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Masters Degrees (Acting For Screen)

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MA Acting for Screen is a training that focuses on acting in film, television and other screen-related media. Students will explore the expressive potential of performance and enhance their understanding of the relationship between performers and camera. Read more

ABOUT MA ACTING FOR SCREEN

MA Acting for Screen is a training that focuses on acting in film, television and other screen-related media. Students will explore the expressive potential of performance and enhance their understanding of the relationship between performers and camera. The course is primarily for those who have had previous training or professional experience in theatre, film or television. It will build on the existing
skills of students and focus on the specific needs of the year group. Drawing on the expertise of Central’s permanent staff team and specialist professionals from the industry, the programme aims to encourage the development of creative artists with the flexibility to work across performance mediums.

Across the first two terms, students will follow rigorous training in acting, which will concentrate on core skills: voice, body and creative interpretation. The principles of the study derive from psychophysical methods, particularly the techniques of Michael Chekhov and Stanislavski. The emphasis of the training is on producing actors who have a high level of creative skills and have developed flexible
and adaptable bodies and voices, with the necessary technique to apply to a screen context.

The range of classes across these terms will include screen technique; this will essentially examine the distinction between screen and live performance. It will also cover visual storytelling, working in, and adapting to, shot size, cheating, hitting the mark, shooting contemporary scenes from television and film, and the preparation of different styles of work, including soap, drama and comedy.

Acting classes will interrogate the body and provide students with a toolbox of exercises. There is a specific focus on relaxing the body and working with ease, developing the imagination, unpicking habits, creating character, and investigating the inner life. Voice and dialect classes will encourage an understanding of the voice as an instrument and will work with a variety of text including poetry, verbatim,
classical and contemporary material. In the area of movement, there is exposure to forms, which may include jazz and historical forms of dance, physical acting approaches including Suzuki, Lecoq, yoga, and chi kung. Other classes include sight-reading, textual analysis, casting, and mock auditions led by casting directors, actors and directors. Professional preparation will involve guidance on selecting photographs, writing CVs, self-marketing and online promotion.

ASSESSMENT

Modes of assessment include practical assignments, reflective writing, presentation, written and practice-based research. For the
independent project there is an option to make a film, write a dissertation or compile a portfolio, which would include a case study
of a filmmaker and an extended research enquiry.

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MA Screen Acting course specializes in giving the actor a rigorous and intense conservatoire training focused on delivering performance for the screen. Read more

Introduction

MA Screen Acting course specializes in giving the actor a rigorous and intense conservatoire training focused on delivering performance for the screen. Whether on film or television or other recorded media such radio. The student will be involved in many filmed projects including a final short film professionally produced as well as professionally shot show reel material. The course also gives the student a full programme of professional preparation with current industry professionals, including casting directors, agents, producers.

Content

MA Screen: Acting prepares you for work in film and television and related fields by bringing together the key artistic knowledge and skills that are needed to give a truthful and exciting performance on screen. MA Screen: Acting is delivered in close collaboration with MA Screen: Directing, Writing.

At the heart of the postgraduate course is the growth of individual creativity, achieved through constant opportunities for working on camera-based projects with colleagues from other pathways. Course components include acting skills and practice, the creation and production of filmed dramas (shot in the studio and on location), and in-depth preparation for the profession (including interview and audition techniques).

Distinctive features of MA Screen: Acting are:

An intense conservatoire training for the screen

A performance-led approach to recorded drama

A company operating model

The acquisition of a deep understanding of the processes leading to the creation and communication of recorded drama

A professional learning model that prepares you for direct entry into the world of work

A focus on creative solutions to the technical aspects of production

A mentoring scheme connecting students with experienced professionals

Concentration on professional preparation with leading industry professionals

Structure

MA Screen: Acting lasts 60 weeks over 15 months and is structured as units - class-based to begin with, but becoming increasingly project-geared over time. This postgraduate course is intensive. You'll be expected to commit 30 hours per week to classes, rehearsals and shoots, and to your own independent preparation and learning.

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The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices. Read more
The NFTS trains composers in both live and electro-acoustic music for the moving image in a production context closely modelled on Industry working practices.

Quick Facts:

2 Year Course
Full-time
Course runs Jan-Dec each year
Next intake: January 2017
NFTS Scholarships available for UK Students

Visit the website https://nfts.co.uk/our-courses/masters/composing-film-television

TO APPLY CONTACT REGISTRY - https://nfts.co.uk/contact-us

COURSE OVERVIEW

- Training in live and electro-acoustic music
- Students compose for wide variety of films
- Creative and technical skills developed
- Study in a collaborative, filmmaking environment
- Flexible curriculum adaptable to individual needs
- Individual music suites
- Professional standard post production facilities
- Recording sessions with live musicians Business, legal and professional skills taught
- Unlike other schools, all production costs are met by the School.

This course commences in January each year. Our emphasis on collaboration means that Composing students are informed and involved throughout the filmmaking process. In particular, composers work closely with other students in Editing and Sound Post Production, increasing their understanding of the relationship between audio and moving images.

Today’s language of screen music has shifted. While many scores still provide a musical commentary on the action, others find a way to integrate music into the fabric of the film itself, creating a seamless weave analogous to the camerawork or editing, to the assimilation of music into the sound world of the film as a whole. Sound design and music grow ever closer - in fact, the roles of sound designer and composer are becoming blurred to the extent that a close collaboration between the two processes is often essential.

The application of music to film - the choices inherent in the "when", "how" and "why" - all stem from an informed understanding of the intention of the film and the contribution music could make to it. Informed understanding, musical versatility and the fostering of an individual musical voice are the intentions of this course and these are determined by the practical and intellectual demands on composers working in the industry.

Composing graduates are qualified to take on all forms of work in film and television as well as productions in multimedia and interactive programming.

TUTORS

Acting Head of Composing is the BAFTA-nominated composer (and NFTS graduate) John Keane, whose credits include Hornblower,Mansfield Park, Tara Road, Inspector George Gently, Hideous Kinky.

ALUMNI

Recent graduate composing credits include Atonement which netted NFTS graduate Dario Marianelli an Oscar, Golden Globe and Ivor Novello in the Best Original Score category; Wallander, the television drama series, and feature film Endgame, both of which earned BAFTAs for Best Original Score for NFTS graduate Martin Phipps. Martin also received Emmy Award Nominations for his scores on Great Expectations and Sense and Sensibility. Composer Rob Lane also received Emmy nominations for his scores on Longford and HBO's John Adams, as well as winning a BAFTA for Elizabeth I (TV) and a nomination for Jane Eyre.

CURRICULUM

The Composing course is developmental and progressive. In year one, students are taught the techniques and contexts which inform writing music for the screen. The first term comprises an intensive process during which students compose to a variety of exercises, each one chosen to focus on a particular problem of film composition. These exercises are completed by each student and discussed in seminars and individually assessed. In term two, further exercises concentrate on issues having to do with scoring for live instruments, the combination of live and electro-acoustic elements and the integration a limited range of sound design into film scores. In addition, students will begin engaging with projects generated by other students at the NFTS. This process will continue and dominate the third term. Each student contribution to those films will also be assessed. Students will also participate in visits from industry professionals.

In year two, students’ activities will be dominated primarily by work generated from other parts of the school. However, lectures, seminars and the occasional workshop will be provided to clarify and expand issues arising from those projects. As in year 1, students will also participate in visits from industry professionals.

YEAR ONE

A series of composing workshops combining practical exercises and seminars:

- Basic narrative techniques
- Midi, sampling and audio
- Combining music and sound
- Narrative with dialogue
- Non-fiction scoring
- Instrumentation and orchestration
- Composing to script
- Improvisation

Ongoing analysis of feature film soundtracks and film structure Orchestration and recording with live musicians

Workshops with Sound Design and Editing students:

- Abstract Film Workshop
- Without Images - a sound-only project
- Animation exercises
- Dramaturgy Workshop – focusing on script and script analysis, blocking and cover, and performance
- Editing the Scene - editing drama rushes to learn the basics of scene structure

Productions

- Zen and Beyond - fiction workshop focusing on visual storytelling
- Documentary poetry exercise collaborating with Documentary Direction, Editing and Sound Design
- First Year Film – the major 1st year fiction production collaborating with all other departments
- Investigative Documentary - the major first year documentary production
- Cross Spec - an introduction to film language and storytelling involving all departments

YEAR TWO

- Orchestration and recording with live musicians
- Improvisation
- Continued analysis of films
- 2nd year short fiction production, shot on a digital format
- Co-composing a feature film Graduation films in documentary, fiction and animation

Unlike other schools, all production costs are met by the School. In addition you will be given a cash Production Budget. NFTS students are engaged in more productions as part of the curriculum than any of our competitors.

ENTRY REQUIREMENTS

The Composing MA course is part of the Post Production department, where we are looking to assemble a group of students with diverse and varied backgrounds. There is no 'typical' student or perfect candidate who conforms to a mandatory list of qualifications. You might have had some Industry experience in your chosen field, or a background in the arts or other media. You may now be looking for a further professional qualification, or wish to broaden your knowledge of composing for screen, taking you to a higher level of work.

Students normally have a degree in music but applicants with equivalent practical experience are also accepted; some composing experience is preferred. We look for composers with a strong personal style, a flexible approach and an intelligent feel for drama and narrative. Candidates should normally be able to notate the music they wish to be performed acoustically, have an understanding of the main historical styles and be able to communicate with others using non-musical terms. It is essential that applicants have a strong and demonstrable interest in film.

APPLY WITH

Application Criteria

On receipt of the application form, duly completed and signed, each applicant will be provided with a link and password to download two film clips. They will be asked to write music to each of these clips, and return their completed work as Quicktime video files with sound and music track, either as downloadable links or as DVD’s sent to the school.

On being accepted for interview by the school, the applicants will be invited to bring further material that may be of interest for examination at the discretion of the interviewers.

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In today’s visual world it’s not just actors who need to perform professionally in front of the camera; many other professionals including journalists, politicians and business leaders are frequently called upon to present themselves and their ideas on camera. Read more
In today’s visual world it’s not just actors who need to perform professionally in front of the camera; many other professionals including journalists, politicians and business leaders are frequently called upon to present themselves and their ideas on camera.

This course is intended for individuals who want to perform, or present in a variety of situations, including fictional drama and factual programming and who might have some previous experience in acting, presenting and public speaking.

Through a mixture of work-based learning and theory, this course will help build your confidence, advance your communication and presentation or acting skills enabling you to perform at a professional standard before the camera.

Visit the website: https://www.beds.ac.uk/howtoapply/courses/postgraduate/next-year/screen-performance-and-communication-techniques

Course detail

• Develop your individual performance skills based on up-to-date practices and techniques of working before the camera.
• Gain the confidence to communicate your ideas with clarity and promote your screen performance skills within the media industry enabling you to stand out from the competition
• Build professional contacts from participating in a range of different masterclasses run by experts working within the media industry making you well-placed to take up work placements or employment within established casting/production companies, or to audition for screen-based productions.
• Learn how to operate recording and editing facilities to support the final presentation of your showreel
• Benefit from a course where you graduate with a showreel of a professional standard which showcases your skills and personal approach to screen performance and is tailored to cover a gap in the screen-based media market.

Modules

• Working before the Camera
• Practice-Based Research Methods for Performance to Camera
• Industry Approaches and Practice
• Professional Practices in the Workplace
• Screen Performance Final Project

Assessment

Assessment is primarily performance based, in addition you must submit a portfolio of work, which will include a written diary/report to demonstrate your research inquiry, plan, video documentation of and ability to analyse your performance processes.

For your assessment you will also produce an individual performance show-reel in a specified genre (i.e. interview, acting or presenting) and a screen-based final project that will culminate your acquired performance skills from the course. The latter will be accompanied by a contextual study, which will document your research-based insights.

At all stages you will receive detailed relevant feedback on your work, both as an individual and on the role you perform within the group, which enables you to incorporate the elements of this into your work as you progress through their course. This is crucial to your academic and professional progression. Individual lecturers offer the opportunity to discuss any feedback in more detail.

Careers

The course opens up may career opportunities for postgraduates pursuing a professional career in acting and presenting for television, or film, or the Internet. It would also benefit you if you wish to pursue a career in journalism, politics, and business, and in the course of your work are frequently called upon to appear and present themselves and their ideas before a camera.

The curriculum includes a range of different masterclasses from established practitioners working within the media industry and opportunities for work-based learning placements.

During these masterclasses you can advance your skills and network leading, in some instances, to employment, or additional work placements within established casting/production companies, or to auditions in order to cast screen-based productions.

Funding

For information on available funding, please follow the link: https://www.beds.ac.uk/howtoapply/money/scholarships/pg

How to apply

For information on how to apply, please follow the link: https://www.beds.ac.uk/howtoapply/course/applicationform

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RWCMD enjoys a very good reputation within the acting profession. Through collaborations with professional organisations, visiting directors, actors and casting agents, we provide our students with experience of real working conditions and enable them to make vital contacts within the industry. Read more
RWCMD enjoys a very good reputation within the acting profession. Through collaborations with professional organisations, visiting directors, actors and casting agents, we provide our students with experience of real working conditions and enable them to make vital contacts within the industry.

http://www.rwcmd.ac.uk/acting


To apply for entry to the MA Acting for Stage, Screen & Radio programme in September 2017, you will need to use the UCAS Conservatoires at http://www.ucas.com/conservatoires

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This Guildford School of Acting (GSA) programme emphasises practical actor training, delivered via a series of project workshops and rehearsals supported by extensive classes in relevant technical skills. Read more
This Guildford School of Acting (GSA) programme emphasises practical actor training, delivered via a series of project workshops and rehearsals supported by extensive classes in relevant technical skills.

GSA is one of the UK’s leading accredited drama schools, providing dedicated conservatoire training within a purpose built environment on the University of Surrey campus.

PROGRAMME OVERVIEW

The MA Acting programme is specifically designed for those seeking a career in the performing arts, and who already have an undergraduate degree or have a minimum of five years’ professional experience.

This intensive programme offers practical training which focusses on the acquisition of technical skills in acting, voice and movement.

These support a range of rehearsal projects, screen acting projects and public performances. Students also take professional development workshops and classes in audition technique.

Cohorts are kept small to ensure that students receive the maximum amount of personal attention and contact.

Performance opportunities include a devised project, a final public production led by a production team of industry professionals, and a West End Showcase.

PROGRAMME STRUCTURE

This programme is studied full-time over one academic year. It consists of eight taught modules and a compulsory Advanced Practice module. The following modules are indicative, reflecting the information available at the time of publication. Please note that not all modules described are compulsory and may be subject to teaching availability and/or student demand.
-Industry Practice 1
-The Integrated Body 1
-Acting
-Contextual Practice 1
-Industry Practice 2
-The Integrated Body 2
-Contextual Practice 2
-Public Production
-Advanced Practice

EDUCATIONAL AIMS OF THE PROGRAMME

-To deepen experiential knowledge and critical understanding of the practice of acting
-To develop a comprehensive understanding of the techniques and methodologies that constitute a personally evolved rehearsal process
-To develop an integrated technical approach to the practice of acting in rehearsal and performance
-To provide an ensemble training context for the development of professional acting skills based on practical and theoretical understanding and reflective practice

PROGRAMME LEARNING OUTCOMES

The programme provides opportunities for students to develop and demonstrate knowledge and understanding, skills, qualities and other attributes in the following areas:

Knowledge and understanding
-An experiential and theoretical knowledge of key practical acting methodologies
-An advanced understanding, which will inform ongoing skill attainment, of the physical and vocal techniques required to maintain an expressive body and the optimum functionality of the voice
-A critical understanding of key theoretical and methodological developments in the practice of acting
-An advanced understanding, which will inform ongoing skill attainment, of the application of technique to differing theatrical forms, styles, genres and historical contexts
-A comprehensive understanding of current industry practice

Intellectual / cognitive skills
-Recognise, interpret and contextualise approaches to performance texts
-Identify and develop an individual methodological approach to rehearsal
-Select vocal and physical techniques appropriate to voice, person and situation
-Recognise and respond appropriately to the demands of different performance media
-Critically analyse and reflect on their own and others’ practice

Professional practical skills
-Successfully apply integrated vocal and psycho-physical techniques to the practice of acting in differing media
-Sustain and develop an effective and creative individual rehearsal process
-Demonstrate creative and imaginative work in performance
-Contribute effective and appropriate practices and concepts to an ensemble process
-Demonstrate evidence of practical research and effective preparation for entry into the current performance industry

Key / transferable skills
-Be disciplined and consistent in a professional context
-Conduct themselves constructively, positively, and sensitively towards others
-Able to lead and collaborate as part of the team on practical and research projects
-Communicate effectively and at an advanced level in both verbal and written form
-Seek out, critique, and employ information appropriately
-Recognise and develop commercial and artistic career opportunities

GLOBAL OPPORTUNITIES

We often give our students the opportunity to acquire international experience during their degrees by taking advantage of our exchange agreements with overseas universities.

In addition to the hugely enjoyable and satisfying experience, time spent abroad adds a distinctive element to your CV.

TESTIMONIALS

"I am really pleased that I came to GSA as it has given me the ideal grounding to work across the industry with not only a high level of quality to my work but also a distinguished level of professionalism that never goes unnoticed. I put these things down to the excellent training that I received at GSA." - Marina Waters, MA Acting 2010-2011

"The MA Acting course has been an intensely rigorous journey which has endlessly flexed my creative muscles, heightened my self-awareness and deepened my understanding of what it means to nurture an individual's body, spirit and mind through an ensemble, while remaining true to one's self." - Rebecca Yeo, MA Acting 2011-2012

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This is a unique professional course that has been designed specifically for overseas students. MA Acting (International) offers the full spectrum of acting skills, including voice, movement and singing and approaches to rehearsal and public performances. Read more
This is a unique professional course that has been designed specifically for overseas students. MA Acting (International) offers the full spectrum of acting skills, including voice, movement and singing and approaches to rehearsal and public performances. The course focuses on advanced practical acting skills and also takes in the study of Shakespeare and other classical traditions.

Example structure

We offer dynamic and unique course for actors, directors, technical theatre specialists and students of theatre practice. Training at East 15 draws upon 50 years of tradition combined with a keen sense of the world of stage and screen today.

First Term
The first term includes the module Acting Technique based on the Stanislavsky approach, which addresses the key physical and vocal skills for acting, enabling students who are coming from a variety of training traditions to identify and achieve the required level of preparation for the subsequent modules.

It also allows tutors to make a diagnostic assessment of your skills and potential, and identify and implement any additional work in these core areas.

The module on Shakespeare enables you to develop your understanding of the meaning and mechanics of Shakespeare’s text. It introduces you to specific vocal techniques for the performance of Renaissance text and allow you to consider how a range of archaic and contemporary performance settings influence the actor’s and director’s approaches to Shakespeare in performance.

In addition, you study a range of analytical and experimental approaches to script that are useful to the actor and there are opportunities to develop your clarity, accuracy, and expressiveness in speaking Renaissance text. The Shakespeare module normally includes a two-week workshop at Shakespeare’s Globe, where you have an opportunity to perform on the Globe stage.

Second Term
The second term includes the Character and Scene Study module which extends the work begun in Acting Technique. It uses a Realist approach to acting as its base, allowing you to pursue longer and more challenging acting explorations. Scene work is undertaken on scripts by, for example, Ibsen, Strindberg, and Realist texts from the last 50 years. The module extends and applies Realist acting techniques, and includes a study of theories and assumptions underlying Realism.

A module on Contemporary UK Texts introduces you to key contemporary texts from the UK theatre, and to scripts from the twentieth-century that continue to have a place in and to influence contemporary UK theatre. It allows you to extend your vocal, physical, and analytical skills in the creation of roles that reflect a current cultural context and offers an opportunity to create and perform a complete role in the context of a fully staged play.

Third Term
You work on a written dissertation or a practical project. The year usually culminates in a full length production in a London venue.

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This is a unique professional course that has been designed specifically for overseas students. MFA Acting (International) offers the full spectrum of acting skills, including voice, movement and singing and approaches to rehearsal and public performances. Read more
This is a unique professional course that has been designed specifically for overseas students. MFA Acting (International) offers the full spectrum of acting skills, including voice, movement and singing and approaches to rehearsal and public performances. The course focuses on advanced practical acting skills and also takes in the study of Shakespeare and other classical traditions.

Example structure

We offer dynamic and unique course for actors, directors, technical theatre specialists and students of theatre practice. Training at East 15 draws upon 50 years of tradition combined with a keen sense of the world of stage and screen today.

First Term
The first term includes the module Acting Technique based on the Stanislavsky approach, which addresses the key physical and vocal skills for acting, enabling students who are coming from a variety of training traditions to identify and achieve the required level of preparation for the subsequent modules.

It also allows tutors to make a diagnostic assessment of your skills and potential, and identify and implement any additional work in these core areas.

The module on Shakespeare enables you to develop your understanding of the meaning and mechanics of Shakespeare’s text. It introduces you to specific vocal techniques for the performance of Renaissance text and allow you to consider how a range of archaic and contemporary performance settings influence the actor’s and director’s approaches to Shakespeare in performance.

In addition, you study a range of analytical and experimental approaches to script that are useful to the actor and there are opportunities to develop your clarity, accuracy, and expressiveness in speaking Renaissance text. The Shakespeare module normally includes a two-week workshop at Shakespeare’s Globe, where you have an opportunity to perform on the Globe stage.

Second Term
The second term includes the Character and Scene Study module which extends the work begun in Acting Technique. It uses a Realist approach to acting as its base, allowing you to pursue longer and more challenging acting explorations. Scene work is undertaken on scripts by, for example, Ibsen, Strindberg, and Realist texts from the last 50 years. The module extends and applies Realist acting techniques, and includes a study of theories and assumptions underlying Realism.

A module on Contemporary UK Texts introduces you to key contemporary texts from the UK theatre, and to scripts from the twentieth-century that continue to have a place in and to influence contemporary UK theatre. It allows you to extend your vocal, physical, and analytical skills in the creation of roles that reflect a current cultural context and offers an opportunity to create and perform a complete role in the context of a fully staged play.

Third Term
You work on a written dissertation or a practical project. The year usually culminates in a full length production in a London venue.

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Oxford University's Master of Studies in Creative Writing is a two-year, part-time master's degree course offering a unique combination of high contact hours, genre specialization, and critical and creative breadth. Read more
Oxford University's Master of Studies in Creative Writing is a two-year, part-time master's degree course offering a unique combination of high contact hours, genre specialization, and critical and creative breadth.

The emphasis of this postgraduate creative writing course is cross-cultural and cross-genre, pointing up the needs and challenges of the contemporary writer who produces his or her creative work in the context of a global writerly and critical community. The master's degree in creative writing offers a clustered learning format of five Residences, two Guided Retreats and one Placement over two years. The research Placement, a distinguishing feature of the course, offers between one and two weeks' hands-on experience of writing in the real world. Students may undertake their placement in a literary agency, a publishing house, the offices of a literary periodical, a theatre company, a screen production company, or other relevant organization. Placement organisations have included Macmillan, Initialise Films, Random House, the BBC, the Literary Review, AM Heath, Pegasus Theatre, the Poetry Society, and Carcanet.

The virtual open event for this programme is available to watch at http://www.conted.ox.ac.uk/cwopenday. The open event features acting Course Director Jane Draycott and course administrator Rebecca Rue, who discuss the programme, its requirements and the student experience. Participants' questions were texted in and answered during the event. A FAQ of all the questions and their answers is available at the top of this section.

The MSt has a blog, a resource for Oxford events, calls for submission, competitions, news, interviews and more, which is available at http://blogs.conted.ox.ac.uk/mstcw/.

"The Oxford MSt enables you to fast-track your career in writing."
- Fortuna Burke

"… the freedom to explore and experiment… has been fundamental to my development as a writer."
- Clare Tetley

"The range and variety of the group … offers truly exciting opportunities for the kind of exchanges that really accelerate your development as a writer."
- Michael Schuller

"What does the course offer? Self-discipline, professionalism and confidence."
- Abigail Green-Dove

"My life has been so enriched and expanded. My writing evolves daily through the tools that you gave me. Not to mention the wonderful friendships formed throughout our two years together."
- Lindsay Moore

"The Masters in Oxford, while encouraging creativity, raised the bar on the quality of the finished work and gave me the discipline to be a professional."
- Bette Adriaanse

"I doubt there’s a more suitable MSt in the United Kingdom for work which challenges boundaries and takes risks."
- Jennifer Thorp

Students and alumni have won a wide range of prizes. These successes include winning the Gregory O’Donoghue Prize, the Writers’ Village International Short Fiction Award 2014, the Parallel Universe Poetry Competition, the Martin Starkie Prize, the International Jane Martin Poetry Prize, the Heritage Arts Radio play competition, the Cascade Pictures Writer’s Couch pitching competition, first prize in the Poetry Book Society Student Poetry Competition, the Miracle Poetry Competition, Best Photography Book Award from POYi (Pictures of the Year international), and the Yeovil Literary Prize for Poetry. Two alumni have won the Oxford University’s DL Chapman Memorial Prize, another was a finalist in the 2013 Writers at Work Fellowship Competition, and another won the London Fringe Festival’s Short Fiction Award. Alumni have been awarded a Toshiba Studentship, a Hawthornden Fellowship, and funded residencies at the Banff Centre, Canada, and at the Expansionists Project, Whitstable.

Students and alumni have had their work shortlisted across the genres for, among others, the Asham Award, the Bridport Prize, the Bridport Prize for Flash Fiction, the Fish Flash Fiction prize, the Yeoville Literary Prize, the Oxonian poetry prize, the Fish Short Story Prize 2013, the Big Issue in the North’s New Writing Award, the Oxonian review, and the Aesthetica Creative Writing Competition. A 2010 graduate was short-listed for the Crime Writers’ Association Debut Dagger award 2011. Two alumni were longlisted for the Dylan Thomas Prize, and one was shortlisted. An alumnus’ debut novel also made the longlist for the Not the Booker Prize.

Visit the website https://www.conted.ox.ac.uk/about/mst-in-creative-writing

Destinations

Many of our graduate students have signed with agents, and each year a number go on to undertake doctoral study in creative writing or English Literature. Our graduates have obtained positions in publishing, media and the creative arts industries, as well as teaching positions in tertiary education.

The MSt has enjoyed a very strong application field since its inception, attracting record interest in recent years from a global constituency of writers. The course`s emphasis on critical analysis as well as on writerly and creative excellence attracts students of commensurately strong academic potential as well as of significant creative promise. This combination of academic rigour and creativity is a central distinctive feature of the course. The resulting emphasis on exploration and the development of an individual writerly voice serve to attract particularly talented students from around the world as well as a strongly diverse group of UK students of varied backgrounds and ethnicity.

Continuing education and life-long learning in Oxford have been formally linked to the collegiate system of the University since 1990, when Kellogg College, the University’s 36th college, was established. Please consult http://www.kellogg.ox.ac.uk/.

Who should apply?

We are looking for writers with a proven record of commitment to their craft. You should be a keen reader, and bring an open-minded, questioning approach to both reading and writing. You will not necessarily have yet achieved publication, but you will have written regularly and read widely over a sustained period. You will be keen to dedicate time and energy and staying-power to harnessing your talent, enlarging your skills, and aiming your writerly production at consistently professional standards. It is likely you will have a first degree, or equivalent, although in some cases other evidence of suitability may be acceptable.

For applicants with a degree from the USA, the minimum GPA we normally seek is 3.6 out of 4.0. We do not seek a Graduate Record Examination (GRE) or GMAT score. Although a GRE or GMAT score is not a formal requirement, if one is available it should be supplied.

The high number of contact hours are concentrated into Residences and Retreats. Students should be at a stage in their writing where, with appropriate guidance, they can undertake agreed assignments, projects and essays between meetings. There is a dedicated Course Website for provision of up-to-date information; contact and exchange between students; and contact between students and tutors. The course, however, is not a ‘distance-learning’ course, and tutors, while being happy to help with questions or problems, do not offer regular weekly ‘office hours’.

The M.St is unlikely to be suitable for those who are just starting out on their writerly and critical development.

If you have any doubts about whether the M.St is right for your stage of development, please consult the website for information on our Undergraduate Diploma in Creative Writing https://www.conted.ox.ac.uk/dipcw

What does the course cover?

The first year concentrates equally on prose (fiction and narrative non-fiction), poetry and drama. There is a significant critical reading and analysis component, which is linked to the writerly considerations explored in each of the three genres. Students are expected to engage fully with all three genres, in a spirit of exploration and with the aim of discovering what impact and relevance unaccustomed genres have for the development of their individual writerly voice. This necessarily involves undertaking assignments and exercises in areas that are new to students, and do not relate directly to any work they may have in progress. Students may be able to continue with their own longer term pieces-in-progress but the concentration of year 1 teaching is on producing new work, and the exercises and assignments, which should take priority, reflect this emphasis.

The second year offers specialisation in a single genre, again accompanied by a significant critical element focused around issues of interest to the individual student and related to the genre of choice.

Your specialisation choices are as follows:

- The novel
- Short fiction
- Radio drama
- TV drama
- Screenwriting
- Stage drama
- Poetry
- Narrative non-fiction

In year 2, the specialisation in the genre of students’ choice provides an opportunity for significant concentration on either new work, or, subject to consultation with supervisor, on existing work-in-progress.

Find out how to apply here - http://www.ox.ac.uk/admissions/graduate/applying-to-oxford

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MA Acting is a challenging course that gives you a personal methodology based upon East 15’s unique practices. On one level it is a thoroughly practical, highly intensive, vocational course. Read more
MA Acting is a challenging course that gives you a personal methodology based upon East 15’s unique practices. On one level it is a thoroughly practical, highly intensive, vocational course. On another level, it is a thought-provoking, life-changing reflection on the function and art of the actor – exploring techniques from some of Europe’s most influential practitioners as well as innovative professional practice from the UK and internationally.

Example structure

We offer dynamic and unique course for actors, directors, technical theatre specialists and students of theatre practice. Training at East 15 draws upon 50 years of tradition combined with a keen sense of the world of stage and screen today.

First Term
In the first term, there are classes in movement, voice and singing, as well as contextual studies. The entire programme of teaching across the course coheres to lead the actor from an exploration of personal self to that of the body in time and space and from there to the creation of character and the realisation of text.

Acting classes promote the development of intuitive, creative responses which are then framed by the introduction of techniques to build character and play actions. Showings of short naturalistic scenes give opportunity to integrate and apply technical voice and movement work in the context of an acting exercise.

Second Term
In the second term, skills classes continue. The acting work begins with an intensive Shakespeare module which develops and strengthens the integration of technical skills with acting technique. This is followed by the Research Performance Project in which you engage with specific time in history and experience East 15’s distinctive Living History Project.

This signature project is a non-performed improvisation in which the actor can, through rigorous ‘actor-centric’ research and a residential period away from the campus environment, experience and identify with the practical and visceral realities, as well as the psychological and emotional attributes of the character.

Subsequent to this you devise a studio performance based on your intellectual, emotional and sensory experience. You are also given responsibilities in stage management and production to enhance your overall understanding of what it is to make theatre and to prepare you for the realities of the industry.

Towards the end of term two participants begin to research and develop their MA project.

Third Term
The first part of Term Three focuses on media. The film project teaches skills of acting for the camera and provides material for the actor’s show reel. The radio drama project teaches radio skills and microphone technique and provides material usable in a voice reel. At the same time, you begin work on your MA Projects. The MA Projects involve working in small groups on self-generated projects, in which participants are given independence and autonomy as company members. These are performed in East 15’s Corbett Theatre or in other venues as appropriate.

The second half of term 3 sees a full production of a text-based play usually in our on-campus Corbett Theatre.

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Music Technology is a rapidly evolving field of study with a diverse and expanding range of possibilities. Read more

Aims

Music Technology is a rapidly evolving field of study with a diverse and expanding range of possibilities.

The MSc in Audio Technology is designed to go beyond the simple provision of training, and to instead enable you to engage with current debates and actively participate in some of the most vibrant areas of contemporary research.

Throughout the course you will be encouraged to demonstrate self-direction and autonomy as you critically explore and define your position within the wider field. One overarching aim is that you should leave the course as not only an adept user of various hardware and software technologies, but as someone able to actively shape and develop their own, responding as necessary to future developments.

Thus, in addition to developing your theoretical and methodological understanding, the MSc in Audio Technology features a strong emphasis on practical work in a number of different (but related) areas. For example, you will study modules in Advanced Studio Practice, Sound on Screen, Music Computing and Musical Human-Computer Interaction. These are supported by a technology-orientated Research and Development module that provides robust foundation for the final Audio Technology Project.

Acting as summary of all that you have learned and a portfolio going forward, the Audio Technology Project provides an opportunity to plan and execute a substantial project in an area of personal specialism or interest. Innovative projects are encouraged, and there exists the potential for interdisciplinary and/or collaboration with practitioners in other fields.

Fees and finance

2015/6 Home/EU International
Full time £5,750 £11,960
Part time £2,875

These fees are applicable for new entrants in 2015/6. Fees are for the academic year only, any subsequent years may be subject to an annual increase, usually in line with inflation.

The University also offers a postgraduate loyalty discount: If you have completed an undergraduate degree at the University of Wolverhampton, you may be eligible for a 20% discount on the first year of a taught postgraduate programme.

Employability

The course will actively equip both graduates and those already in industry with a diverse range of skills to enhance their career prospects. It will also develop a range of opportunities for experience and employment in areas such as studio recording, media production and content creation, video game and software development, education (FE/HE), research assistantships/studentships, and employment in HE institutions.

In addition to subject-specific practical skills, you will also acquire a range of transferable skills relevant for pursuing a research degree. These include critical, analytical, project management and research skills from the study of a broad spectrum of literature, research, and external projects.

Outcomes

- Demonstrate knowledge and critical understanding of a variety of issues in the expanded field of contemporary music technology, taking an independent and rounded perspective.
- Apply theoretical discourse relating to aspects such as technologised production and performance, reactive/interactive/non-linear media, and computational creativity (etc.) to practice through a systematic understanding of historical, contextual, philosophical, technical and scientific theory.
- Select, interpret, develop and apply a variety of research methodologies appropriate for their work.
- Critically evaluate and use a wide variety of hardware and software technologies, and, where appropriate, develop their own.
- Exercise personal autonomy in learning through effective self-organisation and management of workload in both individual and group scenarios.
- Understand the possibilities afforded by the contemporary, expanded field of music technology (including its gaps and trends), and be able to position their own work, interests and aspirations within this wider context.

Why Wolverhampton?

The course offers an explicit and concerted move away from the notion of “training” in how to use specific software and/or other music technologies in favour of a more balanced synthesis of theory and practice.

The proposal for the Audio Technology Project is developed in the Research and Development module, providing time and opportunity to consider the project’s direction thoroughly, and to explore possibilities for collaborative/interdisciplinary working.

Course staff specialise in both traditional/well-established areas of music technology (studio production, film sound, audio synthesis and processing) and flourishing areas of contemporary research (musical interaction, generative music).

A wide range of career routes are open to graduates of the course. These are largely dependent upon the nature of the work the student chooses to produce, but may include: studio production, sound for games and film/video/animation, interactive media, interaction design, creative software development, design for music technology, post-compulsory and higher education.

The University of Wolverhampton continues to develop state of the art facilities to greatly enhance your learning experience. The Performance Hub, opened in 2011, has a diverse range of fully equipped music teaching, performance and practice rooms (accommodating single person to large band / ensemble), two high-end professional recording studios, and two bespoke technology suites boasting sixty Apple iMacs running industry standard software including Pro Tools, Logic Pro, Max, Pure Data and SuperCollider.

Our two recording studios offer the perfect blend of digital and analogue technologies giving students the opportunity to combine classic analogue recording technique with the flexibility and reliability digital technology provides. As well as a dedicated live room each for recording, for increased flexibility and choice of room acoustic, any of the music rehearsal rooms surrounding each studio can also be patched into the studio's control room.

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This intensive course gives you a unique insight into an actors conservatoire training, giving the director the intellectual and artistic tools to better communicate and stimulate a creative performance from actors on film. Read more

Introduction

This intensive course gives you a unique insight into an actors conservatoire training, giving the director the intellectual and artistic tools to better communicate and stimulate a creative performance from actors on film. Directing means working with performers and developing a methodology that balances the needs of the actor against the grinding pressure of the shooting process. This course equips and enables the director to find their own voice whilst developing the skills needed to balancing these difficult demands. During the course you will work closely with the acting cohort developing your directors voice and vision to tell story through narrative drama, focusing on an understanding on the importance of genre, casting and story telling with the actor.

Please note: recruitment to the Writing pathway is currently suspended.

Content

This postgraduate course prepares you for work in film and television and related fields by bringing together the key artistic disciplines and skills needed to make high quality filmed drama. You will explore in detail Stanilavisky's unique scene study methodology which lies at the heart of Drama Centre’s conservatoire training. From storyboard to working on the subtext with the actors on set you will be enabled to develop your own distinct artistic voice.

At the heart of MA Screen: Directing, Writing is the growth of individual creativity, achieved through constant opportunities for working on camera-based projects with colleagues from other pathways. You will work on two filmed productions, in our film studio and on location. Supported by a professional producer, director of photography and editor. You will take an active part in a Mike Leigh type devising project where you will help shape the story's stimulated by the characters that the actors develop over nine weeks of intense rehearsal. You will understand the rhythm of a working film set and develop the confidence to use your own voice on future projects, confident in the knowledge that you know how to work creatively with actors. You will be given in depth preparation for the profession including interview technics and wide range of lectures from visiting professionals, such as agents, casting directors, working producers and directors.

Distinctive features of MA Screen: Directing, Writing are:

An insight into actors' conservatoire training

A performance-led approach to recorded drama

A company operating model

The acquisition of a deep understanding of the processes leading to the creation of high quality films

A quasi-professional learning model that prepares you for direct entry to the world of work

The realisation of new writing or adaptations through performance-led models

A focus on the technical aspects of production

A mentoring scheme connecting students with experienced professionals.

Structure

MA Screen: Directing, Writing lasts 45 weeks over 12 months and is structured as units - class-based to begin with, but increasingly project-geared over time. This postgraduate course is intensive. You'll be expected to commit 40 hours per week to classes, rehearsals and shoots, and to your own independent preparation and learning.

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Factual programmes are at the heart of UK television schedules from Royal Marines Commando School, to Gold Rush to North America. Read more
Factual programmes are at the heart of UK television schedules from Royal Marines Commando School, to Gold Rush to North America. This 12-month part-time NFTS Diploma in Factual Development and Production will enable participants to develop the organisational, planning and creative skills required to take an idea through from initial pitch to transmission and beyond.

Quick Facts

- 12 Month Course
- Part-time evening course
- Course runs Jan-Dec each year
- Next intake: January 2017
- UK and EEA applicants only

- The world's first Diploma course in Factual Development and Production delivered with a major worldwide broadcaster.
- Delivered in partnership with Discovery Networks International.
- Part-time, evening course.
- Regular Industry speakers.
- Develop ideas for factual series and pitch them to commissioners.

APPLICATION DEADLINE: 08 SEP 2016

Visit the website https://nfts.co.uk/our-courses/diploma/factual-development-and-production

COURSE OVERVIEW

This course commences in January each year. Producers have overall responsibility for making programmes happen. They begin work in the development stage and work right through until the programme or series is delivered to the channel and transmitted. Therefore this unique course is structured around three key areas - developing shows and understanding the factual programming market; producing a show; and delivering a show and managing the show post transmission.

Students will be taught by leading producers and commissioners responsible for some of the UK’s most iconic UK factual shows such as Educating The East End, Salvage Hunters and Bear Grylls.

The course advisory board includes commissioners and established series producers:

- Aaqil Ahmed - Head of Commissioning – Religion TV and Head of Religion & Ethics - BBC Religion and Ethics
- Ade Rawcliffe – Diversity and Talent Manager – Channel 4
- Alexis Price – Head of Development – Renegade Pictures
- Alyson Jackson – Head of Production Management at Discovery Networks International
- Chris Shaw – Editorial Director, ITN Productions
- Dan Korn – Head of Factual at Discovery Networks International
- Denman Rooke – Managing Director, October Films
- Dimitri Doganis – Founder, Raw
- Emma Morgan – Head of Popular Factual – Oxford Scientific Films
- Jane Root – Chief Executive, Nutopia
- Maxine Watson – Acting Head of Documentary - BBC
- Rob Carey – Creative Director, Curve

The course is part-time (one evening a week and occasional Saturdays) over twelve months and is delivered at Discovery House in Chiswick, London. Participants will leave the course with a portfolio of material developed during the course, including ideas for factual shows, production bibles and treatments. The course will end with students pitching an idea to senior executives from Discovery Networks International; one student pitched show will be ‘optioned’ securing £5,000 for further development with the support of a Discovery executive producer.

Specifically participants will learn about:

- Factual programming trends in the UK and US
- Developing and Researching programme ideas
- Pitching an idea
- Casting Contributors
- Working with Talent On and Off Screen
- Budgeting and Scheduling
- Compliance
- Health and Safety
- Covering Interviews
- Shooting the Scene
- Working in the Edit
- Writing Voice Over
- 360-degree ways of working
- Working with Press and Marketing
- Delivering a show for a UK Broadcaster
- Working with different types of broadcasters in the UK and US

Students graduate able to:

- Develop and pitch marketable factual programme ideas
- Build and manage factual teams
- Produce factual programmes
- Meet the delivery requirements of different broadcasters in the UK and US
- Critically analyse factual programmes

4 x £5,000 Discovery scholarships are available to students on this course:
Discovery and the NFTS encourage applications from the brightest and best talent out there….from all backgrounds. To reaffirm our commitment to supporting exceptional talent and diversity in the media and broadcasting industries, we are encouraging applications from gifted individuals and under-represented groups, and have scholarships on offer to four of the successful candidates. These will be awarded to stand out talent who can demonstrate that without this funding they would not be able to afford the course, or who can demonstrate they bring a unique and distinct perspective to the course.

CURRICULUM

The course is made up of a number of modules and workshops, participants learn by ‘doing’ as well as understanding theory and developing a variety of practical and creative skills. Each of the modules will focus on the UK in the first instance and then compare and contrast approaches with the US market.

Module 1: UK and US Factual Programming and Shows
Commissioning and big picture market trends: schedules, contracts, ratings, formats, digital.

Module 2: Developing, Pitching and Selling Factual Programmes
Development, Pitching and 360-degree opportunities

Module 3: Producing single factual programmes and series for UK Broadcasters
Budgeting, Scheduling, Health and Safety, Casting Contributors, Working with Talent, Integrating Digital Content

Module 4: Managing the Shoot and Edit of Factual Programmes
Covering Interviews, Shooting the Scene, Working with Contributors, Writing Voice Over, Working with an Editor, Conducting Viewings

Module 5: Delivery, Transmission and Post Transmission
Broadcaster Requirements, Compliance, Press and Publicity, Other potential post production/delivery issues

Module 6: Developing a Factual Idea (Graduation Project)
Develop an idea for a Factual Series - producing an outline/treatment and a first series production bible. The module will end with students pitching their show to leading Discovery executives. One student pitched show will be ‘optioned’ securing £5,000 in order for further development with the support of a Discovery executive producer to take place.

In addition, there is the possibility – for those that wish to pursue it and subject to availability – to undertake a two week attachment with a production company or broadcaster in the UK.

NFTS BENEFITS

Factual Development and Production course participants will have full access to the NFTS’ optional creative stimulus strands, including: Passport to Cinema (weekly screenings of classic and pre-release films in the state-of-the-art campus cinema); and NFTS Masterclasses (major creative figures from film, television and games screening their work and discussing with students in the campus cinema. Recent speakers include Graham King (producer, Hugo, The Departed), Guy Ritchie (Director, Sherlock Holmes), Danny Boyle (Director, Slumdog Millionaire), Ian Livingstone (former President and CEO, Eidos) and Graham Linehan (Father Ted, IT Crowd)

TUTORS

Many of the people on the course advisory board will also teach on the course. In addition Discovery Networks International executives support the course.

APPLY WITH

- An idea for a factual series on Discovery Channel UK no more than 750 words max
- Tell us about a stand out Factual TV programme you’ve watched in the last month. Explain why you think it was a success. 500 words max

HOW TO APPLY

You can apply directly to us at the NFTS by clicking on the link below:

- APPLY FOR FACTUAL DEVELOPMENT AND PRODUCTION COURSE - https://nfts.co.uk/sign-me-up/apply-now/?nid=939

You can apply online, or download a word document of the application form to submit via email
When selecting your course, please ensure that you have read the entry requirements and details of the supporting materials that should accompany your application.

TIMING YOUR APPLICATION

We are happy to receive applications 24/7 and 365 days a year up until the deadline. That said, there is no particular advantage to submitting your application very early. The important thing is that your application shows us your latest work and tell us about your most recent filmmaking experiences.

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This is a professional training course for working writers. Most scriptwriters work across several media, and the course reflects this. Read more
This is a professional training course for working writers. Most scriptwriters work across several media, and the course reflects this. All our tutors are award winning writers with an insight into what it takes to make it in the industry. We aim to turn out writers who understand the structure and craft of drama, have a finished script they can use as a calling card, know the industry in all its variety, and can pitch and sell their work.

The MA is taught in seventeen weekends of intensive workshops. It is not, however, ‘low residency’. There are as many hours of teaching as on Bath Spa University’s established MA in Creative Writing.

The course is taught at our beautiful Corsham Court campus where we have state of the art performance, capture and editing facilities. Our students also have opportunities to see their work for the stage performed and to shoot excerpts from their screenplays. We work closely with the School of Music and Performing Arts, and their students will have the opportunity to help act in and produce our work.

Although this is an intellectually challenging postgraduate course, there is no ‘academic’ side detached from the working side. Everything theoretical is geared to help the students as writers.

The MA in Scriptwriting also offers each of its students a free copy of Final Draft scriptwriting software, a must for professional Scriptwriters.

COURSE STRUCTURE AND CONTENT

The course is full-time from October to September, or part-time over two years, and is taught in modules. The first trimester runs from October to January and there are two modules, each delivered in three intensive weekends.

One is the module on Dramatic Structure. This aims to give you an understanding of the full range of ways that plays and scripts can work. You are introduced to dialogue, character, genre, and the different media. But the emphasis is on how to tell a story - a well made plot. Students will read and view widely, but the academic side is not separate from the working side. This module is to help you write.

The other module in the first trimester is a workshop in Writing Theatre and Radio. This is delivered in three intensive weekends. All of the time is devoted to the students’ own work, and much of the time we work on our feet. At the end of the trimester each student finishes a 45 to 60 minute play or radio script, and a 3,000 word essay that explains the structure of that script.

The second trimester, from February to June, also has two modules. One is Professional Skills, again over three intensive weekends. All our experience is that the ability to write alone is not enough to make your way in the various industries of theatre, television, film and radio. You also need to be able to pitch, and to talk intelligently and flexibly about your own work and others’. One of our tutors facilitates this module, and various industry professionals come in for a day each to inform, rehearse and challenge you.

The other module this trimester is Workshop in Screenwriting, also over three weekends. Here you write a script for film or television. We pay particular attention to genre, to the visual and time requirements of the screen, and to writing for particular markets. At the end of this trimester each student finishes 50 to 60 minutes of TV, or a short film script, or a treatment for a full-length film plus at least 45 minutes of polished script.

The third trimester runs from June to the end of September. Here there is only one double module, the Final Script Workshop. The workshops meet over five intensive Saturdays.

In this module each student writes a full length play, a full length film script, or the equivalent in television or radio. This script can be a development and reworking of earlier pieces, but will often be completely new work. At the end of September students submit this script.

The final assessment is based on four things. The most important is this script. The second is a 1,500 word essay explaining exactly where in the market it is aimed and how it is shaped to fit that niche. The third is a cold pitch for this script. When we speak of the market, we are thinking quite broadly. Some students will want to write for Hollywood, British independent films, soap operas, or theatre. Others will want to write radio plays, documentaries, puppet shows, theatre in education, training videos or school plays. The emphasis is, however, always on getting your work to a stage where it is ready to be produced. The fourth is a practical realisation of a short excerpt of an original work stage, screen or radio play. Students are expected to co ordinate this realisation themselves with advice and support from their tutor and using the University’s resources.

TEACHING METHODS AND RESOURCES

All courses will be taught by intensive workshops. Over the years we have found this is far and away the most productive way of teaching writing. It is particularly suited to scriptwriting, which is very much a social and collective art.

Tutors and visiting professionals:
All of our tutors are writers working in the industry. Among those working on the course will be:

• Ursula Rani Sarma (Course Director) writer for theatre, radio and screen
• Steve May who writes radio and novels
• Lucy Catherine who writes theatre, television and film
• Robin Mukherjee who writes theatre, television and film
• Hattie Naylor who writes film, theatre, radio and opera libretti
• Jonathan Neale who writes theatre, radio and novels

In the second semester we have visits from several professionals in the industry. Each conducts a one-day workshop with students, outlining the industry and giving them rigorous practice in pitching their work. Typically, we will have an agent, a TV producer, a radio producer, a theatre director or literary manager, and a film script editor.

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Most drama writers move between media so that's what we do; join us to learn about writing for theatre, film and television. Read more
Most drama writers move between media so that's what we do; join us to learn about writing for theatre, film and television.

Who is it for?

This programme is suitable for writers who want to develop their practice and complete a full length piece of work, or for experienced playwrights who wish to gain a familiarity with writing for the screen, or experienced screenwriters who wish to gain a grounding in theatre writing. It is also suitable for writers who while continuing with their own practice, will work in development roles in the film, TV, theatre and related industries such as literary agencies.

The programme has been designed, with input from a range of playwrights and screenwriters, to provide the optimum environment for students to complete a full length play or feature film script to a high standard.

Objectives

Creatively stimulating, challenging and above all practical, this innovative two-year programme provides a supportive and thought-provoking environment for playwrights and screenwriters to explore their ideas, develop their craft and finish a full-length work to a high standard.

You will develop as a writer and sharpen your understanding of what's working and what isn't. No single style or genre is prescribed; the ethos of the programme is excellence and diversity. You will get to understand writing choices in the work of leading playwrights and screenwriters. You will work with actors and directors from London's new writing theatres, and receive guest talks from agents, producers and artistic directors.

By the end of the course, you will have taken a full-length play, screenplay or television pilot through a number of drafts, working as professional writers do. This play or screenplay will be your calling card. You will receive a performed reading of an extract of your work and a professional script report.

Teaching and learning

This course is taught and run by professional working writers. Teaching is based around a mix of practical workshops, seminars and lectures. All this is supported by one-to-one tutorials and by independent study: notably reading and preparing presentations on set texts and performing set writing exercises. As the course progresses, the emphasis shifts to independent study and is supported by workshops and one-to-one tutorials.

You will be mentored by a professional working playwright or screenwriter for the whole of Year Two.

Central to this Creative Writing MA course is the requirement to finish a full-length play or screenplay. The course culminates in a showcase of your work to an audience of industry professionals and other interested parties.

The biggest names in the worlds of film, television and theatre visit the course and visiting lecturers include:
-Dr Terry Bailey (TV Writer, director and producer. He has worked internationally and with the BBC. His play, Grave Men, Near Death, was staged last year.)
-Penny Gold (writer, dramaturg, director and producer. She has worked in theatre, television, film and radio).
-Jim Hill (writer and director of popular television drama and is perhaps best known as the co-creator of the successful series Boon).
-David Lane (professional playwright and dramaturg, and has been a Literary Associate to established London and regional new writing companies such as Soho Theatre & Writers' Centre and Theatre and Beyond in Brighton).

Assessment includes participation in lectures, seminars and workshops; of work on presentations; set exercises and own script proposal.

Modules

You will take three modules (Writing Workshop, Dramatic Writing and Storytelling) and be taught for six hours a week*. There will be tutorials alongside this in all 3 terms. You will create a 10 minute film as well as a 10 minute play.

In the second year you choose to write either a full length play, or screenplay, or a pilot for an original television series (along with the series "bible" and synopses for several episodes). In addition to this you will participate in workshops.

Year 1
-Writing Workshop
-Dramatic Writing
-Storytelling

Year 2
-Own Play or Script
-The Production Business

Career prospects

Many of our graduates go on to have their work performed professionally and have won many awards and nominations. Some examples from 2016 include:
-Aisha Zia, who received a grant from Brookleaze and her play ‘Besieged’ is on at the Arcola Theatre.
-Dianna Hunt, Her play ‘One Woman's Slide: A Blues’ has been programmed in the Talawa Arts Festival.
-Cheryl White, whose films include Before Babel (2013) which won Best Short at the Kent and Rye Film Festival International film festival 2015; Winner of Best Film and Most Innovative Film at WOW Festival 2014.
-Louisa Hayford, who did a ten week paid internship at the Coronation Street story department as part of the ITV Coronation Street Original Voices scheme.

Some of our first year students have also had their work picked up professionally.

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