutthedegreestudentshavetheopportunitytoworkincollaborationwithawiderangeofindustryprofessionalsfromvisitinglecturers,professionalplaywrightsandworkshopsbyleadingpractitionersandacademicsinthefieldoftheatreandperformance,tocreatingprojectsandperformanceswithprofessionalcompaniesandartists.Thepathwaynurturesrelationshipswithlocal,nationalandinternationalcommunityandeducationalartsorganisations,fromRewriteinsouthLondon(whichusesdramatobringyoungpeopletogetherandsupportyoungpeopleforwhomEnglishisanadditionallanguage)toSNEHAinMumbai(NGOsupportingmothersandchildrenacrossIndia).

Studentexperienceswithindustryvaryfrommasterclasseswithsomeofthecountry’sleadingtheatrepractitionersandplaywrights

tointeractionwithsmall-scalecompaniesdoingexcitingandinnovativework.Professionalcompaniesareinvitedtocreatenewpracticewithstudents,either on-siteatCentral,ontourinvariouspartsoftheUK,oratoff-sitetheatrevenuesandperformancespaces.

Forexample,overthepastfewyears,studentshaveworkedwithanumberofdifferenttheatrecompaniesattheMinackTheatreCornwall,includingCartoondeSalvoandTwistingYarn.Studentshavealsoparticipatedinstaff-ledresearchprojectsandworkshopsledbyartistsfromcompaniessuchasGraeaeTheatreCompany,TheatreCompanyBlahBlahBlah,IceandFireTheatreCompany,PunchdrunkTheatreCompany,NationalTheatreandtheRoyalCourtTheatre.

AllstudentsparticpatinginplacementswillberequiredtocompleteaDisclosureand

BarringService(DBS)check.Thisisamandatorygovernmentsafeguardingschemeforallthoseseekingtoworkinanycapacitywithminorsorvulnerableadults.

RECENT VISITING STAFF AleckyBlythe,Playwright(London Road);RachelDe-lahay,Playwright(The Westbridge, Routes),BolaAgbaje,Playwright(Gone Too Far!, Off The Endz);OlaAnimashawun,ArtisticAssociate,RoyalCourtTheatre;ProfessorJamesThompson,authorofPerformance Affects;ProfessorHelenNicholson,author of Applied Drama: The Gift Of Theatre;JennySealeyMBE,ArtisticDirector,GraeaeTheatreCompany;RobWatt,YouthProgrammeManager,NationalTheatre;PeteHiggin,EnrichmentOfficer,PunchdrunkTheatreCompany;TerryO’Leary,AssociateArtist,CardboardCitizens.

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Graduated 2006, Director, Designer and Performer of Puppetry, highlights include work with the National Theatre (War Horse, The Elephantom), Disney Theatrical Group, Royal Opera House, Royal Ballet, Chichester Festival Theatre, Manchester Royal Exchange and Greenpeace.

‘Thewholeethosofthecourseiscollaboration.Eachtermconsistsofafewweeksofskillstrainingandworkshops,followedbytheopportunitytoworkalongsidecolleaguesstudyingotherdisciplinestomaketheprojectorperformancehappen.Withstaffexpectingyoutobehaveasatheatrepractitionerfromdayone,youareimmediatelygiventheatre-makingchallengestoovercome.ThenetworkcontactsthatIgainedatCentralwereincredibleandbytheendofcourse,IfeltIhadmettheleadingfigureheadsofBritishpuppetry.’

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Design&CraftsExhibition

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BA (Hons) Theatre Practice Overview

BA (Hons) Theatre Practice is a programme of specialist degree courses in the creative and production practices of theatre and associated arts. Studentsreceiveahigh-levelspecialisttraining,rootedinathorough,practicalunderstandingofhowideasbecomerealisedthroughcollaboration,communicationandeffectiveplanningandresourcemanagement.

TheatrePracticegraduatesarequalifiedtoworkprofessionallywiththecriticallyreflectiveskillsandknowledgenecessarytocontinuallydevelop,innovateand,eventually,lead.Theyknowtheimportanceofmutualrespectfortheprocessesofothers,andinturncommandtherespectoftheircollaborators.Studentswilllearnthesecorelessonsthroughpracticalprojects,whileundertakingspecialiststudyinoneofthe followingdisciplines:

> Costume Construction> Design for the Stage> Performance Arts> Production Lighting> Prop Making> Puppetry: Design and Performance> Scenic Art> Scenic Construction> Stage Management> Technical and Production Management> Theatre Lighting Design> Theatre Sound.

Distinctively,thecoursesadmitstudentswhoalreadyhaveacommitmenttoaspecialistareaoftheatrepracticeonentry.Theyare,therefore,abletodevelopstudentstoahigherlevelofspecialistpractice(withadvancedskillsofinterdisciplinarycollaboration).Basedontheprocessesoftraditionaltheatrepractice,thecoursesencouragestudentstoapplydepthandrigorouspracticetoawidertheatrecontext.

Whilststudentsspecialiseinoneofthesesubjects,theywillworkinmixedteamswithstudentsoftheotherspecialismsonpracticalprojectsandproductions.Thereisalsotheopportunitytoworkwithacting,appliedtheatre,movement,voice,dramaturgyandwritingstudents,encounteringmanydifferentmodelsoftheatreandperformancepractice.

Studentswillhavetheopportunitytocollaboratewithprofessionalcompaniesandindividuals.RecentcollaboratorsincludeGoatandMonkey,Parrot{inthe}Tank,BlindSummit,EnglishNationalOpera,LittleAngelTheatre,NationalTheatre,theRoundhouse,InstituteofContemporaryArts,RobertLepage,BorderCrossings,Nutkhut,ShuntandEmergencyExitArts.

Asappropriate,studentswillhavetheopportunitytousetechnicalfacilitiesunrivalledinthesector.Alongsidetraditionaltechniquesandmethods,theywillengagewiththelatestdigitalpractices,includingcomputer-aideddrafting,renderingandmodelling,imagecaptureandmanipulation,digitalsoundproductionanddesignandshowcontrol.

Thecourseshaveexcellentindustrylinkswiththeperformanceandentertainmentindustry.AswellasundertakingprojectswiththeatreinstitutionssuchastheNationalTheatre,RoyalShakespeareCompany,theRoyalOperaHouseandEnglishNationalOpera,studentsmayhaveopportunitiestoworkwithfilmandtelevisioncompanies,museumsandgalleriesonimmersivetheatreanddevisedtheatre,andalsovisualmerchandisingprojectswithConran,HarveyNicholsandLiberty.

Caroline Townsend Programme Leader BA (Hons) Theatre Practice

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Year 1Projectsandworkshops:tounderstandtheroleofthecostumeinterpreter,includingwomen’spatterndrafting,goodsewingtechniques,dyeingandbreakingdownskillsandtaughtsessionsoncostumesupervision.Workingwithaprofessionaldesignertoproducecostumesforatableauvivantandadaptingamodernpatternblocktomakingperiodunderwear,suchascorsetryandcrinolines.Workingaspartofateamonapublicproduction,studentswillbedressingandundertakingwardrobemaintenance.

Year 2Developingskills:inpatterncuttingformenandwomen,cuttinganddrapingonthemannequin,andlearningandapplyingtailoringtechniques.StudentswillmakeoutfitsforCentral’spublicproductions,andcostumesthatlookatapersonalinterest,suchasatutu,frockcoatorapropcostume.Theywillhavetheopportunitytoundertakeaplacementwithaprofessionalcompanyorassistacostumesupervisoronaprofessionalproduction.

Year 3Focusonprofessionaldevelopment:actingasHeadofDepartmentonafull-scalerealisedproductionintheEmbassyTheatreorWebberDouglasStudio,studentswilltakeontheroleofWardrobeSupervisormanagingthecostumesandstudentsinthecostumedressingteams.Theywillundertakeprofessionalprojectsandplacements,researchingandmakingacostumetotheirownspecifications,workingwithaprofessionalcompanytocreatecostumesortocostumesupervise.Studentswillparticipateinanexhibitiontopresentaportfolioofbestworktotheindustry.

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Jonathan Burniston

Graduating 2016

‘MyfirsttwoyearsatCentralhavebeentwoofthebusiestyearsofmylife.TheskillsandconnectionsIhavemadewouldnothavebeenpossiblewithoutthetrainingandadvicefromthetutorshere.TheseskillsareputintopracticeduringliveshowsatCentralandonindustryplacements.NotonlyamIlearningspecialisedskillsnecessaryforthecareerIwant,Iamlearninghugeamountsaboutmyselfandhowtobalancepersonallifeinthishighdemandingindustry.’

Costume ConstructionDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedby DramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W460 | CourseLeader:Caroline Townsend (seeStaff,page13)PleaseseeImportantInformation(page116).

Technically skilled and creatively inventive ‘makers’ are an essential part of any theatre production team, sensitive to the stylistic intentions of the designer and director.

Theworkofthecostumeconstructoristointerpretthegivencostumedesigns,whetherperiodormodern,abstractorrepresentational.Aspartoftheproductionteam,studentsworkcloselywiththecostumedesignertointerpretthebriefandcreatecostumesandaccessoriestotheleveloffinishexpectedbycontemporaryaudiences,andareabletoresearchandunderstandthetime,placeandnarrativeoftheproductionthroughanalysisofscriptsandcreativeconcepts

Alongsidehighlevelanddiversemakingskills,studentswilldevelopskillsintimemanagement,resourcemanagement,budgetingandscheduling,workingcloselywithstudentsofallothertheatredisciplinestocontributetotheoverallunderstandingofperformanceandtheatreproduction.

Costumeconstructionhasevolvedintoacraftwhichrequiresthemakingofgarmentssuitedtothemodernbody,whileachievingthecorrectshapeandsilhouetteforagiveneraanddesign.Itisimportantthatthegarmentsareappropriateforthecharacterandcomfortabletoenabletheperformertousecostumetoenhancetheirperformance.Thecoursedoesnotfocussolelyonhistoricalgarmentsandisproudofthediversityofprojectsincluded.

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PLACEMENTS and PROFESSIONAL FOCUSFromthesecondyear,studentshavetheopportunitytoarrangeplacements,andthereisawiderangeofprofessionalcompaniesthatworkwithCentral,allowingaccesstomanyperformancestyles.

Previousworkplacementsinclude:costumedepartmentsoftheRoyalOperaHouse,Shakespeare’sGlobe,ParkTheatre,TheRoyalAcademyofMusic,EmergencyExitArts,HandandLock;costumeinternshipwiththeRoyalShakespeareCompany;costumesupervisors’departmentsatOilyCartandtheNationalTheatre;ChichesterFestivalTheatrewithcostumesupervisorKarenLarge;Channel5 DocumentaryInside Holloway withdesigner/supervisorKarenHobbs.StudentshaveworkedwithdesignersBobBailey,SaraPerks,SarahBeatonandAlisonCartledgeandwithcostumesupervisorsHannahMcMahon-Majorand RosieNeate.

Studentshaveopportunitiestoworkwithprofessionalcompaniesacrossawiderangeofproductions.Thefollowinggivesanoverviewofrecentactivityinthisarea:firstyearstudentshaveworkedwithsetandcostumedesignerSimonKennyontheTableauVivantProjectand

costumedesigner/supervisorHelenCoyston on Friends Of Narcissus at theMinackTheatre;secondandthird year students have assisted costumesupervisorHilaryLewisonDr Scroggy’s War atShakespeare’sGlobe;assistedcostumesupervisorNatasha Prynne on Carmen for theNevillHoltOperaCompany;assistedcostumesupervisorSamanthaPickeringonA Mad World, My Masters forEnglishTouringTheatre;workedwithdesignerKeithOrtonmakingcostumesforLondon Assurance at theMillerCentreandundertakenaninternshipwithscreenprintersInsleyandNash.

During2014/15,secondandthirdyearstudentsundertookplacementswithHandandLock,EnglishTouringTheatre,theRoyalOperaHouse,DisneyalterationsdepartmentforBeauty And The BeastandtheNationalTheatrecostumedepartment.

Onthefinalyearofthecourse,thereistheopportunitytoworkwithaprofessionalcompanytocreatecostumesforoneoftheirproductions.Forexample,manystudents(andgraduates)haveundertakenworkexperiencewiththeWhiteHorseTIETheatreCompany(Germany)ascostumemakersandcostumesupervisors.

RECENT VISITING STAFF LorraineWesthead,BrigidStrowbridge,KarenHobbs,KarenLarge,JaneSmith,RachelYoung,KateFlanaghan,NancyBetton,LydiaCawson,SimonKenny,HannahMcMahon-Major,NatashaPrynne.

BEYOND CENTRAL Graduate employment and career pathways include: Costume Maker,RainbowCostume,CamdenCostumes.Costume Supervisor, Regent’sParkOpenAirTheatre.Deputy Head of Wardrobe, OperaHollandPark.Resident Wardrobe Mistress,HampsteadTheatre.Dressers,Sunny Afternoon,HampsteadTheatre.Wardrobe Mistress,TheTricycleTheatreandtour,The Father.Archivist,TheFulhamPalaceCostumeCollection.Internship,RoyalShakespeareCompanycostumedepartment.Design Assistant,HandandLock.Costume Assistant,P&OCruises.Apprentice Tailor, MauriceSedwell,SavilleRowAcademy.Recent further study, master’s degrees, UniversityofGlasgow,MuseumStudieswithDressandTextileHistories.

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Year 1Completionofseveralunits:thatallowthedevelopmentofcoreskillsandaclearunderstandingofwhatperformanceandperformancedesignarethroughaseriesoftaughtclasses,workshopsandrealisedprojects,aswellascontactwiththeprofessionalworldaspartofthecoursefromthestart.

Studentswillworkonanumberofcollaborativeprojectsthatencompassinstallationandimmersiveandtraditionalcontextsinwhichtodesign.

YEAR 2 Developingofindividualdesignprocesses:toanear-professionallevelthroughaseriesofassignments,duringwhichstudentswillworkwithdirectorsonspeculativedesignprojectsusingtextsandopera.

Assignmentscanalsoincludecompletingaprofessionalplacementwithapractitionerorcompany,ordesigningarealisedperformancewithinCentral.

YEAR 3 Focusonprofessionaldevelopment:opportunitytoapplyandrefinedesignpracticeonCentral’spublicproductions,aswellassmallerscaleprofessionalproductions,asappropriate.Studentswillfinaliseareasofprofessionalinterestandidentityandwillparticipateinanexhibitiontopresentaportfoliooftheirbestworktotheindustry.

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Design for the stageDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W461 | CourseLeader:Aldona Cunningham (seeStaff,page12) PleaseseeImportantInformation(page116).

Learn to work speculatively and through realised productions in different performance contexts and genres, with a firm grounding in theory.

Thiscoursepreparesstudentstoworkcreativelyandprofessionallyassetandcostumedesigners.Theywilllearnthroughcollaborationwithotherdesignandproductioncoursesanddevelopaprofessionalrespectfor,andunderstandingof,allthespecialistpractitionerswithwhomtheyarelikelytoworkintheircareer.Theseincludethecraftspeopleandconstructorswhowillrealisetheirdesigns,andthestagemanagementandtechnicalproductionteamswhowillbringtheworktothemomentofperformance.Studentssharesomeworkshopswithactingstudents,enablingbothdisciplinestogainadeeperinsightintotheother’spracticesandmethodologiesasthebasisofacollaborativeapproachtodesign.Thereareopportunitiestoworkonundergraduateandpostgraduateproductionsofplays,musicals,devisedproductions,communitytheatre,puppetryperformancesandperformanceartprojects.

Studentswilldevelopnecessaryskills,includingmodelmaking,technicaldrawingusingAutoCADandSketchUp,costumedrawingandstoryboardingusingPhotoshop,andtheuseofprojectedmedia.TheywillhavetheopportunitytoputtheseskillsintopracticeonrealisedprojectsinCentral’sprofessionallyequippedperformancespaces.

Thecoursedevelopspractitionerswithastrongsenseofdirectionandidentity,andanabilitytothinkconceptually.Fromthefirstyearstudentsundertaketheoreticaldesignprojectsthatwillchallengeandtestideasinabroadrangeofperformancecontexts,fromtext-baseddramatoopera,dance,site-specificperformanceandinstallations.Theywilloftenworkundertheguidanceofprofessionaldirectorsandchoreographersandhavetheopportunitytocollaborateinarangeofprofessionalsettingsfromlivearts,throughsmallandmedium-scaledevisedandcollaborativework,topuppetry,circusandstreettheatre,aswellasontextorcharacter-basedplayproduction,large-scalecelebrationsandevents,andcorporatepresentations.

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Professional Focus Alargenumberofsuccessfulplacementstakeplace,usuallyonceforeachstudentineitherthesecondorthirdyearofthecourse.Paststudentshavecollaboratedwith,orhadplacementsat,ImprobableTheatre,2012LondonOlympicCeremonies,JohnPawsonArchitects,RoyalOperaHouseModelRoom,OperaNorth,NationalTheatre,Punchdrunk,ArcolaTheatre,ThinManFilmsandHarveyNichols,andhaveassistedorworkedalongsideprofessionaldesignersandotherindustryprofessionalsbothwithintheUKandabroad.

RECENT VISITING STAFF TomCairns,TimHatley,AntonyMcDonald,TimHopkins,Jean-MarcPuissant,KatrinaLindsay,CarolineGawn,SophieJump,PollyTeale,NaomiDawson,NickPhilippou,StewartLaing,DickBird,JeremyHerbert,KevinKnight,MichaelTaylor,SimonBasketter,DanO’Neill,PetaLily,DouglasO’Connell,GrάinneByrne,TobiasHoheisel,JuliaBardsley,SimonVincenzi,JulianMaynardSmith,HilaryWestlake,SarahBeaton,ScarlettPerdereau,RajhaShakiry,WillHolt,JamieVartan,JudithWeir.

BEYOND CENTRAL Graduate employment and career pathways include: Designer,NationalTheatre,HampsteadTheatre,PleasanceTheatreEdinburghFringe,ThePlace,SouthwarkPlayhouse,RiversideStudios.Design Assistant,Sadler’sWells,NationalTheatreDesignOffice,Dreamthinkspeak,London2012OlympicCeremonies.Emerging Artist,NationalEndowmentforScience,TechnologyandtheArts(Nesta),ArtofRegeneration.Interdisciplinary Artist and Scenographer,BRAVENEWWORLDs.Art Department Assistant,ThinManFilms,BBCDramaThe Interceptor,featurefilmsincludingMuppets Most Wanted, One Day and Mr Turner.Production Designer,Long Forgotten Fields. The Linbury Prize for Stage Design 2011 and 2015, onefinalistwhowasawardedtheNational Theatre Bursary 2012 and one winner who went on todesignashowfortheEnglishOperaGroup.WinnerofThe Stage Design Award 2011 for Young Up-and-Coming Designer.Winnerof the Equity Young Members Award 2012.Firstrunner-upintheHermione Hammond Drawing Award 2013.

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Milda Samsonite

Graduated 2015, recently the Production Designer for KOLO – King Of The Street People.

‘IhavegainedalltheessentialskillsthatIneedtogooutandworkintheindustryincludingmodelmaking,computerprogrammes,technicaldrawings,momentdrawingsandproducingstoryboards.Thecoursehastaughtmeaboutthevarioustypesoftheatreandperformancethatexistandwhatitactuallymeanstobeadesigner.I’vebeentoldthattheatreisnotaboutonepersondoingtheirjob,butaboutmanypeopleworkingtogether.AtCentralyoucollaboratewithsomanypeoplefromdifferentcourses-frompropmakingtoworkingwithactors-aswellasworkingalongsideindustryprofessionals.’

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Year 1Developingfundamentalskills:buildingonhistorical,theoreticalandpracticalfoundationsoftheatreandperformancearts,acquiringfundamentalskillsindramaturgyandwritingforandaboutperformance,contemporarymovementpractices,andworkingwithmaterialsandtechnologies.Studentsproduceshortpiecesofworkacrosscollaborativeprojects,involvinginstallation,textualpractices,andimmersiveandtraditionalperformancetechniques.Skillssessionsinapplyingresearchmethods,reflectivepractice,processesofdocumentationandcriticism.

YEAR 2 Creativepractice:focusisonthedeconstruction,developmentandcontextualisationofcreativepractice.Studentsundertakeacreativeprojecttoengageanddevelopstrategiesforinterdisciplinaryworktaughtbyinternationallyrenownedpractitioners;theydevelopskillsandknowledgeinproducing,projectmanagement,curationandprogramming;andorganiseafestivalatapublicvenueinLondon,mentoredbyprofessionalcuratorsandproducers.Professionalplacementwithacompanyorpractitioner,optionalworkincludesaninterdisciplinaryphotographyprojectandamoduleonviolenceincontemporaryculture.DevelopingwritingpracticebytakingoptionalunitssharedwiththeBA(Hons)Drama,AppliedTheatreandEducation:WritingforPerformance.

YEAR 3 Refiningpractice:withinarangeofprofessionalcontextsandapplyingspecialistskillsincreativepracticethroughtwomajortasks.Portfoliopreparation,aswellasanexaminationandregularseminarsandmentorship.StudentsmayworkinavocationalsettingbeyondCentral,and/orundertakeapractice-based,writtendissertationonatopicofchoice.

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performance artsDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W440 PleaseseeImportantInformation(page116).

Focusing on critical inquiry and experimentation with new methodologies, students develop their identity as performance makers and producers.

Thecoursefostersindependentandcollaborativecreativepracticeandisaimedataspiringcreativepractitionerswhowanttodevelopnewandchallengingperformanceforms,rootedinarigorousengagementwiththeskills,theories,andhistoriesoftheatreandotherperformancearts.Thecurriculum’sintegrationofartisticdevelopmentwithcuratorialandproductionskillspreparesstudentstobecomeindependentpractitioners,enabledtoworkinkeyorganisational,administrativeandartisticpositionsacrosstheartssector.Inthefirsttwoyears,studentstakepartinahighlyguidedprogrammethatseekstoaidtheminthedevelopmentoftheirpracticeinthreekeyareas:text/theory,body/movementandmaterials/technology.Inthefinalyearstudentschooseanareaoffocus,whichwillbedevelopedandcontextualisedwithinnegotiatedindependentprojects.Thecourseistailoredtowardsthedevelopmentofanindividualcreativeidentityinthecontextofcollaborativework,wherestudentswillundertakedifferentrolesandpositionstochallengetheirownprocessandwaysofworking.

ThecoursebringstogetherthetheoreticalfoundationsofPerformanceandTheatreStudies,andfocusesondevelopingskillsacrosscreativeandcontextualdisciplinesofcontemporaryperformanceartspractices.Theseincludeareasasdiverseascriticalandcreativewriting,liveart,objectmanipulation,Butoh,newmediaartandphotography,aswellasanengagementwithvisualdramaturgyandscenography.Inthecontextoftheirdevelopmentasartists,studentswillbetrainedintheroleofproducer,acquiringskillsinprogramming,marketing,finance,fundraising,productionassistingandadministration,toensurethattheyarereadytocreatetheirownworkandhelpotherstoproducetheirperformances.

Studentsareencouragedtochallengeassumptionsaboutthecreation,understandingandanalysisofperformance.Lookingtothefutureofperformance,dramaturgy,andcurating,withanemphasisonbeinginterdisciplinary,theydefinetheiridentityaspractitioners.Inthisprocess,allstudentsareaskedtoengagewithworkoutsidetheirimmediateareasofinterestandreassesswhattheyexpect,knowandvalueaboutartandcultureingeneral.

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Graduated 2013, Performer and Director, London.

IchosePerformanceArtsbecauseitallowedmetoexperiment.Iwaschallenged,pushedandencouragedtotryoutthethingsthatmighthaveseemedalientomeinthebeginning,onlytodiscoverthatthoseweretheareasthatcametomeanthemostformyfuturework.Thiscourseteachesyouhowtomakeyourownwork,tothinkforyourself,tomakedecisions,totakeownershipandcollaborate;itwaslikeanadventurethatledmedownavenuesIwouldhaveneverfoundmyself.ImetmycurrentcollaboratorsatCentralandthatbecametherootofanetworkthatkeepsgrowing.SincegraduatingIhavebeenmakingmyownwork,includingaduetworkwithKarenChristopherandastheco-creatoroftheone-audiencememberexperienceROOM,whichwasshownatEdinburghFestivalFringeandTateBritainin2014.’

Sophie Grodin

Professional Focus Students will be involved in collaborativeprojectswithnational and international arts organisationsandpractitioners.InpreviousyearsthesehaveincludedJamesDacre,RachelWarr,LizMcGrath,SimonStephens,andDrErnstFischer.ThecoursehasalsoworkedwiththeInstituteofContemporaryArts,theRoundhouse,BatterseaArtsCentre,EnglishNationalOpera,]performancespace [,Dreamthinkspeak,GoatandMonkey,Punchdrunk,NewYorkUniversityandtheRoyalAlbertHall.Studentshavetakentheirwork(whilestudying)toLosAngeles,NewYork,Prague,Montenegro,Slovakia,Denmark,Estonia,Brazil,Russia,Singapore,ScotlandandLithuania.

Severalstudentshavesecuredscholarshipsandgrantstodeveloptheirwork,forexamplefromtheFulbrightCommission,ArtsCouncilandtheBritishCouncil,aswellasplacementswithSeabrightProductions,BBC,RobertWilson,

theManchesterInternationalFestival,Artsadmin,CentreforCreativeCollaboration,VictoriaandAlbertMuseumandtheSohoTheatre.

Recent VISITING STAFF DrJuliaBardsley,FelixBarrett,AnneBogart,ElizabethLeCompte,RebeccaLenkiewicz,DrTrishLyons,JulianMaynardSmith,SimonMcBurney,KatieMitchell,DanielO’Neill,KiraO’Reilly,Orlan,RichardSchechner,NaomiFilmer,RichardForeman,EdwardBond,MarisaCarnesky,WonKim,KarlaShacklock,JoelScott,RajniShah,TristanSharp,Stelarc,SimonStevens,ManuelVason,MichaelWalling,JuschkaWeigel,CharlieWestenra,HilaryWestlake.

BEYOND CENTRAL Graduate employment and career pathways include: Performer,ArcolaTheatre,BatterseaArtsCentre,BrightonFringe,EdinburghFestivalFringe,BudvaTheatreFestivalMontenegro,Glastonbury

Festival,NationalTheatreStudios,ThePlace,TheShed(NationalTheatre).Company-in-Residence,Artsdepot,ShuntVaults,DixonPlace(NewYork).Writer,RoyalCourtTheatre,SPILLFestival,ExeuntMagazine.Director,EdinburghFestivalFringe,NewYorkInternationalFringeFestival.Performer/Director,BrightonFestival.Producer/Performer,LatitudeFestival.Producer,CircusFest,Roundhouse,SingaporeWorldExpo.Presenter,BBCRadio1Xtra,SkyArts.Director,FinboroughTheatre,NationalTheatreConnections.Projection Specialist,Mesmer.Stage Manager,SecretCinema.Lecturer,GoldsmithsCollege,QueenMaryUniversityofLondon,UniversityofSwaziland.Recent further study, master’s degrees,UniversityofCambridge,UniversityofOxford,CaliforniaInstituteoftheArts.Research degrees,RoyalHollowayUniversityofLondon,UniversityofWolverhampton.

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Year 1Introduction:toprofessionallightingpractice,throughskillssessionsandworkshopsinCentral’sstudioandprosceniumtheatrespaces.Gainasolid foundation of health and safety management,safeworkingwithelectricityandworkingatheight.Collaborativeexercisesfurtherdeveloptechnicalandmanagementskills,inpreparationforworkintheroleofProductionElectricianand/orLightingProgrammerinthesummerterm.

Year 2Continuetobuildpracticalandmanagementskills:throughtaughtsessionsandproductionexperiences,includingmanyopportunitiestoworkinroleonCentral’spublicproductions.Studentswillrigandtroubleshootlightingandvideosystems,programmethem,andmanagefellowstudentsthroughtheproductionprocess.Researchareasofpracticebeyondconventionaltheatreincludeeventsandfestivals.

Studentsarementoredbytutors,technicalsupportstaffandvisitingprofessionals,andhavetheopportunitytodeveloptheirownprojectswithfellowstudents.

Year 3Focusonprofessionaldevelopment:studentscontinuetoresearchtheindustrysectorsinwhichtheyareinterested.ProjectsbasedatCentralandindividuallynegotiatedplacementsbuildontheexperiencegainedsofar.Tutorsandindustrymentorshelpeachstudenttodevelopastrategyfortheirentryintotheworldofwork.PersonalnetworksareofgreatimportanceforthisandstudentsbenefitfromCentral’sexcellentrelationshipwiththeindustry,includingnumerousalumniandinfluentiallightingpractitioners.

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Gain a practical understanding of how to specify lighting, power and video systems, manage the procurement and installation of equipment, fault find and run a crew, from fit up through to the de-rig.

Workingwithpeersandpracticingprofessionals,thecoursetrainsstudentsinthepracticalandmanagerialskillsofrealisingperformancelighting,videoandprojection.Tohelpthempositionthemselvesattheforefrontoftheindustry,studentsareguidedandencouragedtoexplorethelatestautomatedlighting,greentechnology,programmingprotocols,videoprojectionandLEDtechnology.StudentsbenefitfromCentral’sindustry-focusedresearchculture,whichensurestheirpracticeisatthecutting-edgeofknowledgeandindustrypractice.

Asstudentsprogressthroughthecourse,theyhaveopportunitiestodevelopspecialistskillsintheareasofmostinteresttothemasdevelopingpractitioners,givingthemthebestpossiblepreparationforemploymentupongraduation.TuitionisstructuredaroundpracticalprojectsinCentral’swell-equippedstudioandprosceniumperformancespaces,supportedbytaughtsessionsoncomputer-aideddraftinginadedicatedcomputer-aidedsuite.Studentsalsostudyvideoandprojectionsystems,onproductionsandinCentral’sexperimentalstudio.

Centraloffersopportunities–withinthecourseandonplacementinindustry–tobroadenthestudents’experienceoutsidethetraditionaltheatrerolesforproductionlightingpractitioners.Pastprojectshaveincludedprogrammingformusic,conferenceandeventlighting,site-specificworkandarchitecturallighting.Studentsareabletobecomeaccomplishedpractitionersinrelatedfieldsofanextensiverangeofartsandentertainmentindustries.

Production LightingDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK)(360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W451 | CourseLeader:Nick Moran (seeStaff,page13)PleaseseeImportantInformation(page116).

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Professional Focus Central’slightingcoursesaregenerouslysupportedbymajorindustrypartners,includingWhiteLight,HSLandPRGUK.Centralalsohasstronglinkswithsmallercompanies,severalofwhichwerestartedbygraduates.TheseincludeLiteupEventsandDBSL.Mesmer,themediaandvideocollectivebehindmanylarge-scaletheatreandoperaproductions,isaregularvisitorandplacementhost,asare59ProductionsandWalkthePlank(aneventcompanyspecialisinginlarge-scalepublicfireworkspectacles).

Manyexcitingopportunitiesforlightingstudentscomethroughthenetworkofgraduatesalreadywellplacedintheatre,concerttouringandeventindustriesandaregularpanelofindustryexpertshelpsfinalyearstudentslaunchtheirprofessionalcareers.ThecoursehasstronglinkswiththeAssociationofLightingDesigners(ALD),whichhelpsstudentstonetworkintheindustry,andtofindplacementsandjobopportunities.

RECENT VISITING STAFF Leading Production Lighting specialists,MarkMumford,CraigBennett,MartinChisnall,StuartCrane.Lighting Designers,JamesFarncombe,DavidW.Kidd,IngiBekk,MarcCallaghan,ChloeKenward,MattDaw,RickFisher.Visiting graduates, AdamPovey(ProductionElectricianforRegent’sParkOpenAirTheatre,andseverallarge-scaletheatretoursandWestEndproductions),JoRichardson(Co-DirectorofFullProductionServicesLtd),SquibSwain(LightingDesignerforBombayBicycleClub,TheStreets,Delphic),JamieThompson(award-winningLightingDesignerforTheScriptandothers).

BEYOND CENTRAL Graduate employment and career pathways include: Theatre,NationalTheatreLondon,NationalTheatreofScotland,Glyndebourne,EnglishNationalOpera,Sadler’sWells,Rambert,ThePlace,HampsteadTheatre,YoungVic,RoyalCourtTheatre,TricycleTheatre.Events and Production

Graduate Traineeships,PRGUK,WhiteLight,workingoneventsattheRoyalAlbertHall,Roundhouse,ChelseaFootballClub,RoyalCourtsofJustice,TheO2ArenaandvenuesthroughouttheUKandEurope.Concert Touring and Festivals,includingGlastonbury Festival, Latitude Festival, Lee-Fest, The Big ChillandtouringwithcompaniessuchasCyanLighting,NegEarth,GLSLightingandHSL,throughouttheworld.Video and Projection,includingworldtourswithleadingconcertartistssuchasmediaserverspecialistsd3andHippotizer,andnominationsforawardsforconcertlightingvideodesign.

Christopher Purnell

Graduated 2012, Chief Electrician for Rambert Dance Company and freelance electrics for NTW, Sadler’s Wells and TheSpaceUK.

‘ComingfromaProductionArtsBTEC,Ireallywantedtospecialiseinlighting.CentralwasabletogivemeastrongLondonbaseandstablecontactsinthelightingworld.DuringmytimeatCentral,IworkedonScenofest2011inPragueandasafreelancerinvariousvenuesroundLondon.Centraloffersplentyofhandsonexperienceandin-houseproductionsworktoahighindustrystandardlevel.Thismadethetransitionfromuniversitytoprofessionalworksmoothandhardlynoticeable.’

Grease byJimJacobs/WarrenCasey,publicproduction

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Year 1Classesandworkshops:indesigninterpretation,technicaldrawing,sculpting,mouldmaking,casting,fibreglassandplasterwork,vacuumforming,painteffects,construction,weldingandpolystyrenecarving.Workingwithprofessionaldesignersandaspartofaproductionteam,studentsproducepropsforapublicshowatCentral,oranexternalindustryevent.Theyalsodeveloptextanalysisandresearchskills,andanunderstandingofthewidercontextoftheirpractice.

YEAR 2 Skillssessionsandworkshops:inbodypadding,advancedmouldmaking,siliconeandresinwork,advancedsculpting,fabricationandmodelmaking.Studentscontinuetodeveloptheirskillsindesigninterpretation,timemanagement,self-managementandbudgetingandalsoheadateaminordertodevelopmanagementskills.Theyalsoundertakefurtherindustryplacementsandcontinuetodevelopresearchskills.

YEAR 3 Focusonprofessionaldevelopment:studentsfurtherdevelopintheroleofHeadofDepartment,managingfellowstudentsproducingpropsforproductions,andcontinuingtocoordinatewithothermembersofthecreativeandproductionteams.Opportunitytodevelopapersonalprojecttoshowcaseatthesummertermexhibition,anddevelopfurtherlinkswiththeindustrythroughplacementwork.FocusisondevelopingspecialistskillstoinformstrategiesforfuturepracticebeyondCentral,whichincludedevelopingastrongmediaprofile.

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prop makingDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W462 | CourseLeader: Dot Young (seeStaff,page13) PleaseseeImportantInformation(page116).

Prop Making reaches into all areas of the entertainment industry – theatre, film, television, window display, model animation, community arts, museum installation and replication work.

ThePropMakerwillworkwithdesignersanddirectorsfromallareasoftheindustrytoproducewhatisrequiredforeachindividualoutcome.Itisraretomakethesamethingtwiceand,assuch,thePropMakerhastobeingenious,quick-thinking,explorative,dexterous,enjoyproblemsolvingandhavealoveofmaterialsandallthingsthree-dimensional.

Theworkcanrangefromsmall,intricate,hand-heldreproductionprops,tolarge-scale,articulatedstructures,butwillalwaysrequireexcellentartisticandcreativeskills.Workingindependentlyoraspartofateam,accuratelyandtodeadlines,thePropMakerwillcoverthebroadestrangesofmaterialsandtechniques.

Studentswillgainexperienceandahighleveloftechnicalcompetence,workingwithawide-rangeofpropmakingmaterialsandtechniques,includingsculptingskills,castingtechniques,welding,polystyrenecarving,vacuumforming,carpentry,lifecasting,paintfinishingandtexturing.Theywilldevelopskillsinresearch,analysis,collaborationanddesigninterpretation,aswellasstrongtechnicaldrawingskillsandanunderstandingofcolourtheoriesandworkingtoscale.Studentsalsocultivateabroadunderstandingofperiodstylesandaesthetics.

Central’sPropMakersdevelopintohighlytechnicallyskilled,creativelyinventive,collaborativeandinformedindividuals,abletocontributeeffectivelyandprofessionallytoanyproductionanditsteam.Studentswillbeofferedarangeofopportunitiestodevelopexcellentandcomprehensivepropmakingskillsaspartofapropmakingteam,includingonpublicproductionsatCentral,workingcloselywithstudentsofothertheatredisciplinesinordertodevelopanoverallunderstandingofperformanceandtheatreproduction.TheywillalsoundertakeplacementsintheindustrytodevelopafullCVandfurtherextendtheirskills.Inthefinalyearthereistheopportunitytoparticipateinanexhibitiontopresentaportfolioofbestwork,towhichawide rangeofindustryprofessionalsareinvitedtoattend.

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Graduated 2014, Special Effects Artist for theatre, film and television, including the Unicorn Theatre, MDM Props and Disney’s Beauty And The Beast.

‘Thecourseisnotonlyaboutthepracticalwork–learningaboutnewmaterialsandhowtomanipulatethem–butalsoaboutbeingexposedtothewidercontextofperformanceonprojectslikeLondonWalksandTheTableauProject.Also,yougettoexperiencethepossibilitiesthatareopentopropmakersintheircareerfirst-handontheplacementsintheatre,filmandtelevision.’

PLACEMENTS and PROFESSIONAL FOCUSThecoursehasextensivelinkswiththeentertainmentindustryinLondonincluding:AsylumModels&Effects,ChameleonVisual,MillingtonAssociates,MadameTussauds,WarnerBros.,ScottFleary,EnglishNationalOpera,RussellBeckStudioandHarveyNichols.Throughprojectworkandregularclosecontactwithindustryprofessionalsandrecentgraduates,studentsarepreparedto enter the industry by their finalyear.

Fromthesecondyearonwards,studentshavetheopportunitytoarrangeplacements.Theseincludeavarietyofgenres,suchaslivearts,devisedandcollaborativeworks,text/character-basedplayproductions,film,large-scalecommunityartsevents,museuminstallationandtelevision.TheopportunitiesofferedthroughplacementsensurethateachstudentgraduateswithafullandprofessionalCV,showingawide-rangeofindustrycontactsanddynamicexperiences.

Studentsbenefitfromtheestablishedlinksthecoursehaswithsomeofthebestpropmakingandassociatedcompaniesandentertainmentpractitionersinthe

UKandbeyond,suchasEnglishNationalOpera,WhiteHorseTheatreinGermany,UnicornTheatre,MadameTussauds,MerlinEntertainments,EndemolProductions,ElstreeStudios,EmergencyExitArts,Kinetica,AsylumModels&Effects,MillingtonAssociates,NeilCorbouldSpecialEffects,MantaRayandWhetton&Grosch.Throughplacements,studentshaveworkedwiththeseandothercompaniesonarangeofoutcomesincludingfilmwork,theatre,communityarts,museuminstallation,televisionproductionsandwindowdisplay.

Studentshavealsoengagedinfestivalsandevents,suchasGlastonburyFestival,TheRioCarnival,WOMAD,ThamesFestival,London2012Olympics,HattonGardenFestival,andatCircusSpaceandtheRoundhouse,andmuseuminstallationworkintheUKandtherestofEurope,UnitedArabEmiratesandEgypt,andhaveopportunitiestoworkintelevisionandfilmonproductionssuchasDoctor Who, Harry Hill, Thor, Snow White And The Huntsmanandarangeofchildren’stelevisionproductions.StudentshavealsoworkedonwindowdisplaysatstoresincludingFortnumandMason,HarveyNicholsand TedBaker.

Manyotheropportunitiescomethroughthenetworkofgraduatesalreadywellplacedintheatre,filmandtelevision,andcontactsmadewiththeprofessionaldesignersstudentsworkwithonpublicproductionsatCentral.

RECENT VISITING STAFF MichaelTaylor,SimonKenny,MikeBell,DarrylWorbey,NicWebb,LauraBrooke,MarkChapman,RuariMurchison,BobBailey,TracyLilley,SimonBasketter,OllieCooper.

BEYOND CENTRAL Graduate employment and career pathways include: Prop Makers,EnglishNationalOpera,WOMAD,Barbican,EmergencyExitArts,BirminghamRoyalBallet,PinewoodStudios,Regent’sParkOpenAirTheatre,ArcolaTheatre,NationalTheatre,WatfordPalaceTheatre,UnicornTheatre,MadameTussauds,WarnerBros.,BoomTownFestival,RobertAllsoppandAssociates,RoyalOperaHouse,SheppertonStudios,TheatreRoyal,TheImperialWarMuseum.

Design&CraftsExhibition

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Year 1Make,perform:introductiontoarangeofcollaborativeandcourse-specificprojectsinordertoexplorepuppetmakingandanimationprocesses,principlesofmovement,devising,designskills,voicework,acting,animationandmanipulation,andapplicationofmanipulationskillstospecificprojects.Studentscreateaperformanceinresponsetoatextanddevelopinstallation,site-specificandimmersivetheatreincollaborationwithotherstrands.Theyalsoresearchtraditionalpuppetryformsandcontemporarypuppetrycompaniesofnote.

YEAR 2 Write,create:studentsdevelopwriting,producingandperformingskills.ThecoursecollaboratescloselywithPerformanceArtsandDesignfortheStagestudentsonexperimentalandspeculativeperformanceprojects.Studentdevelopamajorpuppetryproductionwhichwilltournationallyandpossiblyinternationally.Wherenegotiated,theywillcollaboratewithAppliedTheatrestudents,usingpuppetryinacommunitysettinge.g.workingwiththecharityMIND,creatingperformanceforelderlydementiasufferersorassistingwithapuppetryproductioncreatedbyprisoners.StudentsresearchdifferentstylesandpractitionerssuchasKantor,Meyerhold,Craig,symbolismandDada.

YEAR 3 Direct,critique:studentsfocusontheirownvoiceascreativeauteuranddevelopskillsindirectingandanalysingpuppettheatre.Theynegotiatepersonaldevelopmentplansandcarryoutindividualworktodeepenlearninginspecificareasofinterest.Thepersonaldevelopmentplanmaybeaprofessionalplacementwithpuppettheatrecompanies,workingasanassistantdirector,in-schooltraininginspecificcomplementaryareas,preparingsoloworkforperformance,oranapprenticeshipwithmakers.

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Puppetry: Design and PerformanceDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W441 | CourseLeader:Cariad Astles (seeStaff,page12)PleaseseeImportantInformation(page116).

Central pioneered the first UK degree in puppet theatre and continues to be one of the world’s leading institutions for the training of puppeteers.

Thiscoursecoversdifferentaspectsofpuppettheatre:design,making,performanceandmanipulation.Studentsstudyspecificpuppetryskills,andalsoworkcloselywithdesignersandperformanceartsstudentsoncollaborativeprojectstoexploremulti-disciplinaryworkinwhichpuppetsandanimatedformsperformalongsidescenography,newwriting,movementandexperimentalperformancepractices.Studentsdevelopskillsindesign,sculpture,manipulation,visualperformance,animation,movement,voice,devisingandcollaborativetheatremaking.AllyearswilldevelopprojectsforperformancebothwithinandoutsideCentral.Thecourseworkscloselywithnationalandinternationalprofessionalpractitioners,whoareallexpertsintheirfieldsandstudentsbenefitfromawiderangeofvisitinglecturersandplacementsintheatresandwithcompaniesworldwide.SpecialistsinspecificculturaltraditionssuchasChineseshadowpuppetryandThaidance/dramaoftenvisitandoffermasterclassesintheirareaofspecialism.

Thecourseaimstodevelopskilledpractitionerswhoareabletoinitiateanddeveloptheirownprojectsaswellascollaboratingcloselywithotherswithinadisciplinethatrequiresbothtechniqueandcreativity.Studentsareencouragedtoengagewithcontemporarypracticefromtheoutset,todevelopstrongworkingrelationshipswithprofessionalpractitionersandtoforgetheirownidentitiesasspecialistsinthefield.

Practicalresearchanddevelopmentwillbeunderpinnedbycontextualstudiesinpuppetryandvisualtheatreperformance,includinghistoricalandtheoreticaldiscussions,andinterculturalstudyoftraditionalformsandpractices.StudentsworkcloselywithotherTheatrePracticestudents,sothattheyunderstand,respectandworkeffectivelywiththefullrangeofprofessionalpractitioners,inordertoappreciatethetheatreprocessandinterdisciplinarypractice.

Throughoutthethreeyears,studentswillhavetheopportunitytoexperiencepuppetryinavarietyofcontexts,participateinfrequentvisitstoshows,talksandworkshopsbyvisitingprofessionals,andbenefitfromongoingcollaborationwithanumberofartsbodieswithinLondonandbeyond.

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JENNY DEE

Graduating 2016, has worked with BBC, Sky, Universal Music and various other television and film production companies as Art Director, Designer and Puppeteer. Recent work includes Puppeteer (Yonderland, Sky1) Creative Director and Puppet Designer (BBC Learning) and devising and performing in her one woman comedy puppet show Vetted.

‘Beingexposedtoopportunitiesinmaking,performing,directingandwritingforpuppetryIwasabletofindwhatitwasIenjoyedthemostanddevelopedskillsthatmeantIcouldpursueitasaviablecareer.ViathenetworkIdevelopedthroughCentral,I have been able to establish myselfinthetelevisionandfilmsectorasaCreativeDirectorandPuppeteer.

Developingmyunderstandingofphysicalityandcharacterisationthroughpuppetshasaidedmydiscoveryofmovement-basedsolutionswithhumanactorsinrealworldscenarios,bothonsetandinthetheatre.

StudyingatCentralhasgivenclaritytomyfuturegoals,aswellasthenecessaryskillsneededformetoachievethemandhelpedraisemyexpectationsofwhereIseemyselfinthefuture.’

Professional Focus Centralcollaborateswithalargenumberofprofessionalcompaniesandpractitioners,whovisitaslecturersorhoststudentsonprofessionalplacements.ThecourseworksparticularlycloselywiththeLittleAngelTheatreandstudentsparticipateinmasterclassesatSuspense,theinternationalfestivalofadultpuppettheatre.TherearealsotalksbyinternationallyrecognisedpractitionerssuchasSandglassTheatre,JaneTaylor(Handspring)andThaipuppeteersfromArtsonLocation,AnnieRollinsandothers.

StudentsalsoundertakeplacementswitharangeofcompaniessuchastheNationalTheatre,PolkaTheatre,LittleAngelTheatre,Theatre-Rites,DockteaternTittutinStockholm,EdinburghPuppetCompany,BlindSummit,CBeebiesandITV.ThecoursehasexcellentlinkswithotherrelatedcourseswithintheUKandwithinternationalpuppetrycourses.Studentsnormallytakeatleastoneproductioneachyeartoamajorinternationalfestival.RecentproductionsandperformanceshavebeenpartoffestivalssuchasTallinnTreffFestival,BialystokInternationalPuppetFestival,StuttgartPuppetFestival,IstanbulInternationalPuppetFestival,IndonesiaInternationalPuppetFestival,GhentStreetTheatreFestivalandtheToyTheatreFestivalinNewYork.Communitycollaborationsundertakenincludeworkwithlocal

andnationalhealthcareproviders,forexamplehospitals,residentialcentres,schoolsandcommunitycentres.

RECENT VISITING STAFF StephenMottram,SueDacre,SteveTiplady,GrenMiddleton,SueBuckmaster,DrJohnBell,ReneBaker,PennyFrancisMBE,AnnieRollins,ColetteGarrigan,IsobelSmith,RachelWarr,PeterO’Rourke,JohnRoberts.

BEYOND CENTRAL Graduate employment and career pathways include: Puppeteer, War Horse, Blind Summit/ENOcollaboration;HorseandBambooTheatre;Mongrels,BBC. Creative Director, CBeebies. Performer, ThePaperCinema,LittleAngelTheatre,PuppetTheatreBarge.Puppet Maker and Performer, PuppetCraft.Founder, Arts Centre. Puppet Maker, His Dark Materials, NationalTheatre.Puppetry Education Assistant, LittleAngelTheatre.Workshop Facilitator,TheatreRoyalPlymouth.Community Workshop Leader,TheMoveableFeast.Puppetry Workshop Leader, Korea,Taiwan,Italy.Puppeteer fortraumatisedchildreninIraq. Puppetry Director, Europeanyouthproject. Artist Residency, TallinnTreffFestival.

Pact, Directorandphoto:DarrenEast

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Year 1Workshopsandclasses:incolourtheory,colourmixing,scaling-up,drawing,scenicartpaintingtechniques,marbling,stainedglass,handpaintedwallpaper,woodgraining,trompel’oeilandlettering.Workingwithaprofessionaldesignertoproducesamplesforareproductionofanexistingtextureorfineartpainting,andtranscriptionofanimagefroma1:25scaleontoapre-preparedstageflat.Studentswillcontributeanengagedinvolvementworkingaspartofaproductionteamonapublicproductionwithinascenicartteam.

Year 2Developskills:inspraypainting,perspective,texture,architecturalandfigurativepainting,trompel’oeilpainting,signwritingandlearningandapplyingadvancedpaintingtechniques.Paintingaclothand/orgauzeforaCentralpublicproduction,orataprofessionaltheatre.Studentsworkinaprofessionalcontextwithintheindustryandhavetheopportunityforpersonalprojectsexploringtechniquesnotcoveredbyproductionwork.

Year 3Focusonprofessionaldevelopment:studentsworkasHeadofDepartmentonafull-scalerealisedproductionintheEmbassyTheatreorWebberDouglasStudio,managingotherstudentspaintingscenery,texturedfloorsandwalls,andfinishesonfurnitureorspecificprops.Theywillundertakeapersonalprojectorplacementfocusedonamainareaofexpertise,aswellasworkinginprofessionalcontexts,e.g.paintingsceneryforaWestEndshoworregionaltheatre.Studentswillparticipateinanexhibitiontopresentaportfolioofbestworktotheindustry.

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Scenic Artists interpret given set designs, whether period or modern, abstract or representational, and meet design specifications agreed with the set designer or art director.

Therolerequiresexcellentartisticskills,combinedwiththeabilitytoworkindependently,oraspartofateam,accuratelyandtodeadlines.Studentswillgainexperienceofworkinginawiderangeofmaterials,textures,scenicfinishesandeffects,enablingthemtointerpretthedesigntotheleveloffinishexpectedbycontemporaryaudiences.Studentsdevelopskillsinresearch,analysisandinterpretation,andahighleveloftechnicalcompetenceindrawing,painting,colourtheoriesandworkingonbothlargeandsmallscaleelementsonavarietyofsurfacesandmaterials.Theywilllearntechniquessuchasmarbling,woodgraining,lettering,spraygunandtexturing,aswellasgainingagoodunderstandingofarthistory,periodstylesandarchitecture.

Thereistheopportunityforstudentstodevelopexcellentandcomprehensiveartisticandscenicskillsaspartofascenicartteamonpublicproductions,workingcloselywithstudentsofothertheatredisciplines,tocontributetotheoverallunderstandingofperformanceandtheatreproduction.Asthecourseprogressesandthestudents’skillsdevelop,theirlevelofresponsibilityandinvolvementwillincrease.Theprojectworkthatischosenisnegotiatedtofitwiththearea(s)oftheindustryinwhichthestudentsaremostkeentomaketheircareers.

Scenic ArtDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W463 | CourseLeader:Carla Mardle (seeStaff,page13)PleaseseeImportantInformation(page116).

Robyn KahN-Cleland

Graduated 2013, currently a freelance Scenic and Mural Artist. Recent employers have included Southwark Playhouse, Punchdrunk and Liati Events in Luxembourg.

‘Lectures,suchas‘GenderinTheatre’and‘RaceinTheatre’,introduceyoutomanyaspectsoftheindustryonanintellectuallevel,whilesessionsonhowtocreateCVsandportfolios,beself-employedorstartyourownbusinesshelptoprepareyouforthenitty-grittyofbecomingaprofessional.Undertakingworkplacementsonthecoursegavememanyopportunitiestonetworkwithprofessionalsandproductioncompanies.’

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PLACEMENTS and PROFESSIONAL FOCUS StudentshaveworkedonproductionsatSalisburyPlayhouse,WatfordPalaceTheatre,LondonFilmSchool,CoolflightLtdandScenicPaintingStudios.StudentsbenefitfromtheestablishedlinksthecoursehaswithsomeoftheleadingLondon-basedfreelancescenicartists.Throughplacementsinthesecondandthirdyears,studentshaveworkedwithscenicartistsonWestEndproductionssuchasOliver!, Mary Poppins, Shrek The Musical, Love Never Dies, Grease, We Will Rock You, Singing In The Rain and Peter And Alice.

StudentsalsoregularlyundertakeplacementsattheNationalTheatre,theRoyalOperaHouseandWatfordPalaceTheatre.

Throughlinksthecoursehasestablishedwithotherindustries,suchaswindowdisplay,festivals,eventsandthemeparks,studentshave been able to broaden their scopeofskillsandexpertiseworkingonadiverserangeofprojects.Examplesofthisarepaintingthedisplay‘live’inthewindowsofLondon’swell-knownConranShop,theBarOfIdeasfortheGlastonburyFestival,LondonJewelleryWeekaspartof

the Hatton Garden Festival and theLegolandthemepark.Thecoursehaslinkswithestablishedscenicstudios,suchasSouvenirandScena,wherestudentshavehadtheopportunitytoworkontelevisionshowssuchasWho Wants To Be A Millionaire?, Friends Like These, QI, Ant & Dec, All*Star Cup,TheNationalMusicAwardsandtheOlivierAwards.

Manyotheropportunitiesarisethroughthenetworkofgraduatesalreadywell-placedintheatreandcontactsmadewiththeprofessionaldesignerswhoworkonpublicproductionsatCentral.

RECENT VISITING STAFF LionelStanhope,AndyGreenfield,JulianWalker,SueDunlop,JonHare,AlexanderMcPherson,RuariMurchison,VivSendall,MarkChapmanfromBristolPaints,NataliePerkins,JamesHunt,NicWebb,PhilipEngleheart,MichaelTaylor,GaryThorne.

BEYOND CENTRAL Graduate employment and career pathways include working on productions at: RoyalOperaHouse,YoungVic,RoyalCourtTheatre,Shakespeare’sGlobe,HackneyEmpire,Regent’sPark

OpenAirTheatre,Glyndebourne,RoyalShakespeareCompany,TheatreRoyalDruryLane(workingwithAndyGreenfield),AlmeidaTheatre,GarrickTheatre,BuckinghamPalaceGardenParty,TheMercuryTheatreColchester,PitlochryFestivalTheatre,TheOldVic,WatfordPalaceTheatre,PinewoodStudios,AltonTowers,Queen’sTheatreHornchurch,SouvenirScenicStudios,Legoland,CobaltStudiosNewYork,TheClinkPrisonMuseum,ChessingtonWorldofAdventures,DonmarWarehouse,UnicornTheatre,BurningWindmillsPictures(Disney),TheLondonDungeon,CBBC,SkyTV,Channel4,SamuelsonProductions,EalingStudios,ElleDecoration,ThorpeParkscenicworkshops.Head of Design Realisation,GuildhallSchoolofMusic&Drama.Display Manager,HarveyNichols.Resident Designer and Scenic Artist,TheMillatSonning.Founder members of companies,SceneaTheme(designingthemedrooms,muralsandprivatefineartcommissions),BarnickleFurniture(hand-paintedfurniturewhichhaspreviouslybeenexhibitedattheCountryLivingFair2012).

Pentecost byDavidEdgar,publicproduction

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Skilled in carpentry, structural design, metal work and mechanical engineering, Scenic Constructors plan and build sets for theatre, film, television and advertising.

ScenicConstructorsarecreativeproblem-solverswhouseideasandsolutionsthataredrawnfromallaspectsofengineeringandindustrialpracticetoaidthecreationofsetsorstaging.

Studentswilllearntobeautonomousandresourceful,andwilldevelopspecificscenicconstructionskillstothehighprofessionallevelrequiredtomeetdesignbriefsandtherequirementsoftheindustryinwhichtheyplantowork.Thetrainingwillprincipallybeintheatre,buttheseskillsareeasilytransferabletomanydifferentmediaenvironments.

Fromthesecondyearofthecoursestudentshavetheopportunitytoworkinprofessionalcontexts,forexampleconstructingsceneryforaprofessionalvenue,workingwithamajorscenerybuildingcompanyorwithcompaniesworkinginevents,televisionoradvertising.TheScenicConstructioncourseisanexcellentopportunityforthosewithastronginterestinbuildingwithwoodandmetal,butwhowantacareerthatis alsocreative.

Scenic ConstructionDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W464 PleaseseeImportantInformation(page116).

Sophie Skelton

Graduated 2013, freelance Scenic Constructor in London for English National Opera and Stage Technologies, and Production Manager on The Wedding Singer at Watford Palace Theatre.

‘Thebestpartofthecoursewasthehands-onapproachtolearning.Whenworkingonapublicproduction,atypicaldaywasmeetingtheteamandmakingsurethattheywereup-to-dateandthatthereweren’tanyproblems,whilstworkingontechnicaldrawings,budget,schedulingandliaisingwithotherdisciplineswithintheproductionteam.’

Year 1Exploreandlearnspecificskills:inavarietyofmaterials,includingwoodworkingtools,hand-heldtoolsandmachinery.Studentswillbuildspecificelementsofscenery,workingtoaprofessionaldesigner’sspecificationsandworkingcloselywithtechnicianstoplanhowscenerymightberiggedtofitwithineitherastudiooramainhousespace.Learningcarpentrytechniques,studentsworkaspartofateam,buildingoradaptingscenery.StudentswillalsohaveanintroductiontoAutoCADandlearnbasictechnicaldrawing.

Year 2Furtherskillsdevelopment:studentscontinuetodevelopAutoCADskillsandworkonweldingandbuildingmetalworkstructures,constructingasetforapublicproduction,eitherindividually,oraspartofateam,andalsoworkwithautomatedscenery.Studentsalsohavetheopportunitytoworkinaprofessionalcontextwithintheindustry.

Year 3Focusonprofessionaldevelopment:studentsundertaketheroleofHeadofDepartmentonafull-scalerealisedproductionintheEmbassyTheatreorWebberDouglasStudioandmanageotherstudentsbuildingsceneryandcoordinatewithallmembersofthecreativeandproductionteam.Studentswillworkonapersonalprojectorplacementthatisfocusedonthemainindividualareaofexpertise.Projectworkischosenandnegotiatedtofitwiththestudents’understandingofwhicharea/softheindustrytheyaremostkeentomakeacareerin.Participationinanexhibitiontopresentaportfolioofbestworktotheindustry.

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PLACEMENTS and PROFESSIONAL FOCUS Fromthesecondyearonwards,studentshavetheopportunitytoarrangeplacementsandthereisawiderangeofprofessionalcompaniesthatworkwithCentral,allowingaccesstomanyperformancestyles.Throughplacementsinthesecondandthirdyears,studentshaveworkedonproductionswiththeRoyalShakespeareCompany,EnglishNationalOpera,BlackfriarsSceneryLtd,ScottFleary,ShapeConstructionandEastLondonFurniture.

StudentsregularlyundertakeplacementsattheRoyalOperaHouseandWatfordPalaceTheatre.

Throughthelinksthecoursehasestablishedwithotherindustries–suchasfestivals,eventsandthemeparks–studentshavebeenabletobroadentheirscopeofskillsandexpertisebyworkingonadiverserangeofprojects.

ThecoursehaslinkswithestablishedscenicworkshopssuchasScottFleary,BlackfriarsSceneryLtd,FactorySettingsLtd,Shakespeare’sGlobe,K.C.Construction,ObjectConstructionandFreeformConstruction.Theseworkshopsbuildsetsfortheatre,televisionandcorporateevents,givingstudentsanopportunitytoexperiencethevariedanddiverseareasinwhichtheycanworkupongraduation.StudentshaveworkedonsceneryfortelevisionshowssuchasThe X Factor, Britain’s Got Talent and Red Or Black?,aswellaseventsatGlastonburyFestival,TheatreMaterialsConference,ParadiseGardensFestivalandLondonMela.

Manyotheropportunitiescomethroughthenetworkofgraduatesalreadywell-placedintheatreandcontactsmadewiththeprofessionaldesignersthatstudentsworkwithonpublicproductionsatCentral.Alumnihavealsosuccessfullystartedtheirowncompanies,whichofferopportunitiesforgraduatingstudents.

RECENT VISITING STAFF RogerHarrison,SamGreenfield,RafeMullarkey,WilliamFloyd-Maclean,SaraPerks,SarahBroad,AndyShewan,AlexanderMcPherson,BobBailey,RoryEvans,NigelHayne,PhilipEngleheart,GaryThorne,MichaelTaylor,PaulWills.

BEYOND CENTRAL Graduate employment and career pathways include: Scenic Constructor,WatfordPalaceTheatre.Founding a scenic construction company,Illusion,DesignandConstruct.Internship,RoyalShakespeareCompany’sengineeringdepartment.Freelance Scenic Constructor,EnglishNationalOpera,BowerWoodProductionServices,BlackfriarsSceneryLtd,HedgehogConstruction,EnglishTouringOpera.Tutor,RoyalAcademyofDramaticArt.Head of Engineering,ScottFleary.Touring Carpenter, The Phantom Of The Opera.

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A general grounding in all aspects of theatre production, working with students on the other theatre disciplines to develop an overall understanding of how each contributes to live performance.

Professionaltheatrerequiresproductionpersonnelwithbothageneralknowledgeofproductionandspecialistknowledgeandskillswithintheirareaofpractice.Thecurriculumemphasisestheroleofstagemanagementasaconduitbetweenthedirectorandtheproductionteamthroughouttherehearsalprocessandthemanagementoftheperformanceitselfincludingtheacquisitionoffurnitureandprops.Today’sStageManagermusthaveexcellentpeopleskills,beingresponsibleforcommunicatingdevelopmentsastheyoccurthroughrehearsalsandnegotiatingsolutionstotheproductionchallengesidentified.ThecourseaimstoproducestagemanagerswhoareabletoadapttoanyproductionsettingrangingfrommoretraditionalWestEndtheatretolarge-scaleoutdoorevents.

StudentsdeveloppracticalmanagementskillsthroughworkinginproductionteamsonanumberofrealisedproductionsincollaborationwithstudentsonotherTheatrePracticecourses,withtheActingcoursesandwithvisitingprofessionals.StudentsareintroducedtoamodelofpracticethatunderpinstraditionalBritishtheatreasexperiencedinthecommercialandsubsidisedsectors.Throughrealisedproductionopportunities,studentsalsoexperiencealternativemethodsofpracticeincludingcommunity,small-scalefringe,devised,physical,visual,site-responsiveandimmersivetheatre.

Stage ManagementDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W491 | CourseLeader:Peter Maccoy (seeStaff,page13)PleaseseeImportantInformation(page116).

Year 1Developbasicskills:forcreatingliveperformance,throughaseriesofworkshopsandrealisedprojects.Classesandworkshopsincludemanagingrehearsalsandtheperformance,blockingandworkingwiththecastanddirector,markingup, showcalling,propssourcingandadapting,costumesupervisionandsewing,lighting,andsoundandstagingtechnology.Workshopsfocusontextanalysis,groupdynamics,communicationandcurrentlegislationincludinghealthandsafety.StudentsundertaketheroleofAssistantStageManageronarealisedproduction,workingwithstudentsfromtheundergraduateActingandothercourses.

Year 2Taughtsessions:includescorereading,companymanagement,pyrotechnics,firearmsandbloodeffectsandeventmanagement.StudentstakeontherolesofAssistantandDeputyStageManagersonrealisedproductionprojectsfrommainhouse,prosceniumtheatreshowstositeresponsivefringework,oronprojectsoutsideCentral,includingcommunitytheatre,immersivetheatreandeventmanagementandmayberequiredtooperatesoundandlightingonsmall-scaleproductions.Studentsareassignedaprofessionalmentorwhowilladviseandguidethemthroughtheirsecondandfinalyears.

Year 3Focusonprofessionaldevelopment:studentsundertakeatleastonerolewithsignificantmanagementresponsibilitiesand/oraroleonalarger-scaleormorechallengingproduction.Studentsresearchandorganiseasuitableplacementwithaprofessionalcompanytobroadenknowledgeandunderstandingoftheareasofworktheywishtoenterupongraduation.

Polly Rowe

Graduated 2012, Assistant Stage Manager on The Hard Problem, Dorfman Theatre at the National Theatre.

‘I came to Central with little Stage Management experience, but with a real passion for theatre. A combination of the course’s career driven focus, and the encouragement of my tutors inspired me to pursue the companies I’d always admired. Since graduating, I’ve toured with the RSC and I now work for the National Theatre. I’ve worked on productions which have been broadcast live to cinemas worldwide. My time at Central gave me so many contacts and a huge step towards the job I love.’

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PLACEMENTS and PROFESSIONAL FOCUS Studentsbuildonthecontactsmadeduringthecourseinordertosetupprofessionalplacementsfortheirfinalyear.RecentplacementhostshaveincludedtheNationalTheatre,RoyalShakespeareCompany,DonmarWarehouse,RoyalCourtTheatre,TricycleTheatre,Complicite,YoungVic,Shakespeare’sGlobe,RoyalOperaHouse,EnglishNationalOpera,OperaHollandPark,RoyalAlbertHallandCompanyOne,BostonandonarangeofWestEndproductionsincludingMemphis and Sunny Afternoon.

ThecoursehasextensivelinkswiththeliveperformanceindustryonallscalesinLondonandbeyond,includingEnglishNationalOpera(viaanannualgraduateinternship),theDonmarWarehouse,theTricycleTheatreandtheRoyalCourtTheatre.Throughprojectwork,formalvisitstotheatresandregularclosecontactwithprofessionals,includingrecentgraduates,studentsarewellpreparedtoentertheliveperformanceindustry.

StudentsworkwithprofessionalStageManagerseitherundertakingtheirrolewithinCentralorasprojectsupervisorsandteammentorsandallstudentsareassignedapersonalgraduatementor.

ThereisarangeofpotentialopportunitiesforstudentstoworkwithcompaniessuchasParrot{inthe}Tank,ShuntandNutkhutonmoreunconventionalimmersiveworkandinnon-traditionaltheatremakingareasincludingstreetartsandoutdoortheatre.ThisincludesworkonfestivalssuchasLondonMela,aswellaswithhighlyacclaimedcompaniessuchasWalkthePlank,TheWorldFamous,EmergencyExitArtsandKinetika.

RECENT VISITING STAFFStage Managers,SophieAcreman,MarionColwell,JoMiles,HannahRoy,AdamTripp,AndyShewan,CharlottePadgham,DennisCharles(ProductionManagement),AndrewKillian(CompanyManagement),SimonByford(EventManagement),JamieFlockton(Sound),DominicRouse(Director),LisaWesterhout(ScoreReading),CateBlanchard(Photoshop),JustFX(Pyrotechnics),Rc-Annie(FirearmsandStageBlood).

BEYOND CENTRALGraduate employment and career pathways include: Company Manager,SalisburyPlayhouse.Assistant Company Manager,Charlie And The Chocolate Factory.Stage Manager,The Commitments, Wild Swans,YoungVic;Liberian Girl,RoyalCourtTheatre;Complicite’sThe Master

And Margarita; Cirque du Soleil’s Zarkana;RadioCityMusicHall,NewYork;Secret Cinema presents: Star Wars;Sochi2014WinterOlympicGamesandLondon2012Olympic&ParalympicGamesCeremonies.Deputy Stage Manager,Sweeney Todd: The Demon Barber Of Fleet Street,ENO; The School Mistress,StephenJosephTheatre,Scarborough;Maometto,GarsingtonOpera;The Monster In The Maze,LSO,Barbican;Jack And The Beanstalk,WatfordPalaceTheatre.Assistant Stage Manager,WestEndproductionsof Gypsy, The Ladykillers; Ghost,tour of China; The Vote,DonmarWarehouse; Seven Brides For Seven Brothers,Regent’sParkOpenAirTheatre;Complicite’sThe Master And Margarita; Hope,RoyalCourtTheatre;The Glass Menagerie,HeadlongTheatre;La Bohème,GrangeParkOpera;The Cherry Orchard,YoungVic;The Mentalists,OldVicProductions;Mermaid,SharedExperience;The Angry Brigade,PainesPlough;The Winter’s Tale,RSC;Everyman,NationalTheatre.Props Buyer,Happy Days,DeutschesSchauspielhaus,Hamburg.Award Events Producer,BAFTA.Production Manager,Imagination.Production Assistant,SquareDealsProductions.Assistant Project Manager,Don’tBelieveInStyle,HongKong.

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Technical and Production ManagementDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W493 PleaseseeImportantInformation(page116).

Successful completion of the course is preparation for a career in technical management, production management, or associated fields within the entertainment industry.

Astheproductionofliveperformanceartsbecomesanincreasinglyimportantpartoftheglobaleconomy,thereishugedemandforprofessionalswithskillsandtechnicalknowledgetomanagethecreativeprocessfrominitialconceptthroughrehearsaltorealisedperformance.

TechnicalandProductionManagementstudentswilllearnallaspectsofmanagingtheinfrastructureofperformance,from thehands-onskillsandtechniquesoftheatretechnicalworktothemanagementofpeopleanddepartmentsinnegotiation withthecreativeteam.

Year 1Unitsofbasictechnicalskillsforbackstagework:includingknowledgeofrelevantlegislationandsafeworkingpractices;buildinganunderstandingofmanaginggroupprojectsandtheproductionprocessasawhole;workingwithalldepartmentsinvolvedinthecreativeprocess;andlearningfundamentalprinciplesinvolvedindevelopingaperformance.Studentsassistwiththetechnicalmanagementofarealisedproductionandwriteapaperexaminingworkdonetodate.

Year 2Continuetohoneorganisationalandmanagementskills:workingalongsidefellowstudentsonotherTheatrePracticecourses,andwithvisitingprofessionalsonproductions–includingprosceniumtheatre,studiotheatre,site-specific,andalternativevenueshows–intheroleofTechnicalManager.StudentscontinuetolearntechnicalskillsincludingAutoCAD,pyrotechnics,stageautomation,riggingandflying.Attendseminarsbyindustryprofessionalsonbudgetingandscheduling,outdooreventmanagement,unionagreements,healthandsafetylegislation,etc.Writefurtherpapersexaminingworkandprocesses.

Year 3Focusonprofessionaldevelopment:undertakeproductionmanagementofarealisedproductionatCentral.BothtechnicalandmanagementskillsaredevelopedunderthetutelageofCentralstaffandindustryprofessionals,initialcontactsarecreatedwiththewiderperformanceartsindustryandspecificlinkswithprofessionalswithinachosenarea.StudentscontinuetowritepapersonprojectsandcreateaprofileandportfolioforpresentationtoanindustrypanelatCentralbeforeentryintotheprofessionalworld.

Red The Wolf Slayer!bySarahNixonandMarkChatterton

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Graduated 2012, currently Production Manager at English National Opera, recently working on Sweeney Todd at the London Coliseum and several other international co-productions for the company into the 2015/16 season and beyond.

‘ThecoursehelpedmetodevelopskillsthatIuseinmyjobeveryday.Notonlydiditteachmethecorehardskillssuchasbudgeting,draftinginAutoCADandtechnicalsolutions,butalsohelpedtodevelopmysoftskillsasateamleaderandabilitytodealwithcomplexproductionsituations.Thepositionofresponsibilityyougetaspartoftheprojectsensuresyouhavetheopportunitytoindividuallydevelopasapractitioner,withguidanceandsupportfromtheteamatCentralthroughtheentireprocess.Imetanumberofpractitionersintheindustry,whichhelpedmefindmystudentplacementduringmythirdyear,andhasledtothejobInowhave,aswellasseveralotheropportunities,includingsmall-scalemusicalsandfreelancejobs.’

Tom Lee

PLACEMENTS and PROFESSIONAL FOCUS Throughoutthecoursestudentswillhavecontactwithavarietyofperformanceartsprofessionals,aswellasaccesstobothtraditionalandleading-edgeindustrycompanies,venues,manufacturersandsuppliers.Duringonetermoftheirsecondorthirdyears,studentswillarrangeandundertakeaplacementwithacompanyoftheirchoiceinafieldofperformanceartstheyareinterestedindeveloping.Studentshaveundertakenavarietyofplacements,suchasProductionAssistantattheNationalTheatreandAssistantTechnicalManagerattheYoungVic.Theyhavealsogainedexperienceinnon-traditionalareasofpractice,forexampleattheLondon2012OlympicCeremonies,GlastonburyFestivalandHollandParkOpera.

Thecoursehasarangeofrelationshipsatalllevelsandinallareasoftheperformingartsindustry.TheseincludeLondontheatrecompaniessuchastheNationalTheatre,EnglishNationalOpera,theYoungVic,HampsteadTheatre,TricycleTheatreand

UnicornTheatreforChildren,aswellasreceivinghousessuchasSadler’sWells,HackneyEmpire,thePleasanceTheatreandmanyWestEndtheatres.ItalsohaslinkswithtouringtheatrecompaniessuchasMatthewBourne’sNewAdventures,EnglishTouringOpera,KneehighTheatre,AmbassadorTheatreGroupandsmaller,moreradicalcompaniessuchas dreamthinkspeak,Shunt,GoatandMonkey,WalkthePlank,TheWorldFamousandEmergencyExitArts.

Inadditiontoperformancecompanies,CentralhasconnectionswithtechnicalequipmentmanufacturersandsupplierssuchasStageTechnologies(automation),FlyingbyFoy(peopleflying),UnusualRigging(riggingandsuspension),WhiteLightandStageElectrics(lightingandsound),J&CJoel(stagefabrics),andScottFleary(sceneryconstruction).ThecoursealsohaslinkswithperformancevenuedesignersincludingarchitectsKeithWilliams(UnicornTheatre),TimFoster(TricycleTheatre)andJasonFlanagan(RoyalWelshCollegeofMusicandDrama),andtheatreconsultants(TheatreProjects,Charcoalblue,Theatreplan).

RECENT VISITING STAFFJulianRudd(RemarkableProductions),LizPugh(WalkThePlank),SimonByford(ProductionManager),MartinJady(ProductionManager),DennisCharles(ProductionManager).

BEYOND CENTRALGraduate employment and career pathways include: Technical Manager,MatthewBourne’sNewAdventures.AutomationTechnician,White Christmas tour.Production Manager,OlivierAwardslivefromtheRoyalOperaHouse.Head of Stage,HollandParkOpera.Draftsman,OlivierStageproductions,NationalTheatre.Production Assistant,HeartProductionsEvents.Production Manager,EnglishNationalOpera.Production Coordinator,Sochi2014WinterOlympicGames.Arts Centre Manager,ParkTheatre.Theatre Consultant,Charcoalblue.

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Train in the art of lighting design for live performance and related fields – learning practical skills to rig, focus and maintain lighting equipment, the ability to make aesthetic and technical design choices, and aspects of video and projection design.

Tohelpthembecomeleadingpractitionersofthenextgeneration,studentsaresupportedandencouragedtomakefulluseofautomatedlighting,video,projection,LEDsandotheremergingtechnologiesintheirdesigns.StudentswillbenefitfromCentral’sindustry-focusedresearchculture,whichensurestheirpracticeisattheforefrontofknowledgeandindustrypractice.

Theemphasisonpracticalaswellasaesthetictraininggivesstudentsthebestchanceofbeingabletocreateworktheycanbeproudof,andearnalivingfrom,upongraduation.TuitionisstructuredaroundpracticalprojectsinCentral’swell-equippedstudioandprosceniumperformancespaces,withrigorousinvestigationofthedesignprocess.Astheyprogressthroughthecourse,studentsdeveloptheirowndesignstyle,supportedbytutors,mentorsandvisitingprofessionals.

Throughoutthecourse,butespeciallyinthethirdyear,studentswillcreatelinkswiththeirchosenareaoftheindustryandspendsometimeworkingoutsideCentral,tomakethejourneyfromtheacademicworldtotheprofessionalworldassmoothaspossible.Theyareabletobuildandmaintainvaluablecontactswithindustryprofessionalsandrecentgraduates,aswellaswithmajortheatreandeventcompanies.

Theatre Lighting DesignDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:W450 | CourseLeader:Nick Moran (seeStaff,page13) PleaseseeImportantInformation(page116).

Year 1Introduction:solidgroundingin‘thetoolsofthetrade’,buildingconfidenceinthepracticalsideofcreatingstagelighting,enablingstudentstoexploreanddevelopabilitiesasadesigner.Preconceptionsabouttheatreandlightingdesignarechallenged.Theabilitytoworkaspartofacollaborative,multi-disciplinarycreativeteamwillbeformed.Productionprojectgivingstudentstheopportunitytotaketheroleoflightingdesignerand/orlightingprogrammer.

Year 2Continuingtheprocessofbuildingpracticalanddesignskills:onrealisedandspeculativeproductions,workingcloselywithstudentsfromothercoursesandvisitingprofessionals.Studentsworkcollaboratively,developingtheabilitytocommunicate,negotiateandsolveproblemsinateamenvironment.Workshopsincludedesignforvideoonstage,workingatheight,workingwithelectricityandarchitecturallightingdesign.Bytheendofthisyear,studentswillbeabletoplan,focusandplotlightingforotherdesigners,aswellasfortheirowndesigns.OpportunitytocompleteatleastonerealisedlightingorvideodesignforaCentralpublicproduction,workingwithaprofessionaldirector.

Year 3Focusonprofessionaldevelopment:studentstakeadvantageofCentral’sexcellentrelationshipwiththelightingindustry,numerousalumniandleadinginternationaldesigners.Opportunitiestocontinuetodeveloptheskillsofacontemporarylightingdesignerandgainafurtherunderstandingofnewtechnologies.Projectsofferexperienceinmanagerialandcreativedemandsfacedbylightingdesignersonprojectsandproductions.Towardstheendoftheirtraining,studentstakepartinanexhibitionpresentingaportfoliooftheirbestworktotheindustry.

As You Like It byWilliamShakespeare,publicproduction,LightingDesignby MarzioPiccetti,VideoDesignbyVincentSteenhoek

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Professional Focus ThelightingcoursesatCentralaregenerouslysupportedbymajorindustrypartners,includingWhiteLight,HSLandPRGUK,outdooreventandfireworkscompanyWalkthePlank,Mesmer,themediaandvideocollectivebehindmanylarge-scaletheatreandoperaproductions,and59Productions.Centralalsohasstronglinkswithsmallercompaniesthatwerestartedbygraduates,suchasDBSLandLiteupEvents.

Manyexcitingopportunitiesforlightingstudentscomethroughthenetworkofgraduatesalreadywellplacedintheatre,concerttouringandeventindustriesandaregularpanelofindustryexpertshelpsfinalyearstudentslaunchtheirprofessionalcareers.ThecoursehasexcellentlinkswiththeAssociationofLightingDesigners(ALD),whichhelpsstudentstonetworkintheindustry,andtofindplacementsandjobopportunities.

RECENT VISITING STAFF Lighting Designers,RichardPilbrow,ChloeKenward,RickFisher,ZiggyJacobs,KatharineWilliams,MattDaw.Leading

Production Lighting specialists,MarkMumford,MarcCallahan,MartinChisnall,StuartCrane.Members of lighting departments,EnglishNationalOpera,RoyalOperaHouseandtheRoyalShakespeareCompany.

Recent visiting graduates includeJoRichardson(Co-DirectorofFullProductionServicesLtd),AdamPovey(TheatreProductionElectricianandLightingDesigner),SquibSwain(ConcertLightingDesignerforBombayBicycleClub,TheStreets,Delphic,etc.),DanHill(LightingDesignerforPaulWeller,MarkRonson).

BEYOND CENTRAL Graduate employment and career pathways include: Theatre,includingasProgrammer and Assistant Lighting Designer,NationalTheatreLondon,Glyndebourne,EnglishNationalOpera,Sadler’sWells,ThePlace,YoungVic,RoyalCourtTheatre,TricycleandHampsteadTheatres.Lighting Design,LinburyStudioTheatreattheRoyalOperaHouse,ArcolaTheatre,TricycleTheatre,ParkTheatre,CurveTheatreLeicester,andnumeroussmallandmedium-sizedproducing

andreceivinghousesthroughouttheUKandEurope.Site-specific Work,includingGoatandMonkey,SecretCinemaandNationalYouthTheatre.Events and Production,graduatetraineeshipswithWhiteLightandImaginationLtd,andworkingoneventsatTheRoyalAlbertHall,theRoundhouse,ChelseaFootballClub,RoyalCourtsofJustice,TheO2Arena,GenevaMotorShowandothervenuesthroughouttheUKandEurope.Video and Projection Design,teammembersatEnglishNationalOpera,GlyndebourneFestivalOpera,NationalTheatreandComplicite,andforbandsincludingDelphic,TheStreetsandBombayBicycleClub.Concert Touring and Festivals,includingGlastonburyFestival,LatitudeFestivalandLee-Fest.Touring Lighting Designer,worldwidewithbandssuchasBombayBicycleClub,TheStreets,TheScriptandMarkRonson.

Ingi Bekk

Graduated 2013, freelance Video and Lighting Designer, recently worked on Forbidden Zone and Sorrow Beyond Dreams directed by Katie Mitchell, Blur in Hyde Park, Chimerica at the Almeida Theatre and West End, The Machine at Manchester International Festival and Donmar Warehouse, and The Magic Flute for ENO/Simon McBurney.

‘Thecoursehelpedmetremendouslyindevelopingtheskillsandprofessionalrelationshipsnecessarytomakeanalmostseamlessmoveintoworkingasaprofessionalaftergraduation.OnleavingCentral,Ihadalreadymaderelationshipsthathavebeenkeytomycareerprogressionandhavegivenmetheopportunitytoworkwithsomeofthegreatestcurrenttheatrepractitioners.

Theworldofvideoinperformanceismovingatalightningspeedintermsofequipmentdevelopmentandthelevelofexpectationtowardswhatis,couldandshouldbepossible.Thisprovidesanever-endingchallengeofkeepingupwithcurrenttechnologyandthe‘newestthingoutthere’.Centralhasprovidedmewiththetoolstobeabletocontinuouslydevelopmyskillsbeyondthecourse.’

Push basedonthenovelbySapphire,publicproduction

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Theatre SoundDuration:three years full-time, October start | Award:BA (Hons) Theatre Practice (accreditedbyDramaUK) (360credits/Level6) | Application:via UCAS, www.ucas.com | Institutioncode:C35 | Coursecode:WW34PleaseseeImportantInformation(page116).

Sound Design – the art of creating and controlling the total sonic environment of live performance as an integral part of the dramatic narrative – is one of the most rapidly evolving of the specialist theatre disciplines.

Focusingonpracticallearningonrealprojects,thiscourseexploresthetextures,subtletiesandpowerofsoundandmusicaspartofthelivetheatreexperience.Fromthestart,studentsworkwithstate-of-the-artequipmentandsoftware,acquiringcoretechnicalunderstandingthatwilldevelopoverthreeyearsandcarryforwardintotheirprofessionalcareer.Thenewestprofessionalperformancetechnologies,includingcomputer-basedshowcontrol,audiorecording,waveformediting,digitalmixingandaudionetworking,willbeavailabletostudentsandwillbecomeanintegralpartoftheirpractice.Relevantacousticandelectronictheorywillhelpstudentsusethisequipmenteffectivelyinpracticeandallowthemtoadapttoemergingtechnologiesinthefuture.

Technicalexpertiseisonlyoneaspectofthewell-roundedsoundpractitioner’sskillset.Equallyimportantisengagementwiththeconceptualunderpinningsoftheatresounddesignaesthetics.Studentswillassessthesonicimplicationsofperformancethroughcarefulanalysisoftext,light,movement,set,costumeandobjects,andthenactuallycreatesoundcontentandsystemsthatwillhelpreinforceanintegratedvisionoftheperformancetotheaudience.

Forstudentsinterestedincompositionforperformance,Central’sSoundDesignLaboratorieswillallowexperimentationwithavarietyofsoundgenerationandsequencingsoftware.Studentswillalsobeabletoworkwithmachineinteroperabilityandtheaestheticrelationshipsbetweensoundandlightdesign.

Themakingofperformanceisacollaborativeprocess,andthroughoutthecoursestudentslearntechnical,communication,group-workandproblemsolvingskillsaspartofacollaborativecompanyofperformance-makers.Centralisplacedattheheartoftheperformanceandartsindustries:studentshaveopportunitiestomeetkeyindustrypractitionersandtodeveloptheirownuniquecareerprofilebasedontheirtalentsandinterests.Inthefinalyear,thereistheopportunitytoparticipateinanexhibitiontopresentaportfolioofbestworktotheindustry.

Year 1Developandextendskillbase:examiningcoretechnicalandaestheticunderstandingstoinformpracticeintheatresound,includingproductionsoundandcontentdesign.Studentsareencouragedtounderstandcurrentprofessionalpracticeandtodeveloptheirowndesignaesthetic.Theyengageinpracticalexercises,includingspeculativeprojects,lookingatthelinkbetweentheoryandpracticewhileexpandingtheirunderstandingofworkingcollaborativelyincrossdisciplinarygroups.

Year 2Identifyanindividualisedcareerpath:throughprincipleareasofpractice,working‘inrole’acrossavarietyofproductions,undertheguidanceoftutors,supportstaffandoutsideprofessionals,studentstakefullresponsibilityfordesignandproductionelements,workingcollaboratively.Theywillenhancetheirtechnicalanddesignskillset,andtheirabilitytoworkasavaluableteammember.

Year 3Focusonprofessionaldevelopment:studentsundertakekeysoundproductionanddesignrolesacrossavarietyofpublicproductionsatCentral,includingthemanagementofsoundteamsandbudgets.Theycontinuetoresearchindustrypractitionersandpractice,andseektobeginintegrationwiththeprofessionalindustryoutsideCentralthroughplacementsandoff-siteprojects.

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Graduating 2016

‘FormeCentralstoodoutfromalltheotherdramaschoolsIlookedatbecauseIknewIcouldspecificallystudyinmyfieldandIdidn’tneedtoworryaboutgettinginvolvedinareasIwasn’tthatinterestedin.SincejoiningIhavefoundthattobecompletelytrue,asI’vebeenabletobetakepartinmajorproductions,takingonrolesIreallywanted.Ihavealsomadesomanyamazingfriendsandindustrycontactsthatwilldefinitelybenefitmeintherestofmycareer.’

Professional Focus TheatreSoundwasoneofthefirstcoursestoincorporatetheconceptofindustrypartnershipsatCentral,lookingatwaysinwhichcollaborationbetweenaudio and theatre industries couldbemutuallybeneficial.Theprogrammeisgenerouslysupportedbymajorindustrypartners,includingd&baudiotechnik,AutographSound,YamahaCommercialAudio,DiGiCo,OrbitalSound,BlitzCommunications,HaVESound,OutBoardElectronics,DeltaSound,CapitalSound,andavarietyofothercompaniesandindividuals.CentralplayedamajorroleintheestablishmentoftheAssociationofSoundDesigners(ASD),whichprovidesaplatformforcontinuingprofessionaldevelopmentandcommunitysupport.Manyexcitingopportunitiesforsoundstudentscomethroughthenetworkofgraduatesalreadywell-placedintheindustry.

RECENT VISITING STAFFGarethFry,JohnLeonard,DonatoWharton,TomGibbons,TomLishman,PeterMalkin,DaveSwallow,JamesFlockton,TomHackley,PeterEltringham.

BEYOND CENTRALGraduate employment and career pathways include: Freelance Sound Designer, RobertLepage,RoyalShakespeareCompany,Complicite,KatieMitchell,Propeller,DeltaSound,CapitalSound.Production Sound,NationalTheatre,StereophonicsEuropeanTour,DisneyInternational.Freelance and staff design and production positions,RoyalCourtTheatre,NationalTheatre,andnumerousWestEndandprofessionaltouringproductions.

Market Boy byDavidEldridge,publicproduction

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Postgraduate Courses

www.cssd.ac.uk/course-finder Please see Important Information (page 116).

Afacultyofover60subjectspecialistsprovideshighlevelsofstudent-centredtuitiononbespokecourses.Inaddition,over400visitingindustryspecialistsworkwithstudentseachyear.Anumberofscholarshipsandbursariesareavailabletosupportstudentsthroughouttheirstudy(seepage112).

MAScenographyExhibition

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66 ResearchDegrees(PhD/MPhil)

70 MAActingClassical

72 MAActingContemporary

74 MAActingforScreen

76 MA/MFAActorTrainingandCoaching

78 MA/MFAAdvancedTheatrePractice

82 MAAppliedTheatre:DramaintheCommunityandDramaEducation

82 MAAppliedTheatre:DramaandtheCriminalJusticeSystem

86 PGCertificateAppliedTheatre withYoungPeople

88 MA/MFACreativeProducing

90 MADramaandMovementTherapy

92 MA/MFAMovement:DirectingandTeaching

94 MAMusicTheatre

96 MA/MFAPerformancePractice asResearch

98 MA/MFAScenography

100 MATheatreCriticismandDramaturgy

102 MA/MFAVoiceStudies

104 MA/MFAWritingforStageandBroadcastMedia

MAActingClassical,The Revenger’s TragedybyThomasMiddleton,publicproduction

64 MAActingContemporary,In ExtremisbyHowardBrenton,publicproduction

65MA/MFAMovement:DirectingandTeaching

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Duration: three years, full-time minimum registration period | four years, normal maximum (excluding agreed interruptions) | six years, part-time minimum registration period, with eight years as the normal maximum | to transfer a PhD from another institution, the minimum length of study at Central is one year, full-time/two years, part-time

Award:PhD(Level8)/MPhil (Level7)| Application:see Further Information(page109) Convenor:Dr Tony Fisher(seeStaff,page12)

PleaseseeImportantInformation(page116).

Research Degrees (PhD/Mphil)

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RediscoveringSpanishmusicaltheatre:exploringaninterculturaladaptationofCopla,CollisionsFestival

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PhD study gives students the opportunity to engage with an area of drama, theatre, scenography or performance in depth and at the highest level of scholarship. Research at Central takes place in a lively and rigorous environment where advanced thinking, laboratory-style exploration and cutting-edge practice all go hand-in-hand.

Ourcultureisoneofenquiry,innovationandexperimentation,wherestaffandstudentsalikeareengagedwithnewandpioneeringideasandpractices,andseektounderstandthesewithinawiderfieldofperformanceandculturalproduction.Astudent’seventualPhDsubmissionmaybeasingleandsustainedwrittenthesis,oritmayfeaturepractice-basedprojectsalongsideawrittencomponenttothethesis.

Webelievethatresearchintoourdisciplinesofteninvolvesexplorationin,andthrough,themediawithwhichweareconcerned.Suchactivityalwayshasitscontexts,andCentral’sacademicstaffareexpertindrawingconnectionsbetweenexploratorypracticeandadvancedconceptualising,processandproduct,makingandarticulating.Wealsohaveastrongtraditionoftext-basedacademicscholarshipindrama,theatreandperformance.

AsaspecialistCentreofExcellenceinTheatreTraining,Centralispre-eminentintheUKwithregardtotheindustry-specificfacilitieswhichsupportresearchthroughpractice.Thesespecialistfacilitiesareattheforefrontofwhatisavailableintheuniversitysector.Centralisanobvioushomeforsuchresearch.Wehaveextensiveconnectionswithallsectorsofthetheatreindustry,aswellasexpandinginternationallinks.Wearewellpositionedtofacilitatepractice-basedresearchbyvirtueofourhigh-specificationperformanceandrehearsalspaces,designstudios,workshops,technicalinfrastructureandspecialistsupportstaff.AsacollegeoftheUniversityofLondon,wecontinuetobuildbridgesbetweenleading-edgepracticeandadvancedacademicenquiry.

Centralisalsocommittedtoenhancingtheprofessionaldevelopmentofitsresearchersasfutureacademicsinthefield.Inadditiontoseminarsonresearchskillsandmethods,we

offerbothaseriesofprofessionaldevelopmentsessionsandapedagogiesunitthatteachesthecoreskillsneededforcareersinHE,aswellasprovidingopportunitiesforteachingonMAand BAcourses.

Other benefits for a research student studying at Central include:

>firstandsecondsupervisorsofcomplementaryexpertise:withthelargestgroupingofdrama/theatre/performancespecialistsintheUK,Centraloffersawidechoiceofpotentialsupervisors

>beingpartofoneofthelargestgatheringsofspecialistpostgraduatesinEurope

>theopportunitytoparticipateinCollisions,Central’sannualresearchcolloquiumandpractice-basedresearchforum,presentingworkinavarietyofformatstopeers

>beinginvolvedinacommunitythatincludesvisitingartistsandstaffwhoareexpertpractitionersintheirownfields

>beingregularlyexposedto,andparticipatingin,thecreationofnewworkinshowingsandfestivalsofoutcomesthroughouttheyear

>developingandsharingworkinasupportive,high-levelacademicenvironmentthatisalsoequippedforpractice-basedresearch

>undertakingtraininginresearchmethodsthatareappropriatetothechosenfieldofstudy,includingfieldwork,workshop-basedenquiryandexperimentalpractice

>beinglocatedclosetotheBritishLibraryandtheUniversityofLondon’sSenateHouseLibrary,towhichCentralstudentshaveaccess

>havingeasyaccesstotheculturalcentreofLondonwithitsperformancevenues,archives,museumsandtheatres.

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Currentareasofstaffresearchincludethefollowing(seepage14)andwww.cssd.ac.uk/staff:

>actortraining>appliedtheatre>dance>devisingandcreativeprocesses>dramatherapy>dramaturgy>intermediality>lightandsounddesign>movementdirection>music(al)theatre>participatoryandimmersiveperformance>performancephilosophy>performanceandqueertheory>puppetry>radicalpoliticsasperformancepractice>regimesofthebody>scenography>site-specificperformance>socialandpoliticaltheatre>theatreanddemocracy>theatrefordevelopment> theatre history>theatresociology>verbatimandwitnesstestimony>voice.

Studentswilldeveloptheirworkinafacilitativeenvironment,sharingtheoutcomesofresearchwithpeers.TheywillpresentaspectsoftheirworkatCentral’sannualresearchcolloquiumandpractice-basedresearchforum.Atthesuccessfulconclusionoftheirstudy,studentswillhaveproducedoriginalresearchthatisworthyofpublicationinappropriateformatsandmedia.

ThoseinterestedincontinuingtheirstudiesbyembarkingonaresearchdegreeshouldreviewtheresearchproposalguidancedocumentonCentral’swebsitewww.cssd.ac.uk.

Thosethinkingaboutaresearchdegree,butwhoareunsureiftheyareready,couldconsiderundertakingaMAorMFAcoursefirst,iftheydonotalreadyhavethatlevelofqualification(seepages70-105).TheMA/MFAPerformancePracticeasResearch(seepage96),forexample,inductsstudentsintothinkingabout,andmakingwork

at,thecutting-edgeoftheirdiscipline.Asanotherexample,forthosemoreinterestedindevelopingtheknowledgeoftheworkingsandhistoryoftheatreasaninstitution,seeCentral’sMATheatreCriticismandDramaturgy(seepage100),whichistaughtbytheforemosttheatrejournalists,artsmanagersandhistoriansandusesthecourse’sLondonsettingasitsrawmaterial.

AtthelastResearchExcellenceFramework(2014),overtwo-thirdsoftheresearchsubmittedbyCentralwasjudgedtobe‘internationallyexcellent’or‘world-leading’.TheSchoolhasbeendescribedasanexampleof‘theemergenceofanewkindofresearchinstitutionintheperformingarts,bridgingthecreativeindustriesandtheacademy’andas‘world-leadinginpracticeasresearch’.

Some PhD students are currently researching the following:

>hoo:ha-Illuminatingandexploitingadissonancebetweenfunninessandsexinesswiththefemalecomicbodyinperformance

>Thefivefunctionsoffilmviolence:philosophicalinterrogationsofthesystematicuseofviolenceinfilm

>Crippingacting:troublingocularcentricperformance

>PoeticsoftheClown:PrinciplesofPracticeandMisfitness

>Beinganactor/becomingatrainer:theembodiedlogosofintersubjectiveexperienceinasomaticactingprocess

>Adaptationasadeconstructiveanalytictoolbywhichtointerrogatetheexpandingcapabilitiesofperformanceart

>“FaintFlickerings”:Mass-ProducedImageryofFemininityandFantasy

>CompassionateMobilities:HowmighturbanplacemakingperformancescomposenarrativesofpossibilityforyoungpeopleinSingapore?

>WhenTheLightsAreShiningOnThem:DragPerformanceandQueerCommunities

>MythinContemporaryMaskPraxis

>Characterundererasure:Apracticalexplorationoftheapplicationofrealiststrategiesforcharacter-creationinpostdramaticparadigms

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>(Re)Frogging.(Re)ConsideringthepotentialinputofAristophanes’TheFrogsincontemporaryactortraining

>FabricatingAlternativeRealities:theCraftofQueeringCostumeDesign.

Recently graduated PhD titles:

>TowardsanEcologicalPerformanceAestheticfortheBio-Urban:ANon-AnthropocentricTheory

>ActingTowardsthePossibilityofGoodFaith:AParadigmofActorTrainingandActing

>F…..gwithBallet:StrategiesforPerformingQueerNegativity

>ChildrenandYoungPeoplewithDepression:APractice-as-ResearchExplorationofDramatherapyandtheChallengesofEvaluation

>‘Virtuallytrue’:Intermedialstrategiesinthestagingofwarconflict

>AnAestheticsofAuto()graphy:AnAestheticsofPrecarity

>TowardsanInterculturalPerformativityofTaste

>WitnessingChange:ProblematisingtheImpactofParticipatoryTheatreforVulnerableGroupsatKidsCompany

>TowardsanunderstandingofhowLondonTurkishCypriotyouth‘perform’theirDiasporaidentitiesthroughemplacementandmobility

>LiveIntermediality:anewmodeofintermedialpraxis

>BlastTheory:IntermedialPerformancePraxisandtheGenerativeConditionsforPerformanceSubjectivity

>TheBhāndModeinPakistaniPerformance

>Gloom:scenographyaspraxisofimperceptibility

>Laban-Aristotle:Zώον(Zoon)inTheatreΠράξις(Praxis);Towardsamethodologyformovementtrainingfortheactorandinacting

>GuidedPracticesinFacingDanger:ExperiencesofTeachingRisk

>YouHaveto‘BeThere’:AHeideggereanPhenomenologyofHumour

>Are-evaluationofLabanprinciplesforactorsinviewoftheAristotelianConceptofMimesis

>TowardsaNewSissiography:TheSissyinBody,AbuseandSpaceinDance-TheatrePerformance

>TheSenseandNonsenseofComedyandRevolt:relocatingthepoliticaldimensionofperformancecomedy

>Towardsatheatreofpsychagogia:anexperimentalapplicationofSesame’smethodologytoancientGreekplays,withinthecontextofpsychophysicalactortraining

>TheRiseofManipulacting:thepuppetasafigureoftheother.

APPLICATION

Studentswishingtoapplywillnormallyhaveagoodfirstdegreeandmaster’sdegreeinrelevantsubjects.Inexceptionalcircumstancesstudentsmayhavesignificantandrelevantprofessionalexperienceinplaceofamaster’squalification.Forproposalstoundertakeresearchthatincludespractice-basedelements,studentswillnormallybeabletodemonstrateappropriateexperienceandproficiencyinrelevantareasofpractice.

See Further Information(page109).

Jo Scott

Completed her practice as research PhD project at Central in 2014, and is a practitioner-researcher and lecturer at the University of Salford. Jo’s research involves the making and exploration of a mode of live media performance which she terms live intermediality.

‘WhenIfinishedmyMAPerformancePracticesandResearchatCentral,Iwasmuchtooimmersedintheworldofpractice-as-researchandmyownresearchintereststoconsiderleaving,soIwentontoexplorefurtherthroughapractice-basedPhDinnewformsofliveintermedialityinperformance.Centralisauniquehybridinstitution,wherealltheelementsofcreatingperformanceandacademicstudybumpagainsteachotherinfascinatingways.Ienjoythedissonanceandfinditavibrantandstimulatingenvironmenttomakeworkandpursueresearch.’

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An intensive, advanced level conservatoire programme of two specialist courses taught over an extended 42 weeks, with up to 35 hours per week of classes, rehearsals, seminars and tutorials. Successful applicants will be offered a place on one of the two courses, Classical or Contemporary.

Thisisacreatively,physicallyandintellectuallydemandingprogrammedesignedprimarilyforstudentswithpreviousexperienceand/ortraining.Theprogrammeaimstohonetheindividualtechnicalcraftoftheactor,andtoreleasetheircollaborativeandimaginativecreativitywithinanensemble.

Practicalclassesinacting,movementandvoicearetaughtincoursegroups,whilstresearchtrainingfortheSustainedIndependentProject(SIP)andseminarscombinebothcoursesincollaborativeenquiry.Eachcoursefollowsthesamebasicstructureof‘intensives’and‘studios’withclassesexaminingparticulartheatricalformscombinedwithphysicalandvocaltraining,andindividualresearch.Studentsoneachcoursewilltakepartintwofully-supportedproductionsandanindustryshowcase,andundertakeseparateperioddanceandstagecombattraining.

Classical Course

TheClassicalcoursefollowsthedevelopmentofthetheatricalartfromitsearliestritualrootstothebirthofnaturalism:

>GreekTragedy,ChorusandtheNeutralMask>ClowningandCommediadell’arte>ShakespeareandtheEnglishRenaissance>Stanislavski,theMethodand‘Realist’Theatre.

ThecoursedrawsonthehugelyinfluentialtheoriesandtechniquesofthegreatFrenchactingteacherMichelSaint-Denis,trainingtheexpressivebody,voiceandimagination.

Workingwithsomeofthegreatestdramatictextseverwritten,studentsareaskedtoconsiderwhattheymeannow,andhowtheir21stcenturyreinterpretationandre-imaginingstillholdsa‘mirroruptonature’.Studentsareencouragedtounderstandthedemandsofbothartandcraft,asparticipantsin,andpractitionersof,theWesterntheatricaltradition,throughacoursestructurethatexamines,inchronologicalorder,fourkeyperiodsofinnovationandtransition.

Indicativecoursecontentincludes:

In the first four-week intensive (September – October),theensembleprincipleisnurturedthroughpracticalworkonthechorusofancientGreektragedy(withexaminationofseveraldifferentchoricstyles),neutralmaskandintensivephysicalandvocaltraining.AccompanyingseminarsaddressAristoteliantheoryoftragedyandthesocialandpoliticaldiscoursesofancientGreekdrama.Regularvoiceandmovementtrainingcontinuesthroughoutthecourse.

In the subsequent studio (October – December), practicalclassesincommediadell’arte,charactermaskandclowningexaminetheoldestunbrokenEuropeantheatretradition:comedy.Inthesecondhalfoftheterm,studentsundertakeworkonscenesfromEarlyModernplaysusingapproachesderivedfromclown,animalworkandimprovisationaltechniques.Practicalassessments,showingsandcritiquestakeplaceattheendofeachstudio,andindividualpersonalguidancefromtutorsisavailablethroughouttheyear.Stagefightingclassesalsotakeplaceinthisterm,leadingtoabasicstagecombatqualification.

MA ActingDuration: one year, full-time, September start Award:MA Acting(180credits/Level7) | Application:see Further Information (page109) MAActingProgrammeLeader:Martin Wylde | MAActingClassicalCourseLeader:Ben Naylor MAActingContemporaryCourseLeader:Sarah Davey-Hull(seeStaff,pages12/13)PleaseseeImportantInformation(page116).

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In the second studio (January – March), thecoursefocusesonactingapproachestoShakespeareandhiscontemporaries:narrativestructureandstorytelling,textualform,heightenedrealisticexpression,characteranalysis,gestureandmovementpsychology,andtheactor’srelationshiptotheaudienceandtospace.AccompanyingseminarsaddressthepoliticaldynamicsofRenaissancedramaandideasofpsychologicaltruthandstylisation.StudentscanchoosetoworkonscenesfromShakespeare,otherEarlyModernEnglishplaywrightsandplaywrightsfromtheEuropeanRenaissancecanon,suchasCalderón,LopedeVega,CorneilleorRacine.Perioddanceclassesinthistermexaminearangeofhistoricaldancesandhonemovementandgesturalskills.

In the second intensive (March – April), studentsrehearseandperformafully-supportedproductionofaShakespeare,Renaissanceorotherappropriateplay,integratingtheirwork-to-date,inchorus,clowning,actingandcharacterisation,movementandvoice.

In the third studio (April – June),thecourseexaminestherevolutionoftherealistandexpressionisttheatresinthe19thandearly

20thcenturies,andtheircontemporarylegacy.UnderpinningclassesarethetheoriesonnarrativeandcharacterofStanislavskiandhissuccessors.Studentscanchoosetoworkonscenesfromawiderangeofrealist,expressionistandproto-naturalistplays(suchasthosebyChekhov,Ibsen,Strindberg,Brecht,Büchner,Williams,O’NeillorShaw).Duringthisterm,studentswillalsoperforminanindustryshowcaseatCentral,oraprofessionalvenuetogetherwithstudentsfromtheContemporarycourse.

In the final intensive (July – August), students rehearseandperformafully-supportedproductionofaplayfromtheWesterncanonasafinalsummationoftheirpracticalwork.Bothproductionswillbechosenandcasttobothchallengeandbestrepresenttheparticularcharacterofthecohortandtheindividualstudents.Throughoutthepracticaltraining,studentsworkonaSustainedIndependentProject(SIP)ofwrittenand/orperformanceenquiry,partofwhichmaybepresentedasasoloperformance.

After the final intensive (August – September), thereisawriting-upperiodforthefinalstageoftheSIP.

Riz Ahmed

Graduated 2006, appeared most recently as Rick in Nightcrawler and Naz in HBO’s Criminal Justice, and also acted in Rogue One: A Star Wars Story due to be released in 2016.

‘WhenIcametoCentral,Iwaspassionateaboutacting,butIwasyettounderstandthenecessaryrigouranddisciplineneededtopursueacareerinit.Centralguidedmefromaplaceofblindenthusiasmtooneofdiligentcraft,providingmewiththesolidfoundationsIneededoverthecomingyears.Itwasn’talwayseasytomakethattransition,attimestheprocesswaspainful,andIfoughtagainstit.Butmycourseleadersshowedsuchbeliefandpatiencetowardsus,andbuiltsuchtrust,thatIultimatelyfollowedthemintothisunknownterritory.IgrewmoreinthatoneyearthanIcouldhaveeverimagined.’

As You Like It byWilliamShakespeare, publicproduction

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Contemporary Course

TheContemporarycourseaddressestheactor’srelationshipwiththewriter,fromEarlyModerntimestothepresentdaythroughtheexplorationof:

>Shakespeareandhislegacy>Chekhov,Stanislavskiandthebirthofnaturalism>theactorand20thcenturyplaywriting>newwritingandthedevelopmentofnewwork.

Thecoursecombinesteachinginpracticalvoice,movementandactingtechniqueswithanexplorationofsomeofthekeyplaywrightswhohavehelpedforgethecanonofWesterntheatre,fromtheElizabethanandJacobeandramatiststoChekhovandfromBecketttoKaneandbeyond.Uniquely,itexplorestherelationshipbetweenthetwoartistsatthecoreofmuchWesterntheatre:theactorandthewriter.

Playsarefrequentlydevelopedincollaborationbetweenactorsandwriters,sometimesdirectlyandsometimesmediatedbyadirector.Studentsareencouragedtoexploretheirroleascreativeartistsinrelationtowritersandthewrittenword.Throughoutthecourse,studentshavethechancetoworkwith,andalongside,writersonplaysindevelopment,boththenextgenerationofplaywrightsontheMA/MFAWritingforStage

andBroadcastMedia,andestablishedplaywrightswithatrackrecordofproducedplays.

Indicativecoursecontentincludes:

In the first four-week intensive (September – October),studentswillexploretheworkofShakespeareandhiscontemporariesbothintheirhistoricalcontextandintheirinfluenceoncontemporarytheatre.Alongsidethistheywillworkonaseriesofensemblebuildingexercises.Complementingthiswillbeanintroductiontotheneutralmask,andintensivephysicalandvocalwork.

In the subsequent studio (October – December),studentswillexamineStanislavskiandsomeofthecontemporaryactingtechniquesthathavederivedfromthegrandfatherofmodernactingpedagogy.Studentswillalsopracticeperioddance,stagecombat,clowningandstorytelling,undertakingaseriesofétudesthatwilldevelopskillsinobservation,imagination,transformationandcharacteranalysis.Thesewillcontinueintotheremainingstudios.Studentswillcontinuetoworkonvoiceandmovementalongsidescenesfromplaysoftheearly20thcentury,includingthoseofChekhov.Practicalassessments,showingsandcritiquetakeplaceattheendofeachstudio,andindividualpersonalguidancefromtutorsisavailablethroughouttheyear.

ENYI OKORONKWO

Graduated 2014, recently appeared in wonder.land at the National Theatre, A University Speaking at Theatre503 and Arthur’s World at the Bush Theatre.

‘IwasawarethatitwouldbeaconsiderablejumpcomingstraightfromtheBA(Hons)DramaatQueenMarytotheMAActingatCentral.ButthroughoutIhavefoundthattheintensityofthiscourse–beingtaughtbyindustryprofessionals,givenuniqueopportunities,andconstantsupportincluding1:1voiceandmovementtutorials–hasgivenmeincomparabletraining.’

Miss Johnson byAmandaWhittington,publicproduction

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In the second studio (January – March), the courseexaminesplaysfromthelatterhalfofthe20thcentury,includingtheworkofPinterandKane.ThereisalsothepossibilityforstudentstobringinscenesfromotherleadingEuropeanandAmericanplaywrights.Studentswillstudytextualform,includingtheuseoffracturednarratives,codifiedsilenceandstillness,andthesemioticsoftheactor.Alongsidevoiceandmovement,studentswillbegintheprocessofcollaboratingdirectlywithwriters.

In the second intensive (March – April), studentsrehearseandperformafully-supportedproductionofanexisting20thor21stcenturytextornewplay.Herestudentswillapplyallofthepracticalandcharacteranalysisskillstheyhavedevelopedtodate.

In the third studio (April – June),thecourseconcentratesonthedevelopmentofnewwork.Studentswillworkincollaborationwithanumberofplaywrightsatdifferentstagesofthedevelopmentprocess.ThismayincludeworkingwithwritersontheMA/MFAWritingforStageandBroadcastMediacourseonthedevelopmentof

ascriptforthefinalproduction,oronrehearsedreadingsandworkshopsatCentralorinindustryvenues.Studentswillalsobeencouragedtovisitanumberofnewwritingvenues.Duringthisstudio,studentswillalsoperforminanindustryshowcaseatCentral,oraprofessionalvenue,incollaborationwithstudentsontheClassicalcourse.

In the final intensive (July – August), students rehearseandperformafully-supportedproductionofeitheranewplayorexisting20thor21stcenturyscriptasafinalsummationoftheirpracticalwork.Thismaybeespeciallycommissionedforthegroup.Productionswillbechosenandcastbothtochallengeandbestrepresenttheparticularcharacterofthecohortandtheindividualstudents.

Throughoutthepracticaltraining,studentsworkonaSustainedIndependentProject(SIP)ofwrittenand/orperformanceenquiry,partofwhichmaybepresentedasasoloperformance.

After the final intensive (August – September), thereisawriting-upperiodforthefinalstageoftheSIP.

ASSESSMENTAssessmentisthroughamixtureofpracticalassessments,includingclownimprovisations,scenestudiesandpublicproductionwork.TocompletetheMAActing,studentswillalsosubmitaSustainedIndependentProject,whichmayincludeelementsofsoloperformanceandcriticalwriting.

Professional FocusAllstaffarewellconnectedtoindustry.Inthepastfewyears,Classicalstudentshaveparticipatedinaresearchsymposium,workedonthestageofShakespeare’sGlobeandperformedattheBrightonFestivalwithpoetAliceOswald.EachyearanewplayiscommissionedbyaleadingplaywrightwhoworkswiththeContemporarystudents(AmandaWhittingtonin2015andRebeccaLenkiewiczin2014).ContemporarystudentshavealsoworkedattheRoyalCourtTheatrewiththeirwriters’groupsandwithmembersoftheexperimentaltheatrecompanyTheFactory.Recentlystudentsonbothcourses

haveactedinmasterclasseswithdirectorsincludingMichaelGrandageandIanRickson,takenpartinworkshopswithHannahMiller(HeadofCasting,RoyalShakespeareCompany)andattendedsessionswithJudiDench,VanessaRedgrave,MichaelBoydandDeclanDonnellan.StudentsfromIrelandandtheUSAhaveparticipatedintheDramaUKShowcasesinIreland,NewYorkandLosAngeles,andallstudentsparticipateintheMAActingshowcase.

RECENT VISITING STAFFRizAhmed,MarkBell,RachelBown-Williams,AllyCologna,NatashaFedorova,StephenHudson,FederayHolmes,MichaelGrandageCBE,DrStepheHarrop,PaulHarris,AnnaHealey,IanRickson,HannahMiller,AnnaMorrissey,ThomasOstermeier,JeffPerry,GuyRetallack,ProfessorColinTeevan,ProfessorStanleyWells.

BEYOND CENTRALGraduate employment and career pathways include: Actors in leading theatre venues

worldwide,includingnationalandinternationaltours,intheWestEndandonBroadway,andfortheNationalTheatre,RoyalShakespeareCompany,NationalTheatreofScotland,RoyalCourtTheatre,TheBushTheatre,EnglishNationalOpera,Shakespeare’sGlobe,TheOldVic,WestYorkshirePlayhouse,LiverpoolEveryman,NationalTheatreofNorwayinBergen,NationalTheatreofGreece,TeatroGayarreinPamplona,TheShawFestivalTheatreinOntario,TheGoodmanTheatreinChicago,andSydneyTheatreCompanyinAustralia.Television, Hannibal,NBC;Criminal Justice,HBO;Downton Abbey,ITV;Sons Of Anarchy,FXNetwork;Camelot,Starz;Baby Daddy, ABC.Film, Nightcrawler, The Road To Guantanamo, Shifty, The Hours, Four Lions.

Graduateshavealsoworkedaswriters, directors, designers, filmmakers, producers, agents, musicians, singers, scholars, comedians, acting teachers, acrobats and dancers.

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A professional training that focuses on acting in film, television and other screen-related media, exploring the expressive potential of performance and an understanding of the relationship between performers and camera.

Thecourseisprimarilyforthosewhohavehadsomeprevioustrainingorprofessionalexperienceintheatre,filmortelevision.Itwillbuildontheexistingskillsofstudentsandfocusonthespecificneedsoftheyeargroup.DrawingontheexpertiseofCentral’spermanentstaffteamandspecialistprofessionalsfromtheindustry,thecourseaimstoencouragethedevelopmentofcreativeartistswiththeflexibilitytoworkacrossallperformancemediums,specialisinginscreenperformance.

Throughoutthefirsttwoterms,studentswillfollowrigoroustraininginacting,whichwillconcentrateoncoreskills:voice,body,actingandcreativeinterpretation.Theprinciplesofstudyderivefrompsychophysicalmethods,particularlythetechniquesofMichaelChekhovandStanislavski.Theemphasisofthetrainingisonproducingactorswho,onleaving,haveahighskilllevel,withthenecessarytechniquetoapplytoascreencontext.

Therangeofclassesacrossthefirsttwotermswillincludescreentechnique;thiswillessentiallyexaminethedistinctionbetweenscreenandliveperformance.Itwillalsocovervisualstorytelling,workinginandadaptingtoshotsize,cheating,hittingthemark,shootingcontemporaryscenesfromtelevisionandfilm,andthepreparationofdifferentstylesofwork,includingsoap,dramaandcomedy.

Actingclasseswillinterrogatethebodyandprovidestudentswithatoolboxofexercises.Thereisaspecificfocusonrelaxingandworkingwithease,developingtheimagination,unpickingpersonalhabits,andcreatingbelievableperformances.Voiceanddialectclasseswillencourageanunderstandingofthevoiceasaninstrumentandwillworkwithavarietyoftextincludingpoetry,verbatim,classicalandcontemporarymaterial.

Intheareaofmovement,thereisexposuretovariousstyles,whichmayincludejazzandhistoricaldance,yoga,andchikung.Otherclassesincludesight-reading,textualanalysis,castingandmockauditionsledbycastingdirectors,actorsanddirectors.Professionalpreparationwillinvolveguidanceonselectingphotographs,writingCVs,self-marketingandonlinepromotion.

Term OneScreenStudyinterrogatestheworkofvariousfilmmakersfromtheperspectiveoftheactor.ThismayincludePedroAlmodóvar,LucBesson,MartinScorsese,DavidLynch,Jean-LucGodard,AndreaArnold,JaneCampionandMichaelHaneke.

Terms One, Two and ThreePerformanceProjectsaredesignedtoputclassworkintopractice,enablingstudentstodevelopandhonetheiractingskillsonscreenandlearnthefundamentalsoffilmmaking.Projectsmayincludeasilentshortfilm,whichwillexaminevisualstoryboarding,usingacamera,learningaboutdifferentrolesonset,andediting.InthesummertermthereisaShortDramaProjectwhichiscommissionedforCentralandwrittenbyprofessionalwriters/filmmakers,andisshotonlocationbyaprofessionalcrew.ThesefilmsarescreenedinLondon’sWestEndasashowcaseinJune.Previousfilmshavebeenenteredfor,andreceivedawardsat,nationalandinternationalfilmfestivals.

During Terms Three and Four,students’workcompletestheSustainedIndependentProject.Therearethreeoptionsofferedinthisunit:aresearchportfolio,adissertation,orproducingandperforminginashortfilm.Theworkmustbeoriginalandpartnershipswithgraduatesfromfilmschoolsareencouraged.Inpreviousyears,filmshavebeenacceptedatfestivals,includingLondonShortFilmFestivalandNorwichFilmFestival.

MA Acting for ScreenDuration: one year, full-time, October start Full-time,on-siteattendancebetweenJulyandOctoberisnotmandatory Award:MA Acting for Screen(180credits/Level7) | Application:see Further Information(page109) CourseLeader:Amanda Brennan(seeStaff,page12)PleaseseeImportantInformation(page116).

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ASSESSMENTModesofassessmentincludepracticalassignments,reflectivewriting,presentations,writtenandpractice-basedresearch.Fortheindependentprojectthereisanoptiontomakeafilm,writeadissertationorcompileaportfolio,whichwouldincludeacasestudyofafilmmakerandanextendedresearchenquiry.

RECENT VISITING STAFFJeremyZimmermann,JaneDeitch,JenniferWithers,JaneEpstein,JanisPugh,RebeccaGatward(Director,Casualty, EastEnders, Doctors),SmitaBhide(BestFeature,Raindance),KeirBurrows(WinnerBestShort/BestDirectoratReykjavikInternationalFilmFestival),MartinMcKellan(HeadofVoice,Shakespeare’sGlobe),PaulHarris,JamesKent,AmitGupta,AlisonSteadman,LesleySharp,RizAhmed,MarkStreet,MiriamKerbavcic,JanisPrice,RobSavage.

BEYOND CENTRALGraduate employment and career pathways include: Actors, Film, The Theory Of Everything, Starred Up, Maleficent,Disney.Television, Silent Witness, Casualty, Doctors, EastEnders, Doctor Who, Luther, Call The Midwife, BBC; Top Boy, Channel 4; Downton Abbey, ITV;The Inbetweeners,E4;Nip/Tuck,FX;Black Sails,Starz;HBOpilotscenes.Theatre, The Internet Is A Serious Business, RoyalCourtTheatre;The Judas Kiss, HampsteadTheatre.Founder members of theatre and film companies have showntheirworkattheEdinburghFestival,LondonFilmFestival,BrightonFringeFestival,LondonShortFilmFestival,BatterseaArtsCentre,King’sHeadTheatreandtheInstituteofContemporaryArts.

Valmike Rampersad

Graduated 2007, recently played the lead role of Ajay Shah in British television drama Cloud 9. Film credits include Hotel, Open Secrets and The Exquisite Continent.

‘IchosetostudyatCentralbecauseofitsinternationalreputationasoneofthebestdramaschools.TheexperienceIgainedwasinvaluabletotheworkthatIamdoingnow.Therewereelementsofthecoursethatincorporatedcrewingtheshortfilmsthatwemadeourselves.Thisgavemeinsightintowhatreallygoesonbehindthescenesandmyroleasanactortohelpfacilitatetheprocess.’

VICTORIA EMSLIE

Graduated 2012, television and film credits include The Christmas Candle (2013), The Theory Of Everything (2014), Downton Abbey (2015), and The Danish Girl (2016).

‘ActingforScreenopenedsomanydoorsforme(bothinside and out) and it is hard toputintowordsexactlyhowbeneficialthiscourseactuallyis.Personally,itmarkedthebeginningofabetterunderstandingofmyselfandofmycraft,bothofwhichwillcontinueindefinitely.Allthetools learnt and the hours of practicehaveledtoapointwherenow,twoyearsaftergraduating,Icanbreatheasighofreliefandsmiletomyselfthinking,thisiswhatmytraininghasgivenme:confidence,groundingandthetoolsforexecutingthecarefullyconsidereddetailsthatbringaperformancetolife.Youarelimitedonlybyyourimagination;notbywhatothersthinkofyou.’

Fan Girl, shortfilmpublicscreening

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This course develops knowledge of the practice of acting through the exploration of training methodologies, working with specialists to explore various specific approaches and study pedagogical tools for embodied learning – encouraging students’ own unique pedagogic and artistic work with performers.

TogetherwiththeVoiceStudiesandMovement:DirectingandTeachingcourses,ActorTrainingandCoachingisoneofCentral’spostgraduatedegreesthatexposesthestudenttohigh-leveltrainingpractice.Thecoursedoesnottrainactors,butdevelopsapracticalunderstandingofwhatitistoact,enablinggraduatestoworkasactortrainers,coaches,theatrepractitionersanddirectorsofactors.

In the first year of the MFA, students join the MA students for Terms One to Three. In this period,MAandMFAstudentsmayexpecttoencounterworkassociatedwith,forexample,Stanislavski,Chekhov,Meyerhold,Bogart,Lecoq,GrotowskiandMeisner,andmethodologiesappropriateforactingforscreen.Teachingmethodsincludetutorials,groupseminarsandworkshops.

Studentswilldevelopadvancedinterpersonal,facilitation,coachingandpedagogyskills.Theseinclude:howtoresearch,plananddelivercourses;obtainingknowledgeofawiderangeofactingmethodologiesandpractices,aswellassomemovementandvoice,educationandsupportofactors;researchskills,bothasanindividualandthroughgroupresearch;presentationskillsandanabilitytoplan,conductandcriticallyreflectonthestudent’sownpracticeasanactortrainer/practitioner.

In the MA and the MFA first year there is the opportunitytoundertakeateaching/assistantdirecting/coachingplacement,aswellasplacementstoengagewithdifferentactingandproductioncontextswiththedurationrangingfromeighthourstothreemonths.Placementsareavitalpartofthecourseandwillenablestudentstodevelopexperienceandhoneskillsasapedagogue/practitioner.

The MFA second yearwidensopportunitiestopractiseknowledgewithinaprofessionalcontext.Studentsareexpectedtoundertakeoneortwoworkplaceattachments,aswellastutorialsandoccasionalseminarsthroughouttheyearaspartofanongoingprocessofpedagogicalreflectionandengagementleadingtothesubmissionofthefinalassessment.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

Atthetimeofgoingtopress,theremaybethe possibilityofstudentsbeingrecognisedasAssociateFellowsoftheHigherEducationAuthority(HEA).Seewww.cssd.ac.ukforfurtherdetails.

MA/MFA Actor Training and CoachingDuration: MA: one year, full-time/two years, part-time, October start | MFA: two years, full-time, October start | Full-time,on-siteattendancebetweenJulyandOctoberisnotmandatory Award:MA Actor Training and Coaching (180 credits/Level7) | MFA Actor Training and Coaching (240credits/Level7) | Application:see Further Information(page109) | CourseLeader:Ian Morgan (seeStaff,page13)PleaseseeImportantInformation(page116).

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ASSESSMENTAssessmentduringthefirstthreetermsofbothcoursesisthroughwrittenwork,presentationandteachingpractice.IntheMAfourthtermstudentswillworktowardsafinaldissertationorportfolio.IntheMFAsecondyearassessmentisbymeansofanextendeddissertationorportfolio(inclusiveofcasestudies,reflectivedocumentationandplansofwork)manifestingresponsestoattachment/sandpractice.

Professional FocusStudentshavebenefittedfromworkingbothonothercourses(undergraduateandpostgraduate)at Central and in external institutionsincludingtheCentralFilmSchool,LondonFilmAcademy,RoyalAcademyofDramaticArt,ArtsEducationalSchools,East15ActingSchool,GuildfordSchoolofActing,DramaCentreLondon,MountviewAcademyofTheatreArts,AcademyofLive

andRecordedArts,RoseBrufordCollege,KingstonUniversity,RoyalHollowayUniversityofLondon,BangkokUniversity,LondonMetropolitanUniversity,HampsteadTheatre,TricycleTheatre,CleanBreakTheatreCompany,TheatreVenture,YellowEarthTheatreCompany,Roundhouse,TheActorsCentreandLondonBubbleTheatreCompany.

RECENT VISITING STAFFPhillipZarrilli,AlisonHodge,LornaMarshall,AllyCologna,MikeAlfreds,KatyaKamotskaia,BellaMerlin,JohnGillett,BrianAstbury,JohnWright,PhillippeCherbonier,SarahDavey-Hull,SinéadRushe,ScottWilliams,MelChurcher,BrigidPanet,JamesPalm,FranticAssembly.

BEYOND CENTRALGraduate employment and career pathways include: Acting Tutors,ArtsEducationalSchools,

Central,MountviewAcademyofTheatreArts,RoseBrufordCollege,KingstonUniversity,LondonFilmAcademy,GuildhallSchoolofMusicandDrama,East15ActingSchool,NationalTheatreEducation,DramaCentreLondon,RoyalAcademyofDramaticArt,NationalFilmandTelevisionSchool,TheActorsCentre,BristolOldVicTheatreSchool,AcademyofLiveandRecordedArts,MethodStudios,BangkokUniversity,TorontoUniversity,andotherinstitutionsintheUSA,Malaysia,Korea,AlbaniaandGreece.Actors,NationalTheatre,TheWatermillTheatreandotherregionaltheatres,LondonFringeandWestEnd. Research DegreesatCentral,ExeterUniversity,KentUniversity,QueenMaryUniversityofLondon,KingstonUniversityandOxfordUniversity.Founder members of companies and acting studios working as freelance actor trainers and coaches.

Aiden Condron

Graduated 2014 and went on to become a Teaching Fellow at Guildford School of Acting (Surrey University) and is now a Lecturer on the BA (Hons) Acting at the University of Central Lancashire.

‘Thecourseplayedavitalroleindeepeningandexpandingmyknowledgeandexperienceofactortraining.Infacilitatingadetailedexaminationofmyownpracticeandequippingmewithanunderstandingofcurrentissues,informingteachingandlearninginvocationaltrainingandHigherEducation,mytimeatCentralplayedasignificantroleinopeningupopportunitiesandpreparingmeforaviablefutureinthefield.’

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The MA and MFA Advanced Theatre Practice courses are aimed at those wishing to play a leading role in tomorrow’s new performance and theatre-making worlds and who want to engage in a collaborative laboratory for practical experiment.

Asactiveparticipantsinthesecourses,studentswill:

>developexperiencefromextensiveworkshopswithleadingprofessionals,learningtoresearchandextendtheirownpractice,launchacompany,makenewwork,and,ontheMA,finallytakethistoanaudiencebeyondCentral

>extendtherolesofperformer,director,writer,designer,dramaturg,puppeteer,musician,artist,orcreativethinkerinnewandunexpectedwayswithinasupportiveatmosphereofdiscoveryandinnovation

>becomeinvolvedinweb-basedtechnologiesanddigitalmedia,buildingonthetraditionoftheatremakingasacommunicativemediumofexchange–orinspiredbythecurrentwaveofexperimentaldirectors,andexplorethedistinctrolesofdirectororperformerworkingwithtextincontemporarytheatre

>haveopportunitiestotakeworkmadeonthecoursetofestivalsandeventsoutsidetheSchool,forexample,CamdenPeople’sTheatre,IstropolitanaProjekt(Slovakia),ZlomvazFestival(Prague),MarathonFestival(Jerusalem),BlalystokFestival(Poland),EdinburghFringeFestival,andPragueQuadriennale

>joinanetworkofdistinguishedalumni–includingwinnersofOlivier,TotalTheatre,IrishTimes,DeutschBank,RolexMentorandProtége,JMK,AllenWright,LinburyandEveningStandardAwards–changingthewayweworkandthinkabouttheatre

>haveexcellentopportunities,ifanMFAstudent,toworkforanextendedperiodwithanumberofdistinguishedexternalcompanies.

MA/MFA ADVANCED THEATRE PRACTICEDuration: MA: one year, full time, October start | MFA: two years, full time, October start Full-time,on-siteattendancebetweenJulyandOctoberisnotmandatory,althoughMAstudentsare requiredtoshowworkoutsideCentralduringthisperiod | Award:MA Advanced Theatre Practice (180 credits/Level7) | MFA Advanced Theatre Practice (240credits/Level7)* | Application:see Further Information(page109) | CourseLeader:Nicholas Wood(seeStaff,page13)PleaseseeImportantInformation(page116).

*MFAroutesubjecttoapproval

PracticesUnit

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Asaparticipantinthesecourses,studentswillbepartofacarefullyselectedgroupwhowishtopooltheirresourcesandimaginethetheatreofthefuture.

In the first year of the MFA, students join the MA students for Terms One to Three. TheMFAthenextendsintoasecondyearbeginninginOctober,enablingthedevelopmentoffurtherprojectsandprofessionalconnectionsoutsidetheSchool.Workingtogetherduringthisinitialperiodofcreativegrowth,studentsdevelopexperiencefromtheintensiveworkshopatmosphereofTerm One,throughlearningtoresearchandextendingpracticeinTerm Two,tolaunchingacompanyortheapproachtomakingnewworkinTerm Three.Studentswillbesupportedinthisprocessof

growthanddevelopment,graduallyenablingthemtobecomestronger,morearticulatepractitioners,betterabletoworkflexiblyandconstructivelywithothers,extendingtheboundariesoftheatreandhowitmightbeseen.

Term Four of the MAfocusesontakingworktoanaudienceofchoicebeyondCentral.

TheMFA second yeardeepensandextendsthisopportunityforindependentprofessionaldevelopmentbeyondCentral,whilestillretainingadegreeofcontactandguidancefromtutors.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

ROB DRUMMER

Graduated 2010, currently Associate Dramaturg at the Bush Theatre, London.

‘ComingtoCentralasadirector,thecoursehasequippedmewithallofthecreativeskillsthathaveseenmethroughthesefirstseveralyearsofmycareer,includinghowIengagewithplaywrightsattheBushasAssociateDramaturg.Thecourse,initscollaborativeethos,withrealfocusonquestioningstoriesandstorytellingwhilstbuildingcontemporarytheatre,wasachallengeandafoundationformywork.’

handle with care,partofPractitionerStudyUnitdevelopedwithDanteorDie.Photo:JustinJones

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ASSESSMENTPracticeisevaluatedthroughoutthefirstthreetermsthroughcontinuousassessmentofcontributiontotherehearsal/developmentprocess,combinedwithessaysreflectingonthisworkinthebroadercontextofcontemporarytheatrepractice.Peerassessmentalsoformsapartoftheevaluationprocess.

ThecoursespreparesstudentsfortheSustainedIndependentProject.MAstudentswilltakeaperformanceworktheyhavemadewithcolleaguestoadocumentedencounterwithapublicaudienceduringthesummer.

StudentsundertakingtheMFAwillchoosefromalistofpossibleapproachesandmeansofdocumentingtheirwork,undertakingamoredevelopedandindependentversionoftheSustainedIndependentProjectbeyondCentralduringtheirsecondyear.

RECENT VISITING STAFFKatieMitchellOBE(Director),ClareLizzimore(Director,YoungVic),JoeHill-Gibbins(Director,NationalTheatre),HannahRingham(FounderMember,Shunt),DuncanMacmillan(Writer,NationalTheatre),SelinaCartmell(Director,AbbeyTheatre),GuyDartnell(AssociateArtist,Improbable),MarkDown(ArtisticDirector,BlindSummit),LiamSteel(Choreographer,DV8),SteveKirkham(Choreographer,FranticAssembly),TimCrouch(WriterandPerformer,TimCrouchTheatre),StephenMottram(ArtisticDirector,Animata),JulianMaynardSmith(ArtisticDirector,StationHouseOpera),AndyPurves(LightingDesigner,FranticAssembly),DaphnaAttias(ArtisticDirector,Peut-êtreTheatreandDanteorDie),MischaTwitchin(Founder,ShuntTheatre),DouglasO’Connell(NewMediaArtist,Filter),

KateMcGrath(Founder,Fuel),AdrianKohlerandBasilJones(Founders,HandspringPuppetCompany),SophieDeSomere(Designer,OntroerendGoed,Belgium),HesterChillingworth(GETINTHEBACKOFTHEVAN),MelanieWilson(SoundDesigner,SchaubühneTheatre,Berlin),ChrisGoode(LeadArtist,ChrisGoodeandCompany),DavidHarradine(ArtisticDirector,FeveredSleep),KobnaHoldbrook-Smith(Actor,Barbican).

BEYOND CENTRALGraduate employment and career pathways include: Performers, Theatre Makers, Directors, Writers, Producers, Dramaturgs, Lighting Designers, Puppeteers, Critics, Scenographers, Sound Designers, Casting Director, Outreach Officers, Technical Directors,and Assistant Directors in companiesincludingtheRoyalCourtTheatre,RoyalShakespeareCompany,CamdenPeople’sTheatre,Theatre503,HampsteadTheatre,EnglishNationalOpera,HighTideFestival,Complicite,FranticAssembly,GlobeTheatre,MKATheatreofNewWritingAustralia,MelbourneTheatreCompanyandNationalTheatresofFinland,IcelandandtheUK.Founder members of companies, Analogue,NewInternationalEncounter,1927,GridIron,BlindSummit,Peut-être,DanteorDie,UnpackedandShunt.Artistic Directors, BatterseaArtsCentre,TraverseTheatre,CamdenPeople’sTheatre,TheActorsCentreTouringCompany,ChapterArtsCentre,ChuncheonInternationalMimeFestivalandAsiaNow.Involvement in festivals and exhibitions, acrosstheUKandmainlandEurope,includingtheEdinburghFestivalFringe(morethanhalfTotalTheatreAwardsinoneyear);AssitejWorldCongressinCopenhagen(AssitejAwardfor

ArtisticExcellence),KontrapunktFestival,PolandGrandPrix;InternationalFestivalofPuppetryArt,PolandGrandPrix;FiredeTitellesdeLlieda,Spain(Dracd’OrJulietaAgusti);SalzburgFestival;Theatertreffen;AvignonFestival;ZagrebTheatreFestivalandSirenosFestival,Vilnius.Research Degrees, graduateshaveundertakenPhDsatCentral,OxfordUniversity,GoldsmithsUniversityandQueenMaryUniversityofLondon.Academic posts, ManchesterMetropolitanUniversity,TheUniversityofWales,andBrunelUniversity.ThefirsttwostudentstoreceivePhDawardsatCentralweregraduatesofthiscourse.Individual awards, ArtsCouncil(forproductionspartlydevelopedwithcurrentstudents),JamesMenzies-KitchinAward(three),TheLinburyPrizeforStageDesign,RolexMentorandProtégéArtsInitiative,TrinityGuildhallInternationalPlaywritingCompetition,BestDirectorandBestProductionIrishTimesTheatreAwards,PeterBrookEmptySpaceAwards,StageElectricsAwardforLighting,NewSensations,Channel4andSaatchiGalleryshortlist,AllenWrightAward,OldVicNewVoicesTheatre503Award,ArtsFoundationFellowship,OlivierAwardnominations,EveningStandardTheatreAwardslonglist,BestDirector,BestDesigner,BestNewPlayandOutstandingNewcomer.

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This course is or those interested in developing current practice of using theatre and drama in community and education settings, or of using theatre and drama with people whose lives have been affected by the criminal justice system.

TheMAAppliedTheatreencouragesinvestigationintothepossibilitiesandcontradictionsofdramaandtheatrepracticeastransformativeandrehabilitative,andengagespracticallyandcriticallywitharangeoftheoriesandcurrentpractices.

KeyfeaturesoftheMAAppliedTheatreare:explorationoftheatreworkinspecificsettings;keypracticesinappliedtheatre;atheoreticalengagementwithnewideasinthefield;project-basedstudyexaminingspecificprofessionalworkwithavariedrangeofclientgroups;orspecialisinginworkingwithpeoplewhoseliveshavebeenaffectedbythecriminaljusticesystem.

Thecoursedevelopsknowledgeofthewaysinwhichdramaandtheatreareusedtobenefita

rangeofdistinctgroupsthatarekeytotoday’sevolvingculturallandscape.Itofferstwospecialistpathways:Drama in the Community and Drama Education or Drama and the Criminal Justice System.Eachpathwayisspecificallydesignedtosupportcurrentpracticeatwork,oraparticularfieldofinterestinthedevelopinglandscapeofappliedtheatreanddramaintheUK.Studentswillhavetheopportunitytodeveloptheirownpracticeandscholarship.

Centralhastheonlyappliedtheatrecourseswherestudentshaveaccessto£60,000fundingfromtheLeverhulmeTrusttosupportdistantplacements(seewww.cssd.ac.uk/content/applying-theatre-training-through-outreach-awards).

MA Applied TheatreDuration: One year, full-time/two years, part-time, October start | Full-timeon-siteattendance betweenJulyandOctoberisnotmandatory,part-timeclassestakeplaceonFridays Award:MA Applied Theatre > Drama in the Community and Drama Education or Drama and the Criminal Justice System(180credits/Level7) | Application:see Further Information(page109) CourseLeader:Dr Selina Busby (seeStaff,page12)PleaseseeImportantInformation(page116).

LearningdifficultiesworkshopwithAccessAllAreas

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MA Applied Theatre > Drama in the Community and Drama Education

Thispathwayisforindividualswishingtodevelopcurrent–ornew–practiceofusingtheatreanddramawithpeopleinarangeofsettingsthatmayincludeschools,theatres,outreachdepartments,hospitalsandprisons.

Concernedwithadvancedenquiryintotheatreforchangeoreducation,itenablesstudentstosituatetheirownemergent/developingpracticewithinawiderunderstandingoftheappliedtheatrefield.DeliveryofthepathwayinvolvescontributionsandplacementopportunitiesfromprestigiouskeyUKorganisations.

MA APPLIED THEATRE > Drama and the Criminal Justice System

Thispathwayisforindividualswishingtodevelopcurrent–ornew–practiceofusingtheatreanddramawithpeoplewhoseliveshavebeenaffectedbythecriminaljusticesystem.

Concernedwithadvancedenquiryintoprisontheatre,itenablesstudentstosituatetheirownemergent/developingpracticewithinawiderunderstandingoftheappliedtheatrefield.DeliveryofthepathwayinvolvescontributionsandplacementopportunitiesfromprestigiouskeyUKorganisations.

During Terms One and Twoonbothpathways,studentswillinvestigateappliedtheatreinavarietyofcontexts,communitiesandsettings.Studentswillexplorethefield’sdiversepracticesandengagecreativelywiththeformsandaestheticsofappliedtheatre,thetransformativepotentialoftheatreandtheethicsofinterventionandnotionsofinclusivepracticewhenworkingwithspecificgroups.Theunitswillfocusontheatrepracticesthatpromoteinclusionandwilladdressthewaysinwhichtheatrecanbeanagentforchange,enablementandtransformationwhileproblematisingtheseterms.Studentswillparticipateinworkshopsandseminarstoexplorepracticesthatmakeadifferencetopeoplebyengagingwithissues,dramatisingrelevantstories,representingrolemodelsorpossibilitiesforaction,andinvolvingparticipantsinprocessesthattheyfinduseful,informativeorexciting.Thiswillalsodevelopanunderstandingofthesocialandculturalcontextsofappliedtheatre.

Forbothpathways,studyisundertakenthroughtraditionalacademicmeansaswellashands-onlearningintheformofindustryplacements.Learningwillbeguidedbytuitionfromprofessionalspecialistsinvolvedintheatreinavarietyofcommunitysettings,including

theacademicexperienceofCentral’srenownedappliedtheatreanddramaeducationtutors.Studentswillhavetheopportunitytoengagewithrelevantresearchmethodsintheirfield,usuallypresentingtheirworkatCentral’sannualpostgraduateconference.

DuringTerm Three,studentsmayundertakeprojectwork(orfurtherplacement/professionalpractice)aspartofanassessedunit.

On the Drama in the Community and Drama Educationpathway,studentsmayworkindividually,oraspartofasmallgroup,onapracticalproject,whichmightincludeanartsresidencyinaprimaryorspecialneedsschool,adevisedplayandworkshopsforrefugeechildrenintheUKorabroad,creativeplaywritingworkshopswithselectedclientgroups,oraperformanceandworkshoponBertoltBrecht’stheatrepracticeforpost-16studentsinschoolsandcollegesinandaroundLondon.

On the Drama and the Criminal Justice System pathway,studentsmayworkindividually,oraspartofasmallgroup,onapracticalprojectwhichmightincludearesidencyinaprisonoryoungoffenders’institution,adevisedplayand

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workshopswithfathersinprisonfortheirchildren,orcreativeplaywritingworkshopswithprisonersorex-prisoners.Onbothpathways,studentswilltheorisethiswork,interrogatingitsrelationshipwithincurrentandseminaldiscoursesinthefield.

Term Threemayleadtoaperformancewithaspecifiedcommunity,ormaybemoreprocessorientated.RecentexamplesofprojectworkincludeacommunityradioprojectinBrazil,aseriesofworkshopswiththeyoungplatformdwellersofJaipurstationinIndia,workingwithstudentsinahospitalschoolinLondon,teachingEnglishasasecondlanguagethroughdramawithhotelstaffinThailand,workingonShakespeareinperformancewithayouththeatre,developingarangeoftheatreactivitieswithinacentreforthehomelessinLondon,andintroducingdramatechniquestoaspecialneedsschoolinGhana.

RecentexamplesofworkwithinthecriminaljusticesystemhaveincludedanartsresidencyinHMYOIFeltham,avarietyofperformance-relatedworkatDoncasterPrisonworkingwithSecondShotintheareasofrestorativejustice,Theatre-in-Education(TIE)forthoseatriskanddevisingandperformingplaysforinvitedaudiences.

StudentsmayalsoworkalongsideaprofessionalhostorinoneofCentral’spartnerplacementinstitutionsinthethirdterm,orusetheirownwork-basedpractice.Inaddition,studentshavetheoptiontojoinoneofCentral’smanycross-Schooloptionalcourses.

Attheendoftheyear,studentsonbothpathwaysconsolidatetheirknowledgeandunderstandingthroughaSustainedIndependentProject(SIP).ThisisadissertationaboutanareaofparticularinterestinAppliedTheatre.

Routes onto the MA Applied Theatre: Central offersaPGCertificateAppliedTheatrewithYoungPeople,withtworoutes:DirectingTextinassociationwiththeNationalTheatre,aspartoftheirNationalConnectionsscheme;orinFacilitation,inassociationwiththeAlmeidaTheatreWorkshopLeaderScheme(seepages86/87).BothroutesofferdirectentryontoeitherpathwayoftheMAAppliedTheatre.

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Claire French

Graduated 2014, currently studying at PhD level.

‘IchosetheMAAppliedTheatrebecauseIwaspassionateaboutdocumentarytheatreandthepotentialnewandshiftingrolesofthespectatorwhenautobiographicalmaterialisperformed.IhopedforittoleadtoadeeperresearchprojectaspartofaPhD,yet,Ihadn’tworkedextensivelyinthisparticularfield,norbeenatuniversityforeightyears.Alllurkingself-doubtwasquicklybanishedduetothiscourse’sflexiblecurriculumwhichplacesvalueonpractice,aswellastheincredibleteachingstaffwhoworkedtirelesslytosupportmyjourney.Theword‘yes’followedby‘howwouldyouliketodothat?’andoftencloselyby‘wecandothat’wasinstrumentaltodevelopingtheconfidence,knowledgeandskillstofullyembracethisambitiousgoal.Andthesupportdidn’tstopatgraduation!MyMAthesissupervisorandthecoursecoordinatorwerebothreferencesforthescholarshipandPhDthatIhavejustembarkedupon.ThisMAwasthebestinvestmentofmylife.’

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ASSESSMENTEachunithasawrittenand/orpracticalassessmentandsubmissionofadissertationaddressingthestudent’sspecialistareaofinterest.

Professional FocusBasedinLondon,Centralcanofferoptionalindustrysupportinthefirsttwotermswithanextensivechoiceofplacementopportunitiesselectedfromthecity’swidearrayofinnovativeprofessionalcompanies(includingCleanBreak,CardboardCitizens,AlmeidaTheatre,GraeaeTheatreCompanyandSynergyTheatreProject).

Recentexamples:

MA Applied Theatre > Drama in the Community and Drama Education

>TheatreandDisability–previousplacementhostsinclude:GraeaeTheatreCompany,Kazzum,CoraliDanceCompany,ExtantTheatreCompany

>YoungPeople’sTheatre–previousplacementhostsinclude:PanInterculturalArts,PolkaTheatre,UnicornTheatre,DreamArts,BigFishTheatreCompany,HalfMoonYoungPeople’sTheatre

>DramaintheCommunity–previousplacementhostsinclude:SpareTyreTheatre

Company,LondonBubbleTheatreCompany,CardboardCitizens(ManchesterandLondon),EducationDepartmentsoftheGateTheatre(London)andtheCrucibleTheatre(Sheffield),NationalTheatre,Shakespeare’sGlobeEducation,TheOldVic

>DramaEducation–specificdramadepartmentswithinsecondaryandprimaryschoolsandfurthereducationcolleges,PupilReferralUnitsinLondon.

MA Applied Theatre > Drama and the Criminal Justice System

>CleanBreak,OnlyConnect,ParadiseParkPRU,HMPLowdhamGrange,TheNationalYouthTheatrePlayingUpProject,SecondShotbasedatHMPDoncasterandThamside,HMYOIFeltham,SynergyTheatreProject.

RECENT VISITING STAFFAnnaHerrmann(CleanBreak),EstherBaker(SynergyTheatreProject),JennySealey(GraeaeTheatreCompany),JonathanPetherbridge(LondonBubbleTheatreCompany),NatalieMitchell(AlmeidaTheatre),RobWatt(NationalTheatre),SaulHewish(Rideout),DeirdreMcLaughlin,LornaMarshall,SamanthaLane(LittleAngelTheatre),NedGlasier(IslingtonCommunityTheatre),StellaBarnes(OvalHouse),CatJones(SecondShotProductions).

BEYOND CENTRALGraduate employment and career pathways include: Schools Engagement Officer,TheYoungVicTheatre.Assistant Head Teacher,BritanniaVillageSchool.Educational Development Advisor,DramaticEnglishinHongKong.Applied Theatre Lecturer,FLAMEUniversity,India.New Works/Literary Officer,GraeaeTheatreCompany.DramaFacilitator,Applied Theatre Consultants,NewZealand.Producer, Learning and Participation,EnglishNationalOpera.Drama Facilitator,TheUnitedNations.Head of Education,CleanBreakTheatre.Adviser,InterventionCentreHMYOIFeltham.Lecturer,HongKongAcademyofPerforming Arts. Drama Facilitator,DoncasterPrison.Director,TheatreDigitalSustain.

Marine Begault

Graduated 2014, freelancing with a number of companies including Magic Me, Border Crossings and Tender.

‘IalwaysknewIwantedtoworkwithpeoplecreatively.Mybackgroundinhistoryandpoliticsgavemeacontextfromwhichtoworkfrom,however,itwastheMAAppliedTheatrewhichgavemethetoolsandconfidencetocreativelyengagewiththesocialandpoliticalissuesIfeelsopassionateabout.ThepracticalsideoftheMAwasreallyimportantforme,asmybackgroundwasnotnecessarilytheatre-related.Centralhassuchalargenetworkofcompaniesandpractitionersthatitwasagreatstepping-stoneintotheprofessionalworld.’

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Central offers a PG Certificate in Applied Theatre with Young People (PGATYP) in Directing Text in association with the National Theatre, as part of their National Connections Scheme, or in Facilitation in association with the Almeida Theatre Workshop Leader Scheme.

Studentsapplyinitiallythroughtheseschemesateithertheatre.ThePGATYPisdesignedtoprovideaqualificationbasedonworkundertakeninpartnershipwithexternaltheatreorganisationsinfacilitating,ordirectingtheatreanddramawithyoungpeople(youngpeopleareusuallyinterpretedasuptotheageof25years).Currently,theseexternalcompaniesaretheNationalTheatreConnectionsSchemeandtheAlmeidaTheatreWorkshopLeaderScheme.

The programme comprises two courses:> Directing Text > Facilitation.

StudentsapplyingtotheNationalTheatreConnectionsSchememaytaketheDirectingTextcourseonlyandthoseapplyingtotheAlmeidaTheatreWorkshopLeaderSchememaytaketheFacilitationcourseonly.ThetwocoursesfollowthesameteachingscheduleatCentral.Practicalspecialismsareundertakenwithinthescheduleoftheexternaltheatreorganisation.

NATIONAL THEATRE CONNECTIONS SCHEME

TheConnectionsSchemeisoneoftheworld’slargestcelebrationsofYouthTheatre.ProducedbytheNationalTheatreLearningDepartment,Connectionswasestablishedinthemid-1990sasaresponsetoademandfornewplaysbyhighlyrespectedcontemporarywritersforyoungpeopletoperform.

IneachcycleofConnectionstheNationalTheatrecommissionsanumberofnewplays.PlaywrightspreviouslyfeaturedintheprojectincludeDarioFo,JackieKay,JudyUpton,AndyHamilton,SarahDaniels,SharmanMacdonald,BryonyLavery,AliClarkandMarkRavenhill.HundredsofyouththeatreandschoolgroupsfromaroundtheUK,Irelandand,increasingly,abroadapplytotakepart.Thoseselected(currentlyaround200)areaskedtochooseonetextfromtheportfolioofplaysthattheNationalTheatrehasprovided.

ProductionsthatresultfromthefirstphaseoftheConnectionsprogrammetransfertoothervenues,appearingwithinaseriesofregionalfestivalsacrossthecountry.Some12productionsnationallyarepresentedinafinalfestivalofworkonthestagesoftheNationalTheatre.

AspartoftheConnectionsprogramme,asdirectorsofyoungpeople,studentsselectanewplayandproduceitwithayouthcompany.Studentsmayalsotransferittoanothervenue.Thisworkislikelytobechallengingandcreativeanditcallsforartisticandstrategicdecisionsgearedtotheselectionofaparticularpieceforaspecificcontext.Studentswillmakechoicesaboutrehearsaltechniquesandstagingpossibilities,andwilloverseethepragmaticsofproduction,continuallyinteractingwiththemembersofthecompanytoensurethattheyaredevelopingbothasyoungartistsandasresponsiblemembersofaprojectforapublicperformance.

PG CERTIFICATE Applied Theatre With Young PeopleDuration: One year, part-time, October start Award:PG Certificate Applied Theatre with Young People(60credits/Level7) Application:Directing Text: National Theatre Connections Scheme directlyonconnections.national theatre.org.uk | Facilitation: Almeida Theatre Workshop Leader Scheme directlyonwww.almeida.co.uk CourseLeader:Dr Selina Busby(seeStaff,page12)PleaseseeImportantInformation(page116).

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Hayley Holt

Graduated 2015 from the Facilitation/Almeida Theatre Workshop Leader Scheme, currently studying on Central’s MA Applied Theatre.

‘ThePGCertificatewasayearpackedwithinvaluablepracticalexperience,whichhasgivenmebothanarrayofdevisingtechniquesandanextensivetoolkitformyownpractice.ThispracticalexperiencehascreatedopportunitiesformeinthefieldofAppliedTheatreaswellasmainstreamtheatre.Centralhasencouragedmetoexploredifferentpracticesandexperimentwithmyowninordertopushboundaries.Centralissuchacreativeandvibrantplacethatitattractsgloballylike-mindedindividualswithwhomyoucancollaboratewhilstlearningfromthoseattheforefrontoftheirfield.’

Togetherwithanaccompanyingportfolio,thisformsthecontentofthelargeroftwounitsin thePGCertificate.

ALMEIDA THEATRE WORKSHOP LEADER SCHEME

RunbyAlmeidaProjects,apartofthemuch-respectedAlmeidaTheatreinLondon,thisschemeispartoftheircommunityandlearningprogrammedeliveringactivitiestomakethetheatreaccessibletoyoungpeople,inspirethemcreatively,andencourageanexplorationofthepowerandpotentialoftheatre.TheWorkshopLeaderprogrammeisforthoseinterestedinlearningmoreaboutworkingwithyoungpeopleandgainingfacilitationandeducation-focusedproject-planningskills.

StudentswillbebasedwithAlmeidaProjectsforafullacademicyear,fromSeptembertoJuly.Duringthistime,studentswillattendtrainingworkshopsfocusingonfacilitationskillsandwillbegiven,normally,twoplacementsasanAssistantWorkshopLeaderonaprojectorseriesofworkshopsfor,orat,theAlmeidaTheatre.Theplacementswillallowstudentstopartakeinaprojectfrombeginningtoend,fromtheearlyplanningstagesthroughtofinalpresentations.

StudentswillalsoleadworkshopsforyoungpeopleattendingtheAlmeida,introducingthemtocurrentplaysintherepertoire.Inthiswork,studentswillbementoredandtheexpectationisthattheywillundertakeaminimumof15hoursoffacilitation.

Inadditiontoundertakingtheplacements,studentswillproduceahypotheticalworkshopschemewithaccompanyingresourcepack.Thiscomprisesasetoflinkedsessionplansforanamedclientele(forexample,ayouththeatregroup,oraschoolyeargroup)fortensessions(ofbetween60and90minuteseach).Theresourcepackwillprovidematerialsuitableforthefacilitatorand/orthegrouprelevanttothesubjectoftheworkshopscheme.Theschemeandpackwilldemonstrateathoroughunderstandingoffacilitatingdramafromaccompanyingreadingundertakenbythestudent.ThisformsthemajorityofthecontentofthelargerofthetwounitsinthePGATYP.

BOTH SCHEMES

ForthesecondunitofthePGATYP,studentsjoinCentral’sMAAppliedTheatrestudentsfor‘CriticalContexts’,atheoreticalunitengagingthemwithcontemporaryissuesinappliedtheatrediscourses.

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The entrepreneurially skilled and culturally literate producer works in dialogue with artists to create performances and festivals, run venues and companies, manage projects, raise funds and investment and negotiate commissions.

Centralgraduateshavebecomesuccessfulproducers,amongthemSirCameronMackintosh,anamesynonymouswithBritain’sglobalpre-eminenceinmusicaltheatre,andDavidJubb,whosepioneeringworkatBatterseaArtsCentrecharacterisesthevibrancyandoriginalityofLondon’scontemporaryfringe,or‘offWestEnd’scene.ThecoursesofferrealworldcreativeproducingopportunitieswithinCentral’sproductioncalendarandwithextensiveindustrypartners,enablingstudentstobuildontheirexistingpractice.Theseskillsareinever-increasingdemandinacompetitiveproductionenvironment.

Studentswillundertakemasterclassesinproducingwithkeyindustryleadersandinnovatorsandtakeanactiveroleintheorganisationofrealworldevents,productionsandprojects,underpinnedbyasolidcriticalunderstandingoftheculturalindustriesandcreativeproducing,relevanttheoryandcurrentresearchintheperformancefield.Whilelearning,studentswillalsogainacareerheadstartbybuildingavitalnetworkofindustryandpeercontacts.

Thesecoursesaresuitablefor:

>experiencedstagemanagersorproductionmanagerswhowishtodevelopascreativeproducers

>thosealreadyengagedincreativeproducingactivitieswhowishtoextendtheirknowledgeinthefield

>businessgraduateswithaninterestinperformanceartsapplications

>experiencedtheatreorperformanceartistsorgraduateswhowishtoproducetheirownworkandgainentrepreneurialskills

>artsgraduateswhowishtoinstigateorcuratetheworkofothers.

TheMAisforthosewithexistingartspractice,whowishtodeveloprelevantknowledgeandexpertise,creativeentrepreneurialandprojectmanagementskillsandbecomepartofCentral’sextensivenetworkofindustrycollaborators.

TheMAandMFAhavebeendevelopedinconsultationwithleadingindustrypartnerstoprovideavocationalcoursewherestudentscanapplytheirlearningthroughadiverserangeofpracticalprojects.Centralisinvolvedinmanyexternalcollaborativeprojects,soinadditiontoitsownproductionactivityandcommercialtheatreconnections,itspioneeringworkincircusandsite-specifictheatremeansexcellentconnectionstoawiderangeofalternativetheatreforms.EmbracingthechallengesofcreatingasustainablebusinessisacorepartofthecourseandCentralisproudtohavebeenrecognisedbytheprestigiousLondonChamberofCommerce’sCommercialEducationTrust(CET)foritsentrepreneurialactivity.

StudentsontheMAandMFAcoursesengagewiththesamecoresubjectmatter.In the first year of the MFA, students will join MA colleagues for most of the year,undertakingprofessionalcreativeproducingprojectstodeveloptheirunderstandingof:

>publicity,marketingandfundraising>businessmodellingandinnovation>authenticleadershipandeffectiveteamwork>audiencedevelopmentandengagement>theatreproductionandtourmanagement>festivalcurationandorganisation.

The MFA extends into a second year that engageswithfurtherspecialistsubjectskills.Studentsareofferedextendedandsustainedexperienceinthefield,workingcloselywithmembersoftherelatedindustrytoestablish

MA/MFA Creative ProducingDuration: MA: one year, full-time, October start | MFA: two years, full-time, October start Award:MA Creative Producing (180credits/Level7) | MFA Creative Producing(240credits/Level7) Application:see Further Information(page109) | CourseLeader:Jessica Bowles(seeStaff,page12)PleaseseeImportantInformation(page116).

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themselvesasprofessionalpractitioners.Studentsareencouragedtospecialiseinoneormoredirectionsbuildingonthelearningofthefirstyear.TheMFAsecondyearwidenstheopportunitiestopractiseknowledgewithinacontextandframeworkwherepertinentquestionscanbeasked,protocolstestedandnewstructuressuggested.Studentswillundertaketutorialsandseminars,althoughthesemaybe viaSkypeorvirtualseminarfacilities.

StudentsgainarangeofexperienceboththroughCentral’sextensiveprofessionalcontactsandpersonalnetworksdevelopedinthefirstyear.Innegotiationwiththecourseteam,studentsmayusetheirownwork-basedlearningonattachmentorwithorganisationsinthefield.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

ASSESSMENTThisisthroughformatsusedin the relevant industries and inacademia,e.g.individualandgrouppitchestoindustrypanels,businessplans,onlinepresentations,conferencepresentations,productions,casestudies,reflectiveessays,reports,reviewsandwrittensubmissions,andasubstantialpersonalportfolioordissertation.

Professional FocusCourselinkswithleadinginternational,artsorganisationsincludetheLondonInternationalFestivalofTheatre(LIFT),PragueQuadrennial,Roundhouse,BatterseaArtsCentre,HampsteadTheatreandArtsadminand itsharesgoodpracticeinternationallywithAmsterdamTheatreSchool,UtrechtTheatreFacultyandTheatreFacultyPrague,aswellasworkingcloselywithStageOne,theregisteredcharityworkingwiththecommercialtheatreindustrytodevelopnewtheatreproducers.RecentlystudentshaveundertakenproducingrolesattheSouthbankCentre,LIFT,SecretCinema,BrightonFestival,Headlong,EnglishNationalOpera,EmergencyExitArts,RoyalOperaHouse,PainesPlough,Roundhouse,

CamdenPeople’sTheatre,SecretGardenParty,Block9Glastonbury,KateMorleyPR,MobiusIndustries,andSohoTheatre.Newindustrylinksareconstantlybeingforged,e.g.Central’sfirstCETawardwinner,whograduatedin2014,andcollaborationswiththeRoundhouse,producinganewfestivalintheRoundhousestudiosin2016.

RECENT VISITING STAFFSunitaPandya(DeputyDirectorofProducingandPresentation,SouthbankCentre)leadsmasterclasssessionsacrossthecourse,JuliusGreen(Author,WestEndProducer),JamesSeabright(AuthorandWestEndProducer),ChrisStafford(ChiefExecutiveLeicesterCurve),KateMcGrath(Fuel),TimJones(TimJonesConsultancy),JamesBierman(ProducerMichaelGrandageCompany),RafeBeckley(OpenBookTheatreManagement)SteveKing(SocialBusiness),JoDanvers(JoDanversCo),MarcusDavey(CEO,Roundhouse),KatieHarper(SOLT/StageOne),EvaLiparova(BrandStrategistandTheatreMaker),ChrisMellor(ArtsCouncil)MariaAnaBotelho-Neves(SocialEntrepreneur),PaulTyrer(TheBookingOffice),NeilAdleman(TheatreLawyer/Partner,Harbottle

andLewis),GregRipley-Duggan(ProducerandCEO,Ripley-DugganPartnership),ProfessorGiepHagoort(UtrechtSchooloftheArts)SimonKavanagh(Kaospilots),SarahNicholson(ExecutiveDirector,OrangeTree),studentmentorsTamsinAce,FranduPille,JodiMyers.

BEYOND CENTRALGraduate employment and career pathways include: Digital Communications, RoyalOperaHouse.Producing Assistant,Headlong.Producer,InTransitFestival,London.Production,NationalConcertHallDublin.Manager,Jersey Boys.Producers,TheOldVicNewVoices,showsatFinboroughTheatre.Publications Coordinator,PleasanceTheatre,London;Marketing,FarnhamMaltings,PainesPlough,ChatsPalace.Establishing production companies includingtwoStageOneBursaryWinners,CrowandElkproductionsandRobertBradishProductions,andawardwinnersPapatangoandBackstageForwardtheatrecompanies.Producers for companies includingEngineer,RhumandClay.Management of venuesincludingTheGarageNorwich,StoneNest,London’sWestEnd.

Robert F. Bradish

Graduated 2013, winner of Stage One Bursary in 2014, Independent Producer and Development Director for Orchestra Vitae.

‘Anyonewithanotepad,penandcalculatorcanprobablybeaproducer.However,theMACreativeProducingcourseprovidesthetimeandspacetodevelopauniqueproducingidentitythroughresearchandpractice.Itfacilitatescollaborationandrelationshipbuilding;Imetrenownedindustryprofessionalsattheforefrontofthefield,and,equallyimportant,developedrelationshipswithmycreativeproducingpeers.Ultimately,withoutmyMAinCreativeProducing,Iwouldbejustanotherpersonwithanotepad,penandcalculator.’

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MA Drama and Movement Therapy Duration:18 months, full-time, October start Award:MA Drama and Movement Therapy (180credits/Level7) Application:see Further Information(page109) | CourseLeader:Richard Hougham(seeStaff,page13)PleaseseeImportantInformation(page116).

The MA Drama and Movement Therapy is an intensive course providing professional and vocational training in drama and movement therapy and the Sesame approach, and is approved by the Health and Care Professions Council (HCPC).

Thecourseoffersaparticularpedagogicapproachtolearningthecraftofdramatherapy.TheSesameapproachisunderpinnedbyJungianpsychologyanddrawstogetherLabanmovement,playtheory,BillyLindkvist’sworkwithmovementwithtouchandsound,andamythopoeticapproachtothepsyche.Thecombinationofmovement-basedstudiopractice,collaborativefacilitations,seminars,andasharedresearchunitwithotherMAstudentscreatesalearningenvironmentthatencouragespersonalexploration,collaborationandcriticalreflection.Particularlyinthefirstterm,thereisopportunityforimmersivepracticeinthesubjectareasofLabanmovement,myth,movementwithtouchandsound,anddrama.Thisisalliedwithstudiesindevelopmentalandanalyticalpsychology,specificallytheworkofJung.Thegroupprocessiscentraltothestudentexperienceandsupportedbyaweeklysessionacrossthreetermsthatexploresinterpersonaldynamicsanddrawsfromgroupanalytictheory.

Theplacementsareattheheartofthetrainingandbegininthesecondtermwiththehallmarkapprenticeshipmodel.Thisofferswell-supportedearlyclinicalpracticewithaspecialistandqualifiedsupervisorworkingalongsidestudents.AllapprenticeshipplacementsarearrangedbyCentralandwillnormallyincludeworkingwithadultswithmentalhealthproblems,elderlyclientswithdementia,peoplewithlearningdisabilities,childrenwithchallengingbehaviourandpeopleontheautisticspectrum.Theapprenticeshipmodelisappliedtoplacementsinthespringandsummerterms.Inthefourthterm,studentsworkmoreautonomouslyandhavetheopportunitytoworkwithdifferentclientgroups.Allplacementworkissupportedthroughoutthecoursebygroupandindividualsupervision.

AllgraduatesareeligibletoapplytotheHealthandCareProfessionsCouncilformembershipasanartstherapist(drama).

In Term Onestudentsstudytwounits:UnitOne(DramaandMovementTherapyPractice)includesweeklysessionsinthesubjectsofdrama,myth,Laban,movementwithtouchandsound,andpreparationforclinicalpractice.Thesestrandscombinetoofferanexperientialintroductiontothedisciplineandameansforstudentstoengagewiththeirownprocessasafoundationforlearning.UnitTwo(TherapyandPsychology)isseminar-basedwithtwostrands:AnalyticalPsychologyintroducesstudentstothecoreconceptsofJung’spsychologyandDevelopmentalPsychologylooksatemergingdevelopmentaltheoryandalsoreferstoWinnicott.BothstrandsofferatheoreticalframeworkwithinwhichtoexamineandcritiquethepracticeofdramatherapyandtheSesameapproach.

In Terms Two and Three,theFacilitationPracticeunitincludesindividualandpairworkinthesubjectstrandsofMyth,Laban,DramaandMovementwithTouchandSound.Studentsresearchandleadsessionsbothindividuallyandcollaboratively.ThePerformingResearchunitisasharedpostgraduateunit,whichintroducesfundamentalsinresearch,includingreferencetomethodologiesthatareperformativeandpractice-based.ThePracticesunitsframetwoapprenticeshipplacements,inTermsTwoandThreewhicharesupportedbothon-sitewithspecialistsupervisionandweeklysessionsinpreparationforclinicalpracticeandgroupsupervision.

In Term FourstudentsbegintheSustainedIndependentPractice(SIP)unit,andundertakeplacementworktoaccumulatetherequired100

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ASSESSMENTAssessmentisbyarangeofmethodswhichincludewrittenassignments,assessmentofclinicalpracticeandongoinggroupwork.Thereisongoingtutor,peerandself-assessment.Assessmentonplacementisakeyindicatorofprogressandstandardsofproficiency.

Professional FocusThecoursehaslinkswithmanyinstitutionsthatofferplacementsforstudents.Therearecurrentlyintheregionof60institutionsonCentral’sbooksinthegreaterLondonarea.

Theseinclude:

>NHStrusts(includingCamdenandIslington,WestLondon,BethlemRoyalHospital,TheMaudsleyHospital)

>Individualcharities(includingStVincent’sFamilyProject,TheWestminsterDrugandAlcoholFoundation,Barnardo’s)

>Education(includingmainstreamandspecialeducation,EBDschools,PRUs)

>Institutionsthatprovidecareforolderadults.

Inadditiontoplacementhostsandpartners,thecoursehasalsodeliveredprojectsandconferencesinassociationwiththefollowing:

>TheIndependentGroupofAnalyticalPsychologists(IGAP)

>EuropeanConsortiumforArtsTherapiesEducation(ECArTE).

Recent VISITING STAFF AlekaLoutsis,RachelPorter,MarkSaban,AlisonKelly,EranNathan,FrankieArmstrong,Dr

TaniaBatzoglou,BrynJones,SaraWainstein.

BEYOND CENTRALGraduate employment and career pathways include: dramatherapy postsworkingwithNSPCC,CamdenCouncil,NHSSussexPartnerships;peoplewithlearningdisabilities;bereavementservices.Arts Council funded collaborative research projects.Recentgraduateshavealsoinnovated new outreach projects suchastheSaharawiProjectworkingwithrefugeesintheSahara and as a Psychosocial Outreach Manager with the DanishRefugeeCouncil.StudentshavealsocontinuedfurtherstudyonpostgraduateResearch Degrees.

sessionsofclientcontact.Thefinalpieceofwrittenworkisaportfolio,whichincludesacriticalessay,areportofclinicalpracticeandaplanforfutureprofessionaldevelopment.Thefinalassessmentisavivavoce.Studentsareassignedanindividualsupervisor.Allclinicalsupervisioncostsareincludedinthecoursefees.

All students are required to be in individual therapyforthedurationofthecourse,forwhichaJungiananalystisstronglyrecommended.Studentsarealsorequiredtojoinadramatherapygroup.Pleasenotethatsomeofthedramatherapygroupsmaycontinuetorunduringtheholidayperiods.ThecostoftherapyisNOTincludedinthecoursefees.

COLIN CAMPBELL

Graduated 2014, Dramatherapist in schools, psychiatric hospitals and with a bereavement charity.

‘Icameontothecourseasoneofthemorematurestudents(aged49)lookingforacareerchange.Ifoundthatthiswasneveraproblem.Itwasafantastictimeoflearninganddevelopmentforme.Themixtureofexperientialandacademiclearningischallengingandrigorous,butIfeltwellsupportedthroughout.Inowhavetheskillsandknowledgethatallowmetoworkwithand,hopefully,makeadifferencetomanyvulnerablepeople.’

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Central has a long-standing and well-recognised place for the dissemination of actor movement disciplines within the British theatre scene. These pioneering courses are the first of their kind in Europe, aimed at performance and movement practitioners interested in movement teaching and movement directing of the actor.

Studentsmaybeactorsordancerswhowanttodiversifytheirskillsandknowledge,peoplewhoworkwithactors(adanceormovementteacher,oratheatredirectorwithamovementhistory),orpractitioners(fromanalliedfieldofsport/holisticpractice),whowanttoenhancetheirunderstandingofpractical/theoreticalinterfacesregardingmovementincontemporaryperformance.

Thecoursesofferspecialist,vocationalteachinginthefieldofmovementforactors,productionpracticeformovementdirectorsandbespokemovementplacementsatCentralandinotherprofessionaltheatresettings,suchasotherconservatoiresortheatre,opera,orfilmorganisations(bothinBritainandinternationally).Thesecoursescreateopportunitiesforthedevelopmentofindividualmovementspecialismsandtheirapplicationtotheworkofactors.Tradition,experience,eclecticismandinnovationepitomiseCentral’sunderstandingofmovementtrainingforthetheatreandtheseuniquecourseshavebeencreatedinthatspirit.StudentswillbelongtothefinehistoryofmovementatCentralfromLitzPisktothepresent.

Thecoursesprovidestudentswitharichanddiverselandscapewithinwhichtoaddressmovementpracticesinrelationtoawiderangeofestablishedtheatreprocessesandinnovationsinthefield.Practicalmovementteachingandmovementdirectingonselectedprojectsoffersarangeofpotentialapplicationsinthefieldsof

theatreproduction,puppetry,animation,classicaltheatre,filmacting,andcontemporaryanddevisedwork.Studentsaregiventheopportunitytodeveloptheirownpracticeasmovementspecialistsaccordingtotheirinterestsinthisgrowingandinnovativefield,andwillundertakepotentiallyground-breakingresearchintomovement.Theywillbetaughtbytutorswhoarecurrentprofessionalpractitionersintheirfieldofmovementpedagogy,movementdirectionandmovementresearch.

Studentsundergoaformalisedandsystematicactormovementeducationthatcoincideswiththeemergenceofawidespreadsocialinterestinallaspectsofphysicalityandthebody.ThereisafirmemphasisonLaban’smovementphilosophyandLecoq’sspatialandphysicaltechniques,buttheoverallapproachiseclecticandcelebratesavarietyofmethods.StudentsmayexpecttoencountertheworkofmovementpractitionerssuchasFeldenkrais,Roth,Suzuki,Alexander,Pisk,Humphries,BarbaandGrotowski.Teachingmethodsplaceequalemphasisonindividualandgroupdevelopment,throughindividualtutorials,groupseminarsandworkshops.Practicalsessionsaredesignedtoenhanceskillsasamovementteacherormovementdirector.

In the first year, students of the MA and MFA combine for Terms One to Three. MFAstudentswillworkindependentlyinasecondyearofspecialiststudyaimedatwideninganddeepeningpracticewithinaprofessionalcontext.

MA/MFA Movement: directing and teachingDuration: MA: one year, full-time/two years, part-time, October start | Full-timeon-siteattendancebetweenJulyandOctoberisnotmandatory | MFA: two years, full-time, October start | YearOneon-siteattendancebetweenJulyandOctoberisnotmandatory | Award:MA Movement: Directing and Teaching (180credits/Level7)MFA Movement: Directing and Teaching(240credits/Level7) | Application:see Further Information(page109) | CourseLeaders:Ayse Tashkiran and Vanessa Ewan(seeStaff,pages12/13)PleaseseeImportantInformation(page116).

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Studentsareexpectedtoundertakeoneortwoattachmentsthataresupportedwithtutorialsthroughouttheyear,aspartofanongoingprocessofreflection,analysisandgrowththatwillleadtoafinaldissertationsubmission.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.Atthetimeofgoingtopress,theremaybethepossibilityofstudentsbeingrecognisedasAssociateFellowsoftheHigherEducationAuthority(HEA).Seewww.cssd.ac.ukforfurtherdetails.

ASSESSMENTForfirstyearstudentsonboththeMFAandMAcourses,assessmentisthrougharangeofmethods,includingworkonpracticalprojects,writtenassignmentsandteaching/directingpracticeplacements.InthelasttermoftheMA,studentsworkindependentlytocompletetheirspecialistenquiry,arisingfromworkundertakenduringthecourse.TheMFAextendsintoasecondyearthatinvolvesworkplaceattachments,mentorshipandpractice.

Professional FocusPlacementactivityatconservatoiresincludeRoyalAcademyofDramaticArt,East15ActingSchool,GuildfordSchoolofActing,ItaliaContiAcademyofTheatreArts,RoseBrufordCollege,andwiththeanimationdepartmentatCentralSaintMartins,aswellasatCentral.CompanieshaveincludedWelshNationalOpera,Peut-êtreTheatre,ChickenshedTheatre,Royal

ShakespeareCompanyandTrestleTheatre.PlacementsabroadhaveincludedhostsCAP-21inNewYorkanduniversitysettingsinGreeceandNorway.

RECENT VISITING STAFFImogenKnight(MovementDirectorandChoreographer),StruanLeslie(MovementDirector,previouslyHeadofMovementattheRoyalShakespeareCompany),JaneGibson(MovementDirectorforfilmandtheatre,previouslyHeadofMovementattheNationalTheatre),SueLefton(MovementDirectorintheatre,filmandopera),KateFlatt(ChoreographerandMovementDirectorintheatreandopera),LizRankin(MovementDirector,SharedExperience),authorsonmovementMarkEvansandAlisonHodge.MovementteachershaveincludedIanBrener(historicaldanceandperiodmovement),NatashaFedorova,Marie-GabrielleRotie,AlexCroft,KarinFisherPotisk,LucyCullingford.

BEYOND CENTRALGraduate employment and career pathways include: Movement Directors,TheShedattheNationalTheatre,RoyalShakespeareCompany,Stratford-upon-AvonandBroadway,RoyalCourtTheatre,YoungVic,London2012OlympicOpeningCeremonies,FinnishandAustralianOperaCompanies.Movement Teachers, Head of Movement,AcademyofLiveandRecordedArts,East15ActingSchool,MiddlesexUniversity,RoseBrufordCollege,RoyalAcademyofDramaticArt.Assistant Directors,RoyalShakespeareCompany.Trainee Director,GlasgowCitizensTheatre.Theatre Professors/Practitioners,Japan,Korea,Canada,Mexico,Australia,Germany.Research Degrees,BodyandImage.Workshop Leaders,ShamanisticPractices,Body-MindCenteringforChoreographers.Movement,AnimationandLaban.Performance,War Horse.

Diane Alison-Mitchell

Graduated 2008, Movement Director and Choreographer, credits include Othello, directed by Iqbal Khan, and Julius Caesar, directed by Gregory Doran for the Royal Shakespeare Company, The Island at the Young Vic, London 2012 Olympic Opening Ceremony as part of Toby Sedgwick’s movement team and the National Theatre film What Is A Movement Director?

‘Icomefromadancebackgroundandwasreallyinterestedinfindingnewwaystoworkwiththebodyandalwayshadapassionfortheatre.Thecoursereallybroadenedmyknowledgeofmovementpractices,butmoreimportantlyhelpedmetobuildmyownpractice,whichiscrucialforaMovementDirector.Thecoursealsosupportsthoseinterestedinmovementtoenquireandexploreinacreativeenvironment,witharangeofpeoplefromavarietyofbackgrounds.Thisdiversitywasarichpartofwhatthecourseoffers.’

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This master’s level, conservatoire-style training provides the opportunity for music and theatre practitioners to develop performance techniques and creative skills, along with an understanding of music theatre as it spans a range of potential forms.

Thecourseintegratesacting,danceandmovement,singingandspokenvoicewithinaframeworkofrelevanttheoryandresearch,inordertotrainstudentstoaprofessionallevelofartistryandtechnique.Specialistlecturersandprofessionalartistsdeliverclassesandworkshopsthatcomplementateachingstaffwithlong-termexperienceacrosstheprofession.Emphasisisplacedonacquiringandpractisingskillsthroughcreativityandperformancewithinallaspectsofmusictheatre,fromconventionalBroadwayandWestEndrepertoiretonewwriting.Collaborationandteamwork,imaginationandcreativityarevaluedaspectsofallactivitiesandareexploredfrommanydifferentperspectives.

Thecourseisdemandingandfitnessisassessedataudition.Wherestudentsdemonstrateskillandinterest,thereareopportunitiestocreateoriginalworkandtopursuerelatedactivities,suchascomposing,writing,choreographyandactingwithinstruments.Researchisembedded,reflectingthespecificmethodologiesrequiredbyperformers.

Term Oneprovidesacting,danceandmovementclasses,alongsideindividualsinginglessonsthatcontinuethroughouttheyear.Conditioningclassesunderpinhealthandwell-beingforperformers.Performanceworkshops,actor-musicianshipandchoralensembleworkareactivitiesdesignedtoextendtheseskillsandleadtoabetterunderstandingoftheirrelationships.

Term Twoincludesanensembleproductioninastudiotheatredirectedbyaprofessionalteamshowcasingtheindividualspecificskillsofthecompany.Opportunitiestodevelopcomposition,writing,choreographyandinstrumentalperformancemaybeintegratedintothecurriculum.Studentscontinuewithacting,singinganddance/movementskillsinthistermandthenext.AnIndustryDaybringsstudentsface-to-facewithagentsandcastingdirectorsatthedecision-makingcentreoftheperformers’life.TermTwoconcludeswithanindustryshowcase.

Term Threecomprisesafull-scalepublicproductionofacontemporaryworkintheEmbassyTheatre.Acting,singinganddance/movementcontinueaspartofpreparationforthatperformance.Thetermendswithaunitwhichpreparesstudentsforauditiontechniquesinpreparationfortheindustry.

Term Four is devoted to the Sustained IndependentProject,thecharacterofwhichreflectsthestudent’sstrengthsinresearch,writing,performingorcreating.Theresearch,performingandcreatingexperiencesfrompreviousunitscontributetothisfinalpieceofwork.

MA MUSIC TheatreDuration: one year, full-time, September start Full-time,on-siteattendancebetweenJulyandAugustisnotmandatory Award:MA Music Theatre (180credits/Level7) | Application:see Further Information(page109) CourseLeader:Professor Paul Barker(seeStaff,page12)PleaseseeImportantInformation(page116).

LysistratabyHelenWattsandDavidMerriman,publicproduction

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ASSESSMENTAssessmentisbypublicperformances,assessmentinclassworkandwrittensubmissions.

Professional FocusThecourseteamreflectsdiverseperformingandcreativepracticeacrossavariedculturalstage,frommusicaltheatrethroughtoopera,fromtelevisiontofilm,fromconventionaltheatretothosethatincorporateactor-musicians,fromcreatingcompaniestoinnovatingnewworks,nationallyandinternationally.Thecourseencouragesself-motivationandentrepreneurshipandbringsstudentsintocontactwithagentsandvisitingprofessionals.

RECENT VISITING STAFFCore teaching team: DianeAlison-Mitchell(movement),SteveElias(dance),EmmaCaplan(acting),DeborahGarvey(voice),HazelGold

(dance),MariaHuesca(singing),JulianKelly(MD),EwaKolodziejska(coaching),ArthurKyeyune(movement),IngridMacKinnon(movement),DavidMerriman(Composer,MD).Directors: Bill Bankes-Jones,JoDavies,JanieDee,JoeDeer,EdGoggin,KateGolledge,SimonGreiff,ThomasHescott.Musical Directors:DavidCharlesAbell,DerekBarnes,SuzyCatliff,StephenClark(Writer/Director),JoelFram,ConradNelson,GarethValentine.Movement: TheaBarnes,KaneHusbands,YaritDor.Producers, Agents etc: Andy Barnes,EllieCollyer-Bristow,JaneDeitch,LisaHull,KatyLipson.

BEYOND CENTRALGraduate employment and career pathways include: West End: EnsemblewithSweeney Todd(ENO),The Commitments, The Scottsboro Boys, The Book Of Mormon, The Lion King, The Colour Purple, Ghost The Musical, Legally

Blonde, Chicago, The Bodyguard, Chess, Antic Disposition.UK: Chava in Fiddler On The RoofstarringBrynTerfel(GrangeParkOpera);The Firework-Maker’s Daughter,BirminghamOldRep.Seven Brides For Seven Brothers,nationaltour.Film: Skyfall,EON/SonyPictures.Television: Hollyoaks,Channel4; Casualty,BBC;UStelevisionshows,includingThe Girl’s Guide To Depravity.Video games: Evie Frye in Assassin’sCreedSyndicate,WinnerofGameoftheYear,CanadianVideoGameAwards2015.Theatre: Shakespeare’sGlobe,NationalTheatre,SayTwoProductions,SmileTheatre,LionheartTheatreCompany,PleasanceTheatre,ThePeople’sTheatreCompany,KneehighTheatreCompany:946.Original works on the Fringe and touring theatre circuits includingLondon,Canada,NewYork,Edinburgh,Brazil,Singapore,Sweden,thePhilippinesandthroughoutEurope.

MATTHEW ATKINS

Graduated 2013, actor and musician on Seven Brides For Seven Brothers (UK Tour), Sweeney Todd: The Demon Barber Of Fleet Street (Twickenham Theatre), Seabourn: Odyssey (Cruise Line), Hamlet (Open Air Tour), Story Box (Lost Theatre), The Rocky Horror Show (Manchester Palace Theatre).

‘Whenchoosingaplacetostudyapostgraduatedegree,Centralstoodoutduetothediversityandflexibilityofthecoursestructure,focusingonacting,singing,movement,composingandactormusicianship.Itailoredthecoursetofitmyskillsandthishelpedmetosecureanopen-mindedagencyandkeepmycreativeoptionsopenonceleavingCentral.Ilearnttodemandalevelofprofessionalismanddisciplinefrommyworkandmycareerpath.’

Tamar Broadbent

Graduated 2012, musical comedian on tour with her second solo show, All By My Selfie, having showed at Edinburgh Festival Fringe 2014 and on BBC Radio 4’s Fresh From The Fringe. She won the Sondheim Competition composer’s award, toured her own show at the Adelaide Fringe, Australia and continues to work as a unique stand-up comedian, composer and singer.

‘Thecommunityfeelofthecoursewasoneofthebestthingsaboutitforme.ThefriendsImadeatCentralarestillsomeofmyclosestfriendsnow,andwehelpandsupporteachotherinourcareers.Ialsoenjoyedtheextracomposerclassesorganisedforus,wherewewouldcomeinandsharesongsthatwehadwritten.Asamusicaltheatrecomposer,thisofferedaplatformtosharemyworkandgavememoreconfidenceinmywriting.’

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The MA and MFA Performance Practice as Research are taught courses for performance innovators who wish to investigate and interrogate concepts and practices within contemporary performance.

Thecoursesaredesignedforthe‘auteur’,theindividualpractitioner/researcher,workingacrossdisciplinaryboundaries.Thosewithanestablishedpracticeand/orbackgroundinperformancetheorytaketheirworktotheedgesoftheirspecialism(s)exploringuntouchedground,establishingnewwaysofthinkingaboutanddoingperformance,whilepushingtheboundariesoftheirdiscipline(s).

StudentsbecomepartofathrivingcommunityofpostgraduatescholarsandpractitionersworkingwithinaSchool-wideframeworkforresearchandexperimentation.Throughout,emphasisisplacedonareciprocalrelationshipbetweentheoryandpractice,whereonealwaysfeedsintoandenlivenstheother.Studentsinterrogate,testandapplythemostrecentthinkingandpracticeswithintheirparticularfields,whichmayincludeanycombinationofperformancepractice(s),directing,scenography,compositionorliveandperformanceart.Studentsareencouragedtoexperimentandinnovatebydevelopingtheirownwork,whichispresentedaspartoftheBrinkFestival.Ifchosen,asecondMFAyearcanbeundertaken,deepeningtheworkofthefirstyearwhilstgainingacriticalexpertiseinawiderarrayofPracticeasResearchmodels.

Asthecoursesvaluetheparticularskillsandpersonalproposalsthatindividualstudentsbringtothem,theintereststhattheyexpressshapethetimetableandcontentofcourseunits.StudentsonboththeMAandMFAcoursesstartbylearningthekeyvocabulariesandskillsetswithinthe

CriticalContextsandPerformingPracticesunitsbeforemovingintotheindividuallaboratoryworkintheDevelopingYourDisciplinesunit,whileconcurrentlyjoiningothersintheMAcommunityinthePerformingResearchunit.TheythengoontoproducetheBrinkFestivalaspartoftheLaboratoryofPerformancePracticesunit,whilsttakingadvantageofafurtherunitonArchivingPracticesofferedwithinCentral’sMAFramework.ForMAs,thelastterm(JulytoSeptember)isundertakenasaSustainedIndependentProject(SIP),wherestudentssynthesiseallthelearninganddevelopmentthroughamulti-modaloutputwithinadissertation.

MFAstudentsreturninOctoberfortheirsecondyearand,inspiredbytheirownworkintheBrinkFestivalandwithnewworkpresentedtothem,theyengageinanextendedMFASustainedIndependentProject(SIP).Thisisasupervisedmulti-modalthesis,gainingexpertiseinthevariousdramaturgies,modesandmodelsofperformancepracticeasresearchthroughthelensofthemethodologiesdevelopedintheirfirstyearandothersexaminedaspartoftheirMFAresearchsecondyear.

During the MA/MFA Performance Practice as Research students might expect to:

>participateinworkshopsandseminarstoinvestigatetherelationshipbetweentheconceptsandmaterialsofperformance

>analysemaking,performingandspectatorship asinterrelatedactivities

MA/MFA Performance Practice as ResearchDuration: MA: one year full-time, October start (someclassestakeplaceintheevening) | MFA: two years full-time, October start (someclassestakeplaceintheevening) | Full-time,on-siteattendance betweenJulyandSeptemberisnotmandatory | Award:MA Performance Practice as Research (180credits/Level7)| MFA Performance Practice as Research (240credits/Level7) Application:see Further Information(page109) | CourseLeader:Dr Experience Bryon(seeStaff,page12)

PleaseseeImportantInformation(page116).Thiscourserequiresaminimumnumberofstudentstoruneffectively.Itwilltakeplacein2017/18providedthisnumberisreachedby31May2017.Ifthecoursedoesnotrun,successfulapplicantswillbeofferedthechoicetoswitchtoanothercourse.Applicantswillbecontactedby9June2017.

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ASSESSMENTAssessmentisthroughpresentations,performances,processworkandwrittensubmissions,aswellasapersonaldocumentationprojectordissertation.

RECENT VISITING STAFFLouiseOrwin,MarkPeterWright,KevinLogan,SaloméVoegelin, DrKonstantinosThomaidis, J.LuisManuelCampos,DrTaniaBatzoglouDrNandoMessias,DrJoScott,ItaO’Brien,RosPhilips,JonDavison,DeirdreMcLaughlin,DrJessicaHartley.

BEYOND CENTRALGraduate employment and career pathways include: Choreographers, Composers, Creative Producers, Dramaturges, Directors, Artistic Directors, Performers and Visual Artists,forexampleAssistant Designer,BerlinStateOperaHouse;Producer withFrankoB;Public Engagement Coordinator,Battersea Arts Centre; Assistant Producer,War Horse; Personal Assistant,AlexanderMcQueen;Administrative/Artistic Assistant,CleanBreak;Assistant Designer,EnglishNationalOpera;General Manager,NationalYouthTheatre;Artistic Director,Portmanteau;Dancer,CandocoDanceCompany;Dramaturg,YoungVic;Venue Manager,TheRagFactory;Producer,TigerAspectProductions.

Performance workdevelopedonthecourseaspartofCentral’sBrinkFestival,hasgoneontobepresentedatThePlace,TheSpace,TheOldVicTunnels,theRoundhouse,CamdenPeople’sTheatre,TheBrightonFestival,BeaconsFestival,AdelaideFestivalandtheEdinburghFestivalFringe.

ThecoursehasalsoprovedtobeahighlysuccessfulgroundingforPhD research and an academic career(orportfoliocareeraspractitioner-academic).

Hedda S. Rui

Graduated 2013, currently experimenting with the practice of speaking text in performance in Norway, having premiered a self-written and directed monologue in Chicago.

‘Thecourseallowedmetointerrogatemyownpracticeasatheatremaker.Workingwithinthemethodologyofpractice-as-researchenabledmetoexploremyownworkindepthandhastakenittonewandexcitingplaces.Thehighleveloftheoreticalreflections,combinedwiththerigorouspracticalexperimentations,hastrulygivenmetheopportunitytoquestion,understand,articulateandcontinuouslydevelopmyownartisticpractice.Iamcurrentlyworkingonthedevelopmentofmypostdramaticperformancepracticeofintertextuality,continuouslyquestioningwhereandhowthetextcanresideonstageandinspeech:asmusic,asmateriality,orasabody-in-itselfbetweenmultiplespeakers.’

>engageandapplycriticalcontextsandconcepts

>exploredifferentstrategiesandmethodsfor conductingresearchanddisseminatingthe findings,leadingtowardsaconferencepresentation

>undertakelaboratoryexplorationofperformancepracticeasawayoftestingideas

>developworktowardsapublicpresentationatCentral’sBrinkFestival

>undertakeaSustainedIndependentProject(SIP)culminatinginadissertationoraportfoliodocumentingpractice-basedresearchofequivalentweight.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

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Some of the major innovations in performance practices over the past hundred years have been drawn from scenographic developments. These courses approach scenography from multiple practical and theoretical perspectives to create new opportunities for performance design, experimentation and authorship.

Drawingfrompastandpresentapproachestoperformancedesign,theScenographycoursesareconcernedwithexploringdynamicandinnovativeinterplaysbetweenthebody,spaceandtimefurtherinformedbyavarietyofdisciplinesincludingfilm,sculpture,sound,digitalmedia,puppetry,choreographyandarchitecture.

OntheMA/MFAScenography,students’existingskillsandpracticesarechallenged,extendedandrefinedastheyinvestigatedesignprocessesandtoolsforcreativedevelopments.Withabalancedmixofcollaborativeandindependentwork,andaparticularattentiontotheinterplayofpracticeandtheory,thecoursesinclude:workshopsandmentoringtoexplorespeculativeandoperativeuses/misusesofprocessesandtoolsrangingfromdramaturgy,modelmakingandtechnicaldrawingtoaudio-visualmedia,casting,interactivesensortechnologiesand3Dprinting;aswellasstudiesinrelevanthistoricalandtheoreticalframeworksandcontextsforunderstandinganddevelopingpractice.

In the first year, students of the MA and MFA combine for Terms One to Three of their course. The MFA second yearextendsthepracticalandtheoreticalfindingsfromthefirstyearbyundertakingoneortwoworkplace/professionalattachments,aswellastutorialsandoccasionalseminarsthroughouttheyear,aspartofanongoingprocessofdevelopmentandreflectionleadingtothesubmissionofthefinalassessment.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

Lara Farnham

Graduated 2014, currently Creative Director in brand environments.

‘Followingalengthystintindesigningforexperientialbrandenvironments,IfeltitwastimetoquestionandchallengehowIworked.Thecourseencouragedmetoworkthroughvitalapplicationswhilebeingimmersedinaverydeepacademicpool.This‘refuelling’didsomethingtomywayofworkingandhowImightapproachabriefasIseetheworldofbrandenvironmentswithrenewedvigour.Theexperiencealsogavemeconfidencetopursuemyownpractice.’

MA/MFA ScenographyDuration: MA: one year, full-time, October start | MFA: two years, full-time, October start Full-time,on-siteattendancebetweenJulyandOctoberisnotmandatory Award:MA Scenography (180credits/Level7) | MFA Scenography (240credits/Level7) Application:see Further Information(page109) | CourseLeader:Dr Simon Donger(seeStaff,page12)PleaseseeImportantInformation(page116).

TheTurnoftheScrewbyMingluWang

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ASSESSMENTAssessmentisbypracticalconceptionsandrealisations,writtenassignmentsandverbalpresentations(individualandcollaborative).StudentscollaboratewiththeirclasspeersaswellaswithothercourseswithinCentraltocreateanddesignnewperformancework,includingMAAdvancedTheatrePractice,MAMusicTheatre,MATheatreStudies,MA/MFAPerformancePracticeasResearch,andMA/MFAVoiceStudies.

Professional FocusProfessional hosts and industry partnersincludeAnnemarieWoods,AntonyMcDonald,DickBird,NicSandiland,DarrenJohnston,WhitechapelGallery,VictoriaandAlbertMuseum,LondonContemporaryDanceSchool,LondonBiennale,ClerkenwellDesignWeek,EnglishTouringOperaandNationalTheatreStudio.

Recent VISITING STAFFSophieJump,HelenPynor,PhoebevonHeld,PeteGomes,DanielScott-Cumming,NenaghWatson,ScarlettPerdereau,PierreVella,MauricioElorriaga,GordanaNovakovic,DanielF.Herrmann,RobinAuld.

BEYOND CENTRALGraduate employment and career pathways include: workingforarangeofpractitioners,companiesandstudiosintheatre,dance,opera,architecture,eventsandvisualarts.Alumniaredesigningall over the world and have wonawardsinBrazil,Canada,China,Japan,USAandUK,suchasTheLinburyPrizeforStageDesign,resultinginthedesignofaproductionofThe Winter’s Tale in conjunctionwiththeBritishCouncilinUkraine.Somehavetransferredto study Research Degrees.

Ana InÉs Jabares Pita

Graduated 2012, currently assisting and designing on a number of productions.

‘Havingabackgroundinpaintingandmusic,thecoursechallengedandbroadenedmycreativityand,inparticular,myunderstandingofspace.Thediverserangeofstudents’backgroundsonthecoursewasalsoveryenriching.Aftergraduating,Iassistedonanddesignedforover20productionsincludingtheatre,opera,film,exhibitionsandevents.In2013,IreceivedtheBestDesignAwardatOttawaFringeFestivalandwastheOverallWinneroftheLinburyPrizeforStageDesign2013.’

MAScenographyExhibition

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Engaging with its London context, and embracing the diverse theatre offerings of the city, this unique theatre and performance studies course offers routes to dramaturgy and criticism through critical practice and scholarship.

TheculturalhubofLondonisthevenuefortheMATheatreCriticismandDramaturgy(MATCD).Thecoursebalancestheoreticalstudyoftheatreandperformancewiththedevelopmentofdiverseskillsfordramaturgyandcriticism,withapplicationsinscholarshipandthecreativeindustries.Engagingwiththeatreandperformancepracticeofthepastandthepresent,andattunedtotheeconomyandecologyofthelandscapesinwhichittakesplace,MATCDstudentsembraceCentral’suniquestatusasaconservatoireandaUniversityofLondoncollege,avibrantsettingfosteringtheinternationaltheatrepracticeandscholarshipofthefuture.

Thiscourseistaughtbywayofsixunitsfollowedbyafinalindependentunit,eachofwhichisself-contained,focusingonaspecificaspectoftheatreandperformance.Atallpoints,learningcombinescriticalreflectionandthedevelopmentofspecificskillsrelevanttotheatrecriticismanddramaturgy,withafocusonappropriateoutputsandpractices.

Atvariouspoints,MATCDstudentsworkcollectivelywithstudentsfromacrossCentral’smastersportfolio,emergingtheatrepractitionersandscholarswitharangeofspecialisms.Learningopportunitiesincludeseminarsandlectures,classwork,independentresearch,groupwork,andfieldstudyinandaroundLondonorothercities.

Studentscandeveloptheirparticularresearchinterestsandtheirprofessionalprofileinthefinalunit,theSustainedIndependentProject(SIP).Thisunit,takingplacefollowingthesummerterm,givesstudentsthechancetoworkintensivelyinaspecificarea,withtutoringandsupportfromthecourseleaderandtutors.Studentsdeterminetheir

ownfocusinconjunctionwithcoursetutors,andprojectsmaybescholarlyinterventionsorcriticalreportsrelevanttotheatre-sectorissuesandconcerns.

Unitsmayinclude:

>ReviewingPerformance>ShakespeareinLondon>ArchivingPractices,PractisingArchives>CriticalContexts>PerformingResearch>CulturalLandscapes.

Eachunitisintensiveand,whereappropriate,isdeliveredwiththeparticipationofrelevantexperts(e.g.theatrejournalists,artsmanagers,academicspecialists)orinpartnershipwithculturalorganisations.StudentshavetheopportunityinthethirdtermtotakeanoptionunithostedbyanotherMAcourse.

MA THEATRE CRITICISM AND DRAMATURGYDuration: one year, full-time, October start | Full-timeon-siteattendancebetween JulyandAugustisnotmandatory | Award:MA Theatre Criticism and Dramaturgy (180credits/Level7) Application:see Further Information(page109) | CourseLeader:Dr Joel Anderson(seeStaff,page12

PleaseseeImportantInformation(page116).Thiscourserequiresaminimumnumberofstudentstoruneffectively.Itwilltakeplacein2017/18providedthisnumberisreachedby28February2017.Ifthecoursedoesnotrun,successfulapplicantswillbeofferedaplaceonasimilarcourse.Applicantswillbecontactedby10March2017.

Archiving Practices, Practising Archive.Photo:ManuelVason

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ASSESSMENTAssessmentisthroughformatsusedin the relevant industries and in academia,e.g.visualpresentations,conferencepresentations,essays,reports,reviewsandwrittensubmissions;personalportfolioordissertation.

Professional FocusStudentsworkincontactwithpractitionersandorganisations.Inthepast,guestsandvenueshaveincluded:LynGardnerandMichaelBillington(TheGuardian),representativesofEquity,BBC,AmbassadorTheatreGroup,TheOldVic,Shakespeare’sGlobe,NationalTheatre,LiveArtDevelopmentAgencyandtheVictoriaandAlbertMuseum.Studentshaveopportunitiestoparticipateinthewideracademiccommunity,andareencouragedtodevelopknowledgeandawarenessofcontemporarytheatreandperformancescholarship.

RECENT VISITING STAFFBrianLogan,ColetteConroy,ManuelVason,LauraOldfieldFord,DrShehzanaMamujee,MaxieSzalwinska,J.LuisManuelCampos,DrSarahDustagheer,Efrosini-Protopapa,DrShaunMay,RachelBarnett,E.J.Trivett.

BEYOND CENTRALGraduate employment and career pathways include: postsatShakespeare’sGlobe,theHongKongArtsFestival,HampsteadTheatreandtheRuhrtriennaleFestival,Germany.Theatre Press Officers, Teachers, Tutors, Directors, Artistic Directors, Administrators, Youth Theatre Facilitators and Producers in LondonandNewYork.Research DegreesincludingthoseatCentralandatKing’sCollege,London.

Josephine Yim

Graduated 2010, Project Manager, Hong Kong Arts Festival.

‘Thecoursecombinestheorieswithpracticalexperience.Notonlywereweabletodiscussandapplytheoriesinourresearchandstudy,butweweregiventheopportunitytolearnfromprofessionalsfromtheLondontheatreindustry,whichIparticularlyenjoyed.ImetandvisitedpeoplefromTheGlobe,TheNationalandtheAmbassadorTheatreGroupwhichmadethewholecoursesolid,bothacademicallyandpractically.Studyingherenotonlyprovidedmewithathoroughunderstandingofthetheatreindustry,italsoequippedmetobereadyfortheartsindustry.’

Archiving Practices, Practising Archive.Photo:ManuelVason

Archiving Practices, Practising Archive.Photo:ManuelVason

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Voice Studies courses at Central are nationally and internationally renowned, giving a specialised education in the study and practice of the spoken voice, and have a close relationship with the celebrated International Centre for Voice based at the School.

Thesecoursesareforgraduatesofappropriatedisciplineswhowishtofollowacareerinvoiceteachingandwhoseekspecialisedstudyandpracticeinvoiceandspeech.

Theyareparticularlylikelytoappealtoprofessionalswhoalreadyhaveaninterestin,andknowledgeof,thevoiceandforapplyingittothefieldsofperformancepractice,performancetrainingorotherrelatedpedagogies,forexampleactors,directors,dramateachers,trainedsingersandspeechtherapists.

In the first year of the MFA, students join the MA students for Terms One to Three of their course. TheMFAthenextendsintoasecondyear,beginninginOctober,thatinvolvesamixofworkplaceattachments,mentorshipsandobservedpractice,incloseliaisonwithmembersoftherelatedindustries.Studentsareencouragedtospecialiseinoneormoredirections,buildingontheirfirstyear’steaching.

Term One developsawarenessofpersonalandprofessionalneedsandgivesafoundationinpracticalskills,relatedacademicdisciplines,vocalpedagogyandresearchmethodsforthemoreappliedworkthatfollows.

Term Two buildsontheprevioustermbyrelatingacquiredknowledgeandpracticalexperiencetotheneedsofothersandseekstodevelopgrowingconfidenceandabilities.Practicalexperienceofteaching,bothofgroupsandofindividualsininstitutionswherevoiceworkisrelevant,beginsinthisterm.

Term Three consolidatestheworkalreadydone,extendstheteachingexperienceinavarietyof

contexts,andallowsforadeepeningofthoughtaboutvoiceasafieldofstudy.Itincludesadviceonpreparationforaprofessionalcareer.

Term Four oftheMAisfocusedentirelyonthepreparationandsubmissionofaportfolioordissertation.

The MFA second year widens students’ opportunitiestodevelopvoiceknowledgewithinavarietyofprofessionalcontextsinwhichpertinentquestionscanbeasked,protocolstestedandnewstructuressuggested.Thiswillinvolveacombinationofworkplaceattachments,mentorshipsandreflectiveobservationwhereappropriate.

Studentsareexpectedtoundertaketutorialsandoccasionalseminarsthroughouttheyear,althoughthesemaybeviaSkype,aspartofanongoingprocessofpedagogicalreflectionandengagementleadingtothesubmissionofafinaldissertationandreflectivepedagogicaldocumentation.

TheMFAoffersafurtherembeddingofskillsandconceptslearntduringitssecondyear.InsomecountriestheMFAismorerecognised,particularlyforthoseinterestedinteaching,orresearchinginahighereducationenvironment.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

Atthetimeofgoingtopress,theremaybethepossibilityofstudentsbeingrecognisedasAssociateFellowsoftheHigherEducationAuthority(HEA).Seewww.cssd.ac.ukforfurtherdetails.

MA/MFA Voice STUDIESDuration: MA: one year, full-time, October start | MFA: two years, full-time, October start Full-time,on-siteattendancebetweenJulyandOctoberisnotmandatory Award:MA Voice Studies (180credits/Level7) | MFA Voice Studies (240credits/Level7) Application:see Further Information(page109) | CourseLeader:Jane Boston (seeStaff,page12)PleaseseeImportantInformation(page116).

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SASSESSMENTDuringthefirstthreetermsofbothcourses,assessmentisthroughwrittenwork,practicalprojectsandteachingpractice.InthefourthtermoftheMA,studentscompleteadissertationorportfoliofocusingontheirspecialistareaofenquiryarisingfromtheworkofthecourse.IntheMFAsecondyear,assessmentisbymeansofdocumentsbasedonfieldexperienceandrelatedresearch.

RECENT VISITING STAFFAnnieMorrison,JoannaWeirOuston,PennyDyer,TimBirkett,AlexBingley,IlanReichel,Natacha

Osorio,FrankieArmstrong,JacobLieberman,EddaSharpe,BarbaraHouseman,MeribethBunchDayme,ElspethMorrison,DeborahGarvey.

BEYOND CENTRALGraduate employment and career pathways include: Chorus Director, BromleyYouthMusicTrust.Voice Lecturer,Central,RoyalAcademyofDramaticArt,KingstonUniversity.Voice and Singing Tutor,TrinityLabanConservatoireofMusicandDrama.Voice Internship,RoyalShakespeareCompany.Voice Tutor,ArtsEducational.Head of Voice,BristolOldVicTheatre

School,TheRoyalWelshCollegeofMusicandDrama.Lead Vocal Supervisor,MulberrySchool,London.Head of Acting and Voice,UniversityofOklahoma,USA.Voice Coach,OregonShakespeareCompany,USA.Head of Voice, Head of Accents and Dialect Teaching,TheRoyalConservatoireofScotland.Lead Voice Trainer,businessclients,ShortCourses&Training,Central.

JESS CHAMBERS

Graduated 2014, member of the voice teams for the RSC’s Matilda The Musical in London and Sydney and the Shaw Festival in Canada.

‘ThepracticalteachingexperiencesIhadontheMFAVoiceStudiescourseandthepedagogicalandpersonalreflectionthattheteachingstaffencouraged,helpedmetodevelopmypracticeandconfidenceandpreparedmeforsuccessintheprofession.Throughworkplaceattachmentsandmentorships,thecourseofferedmetheopportunitytoconnectwithindustryprofessionalswhohavebeenkeytomycareerdevelopment.IgraduatedasahighlyemployablecoachandwithworkprospectsthatIcouldneverhaveanticipated.’

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The MA/MFA Writing for Stage and Broadcast Media offers students vocational training in writing drama across a range of different media contexts.

Althoughtheprimaryfocusisonwritingfortelevision,film,theatreandradio,Centralalsorunsoptionalunitsinwritingfornewmusictheatreand,incollaborationwithMAAppliedTheatre,writingwithandforcommunities.Thecoursesprovidetheopportunityforstudentstodevelopthecorecompetenciesandskillsofthedramatisttoexploretheirown‘voice’todeveloptheirconfidenceasdramatists,andtoappreciatethespecificmediacontextswithinwhichprofessionalwriterswork.

Keyfeaturesare:practice-basedenquiryintotechniquesandprocessesforwritingforstageandscreen;aseriesofwritingprojectstoengagewithdifferentstylesandformatsofproduction;associatedstudyofwritingtechniquesandissuesofperformanceinrelationtotheatre,cinema,televisionandotherrelevantcontexts.

TheMAandMFAaretaughtingroupsessionsandthroughindividualtutorials.Duringthesesessionsparticipantswillconsiderthefundamentalsofdramaticwriting.Indicatively,thesewillincludestructure,narrative,dramaticaction,genre,character,dialogueandrhetoricaleffect.Studentswillstudydifferentapproachestowriting,includingindividualauthorship,groupwritingandwritingtospecificbriefs.Studentswillattendmasterclasses,seminarsandworkshopsthatfocusonparticularmodesofwritingfordifferentproductioncontexts,andwillbepartofawriters’group,providingpeersupportindevelopingtheirwriting.Theirvocationalworkiscomplementedbyindividualresearchandappropriatetheoreticaldiscussionandenquiry.Studentswilladdresshistorical,theoreticalandcriticalcontextswithinwhichtraditionsofdramaticwritinghaveevolved.

Studentswillengageinarangeofprojectsthattestanddeveloptheirskillsasawriterofdrama.Indicatively,thesewillincludeformingateamofwriterstoevolveatelevisionseries,writingashortplayscriptworkshoppedwithactors,writingashortfilmscript,writingaradioplayanddevelopingandwritingacompletedramaticscriptforproductioninaparticularmedium(stage,radio,television,music,theatreorfilm).

Inundertakingtheseprojectsstudentswillacquireanunderstandingofworkingindifferentformats,aswellastheroleofthewriterincurrentproductionprocesses.

Througharollingprogrammeofguestspeakersfromtheindustry,studentswillalsogainsomeknowledgeofcommissioningandproductionprotocolsindifferentmedia,ofworkingwithagentsandofhearingfromestablishedwritersworkingacrossdifferentfieldsofdrama.TheMAendswithaSustainedIndependentProjectwherestudentsareabletofocusonafull-length‘callingcard’scriptinwhatevermediumtheychoose.

In the first year of the MFA, students will join the MA students for two-thirds of their course. The MFA extends into a second year thatengagesstudentswithfurtherspecialistsubjectskills.MFAwriterswillbeexpectedtoproducetwo‘callingcard’scriptsandtodevelopaplanforprofessionaldevelopment.MFAstudentsareofferedextendedandsustainedscriptdevelopmentsupport,andwillbeexpectedtodevelopprofessionaltiesandworkcloselywithmembersoftherelatedindustrytoestablishthemselvesasprofessionalpractitioners.Inthesecondyearofthecourse,studentsare

MA/MFA Writing for Stage and Broadcast MediaDuration: MA: one year, full-time/two years, part-time, October start | MFA: two years, full-time, October start | Full-timeon-siteattendancebetweenJulyandOctoberisnotmandatory Award:MA Writing for Stage and Broadcast Media (180credits/Level7) | MFA Writing for Stage and Broadcast Media (240credits/Level7) | Application:see Further Information(page109) CourseLeader:Dr Tony Fisher | LeaderMFAsecondyear:Dr Sarah Grochala (seeStaff,page12)PleaseseeImportantInformation(page116).

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encouragedtospecialiseinoneormorefields,buildingonthefirstyearofteaching.TheMFAsecondyearwidenstheopportunitiestopractiseknowledgewithinacontextandframeworkwherepertinentquestionscanbeasked,protocolstestedandnewstructuressuggested.Studentswillbeexpectedtoundertaketutorialsandoccasionalseminars.

Withinthe1200hoursofthesecondyearoftheMFA,studentswillcompletetwofull-lengthdramatictextsinthemediumofthewriter’schoice,anaccompanyingcriticalreflectionandaportfoliocomprising,forexample,relevantsupportingmaterialtakenfromthewriter’sjournal,anytreatmentsthewritermayhaveproduced,aplanforprofessionaldevelopment,indicationofprofessionalcontactsdevelopedwhilstonthecourse,andareportonanyattachmentactivitythatmayhavebeenundertakenwhilstdoingtheproject(e.g.ifthestudentattendedmeetingsinatheatreliterarydepartment).

TheMFAoffersafurtherembeddingofskillsandconceptslearntduringthefirstyear.Insomecountries,theMFAismorerecognised,particularlyifparticipantsareinterestedinteachingorresearchinahighereducationenvironment.

AnMFAtop-upyearforthosewithanexistingMAinthissubjectisalsoavailable.

ASSESSMENTStudentsareassessedthroughpeerassessment,practicalassignments,essays,schemeofresearch,presentations,andthesubmissionofapractitionerportfolio,includingpersonalinsights,research,thestudent’sownscriptedmaterialandaplanforprofessionaldevelopment.

Professional FocusThereisaninformalseriesoftalksbyguestspeakers.PastspeakersfromacrosstheindustryhaveincludedMikeLeigh,ChloeMoss,SarahDaniels,DennisKelly,DavidEdgar,TimCrouch,SimonStephens,LucyPrebble,SirRonaldHarwood,TracyLetts,BBCWritersroom,OlaAnimashawun,MandaLevin,SarahGoldingandChristopherCampbell.CentralalsohaslinkswiththeRoyalCourtTheatre,HampsteadTheatreandtheBBC.TheMFAcourse

encouragesstudentstodevelopprofessionalties,andwillsupportthemintheireffortstogainexperienceinprofessionalcontexts,aswellashelpthemdeveloptheirlistofindustrycontacts.Examplesofprofessionalconnectionswouldindicativelyincludeworkexperiencewithaprofessionaltheatreliterarydepartment,suchastheRoyalCourtTheatre.

RECENT VISITING STAFFJohnDonnelly(Playwright),TanikaGupta(theatre,radio,film),KatharineWay(TVWriter),MarkTilton(Screenwriter),OlaAnimashawun(TheatreDirector,AssociateDirector,RoyalCourtTheatre),FederayHolmes(theFactory),DarrenRapier(TVWriter),SarahGolding(screendevelopment),SueTeddern(RadioDramatist),GillianRichmond(TVandradiodrama),DeirdreMcLaughlin.

BEYOND CENTRALGraduate employment and career pathways include: Writer intheatre,radioand/orscreen-relatedindustries.Script Editor, Literary Manager, Writing Tutor, workwithscriptdevelopment,dramaturgy,creativepartnershipschemes,copyediting,andwritersineducationandthecommunity,suchastheWritersinPrisonsFoundation.

Vinay Patel

Graduated 2011, his debut play, True Brits, in association with HighTide, was performed at Edinburgh Festival Fringe 2014, before transferring to the Bush Theatre RADAR season, and then to headline the Vaults Festival; he is also one of

the 503Five Writers and developing projects for Channel 4 and the BBC.

‘ComingbacktostudyafteracoupleofyearsoutwasthebestdecisionI’vemade.Havingasafe,constructiveenvironmenttotrymyworkoutgavemetheconfidencetowrite,andthedemandsofthecourseinstilledinmetheself-disciplinethat’svitalforpursuingwritingasacareer.ItprovidedmewithanetworkoffriendsthatIstillcollaboratewithtodayandrelyontohelpmakemyworkstronger.’

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Short Courses & TrainingFurtherinformationandapplication:www.cssd.ac.uk, emailshortcourses@cssd.ac.uk +44 (0)20 7559 3960 / +44 (0)20 7722 8183Please see Important Information (page 116).

These courses draw on specialist techniques developed in arts and community education and performance practice to offer learning and training opportunities appropriate to the needs of a diverse range of people.

Diplomas

Centraloffersfourpracticalnon-accrediteddiplomasforthosewhowishtoundertakeanintroductiontoactororperformancetraining.PleasenotethatyoumustbesuccessfulatauditiontogainaplaceontheseDiplomacourses.Allcoursesareoneyearandpart-time.

Gap Year Diploma(September–August,Saturdaysandanintensivesummerproject),forthosetakingayearoutfromformaleducation.Thiscoursedevelopscareerskills,auditiontechniquesandactingskills.Studentswillperformextractsfromplaysinastudio-basedperformanceproject.TheGapYearDiplomaisanidealcoursetohoneskillsbeforeapplyingtoafull-timecourse,ortoincreaseskillsifapplicantshavenotbeensuccessfulatauditions.

Acting Diploma(January–August,twoeveningsaweekandanintensivesummerproject),whichdevelopsvoice,movementandactingskills.Thecourseculminatesinastudio-basedperformanceproject.

Musical Theatre Diploma(January–August,twoeveningsaweekandanintensivesummerproject),whichdevelopsacting,movement,danceandsingingskills.Studentswillperformextractsfrommusicalsinastudio-basedperformanceproject.

Summer Short Courses

SummerShortCoursesoffertrainingcoursesbetweentwodaysandthreeweeks,whichfocusonkeytechniquesandskillsusedbyactors.CoursestakeplaceinJulyandAugustfrom10.00am–4.30pm.Allcourses,withtheexceptionofPreparingforHigherEducation:StudyingDramaandYouthTheatre,areforthoseagedover17years.

Currentcoursesofferedinclude:

>ActingforBeginners>ActingforCameraforBeginners>ActingwithText>Actors’AuditionPieces>DirectedScenes>IntroductiontoClearSpokenEnglish>MusicalTheatre>PreparingforHigherEducation:StudyingDrama (aged15+)

>StageCombat>SummerTheatreCompany>SummerShakespeare>VoiceFundamentals>YouthTheatreforActorsaged11–17>YouthTheatreforActorsaged6–11.

Evening Courses

Theseshortcoursesdevelopactingskillsandtechniques.Severalfreestandingmodulesareoffered,eachtaughtforaneight-weekperiod,meetingtwoeveningsaweek.Allmodulesrunconcurrentlyandmaybetakenindependently,orinsequence,toformaunifiedprogrammeofpracticalstudy,forthoseaged18yearsandover.

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Recent evening courses include:

>Acting–AnIntroduction>Acting–Text1>Acting–Text2>Acting–Shakespeare>AuditionTechniques>Directing–AnIntroduction>Singing>VoiceforPerformance–AnIntroduction.

One-to-one sessions are also offered in the following:

>Acting/AuditionTechniques>AccentandDialectCoaching>IndividualVoiceCoachingforActors>VoiceforOverseasActors.

Saturday Youth Theatre

SaturdayYouthTheatreoffersdramaclassesforstudentsaged6–17years.Studentsexplorearangeofdramatechniquesincludingimprovisation,voice,movementandworkingwithtext.ClassesaredividedbyageandtakeplaceonSaturdaysduringtermtime.Eachtermculminatesinasharingofthestudentsworktocarers,familyandfriends.Studentsdonotneedexperiencetotakepart,justenthusiasmandcommitment.Manyyoungpeopleattendforanumberofyearsandsomegoontostudyfull-timeatundergraduatelevel,eventuallymakingcareersintheprofession.

Training Solutions

Centralhasanestablishedandsuccessfulhistoryofdeliveringbusinesstrainingintheprivate,publicandvoluntarysectors.Fromtwentyyearsofsector-specificexperienceandtransferringskillsfromtheatretobusiness,Centralhelpsclientsdrivechangethroughouttheirorganisationwithinnovative,experientiallearning,providinghands-onexperience.Thepowertocommunicateisattheheartofperformance:theartofinfluentialvoice,speech,presentationandcommunicationinabusinessenvironmentisanidenticalframeworktoanactor’sperformance.

Allworkexploredwithinthetrainingcoursesensuresdirectimplementationintotheworkplaceforhighimpact.

CurrentandpreviousclientsincludeTwitter,ImperialCollege,Cognizant,AbbottNutrition,Barclays,DeutscheGroup,TransportforLondon,King’sCollege,JohnLewis,NHS,Ikea,VWGroupandOxfam,aswellasteachers,civilservants,journalists,barristers,royalty,doctors,dentists,CEOs,HRmanagers,politicians,financiers,televisionpresenters,preachersandMembersofParliament.

Centraldeliversbespoketrainingcourses,one-to-onetrainingsessions,opencourses,teamawaydaysandskillsworkshops.

Typicaltrainingareasinclude:

Communication>ConfidentCommunication>One-to-OneVoiceandCommunicationCoaching

>Elocution,ArticulationandAccentSoftening>PersonalVoicePower.

Presentation>ConqueringNerves>PitchingforSuccess>PerformanceinPresentation>ProfessionalPresentationforMedia.

Leadership and Management>PersonalImpact>TeamEffectiveness>ConqueringNerves>BuildingInfluenceandRapport.

Creativity >Storytelling>SharingaVision>ForumTheatre>CommunicatingIdeas.

BA(Hons)ActingMusicalTheatrecastofThe Man Of ModebyGeorgeEtheregeinCentral’sreception108

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Further Information

CONTACT DETAILS

The Royal Central School of Speech and Drama, University of London EtonAvenue,LondonNW33HY,UK

Telephone:+44(0)2077228183 Fax: +44(0)2077224132 Email: enquiries@cssd.ac.uk www.cssd.ac.uk

Admissions: +44(0)2075593912 +44(0)2074491648 admissions@cssd.ac.uk

Open Events: +44(0)2077228183 openevents@cssd.ac.uk

How to apply

ADMISSIONS POLICY

MostcoursesatCentralpreparestudentsforahighereducationqualificationandprofessionalpractice:knowledgeandanalysisareintegratedwithpracticalskillstraining,sothatgraduateswillbeinformedbyinsightandreflection.Central’spoliciesandproceduresforadmissionaimtoidentifyapplicantswhocanbenefitfromthiscombinationofintellectualengagementandprofessionaltrainingandtoensureagoodmatchbetweenabilityandthedemandsofthecourse,inorderthatthosewhobeginacoursecanreasonablyexpecttosucceedandachieveaqualification.

Centraliscommittedtoofferingopportunitiestoapplicantsfromvariededucationalbackgroundswhocandemonstratethattheyhavethecapacitytostudyinthisway,tobenefitfromthatstudyandtosucceed.Theselectionprocessconsidersnotonlyeducationalqualifications,butalsoevidenceofaptitudeandmotivation.Centralvalueslearningfrompriorexperienceandparticularlywelcomesmaturestudentswhoreturntoformalstudy.TheSchool’sSingleEqualityPolicyappliestotheadmissionprocessandthesamecriteriaforselectionforeachcourseapplytoallapplicants.

UNDERGRADUATE COURSES

AllapplicationsmustbemadeonlineviatheUK’snationwideUniversitiesandCollegesAdmissionsService(UCAS)www.ucas.com.TheUCAScodeforCentralisC35(acampuscodeisnotneeded)andindividualcoursecodesarelistedonthecoursepagesofthisprospectus.Applications should be made by the UCAS 15 January deadline to ensure that they are considered.Foradmissionscriteriaseewww.cssd.ac.uk/undergraduate-applications.

POSTGRADUATE COURSES

Applicantsshouldcompletethepostgraduateapplicationandreferenceformsavailableon Central’s website www.cssd.ac.uk/postgraduate-applications,orrequestaformbytelephoneon+44 (0)20 7722 8183,oremailenquiries@cssd.ac.uk.Wehavetoconsiderapplicationsintheordertheyarereceived,soitisadvisabletoapplyearly.WebeginacceptingapplicationsinOctoberintheyearpriortothestartofthecourse.ApplicationsmadefromEasteronwardsmaybetoolatetobeconsidered,asmanycoursesbecomefullveryquickly.Whenacoursebecomesfullandisnolongeracceptingapplications,thiswillbestatedontheindividualcoursepage.Foradmissionscriteria,seewww.cssd.ac.uk/postgraduate-applications.

RESEARCH DEGREES/DOCTORAL STUDY

ResearchdegreeapplicationandreferenceformsareavailableonCentral’swebsite,www.cssd.ac.uk/research-degrees-applications, oryoucanrequestaformbytelephoneon+44 (0)20 7722 8183,oremailenquiries@cssd.ac.uk.

ApplicantswillneedtoregisterinitiallyfortheMPhil(unlesstransferringresearchbegunforaPhDelsewhere).ToupgradetothePhD,see www.cssd.ac.uk/research-degrees-applications.

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AUDITIONS/INTERVIEWS

Oncewehavereceivedyourapplicationtherelevantcourseteamwillreviewtheinformationyouhaveprovidedanddecidewhether or not to invite you to attend an audition/interview.Thereisnoalternativetoadmissionbyaudition/interview.

Ifyouareselected,youwillbecontactedbyemailtoinformyouhowtosecureyouraudition/interview,alongwithanyrequirementsandtasksyoumustprepare.Themajorityofauditions/interviewsareheldonCentral’ssiteinLondon,howeverauditions/interviewsarealsohostedatanumberofinternationalvenues.Forafulllistofinternationalauditions/interviews,seewww.cssd.ac.uk/how-apply-international-students.

DISTANCE AUDITIONS/INTERVIEWS

If you live abroad and are unable to attend anaudition/interviewinperson,youmay,atthediscretionoftheAdmissionsTutor,beofferedtheopportunityofadistanceaudition/interview.

AUDITION/INTERVIEW FEES

FortheBA(Hons)Acting,MAActing,MAActingforScreen,MADramaandMovementTherapyandMAMusicTheatrecoursesthereisanon-returnableaudition/interviewfee.IfCentralinvitesyouforanaudition/interview,detailsofpaymentwillbeinyourinvitationemail.Candidatesattendingauditions/interviewsoutsidetheUKmustalsopaythisfee,althoughthismaybepaidintheequivalentlocalcurrencyamount.Detailswillbeincludedinyourinvitationemail.

OPEN EVENTS

Openeventsforundergraduateandpostgraduatecoursesareheldhere,offeringtheopportunitytomeetwithcourseleaders,tourthefacilitiesanddiscussanyquerieswithadmissions,studentadviceandstudents’unionteams.Onsitetasterworkshopsarealsoavailableforcertaincoursesthroughouttheyear.Additionally,CentralattendsanumberofexternalrecruitmenteventsincludingUCAS

fairsacrossthecountrytomeetprospectivestudents.Formoreinformation,seewww.cssd.ac.uk/events.

ENGLISH LANGUAGE PROFICIENCY

StudentsforwhomEnglishisnottheirfirstlanguagemustprovetheirEnglishlanguageproficiencybytakinganapprovedEnglishlanguagetest.Thereareanumberoforganisationsthatofferthesetests.Fordetails oftheteststhatCentralaccepts,see www.cssd.ac.uk/content/english-language-requirements.

StudentsdonotneedtopassanEnglishlanguagetestpriortomakinganapplication,orevenpriortoaudition/interview.IfwewishtomakeanofferofaplaceonacoursewecanmakepassinganEnglishlanguagetestaconditionoftheoffer.StudentsmusthavemetCentral’sEnglishlanguagerequirementsonemonthpriortothestartoftheircourse.WearenotabletoissueConfirmationofAcceptancefor Study (CAS) for international visa students unlesstheyhavefirstmetourEnglishlanguagerequirements.

ACCREDITATION OF PRIOR LEARNING

AccreditationofPriorLearning(APL)isaprocessthatcan,exceptionally,allowastudenttojoinacourseatanadvancedstageandbegivencreditforthesection(s)ofthecoursetheyhavemissed.ThefirststageforAPLismakingaformalapplicationforthecourse(i.e.throughUCASorthroughdirectpostgraduateapplication).

TUITION FEES

Foreachacademicyear,orforthepartofanacademicyearinwhichyouareenrolled,Centralwillchargeyouatuitionfee.Thiscoversallelementsofyourregistration,tuitionandsupervision.Acompleteguidetofeesandpayingyourfeeswillbesentalongwithyourofferletter.Thefollowingisasummaryofthisinformation:

> Tuition Fee Levels (including ‘Frequently Asked Questions’) www.cssd.ac.uk/content/tuition-fees.

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DEPOSITS

Allpostgraduatecourseofferlettersincludearequestforanon-refundabledepositinordertosecureyourplace.Undergraduatenon-EUstudentsarealsorequestedtopayadeposit.Thedepositamount,andhowandwhenitmustbepaid,willbelistedinthecourseofferletter.Alldepositsaredeductiblefromtheindividualcoursetuitionfee.Thisdepositaimstoavoidthesituationwhereanapplicantacceptsaplaceonacourseandsubsequentlywithdrawslateintheapplicationprocess,therebypreventinganofferbeingmadetoanotherapplicant.Home/EUundergraduatestudentsdonotneedtopayadeposit.

HOW CAN I PAY MY TUITION FEES?

Feesdueinanyacademicyeararepayableinasinglelumpsumnolaterthan1Augustbeforethestartofthatacademicyear.

Therearethreeoptionsavailableforpaying tuitionfees:

1.Mosthome/EUundergraduatestudentsarenotrequiredtopaythetuitionfeesinadvance,astheyareeligibleforastudentloanfromtheStudentLoansCompanywww.gov.uk/student-financetocoverthecostoffees.Ifyoutakeoutastudentloanforfees,thesewillbepaiddirectlytoCentralonyourbehalf.

2.Youcanpayyourtuitionfeesonorbeforethe 1Augustdeadlineinasinglelumpsum.

3.Youcanpayyourtuitionfeesininstalments.

Aschemeisavailabletoassistself-financingstudents(thosewhoarenoteligibleforastudentloan),whichwillpermityoutopayyourtuitionfeesintwoinstalments.Underthescheme,halfthefeesmustbepaidby1Augustandthebalanceby9Januaryatthestartofthesecondterm.Anextrachargeof£250mustbepaidforthisfacility,andispayablealongwithyourfirstinstalment.Failuretopaythefulltuitionfeesoraninstalmentbytheduedatemayresultinderegistration.

BANK CHARGES

Pleasenotethattheremaybesubstantialchargesonbanktransfers,bothwithintheUKandthecountryoforigin,ifpayingfromabroad.Youmustensurethetransferofadequatefundstocoverboththesechargesandyourcoursefee.Youmayprefertopaybydebitorcreditcard.

STUDENT FINANCE AND FUNDING

FINANCING YOUR LIVING AND OTHER COSTS

Inadditiontotuitionfees,youshouldalsotakeintoconsiderationthecostoflivinginLondonincludingaccommodation(seepage112).Youmustmakesureyouhavesufficientfinancialresourcestomeetthemaintenanceandotherexpensesthatmaybeincurredthroughoutyourcourse.However,youmaybeeligibleforassistancewithlivingcoststhroughgrantsand/orloans(informationisoutlinedonthefollowingpages).

FINANCIAL AID AND STUDENT LOANS

Studentscanapplyforanumberofgovernment-fundedloansandgrants.Seewww.cssd.ac.uk/student-finance-and-funding for further information.

SOURCES OF FINANCIAL INFORMATION

Additionalinformation,includingotherwebsitesandpublications:

> www.gov.uk/student-finance> www.gov.uk/extra-money-pay-university/

bursaries-scholarships-and-awards.

Internationalstudentswillneedtoseekfundingfromtheircountryoforigin.Thereisusefulinformationonthefollowingwebsites:

> UK Council for International Student Affairs www.ukcisa.org.uk

> British Council www.britishcouncil.org.

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US FEDERAL LOANS

CentralparticipatesintheUSDepartmentofEducation’sDirectLoanProgram(ourFederalSchoolcodeisG10089).DetailedinformationonhowtoapplyforUSStudentLoanscanbefoundon Central’s website www.cssd.ac.uk/student-finance-and-funding.

TobegintheprocessyouwillneedtocompleteaFreeApplicationforFederalStudentAid(FAFSA)ontheUSDepartmentofEducationwebsite www.fafsa.ed.govorcontacttheUS Department of Education’s Federal Student Aid Information Centre at 1-800-4FED-AID (1-800-433-3243).

SCHOLARSHIPS, BURSARIES AND AWARDS

Centraliscommittedtoremainingopentoallpotentialstudentsregardlessoftheirbackgroundandtobuildinguponourexistingsuccessinretainingstudentsandhelpingthemtoachievetheirfullpotential.TheSchoolprovidesaccesstoover£100,000ofscholarshipsandbursariesforstudentsstudyingonparticularcourses.Up-to-datedetailsofhowtoapplyforscholarships,bursariesandawardscanbefoundonCentral’swebsite www.cssd.ac.uk/student-finance-and-funding.

OTHER SCHOLARSHIPS

Marshall Scholarship TheMarshallScholarshipisafullscholarshipandismadeavailableforUSstudentswhowishtostudyatgraduatelevel,seewww.marshallscholarship.org.

Fulbright Scholarship TheFulbrightScholarshipisafederalscholarshipprovidingopportunitiesforUSstudents,scholarsandprofessionalswishingtoundertakegraduatestudy,advancedresearchorteachingintheUK,see www.fulbright.org.uk.

BECAS Chile Scholarship TheBECASChileScholarshipisafederalscholarshipforChileanstudentswhowishtoundertakegraduatestudyintheUK,seewww.becaschile.cl.

CentralalsonominatesstudentsfortheLilianBaylisAward,IanFlemingMusicalTheatreAwards,LaurenceOlivierBursary,SirAlecGuinnessMemorialAward,BBCPerformingArtsFund,SpotlightCDSPrizeandTheSirJohnGielgudBursary.CentralstudentscanalsoapplytotheRoseBrufordMemorialTrustDramaAwardandTheMichaelNorthenStudentDesignBursary.

Student Advice Service

Telephone:+44 (0)20 7559 3900 Email:sas@cssd.ac.uk

TheStudentAdviceServiceoffersassistancewithmanyaspectsofstudentlife,includingaccommodation,counselling,andmanagingfinances.

ACCOMMODATION

TheStudentAdviceServiceoffersinformationandsupporttostudentsinfindingsomewheretolivethroughanetworkofaccommodationservices,includinglocalestateagencies.PleasenotethatCentralhasnohallsofresidence,butstudentsareeligibletoapplyforalimitednumberofallocatedplacesattheUniversityofLondonIntercollegiateHalls.

Central’s Accommodation Service www.cssd.ac.uk/students/student-services/accommodation, telephone+44 (0)20 7559 3900,oremail sas@cssd.ac.uk.

University of London Housing Service www.housing.london.ac.uk/cms, telephone +44 (0)20 7862 8880, oremailhousing@lon.ac.uk. ThisserviceisavailableforCentralstudentswantinghelpwithaccommodation,includinglegaladviceandacontractcheckingservice.

HALLS OF RESIDENCE

University of London Intercollegiate Halls www.halls.london.ac.uk/residents/intercollegiate-halls, telephone+44 (0)20 7862 8881. TomakeanapplicationfortheUniversityofLondonIntercollegiateHalls,pleasecontacttheStudentAdviceServicedirectly.

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University of London Property Management Unit www.housing.london.ac.uk. Allpostgraduatestudentsandfull-timesecondandthirdyearundergraduatestudentscanapplyforsingleroomsinself-cateringflatsatfourLondonlocations.

Private Halls of Residence www.cssd.ac.uk/content/accommodation-support. Thereareanumberofprivatelyrunstudenthalls,somemanagedbycharitableinstitutionsandsomebycommercialcompanies.

PRIVATE RENTED ACCOMMODATION

ManyCentralstudentsliveinsharedprivaterentalaccommodationinnorthwestLondonwithotherstudentsfromtheSchool.TheStudentAdviceServiceholdstwoSharers’Daysbeforethestartoftermtoassiststudentsinfindingasuitablepropertyandpotentialhousemates.Locallettingagenciesoftenalsoattendtopresentsuitableproperties.TheseSharers’DaysareonlyavailableforCentralstudents.

COUNSELLING

TheStudentCounsellingServiceoffersshorttermcounsellingtoallregisteredstudentswww.cssd.ac.uk/content/counselling.Itisfreeandconfidential.TheservicesubscribestotheBritishAssociationforCounsellingandPsychotherapy’sEthicalFrameworkforGoodPractice.

MANAGING YOUR FINANCES

TheStudentAdviceServicestaffareabletohelpstudentsexperiencinganydifficultiessuchasashortageoffunds,debt,budgeting,eligibilityforstudentsupport,orstudentsupportentitlementsuchasapplyingforcrisisloans.

Thereisalsoagovernmentwebsitewhereyoucanfindoutmoreaboutstudentfinancialsupportwww.gov.uk.

Learning Centre

Telephone:+44 (0)20 7449 1624 Email:learning.centre@cssd.ac.uk

TheLearningCentreoffersawiderangeof

specialistandgeneralacademicsupportandadvicetostudentsatCentral.Thisincludesprovidingarangeofinformation,guidanceandsupporttostudentswithdisabilitiesandlearningdifferences,aswellaslearningskillssessionsandone-to-onetutoring.

The Learning Centre offers:

>1:1learningskillstutorialstosupportwritingandtheuseofmediaandtechnology

>groupsessionsonawiderangeoflearningskills

>referralbased1:1tutorialsupportforstudentsforwhomEnglishisanadditionallanguage

>adrop-inserviceforadviceonissuesrelatingtodisability/dyslexia

–freedyslexia30-minuteinitialscreeningappointments

–dyslexiadiagnosticappointments

–needsassessments

>1:1dyslexia-specificstudyskillssupport

>1:1enablingandassistivetechnologytraining

>transmentoringforstudentswhoplanto/aretransitioningwhilestudying

>mentoringforstudentswithlong-termconditionswhichhavesubstantialandlong-termeffectsontheabilitytodonormaldailyactivities,includingHIV,heartconditionsormentalhealthproblems

>BritishSignLanguage(BSL)interpreting

>assistanceforstudentswithapplicationstotheirfundingbodye.g.StudentFinanceEngland(SFE)orArtsandHumanitiesResearchCouncil(AHRC)forDisabledStudents’Allowance

>disseminationofinformationtorelevantacademicandotherdepartments.

Disabled Students’ Allowance (DSA)

Ifyouhaveadisabilityorlearningdifferenceandyouareahomestudent,youmaybeeligibleforaDisabledStudents’Allowance.Youcanfindoutmoreinformationandapplyatwww.gov.uk.

FormoreinformationabouttheDSAapplicationprocess,pleasecontactTheLearningCentretomakeanappointmentwithoneofthespecialistteam.

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DEVELOPMENT

In order to sustain and develop the training it offers and to provide financial assistance to students, Central relies on the support of philanthropists.

Withouttheircontributions,thiswouldnotbepossible.Centralthanksallthosesupporterswhohaverequestedthattheirnamesdonotappearontheselistsandallthosewhogivetheirtimeandexpertisetosupportstudentsthroughouttheirtrainingandbeyond.See page 112 for further information on scholarships, bursaries and awards.

Centralthanksthefollowingindividuals,organisations,trustandfoundationswhohaverecentlymadedonationsof£1000ormoretosupporttheSchool,itsstudentsandtheirwork:

TheAndrewLloydWebberFoundation

TheAndyStewartCharitableTrust

TheAshleyFamilyFoundation

TheBeatriceLillieInternationalCollegeofComedyandMusicalTheatre

TheBehrensFoundation

TheColnTrust

CommercialEducationTrust

TheFentonArtsTrust

FidelioCharitableTrust

TheFoyleFoundation

GuildfordAcademicAssociates

TheHaroldHyamWingateFoundation

TheJohnThawFoundation

TheLeverhulmeTrust

TheMackintoshFoundation

TheNeavethFund(UniversityofLondon)

TheRogerandIngridPilkingtonCharitableTrust

TheSavileClub

ShoreshCharitableTrust

SirSiegmundWarburg’sVoluntarySettlement

TheStanleyPickerTrust

TheWilliamWaltonTrust

WinshipFoundation

TheWolfsonFoundation

TheHallSchool

TheEstateofPatriciaCraig

TheEstateofDrWalterRoss

GaryBondMemorialAward

TheCliveBrookPrize

TheWalterDouglasJohnstoneMemorialFund

WendyCraig

VictoriaDickie

JohnDrummond

MichaelEstorick

Andrew Galloway

Brian Goodban

RosandAlanHaigh

DamePippaHarrisDBE

Gavin Henderson CBE

ChrisandBirtheKing

MrsMilner

NicholasMurphy

JohnPeach

Charles Perrin

RichardPilbrow

ClareRich

AlexandNickyShinder

JacquelineSilverberg

ClaudiaSpies

PaulandJeanneStrang

PaulTaiano

ThelateJuliaWilson-Dickson

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Governance

PaulTaiano Chair of Governors Chair of Nominations Committee and Remuneration Committee IndependentAnthonyBlackstock Chair of Audit Committee IndependentProfessorRossBrown Academic BoardVictoriaDickie IndependentEleni Gill IndependentAlanHaigh IndependentDamePippaHarrisDBE IndependentProfessor Gavin Henderson CBE Principal/CEOMennaMcGregor Independent ProfessorSimonMcVeigh IndependentAnneMensah IndependentJodiMyers IndependentCharles Perrin CBE Chair of Finance and Employment Committee and Investment Sub-Committee Co-opted University of LondonNataliePoernig Students’ Union President 2015/16PeterRoberts Deputy Chair of Governors IndependentGeoffreyRowe IndependentDominicTulett Staff

Phoebe Hitt Students’ Union Vice-President (Postgraduate)DeborahScully Deputy Principal/Deputy CEO Clerk to GovernorsKarenBurnell Deputy Clerk to Governors

Patron

HRHPrincessAlexandra TheHonourableLadyOgilvy KG,GCVO

President

MichaelGrandageCBE

Vice-Presidents

CicelyBerryCBECarrie FisherStephenFryZoëWanamaker

Former Presidents

LordOlivier,1983DamePeggyAshcroftDBE,1989DameJudiDenchDBE,1992-1997TheRightHonourable,Lord MandelsonPC,2001-2008HaroldPinterCH,CBE, NobelLaureate,2008

Honorary FellowsDameJennyAbramskyDBEJossAcklandCBEStevenBerkoffClaireBloomCBEBette BourneJoBrandDavidCollisonPaule Constable DianaCooperMarcusDaveyDameJudiDenchDBE

DeclanDonnellanCarrie FisherPennyFrancisMBEMariaFriedmanSoniaFriedmanHeiner GoebbelsNickolasGraceMichaelGrandageCBEGeorgeHall LaurenceHarbottle†SirRonaldHarwoodCBE,FRSLJocelynHerbert†AnnJellicoeDavidJubbJudeKellyOBEHelenLannaghanRebeccaLenkiewiczSimonMcBurneyOBEDameHelenMirrenDBERichardPilbrowHaroldPinterCH,CBE,Nobel Laureate†DameJoanPlowrightDBEStephenPoliakoffCBEVanessaRedgraveCBEProfessorSirKenRobinsonJulianRuddProfessorRichardSchechnerJennySealeyMBEJosephSeeligSirDonaldSindenCBE†RaeSmithCatherineTateChristopherWade†SirArnoldWeskerKevinWhatelyRichardWilsonOBEBarbaraWindsorMBE†deceased

Professor Emeritus

SimonShepherd

Honorary PhD

CicelyBerryCBEYvonneBrewsterOBE

GOVERNANCE, PATRONS, PRESIDENTS, Honorary FELLOWS

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Important informationThisprospectuswasprintedinJanuary2016forthepurposesoftheOctober2017onwardsintake.Ithasthereforebeenprintedinadvanceofcoursestartingdates.Forthisreason,courseinformation(including,forexample,inrelationtocoursecontent,moduleavailability,etc.)maybeamendedpriortoyouapplyingforaplaceonacourseofstudy. Thereareanumberofreasonswhychangestocourseinformationand/orpublishedtermdatesmayneedtobemadepriortoyouapplyingforaplaceonacourse.Thesemayinclude,butarenotlimitedto,thefollowing: >theneedtomakereasonablechangestothecontentandteachingofferedinrelationtoanycourseforoperationaland/oracademicreasons

>acoursenotreceivingtherelevantaccreditationrequired

>thewithdrawalofcoursesduetocohortnumbersnotbeingsufficient.Pleaseseecourse-specificinformationinrelationtocohortrequirementsforMA/MFAPerformancePracticeasResearch(page96)andMATheatreCriticismandDramaturgy(page100)

>and/orinterruptionorlossofkeyservicesduetocircumstancesbeyondourcontrol,includingfire,floodorotheroperationalissues.

Prospective students are therefore reminded that they are responsible for ensuring, prior to applying to study on a course of study at The Royal Central School of Speech and Drama (“Central”), that they review up-to-date course information, including short courses, which is available on Central’s website www.cssd.ac.uk or by contacting us by telephone on +44 (0)20 7722 8183.

Furtherdocumentsdescribingtheteaching,examination,assessmentandothereducational,pastoralandstudentsupportservicesofferedbyCentralareavailable,seeTermsandConditionswww.cssd.ac.uk/terms-and-conditions.Thesedocumentscontainimportantcontractualinformation.ProspectivestudentsshouldthereforefullyfamiliarisethemselveswiththesedocumentspriortoapplyingtostudyonacourseofstudyatCentral.

Centralreceivesfundingandgrantsfrom anumberofpublicandprivatesources, includingthefollowingorganisations:

CentralisreviewedbytheUKQualityAssuranceAgencyforHigherEducation(QAA)andmanyoftheSchool’scoursesareaccreditedbyDramaUK.CentralisalsoanelectedmemberofConservatoireUK.

TheDiamondDevelopment

Photography:PatrickBaldwin,AlexEisenberg,JamesHewett,JemimaYong. Artdirector/editor:SusanEmanuel.Design:nimbuscreative.co.uk.Print:printingideas.co.uk.

©2016TheRoyalCentralSchoolofSpeechandDrama,UniversityofLondon

TheRoyalCentralSchoolofSpeechandDramaisregisteredasaCompanyLimitedbyGuarantee, withexemptcharitablestatus,inEnglandandWalesunderCompanyNo.203645.Registeredoffice: EtonAvenue,LondonNW33HY.VATNo.GB135600246.

Acknowledgements

8 Printedon100%recycledpaper DIP-SOR-444880