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The MA/MFA Actor Training and Coaching course offers specialists of appropriate disciplines – actors or other performers, movement or voice teachers, directors or emerging directors in film, theatre and television – the opportunity to diversify by following a specialised study in the education and support of professional actors. Read more

ABOUT MA ACTOR TRAINING AND COACHING

The MA/MFA Actor Training and Coaching course offers specialists of appropriate disciplines – actors or other performers, movement or voice teachers, directors or emerging directors in film, theatre and television – the opportunity to diversify by following a specialised study in the education and support of professional actors.

The course joins Central’s MA Voice Studies and MA Movement Studies to create a cluster of postgraduate degrees aimed at high-level training practices for theatre and performance. Please note the course does not offer training to become an actor, but enables students to work effectively as an educator, coach or director of actors.

Students are introduced to the principles and practices behind the training, education and support of actors. The course addresses various practice and theory interfaces of contemporary acting and brings a variety of methods into creative fusion.

Students may expect to encounter work associated with, for example, Chekhov, Lecoq, Grotowski, Meisner, Stanislavski, Meyerhold, Suzuki, Viewpoints and some methodologies appropriate for acting for screen. Students will also explore ways of developing aptitude in the fundamentals of performance and relate these to a range of production contexts.

Teaching methods include tutorials, group seminars and workshops. Practical sessions are designed to enhance understanding of acting processes and skills in pedagogy, together with associated study of acting techniques and issues of performance including theatre, film and television.

Students will develop advanced interpersonal, facilitation, coaching and pedagogy skills. These include: how to research, plan and deliver courses; knowledge of a wide-range of acting methodologies and practices, as well as some movement and voice; education and support of actors; research skills – both as an individual and through group research; presentation skills; and an ability to plan, conduct and critically reflect on their own practice as an actor trainer.

Students undertake a teaching/coaching placement whilst on the course, as well as placements to engage with different acting and production contexts, with duration ranging from eight hours to three months. Placements are a vital part of the course and enable students to develop pedagogic experience and hone their skills as an educator.

ASSESSMENT

This includes practical assignments, essay, and presentation and submission of a Practitioner Portfolio addressing specialist development and understanding, or a dissertation.

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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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Our unique Creative Practices and Direction programme will develop your creative-practice and leadership skills through engagement with practice-oriented theory and new collaborations. Read more
Our unique Creative Practices and Direction programme will develop your creative-practice and leadership skills through engagement with practice-oriented theory and new collaborations.

As a student of this programme, you will develop strong relationships with active professionals in your discipline and learn within a leading theatrical conservatoire that benefits from the intellectual stimulus of a major research-led university.

PROGRAMME OVERVIEW

This unique programme is aimed at creative producers and directors and those who train and work with actors and performers to develop and direct their skills.

The programme offers five specialist pathways, including actor training, choreography and movement direction, directing, musical theatre creation, and practices of voice and singing, and you will also have the opportunity to develop a specialist practice within your chosen pathway.

The programme is primarily designed for graduates in drama, theatre and dance from universities and conservatoires, but will also appeal to those who have established themselves professionally and wish to refresh their skills and perspectives and take on leadership, coaching, creative or directing roles.

PROGRAMME STRUCTURE

This programme is studied full-time over one academic year and part-time over two academic years. It consists of eight taught modules and an Advanced Creative Practice module.

Students enter the MA Creative Practices and Direction to a specified pathway, personally supervised by their pathway leader, an expert in the subject area.

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.
-Facilitating Creativity
-Interdisciplinary Pedagogies
-Dramaturgy
-The Performing Body
-Body
-Research Methods for Practice
-Integrated Practice
-Specialist Techniques
-Personal Profile Development
-Technology
-Advanced Creative Practice

Pathways

Actor Training pathway
The specialist modules for this pathway are designed to produce a versatile and effective actor trainer with the strategies and skills required to enhance and facilitate an actor’s progress. Students will examine and contextualise a number of acting methodologies to develop their own comprehensive approach to professional practice.

Movement Direction and Choreography pathway
Students on this pathway follow and practically investigate a number of techniques and ideas dealing with onstage physicality. The focus is also on the development of movement language, through the investigation of the ideas and practices of seminal dance-based ideas (Laban, Bausch, Cunningham, Fosse, Graham, Horton, etc.) and methods for working with music and sound.

Practices of Voice and Singing pathway
This pathway brings together study and practice in both singing and voice, in order to create a new paradigm for teaching and coaching in these fields, enabling students to expand, develop and reflect on their coaching styles.

Directing pathway
This programme is a practice-led pathway incorporating methodologies and techniques that focus on approaches to theatre directing, dramaturgy, collaboration with other practitioners.

Musical Theatre Creation pathway
This pathway is designed for those who wish to study writing, and creative roles specifically in Musical Theatre. These might be as a director, choreographer, composer, librettist, musical director or creative producer.

Educational aims of the programme

-Provide advanced study and practice in creative leadership and direction in theatre-making and/or the training of theatre artists, specific to the pathway chosen
-Equip students for employment in the theatre industry and/or related performing arts industries as specialist practitioners in one of the following areas: Actor Training; Directing; Movement Direction and Choreography; Musical Theatre Creation; Practices of Voice and Singing
-Provide students with integrated practical and theoretical knowledge of specialist creative and/or pedagogic practices relevant to their chosen pathway; contemporary technical and scholarly contexts; and industry-specific contexts
-Enable students to develop intellectual and practical skills to inform and articulate self-reflection and critical awareness, through specialist study and practice, and work with other students in cognate fields
-Develop critical and independent practitioners imbued with a sense of learning as a lifetime pursuit via a commitment to professional and personal development

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:
-Understand critical, contextual, conceptual and ethical dimensions of creative practices, leadership and facilitation in theatre and performance practices
-Articulate the practitioner’s relationship with key creative and production colleagues, performers, industry professionals and audiences
-Comprehend the implications and potential for theatre and wider performing arts practices presented by key developments in creative processes, training and producing regimes, and contexts for preparation and production
-Demonstrate an awareness of recent developments and specific techniques in the relevant specialist pathway
-Generate ideas, concepts, proposals, processes, solutions and/or perspectives independently and/or collaboratively in response to set briefs and/or as self-initiated activity
-Employ both convergent and divergent thinking in processes of observation, investigation, speculative enquiry, conceptualisation, facilitation and/or making
-Critically evaluate one’s knowledge and understanding of relevant performance/pedagogic practice
-Interact effectively with others through collaboration, collective endeavour and negotiation
-Demonstrate leadership skills, providing clarity and direction for others
-Demonstrate competence with specialist creative/facilitative theatre and performing arts practices (specific to the pathway followed)

Knowledge and understanding
-Understand critical, contextual, conceptual and ethical dimensions of creative practices, leadership and facilitation in theatre and performance practices
-Articulate the practitioner’s relationship with key creative and production colleagues, performers, industry professionals and audiences
-Comprehend the implications and potential for theatre and wider performing arts practices presented by key developments in creative processes, training and producing regimes, and contexts for preparation and production
-Demonstrate an awareness of recent developments and specific techniques in the relevant specialist pathway
Intellectual / cognitive skills
-Generate ideas, concepts, proposals, processes, solutions and/or perspectives independently and/or collaboratively in response to set briefs and/or as self-initiated activity
-Employ both convergent and divergent thinking in processes of observation, investigation, speculative enquiry, conceptualisation, facilitation and/or making
-Critically evaluate one’s knowledge and understanding of relevant performance/pedagogic practice
-Manage and make appropriate use of the interaction between context, brief, planning, process, outcome and critical reflection.
-Analyse information and experiences, formulate independent judgments, and articulate reasoned arguments through reflection, review and evaluation
-Source and research relevant material, assimilating and articulating relevant findings
-Formulate reasoned responses to the critical judgments of others
-Identify personal strengths and needs, and reflect on personal development, adapting plans accordingly

Professional practical skills
-Select, evaluate, adapt and make appropriate use of techniques, materials, processes and partnerships
-Develop ideas through to outcomes
-Demonstrate skills in communication, expression and facilitation
-Utilise appropriate discipline-specific languages to investigate, analyse, articulate and apply ideas and information
-Demonstrate competence with specialist creative/facilitative theatre and performing arts practices (specific to the pathway followed)
-Present ideas and work to co-creators, performers, audiences and other stakeholders, as appropriate, in a range of situations
-Seek and respond to the views of others in the development or enhancement of their work
-Work in combination with others in relevant performing arts settings, demonstrating skills in teamwork, negotiation, organization, and decision-making

Key / transferable skills
-Interact effectively with others through collaboration, collective endeavor and negotiation
-Demonstrate leadership skills, providing clarity and direction for others
-Work effectively as part of a team and in pursuit of shared goals
-Study independently, set goals, manage own workloads and meet deadlines
-Anticipate and accommodate change, and work within contexts of ambiguity, uncertainty and unfamiliarity
-Source, navigate, select, retrieve, evaluate, manipulate and manage information from a variety of sources
-Select and employ communication and information technologies
-Demonstrate resourcefulness and entrepreneurship

FACILITIES, EQUIPMENT AND ACADEMIC SUPPORT

The School of Arts facilities include the 200-seat theatre in the Ivy Arts Centre, dark and light studios, digital creation stations and editing facilities, scenic, props and costume workshops, and interconnected sound recording and music facilities.

Teaching and workshop activity takes place largely in GSA’s dedicated rehearsal rooms, performance studios and design workshops. Lectures, presentations and seminars will occur in rooms across campus.

The University Library contains the majority of set texts, key journals, scripts, play texts and video materials necessary for the programme. Students have access to extensive facilities through the virtual learning environment, SurreyLearn, and IT Services.

Additional support is available in the Learning Resource Centre in the University Library.

Equipment is provided on a project-by-project basis according to the nature of the work in hand and the parameters of the project, which are negotiated with the tutor.

Facilities and equipment for production work will be booked by students according to specific project briefings and advertised resource parameters.

Academic support is provided by way of ongoing contact with the programme director and module leaders, group briefings and feedback, individual tutorials, and mentoring.

The programme makes use of a peer feedback system designed to provide a useful and supportive account of areas of strength and effectiveness, along with areas for improvement.

You are encouraged to identify personal learning and creative objectives that can be pursued in alignment with group project work.

RESEARCH

The School of Arts includes study in dance, digital arts, film, music, sound and theatre, with research activity in all areas, often with significant interdisciplinary connections.

With an integrated approach that comprises documentation, analysis and performance, Surrey’s agenda for research aims to engage critically with the past and present, while rigorously articulating new frameworks for understanding and practising the arts and culture in the twenty-first century.

Research infrastructure includes the Digital World Research Centre and the Laban Archive in the National Resource Centre for Dance (NRCD).

The School of Arts hosts and supports established research centres, research groupings and networks as well as individual research projects. Our research extends to partnerships with the artistic community, for instance, in support of public debates or in the dissemination of documentation for arts practice through the digital and print media.

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.

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The MA Acting is an intensive one-year, advanced level conservatoire acting course. In keeping with Central’s tradition of innovation in actor training, it offers two specialist strands taught over an extended 42 weeks, with up to 35 hours per week of classes, rehearsals, seminars and tutorials. Read more

ABOUT MA ACTING

The MA Acting is an intensive one-year, advanced level conservatoire acting course. In keeping with Central’s tradition of innovation in actor training, it offers two specialist strands 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 strands.

CLASSICAL STRAND

The Classical strand follows the development of the theatrical art from its earliest ritual roots to the birth of naturalism:
> Greek Tragedy, Chorus and the Neutral Mask
> Clowning and Commedia dell’arte
> Shakespeare and the English Renaissance
> Stanislavski, the Method and ‘Realist’ Theatre.

The Classical strand draws on the hugely influential theories and techniques of the great French acting teacher Michel Saint-Denis, training the expressive body, voice and imagination. Working with some of the greatest dramatic texts ever written, students are asked to consider what they mean now, and how their 21st century reinterpretation and re-imagining still holds a ‘mirror up to nature’. Students are encouraged to understand the demands of both art and craft, as participants in, and practitioners of, the western theatrical tradition, through a course structure that examines, in chronological order, four key periods of innovation and transition.

CONTEMPORARY STRAND

The Contemporary strand addresses the actor’s relationship with the writer, from Early Modern times to the present day through the exploration of:
> Shakespeare and his legacy
> Chekhov, Stanislavski and the birth of naturalism
> the actor and 20th century playwriting
> new writing and the development of new work.

The Contemporary strand combines teaching in practical voice, movement and acting techniques with an exploration of some of the key playwrights that have helped forge the canon of Western theatre, from the Elizabethan and Jacobean dramatists to Chekhov and from Beckett to Kane. Uniquely, it explores the relationship between the two artists at the core of much Western theatre: the actor and the writer.
From Shakespeare and the King’s Men to the work of modern day producing houses, plays are frequently developed in collaboration between actors and writers, sometimes directly and sometimes mediated by a director. Students are encouraged to explore their role as creative artists in relation to writers and the written word. Throughout the course you will have the chance to work with, and alongside, writers on plays in development, both the next generation of playwrights on the MA Writing for Stage and Broadcast Media, and established playwrights with a track record of produced plays.

INDUSTRY LINKS / COLLABORATIONS

All staff are well connected to industry. In the past few years, students have participated in a research symposium and worked on the stage
of Shakespeare’s Globe, performed at the Brighton Festival, made a film with Sir Donald Sinden at the Garrick Club, taken part in workshops with Hannah Miller (Head of Casting, Royal Shakespeare Company) and attended public lectures by Judi Dench, Vanessa
Redgrave, Michael Boyd and Declan Donnellan. Students from Canada and the USA have participated in the Conference of Drama Schools
Showcase in New York and LA, and all students participate in Central’s MA Acting showcase.

ASSESSMENT

Through a combination of practical and written assessments, including a Sustained Independent Project and research presentation.

Read less
The MA Acting is an intensive one-year, advanced level conservatoire acting course. In keeping with Central’s tradition of innovation in actor training, it offers two specialist strands taught over an extended 42 weeks, with up to 35 hours per week of classes, rehearsals, seminars and tutorials. Read more

ABOUT MA ACTING

The MA Acting is an intensive one-year, advanced level conservatoire acting course. In keeping with Central’s tradition of innovation in actor training, it offers two specialist strands 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 strands.

CONTEMPORARY STRAND

The Contemporary strand addresses the actor’s relationship with the writer, from Early Modern times to the present day through the exploration of:
> Shakespeare and his legacy
> Chekhov, Stanislavski and the birth of naturalism
> the actor and 20th century playwriting
> new writing and the development of new work.

The Contemporary strand combines teaching in practical voice, movement and acting techniques with an exploration of some of the key playwrights that have helped forge the canon of Western theatre, from the Elizabethan and Jacobean dramatists to Chekhov and from Beckett to Kane. Uniquely, it explores the relationship between the two artists at the core of much Western theatre: the actor and the writer.
From Shakespeare and the King’s Men to the work of modern day producing houses, plays are frequently developed in collaboration between actors and writers, sometimes directly and sometimes mediated by a director. Students are encouraged to explore their role as creative artists in relation to writers and the written word. Throughout the course you will have the chance to work with, and alongside, writers on plays in development, both the next generation of playwrights on the MA Writing for Stage and Broadcast Media, and established playwrights with a track record of produced plays.

INDUSTRY LINKS / COLLABORATIONS

All staff are well connected to industry. In the past few years, students have participated in a research symposium and worked on the stage
of Shakespeare’s Globe, performed at the Brighton Festival, made a film with Sir Donald Sinden at the Garrick Club, taken part in workshops with Hannah Miller (Head of Casting, Royal Shakespeare Company) and attended public lectures by Judi Dench, Vanessa
Redgrave, Michael Boyd and Declan Donnellan. Students from Canada and the USA have participated in the Conference of Drama Schools
Showcase in New York and LA, and all students participate in Central’s MA Acting showcase.

ASSESSMENT

Through a combination of practical and written assessments, including a Sustained Independent Project and research presentation.

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Central has a long-standing and well-recognised place for the dissemination of our actor movement disciplines within the British theatre scene. Read more
[[ABOUT MA Movement: Directing and Teaching ]]
Central has a long-standing and well-recognised place for the dissemination of our actor movement disciplines within the British theatre scene. This pioneering course is the first of its kind in Europe and is aimed at performance and movement practitioners interested in movement teaching and movement directing of the actor.

Students may be actors or dancers who want to diversify their skills and knowledge, people who work with actors (a dance or Movement teacher, or a theatre director with a movement history), or practitioners (from an allied field of sport/holistic practice), who want to enhance their understanding of various practical/theoretical interfaces regarding movement in contemporary performance.

The course offers specialist, vocational teaching in the field of movement for actors, production practice for movement directors and bespoke movement placements at Central and in other professional theatre settings, such as other conservatoires or theatre, opera, or film organisations (both in Britain and internationally).

Students are given the opportunity to develop their own practice as movement specialists according to their interests in this emergent and innovative field, and will undertake potentially ground-breaking research into movement. They will be taught by
tutors who are current professional practitioners in their field of movement pedagogy, movement direction and movement research.

ASSESSMENT

This is through a range of methods, including work on practical projects, written assignments and teaching practice placements. In the last term students work independently to complete their specialist enquiry, arising from work undertaken during the course.

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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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MA Acting is an intensive 45 week conservatoire Actor training course. Eight weeks of the course are spent studying in Moscow. Read more

Introduction

MA Acting is an intensive 45 week conservatoire Actor training course. Eight weeks of the course are spent studying in Moscow. Skills classes in Voice, Movement, Neutral Mask, Ballet, Period Dance, Speech and Acting underpin a programme embracing the Greeks to Contemporary drama, with particular emphasis on Shakespeare and Chekhov.

Content

MA Acting is primarily a stage acting course which focuses on the techniques developed to address the demands posed by the great European classics.

MA Acting is a rewarding route to the general training of actors, offering a solid grounding in acting technique, rooted in the long-established traditions of England and Russia, which are widely considered to be the foremost exponents of the art of the actor.

Throughout, the postgraduate course emphasises theatrical approaches, in particular those relating to narrative structures, movement expression and the conveyance of complex texts by means of a rich, well-trained voice. Questions of text and subtext are explored in detail.

MA Acting approaches performance in ways specifically addressing the needs of the Jacobean stage: focusing on vocal accuracy with speed, expressivity on a large scale, engagement with the audience. In addition, the postgraduate course encourages you to develop skills required by the realist style: multi-layered characterisation, recognising the subtle rapport between text and sub-text, being ‘private in public’.

Structure

MA Acting is structured in 2 units over 45 weeks:

Unit 1 (weeks 1-15) "Skills and techniques of Acting"

Unit 2 (weeks 16-45) "The practice of Acting".

8 weeks are spent at the Boris Shchukin Theatre Institute, known as the Vakhtangov Institute, in Moscow - one of the foremost conservatoire Drama schools in Russia.

A typical week for MA Acting students will be:

3 hours Voice
3 hours Movement
1.5 hours Ballet
1.5 hours Speech
1.5 hours Period Dance
3 hours Neutral Mask
7 hours Acting Technique
12 hours Rehearsal.

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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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The MA Acting offers a unique postgraduate programme to combine academic study in performance with a practice-based approach to performance. Read more
The MA Acting offers a unique postgraduate programme to combine academic study in performance with a practice-based approach to performance. In collaboration with the MA Theatre Directing programme, students will produce and perform a range of work during the MA while undergoing a professional programme in actor training. The programme is taught in the evenings and on Saturdays and is available for both full- and part-time study.

Modules include:
Actor Training
Performance Laboratory
Staging Performance
Research Methods
Dissertation/Production

The Acting Master’s programme benefits from the inclusion of a wide range of visiting practitioners – both directors and actors. In addition to giving ‘masterclasses’, these practitioners deliver some of the modules on the programme. Each year, a different theatre company acts as a mentor for the Staging Performance module taking students through the whole process of putting a production together from its inception right up to the performance.

The programme is taught in the evenings and on Saturdays and is available for both full- and part-time study.



Students will study at University Square Stratford (USS), our brand new campus in the heart of Stratford and benefit from facilities including:

State of the art performing arts spaces, with over £750,000 of brand new specialist equipment
3 performance studios, kitted out with advanced lighting rigs and AV equipment
72 person capacity Harvard Lecture Theatre with live lecture capture technology
The Weston Learning Centre, a multi media space open 24/7 in term time, where students can study, engage in group
work and take advantage of the learning facilities USS has to offer

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The MA in Theatre Practice is ideal for anyone wishing to further their practical and theoretical knowledge along with advanced research skills. Read more
The MA in Theatre Practice is ideal for anyone wishing to further their practical and theoretical knowledge along with advanced research skills. Whether you seek to develop an area of theatre that you have enjoyed in your previous degree, or to tackle new horizons you have not yet had the opportunity to study, during the programme you will pursue a range of practical and theoretical knowledge whilst being taught by leading academics. The MA in Theatre Practice offers students the chance to develop skills and knowledge in Shakespeare, performer training, socially engaged practice or theatre and performance research.

The programme consists of five compulsory modules including a 60 credit dissertation module. The two core practice modules focus on Exeter’s specialist areas which include performer training, applied theatre, inter-and transcultural theatre, Shakespeare and theatre and performance research.

During your first term you will take a compulsory module that studies the internationalisation of performance culture and the adaptation of theatre practices across cultures. This comparative study embraces cultures from around the world, introduces you to the wide experience of other students and asks you to reflect on what matters most to you in contemporary performance.

In term 2 you advance your research skills, reflecting on what it is to do theatrical research today and how to imagine, refine, and present on an area of theatrical practice and research of your choosing. In your final term you will conduct an in-depth research project in form of a dissertation, that can be fully written or partially practice-as-research.

Over the course of the programme you will gain knowledge of new performance skills and edit and produce a digital portfolio of your work.

Modules

Some examples of the optional modules are; Voice for the Actor Term; The Actor's Body: Intercultural Theories and Practices; Versioning Shakespeare Term; Theatre and Environment; History of Acting and Restoration Theatre: Culture and Politics

The modules listed here provide examples of what you can expect to learn on this degree course based on recent academic teaching. The precise modules available to you in future years may vary depending on staff availability and research interests, new topics of study, timetabling and student demand

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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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The nature and role of the state and its institutions and the relationship between the state, these institutions and society are undergoing fundamental transformations. Read more

Overview

The nature and role of the state and its institutions and the relationship between the state, these institutions and society are undergoing fundamental transformations. Arguably, nowhere are these developments more evident than in contemporary Europe.

On the one hand, European integration has undoubtedly challenged the role and powers of the nation state. While nation states remain in control of many aspects of domestic politics and policy, more and more policies are being shaped by decisions made at the European Union level. While these trends raise all sorts of questions about issues of sovereignty, democratic accountability, representation and efficiency, they also open up new opportunities for the nation states to cooperate more closely, and for the EU itself to develop further as a regional and global actor.

On the other hand, developments within nation states have challenged the ways political decisions are made and how citizens are linked with this decision-making. Traditional communities have become less cohesive, political loyalties have waned, and trust in democratic institutions has declined. At the same time, however, we have also witnessed the rise of new values, identities and actors. Together, these developments are putting pressure on longstanding patterns and processes of representation, political intermediation and decision-making and are challenging the traditional way of conducting politics.

This course is unique in the UK in that it examines developments within Europe through an interdisciplinary lens, combining political science and international relations perspectives with historical and cultural ones. This broad outlook is made possible by the range of expertise of the teaching staff at Keele and by SPIRE’s research strengths.

The course is taught over a 12 month period (September-September; January-January). It is available as a full-time and/or part-time mode of study. Students completing the course have gone on to a variety of careers in the public, private and voluntary sectors.

See the website https://www.keele.ac.uk/pgtcourses/europeanpoliticsandculture/

Course Aims

The aims of this Masters course are to provide students with the conceptual and analytical skills and the factual knowledge to think critically about and develop an understanding of the political and cultural dynamics of contemporary Europe, viewed in a global, regional and national context.

In addition, the course aims to assist students in developing a range of cognitive and social skills relevant to their intellectual, vocational and personal development. In pursuing these aims, the course seeks to prepare students for a variety of professional careers, including those in governmental and non-governmental organizations, the European institutions, the media and business, or for research beyond the Masters level.

Course Content

Taught masters programmes require satisfactory completion of at least 180 credits, made up of 6 taught module (120 credits) plus a 15,000 word dissertation (60 credits). The MA and MRes programmes differ in that the MA programme contains more subject-specific modules and less research training, while the MRes programme contains more research training, in preparation for a research career or for undertaking a research degree such as a PhD.

MA
• Power, Knowledge and the World (30 credits)
• Perspectives in Politics and International Relations (30 credits)
• Research in Action (15 credits)
• Three (15 credits) optional modules chosen from the list below
• 15,000 word dissertation on an approved topic in European Politics and Culture (60 credits)

MRes
• Research Design and process (20 credits)
• Two 15 credits optional modules chosen from the list below
• Perspectives in Politics and International Relations (30 credits)
• Quantitative Data Analysis I (20 credits)
• Qualitative Data Analysis (20 credits)
• 15,000 word dissertation on an approved topic in European Politics and Culture (60 credits)

Options
Optional modules can be drawn from modules such as those listed below, although the precise list of available modules may vary from year to year.

• Approaches to European Integration: History and Practice (recommended)
• Comparative European Politics (recommended)
• Comparative Public Management Reform
• Diplomatic Law
• Diplomatic Practice
• Dimensions of Environmental Politics
• Environmental Diplomacy
• Environmental Politics and Policy in India and China
• Environmental Movements: North and South
• Parties and Democracy
• Right-Wing Radical Parties
• The Changing International Agenda
• The Politics of Global Security
• The Theory of Global Security
• US Environmental Politics and Policy
• US Foreign Policy

It is also possible to take a modern foreign language (other than English) as one of the optional modules. Language modules run over both semesters. Languages currently available are:

* French (beginners, intermediate, advanced, post A-level 1 or post A-level 2 level)
* German (beginners, intermediate, advanced or post A-level 1 level)
* Spanish (beginners, intermediate, advanced or post A-level 1 level)
* Japanese (beginners, intermediate or advanced level)
* Russian (beginners or intermediate level)

Teaching & Assessment

Postgraduate teaching and learning generally takes place in a combination of large seminars and smaller discussion groups. Our academics typically lead the sessions, encouraging discussion between all students. Sometimes students will give presentations, either individually or in groups.

There is a strong emphasis on independent learning and students are expected to work on their own to produce their essays and dissertation. Most modules are assessed by a diverse range of coursework (e.g., essays, critiques, reports, presentations), though some modules may also be assessed by seminar contributions and/or written exams. Students take three modules in each semester. The taught modules are completed by May, leaving the summer months for students to write their dissertation.

Additional Costs

Apart from purchasing textbooks and other sundry materials, no significant additional costs are compulsory for this course.

International

SPIRE is a thoroughly international school, and is particularly welcoming to international students, as well as providing plenty of opportunities for home students to broaden their horizons.

We have staff with educational backgrounds in a wide variety of countries, such as Sweden, Canada, Bulgaria, Italy, Austria, Romania, and Turkey, who present their research all around the world. Students have the opportunity to hear visiting lecturers from various different countries, arranged through our ERASMUS partnerships.

International students will join established international communities at Keele, and will find plenty of support mechanisms in place to help them make the transition to study in the UK.

Find information on Scholarships here - http://www.keele.ac.uk/studentfunding/bursariesscholarships/

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MA Music Theatre is a unique course combining conservatoire-style training and critical reflection. It is specifically designed for performers who wish to further enhance their performance and creative skills and deepen their knowledge within the many. Read more
MA Music Theatre is a unique course combining conservatoire-style training and critical reflection. It is specifically designed for performers who wish to further enhance their performance and creative skills and deepen their knowledge within the many
forms and expressions of music theatre, including musicals, opera, actor-musicianship, operetta, melodrama, film and video, public performance, and interdisciplinary performance.

It is predominantly an intensive practical course that integrates acting, singing, movement and voice with a view to enabling students to enter the industry. Within the structure of performance training there may be opportunities to create original work and
to pursue related activities such as composing, writing, choreography and acting with instruments. MA research activities are designed to facilitate and reinforce a deeper reflection of individual processes, creative activities and personal skills development in a dynamic postgraduate culture of theatre practice.

Specialist lecturers and artists are invited to deliver classes and workshops that complement a teaching staff with proven and long-term experience in the profession. Emphasis is placed on acquiring and practising skills through creativity and performance within all aspects of music theatre, from conventional Broadway and West End repertoire to new writing
and that which involves new media and alternative theatre practices. Collaboration and teamwork, imagination and creativity are valued aspects of all activities and are explored from many different perspectives.

ASSESSMENT

This is by public performances, professional assessment in class work, research presentations and written submissions.

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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. Read more

ABOUT MA/MFA VOICE STUDIES

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

These courses are for graduates of appropriate disciplines who wish to follow a career in voice teaching and who seek specialised study and practice in voice and speech. They are particularly likely to appeal to professionals who already have an interest in, and knowledge
of, the voice and for applying it to the fields of performance practice, performance training or other related pedagogies, for example actors, directors, drama teachers, trained singers and speech therapists.

The MFA offers a further embedding of skills and concepts learnt during its second year. In some countries, the MFA is more recognised, particularly for those interested in teaching, or research in a higher education environment.

INDUSTRY LINKS / COLLABORATIONS

Workshops are provided with leading British, American, Swiss and New Zealand based voice practitioners, including Kristin Linklater, Catherine Fitzmaurice, Meribeth Bunch Dayme, Frankie Armstrong, Annie Ruth, and Jacob Lieberman.

For students studying the MFA Voice Studies, Central are delighted to announce our association with the University of Cincinnati, CCM Drama programmes under Professor Rocco Dal Vera and with the University of Minnesota’s Guthrie Theatre BFA Actor training programme, under D’Arcy Smith. Both of these influential and highly respected performance training organisations have offered on-going opportunities for Central students to engage with them during their second year MFA attachments in voice.

ASSESSMENT

During the first three terms of both courses, assessment is through written work, practical projects and teaching practice. In the fourth term of the MA, students complete a dissertation or portfolio focusing on their specialist area of enquiry arising from the work of the course. In the MFA second year, assessment is by means of documents based on field experience and related research.

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