This programme allows you to develop the business/entrepreneurial skills and attributes to commercialise on your creative and cultural practices and/or knowledge.
The Theatre and Performance Pathway of the MA in Creative and Cultural Entrepreneurship allows you to build on a historical and theoretical understanding of cultural and creative industries and the development of a cultural economy to create your own creative initiatives, which might be research-based, policy-based, practice-based, or a combination of any or all of these.
The MA will be taught in partnership by a number of departments within Goldsmiths and with key individuals and organisations in the creative and cultural industries sector.
Our collective approach is to integrate entrepreneurship within the development of creative practices and to take a ‘creative’ approach to the development of new businesses and the infrastructure that supports them.
The programme contains four taught modules and a further dissertation/portfolio component.
You'll have a range of choices throughout the degree enabling you to design a pathway that is most relevant to your academic, business and career ambitions.
All students take modules I and III, and you can choose between options offered in performing arts for modules II and IV.
Attendance is mandatory for all taught sections of the programme. To encourage collaborative learning we try to teach all students together wherever possible, irrespective of their particular pathway.
Module IV: Entrepreneurial Practices and Modes of Production
Either: Sector Overiew: Performing Arts and Audience Development and Fundraising 30 Credits
OR Work Placement
You will undertake a work placement within an SME, Producing or Research Organisation within the cultural and creative industries.
There will be initial taught/tutorial sessions on managing an internship and experiential learning and assessment would be by an analytical report on the ‘culture of management’ of the organisation.
In some pathways this will be augmented by classes in specific skill areas (such as marketing) as you are likely to be working in skill-specific departments of organisations.
Module V: Dissertation OR Project/Portfolio
The content and research imperatives of the dissertation/portfolio can be developed in tutorials with staff to address your individual needs. It could range from an entirely written document researching a particular area of the cultural and creative industries to a fully developed proposal for a new business.
You can expect to develop an independence and integrity in developing creative ideas. You will be able to apply entrepreneurial approaches to creative projects and demonstrate an understanding of different business models to establish a creative enterprise. You will also develop team-working and leadership skills, and effective business and communication skills.
The programme will enable those who have previously studied an area of creative study/practice, to start a career developing a business arising from an existing or new creative practice. This may relate directly to a 'product' or 'process' arising from you own practice or to a form of 'expertise', 'consultancy' or 'knowledge'. The programme will also equip those who wish to work within organisations that develop the infrastructure and environment for new creative businesses with the capacity to flourish in a variety of contexts.
Find out more about employability at Goldsmiths.
This MA gives practitioners and theorists the opportunity to research and develop the new boundaries of image-making made possible by technological change within the context of post-industrial culture.
This programme joins theory and practice, equipping you to develop and achieve highly effectively in the new image media culture. Practice uses both digital and analogue technology, still and durational as well as the study and production of interactivity.
The programme allows for specialisation in photography and/or electronic arts – which, in addition to still photography, can include interactive, durational and internet work – but encompasses a broader interpretation of practice.
You'll look at the meaning, production and distribution of images, and the relationship between theory and practice in the context of debates about post-modernism and beyond.
You also participate in enabling sessions in photography:
and/or in electronic arts:
There is an MRes which follows the MA into a second year, in order to develop your work/voice. This will count as the first year of a PhD. Find out more about the MRes.
This programme uniquely joins theory and practice in a way that will equip you with the tools and the vision to develop and achieve highly effectively in the new image media culture. Practice uses both digital and analogue technology, still and durational as well as the study and production of interactivity.
You will study
The programme draws on a broad range of cultural references and technical practices. It offers the opportunity to take stock of evolving practices and developments in image media culture, and is structured to develop the intellectual imagination within each individual student. This is achieved through a combined study of practice and theory, with extensive instruction through ‘enabling sessions’ which engage technical familiarity; core tutorials; secondary tutorials; Issues in Media and Culture and additional theory course options.
Recognising the rapidly changing definitions and context of these practice areas,and the value/positioning of traditional practices, these categories may also be understood through a variety of practices which involve image construction and presentation both still and durational, including: film/video, animation, interactivity, installations, motion graphics, and hyperspace constructs, as well as evolving new exploratory categories.
The programme provides an opportunity to develop and/or research aspects of visual style, and draw on a broad range of cultural references as well as aesthetic and technical approaches engaged through ‘Practice Theory Sessions’, visiting lectures and the Issues in Media and Culture course. Fundamental to the programme is the space that it creates to make it possible for you to explore, question, change and consolidate your work and your ideas.
Original portfolio submission; coursework and essays.
This course is interested in the development of the individual voice. To this end, there are two types of tutorial:
You'll develop specific practice skills to a high level, and the articulation/understanding of the pleasures of media consumption.
Graduates from the programme are extremely successful, with finalists working commercially, developing as artists or continuing to enlarge their academic knowledge. During the course particular attention is given to the development of the individual voice. This, plus students' exposure to a range of technologies, means that our graduates can step into the arena of their choice, or sometimes of their making.
Here are just some examples of the sorts of careers graduates have gone onto:
Find out more about employability at Goldsmiths.
This MA addresses the historical, political, theoretical and ethical issues of applied theatre and develops your ability to contextualise, critique and create.
Our aim is to prepare students to be collaborative, responsive, imaginative, politically engaged and culturally aware artist practitioners. The course is aimed at newly-emerging practitioners with a background in theatre, education, activism or social change, as well as at more established practitioners who want to reflect, refresh and develop their skills. We actively encourage the sharing of skills and expertise among our multi-national group of students. We prioritise applicants with some experience in the arts, education, activism or social care, and it is rare that we take applicants directly from their first degree.
Together we explore the ways in which theatre and performance is created by diverse groups of people in a variety of community, social and educational settings: in schools or on the streets, in children’s homes and elderly care, in conflict zones, conferences, crèches and youth clubs, pupil referral units and prisons, women’s refuges and refugee centres, hospitals and hostels – anywhere groups of people meet and interact.
Applied theatre is an umbrella term for a range of exciting worldwide performance forms concerned with personal and social change.
The term embraces: theatre of the oppressed, community theatre, theatre-in-education, drama in education, theatre for development, prison theatre, intercultural arts, intergenerational arts, theatre in museums, archives and heritage sites, story-telling, reminiscence theatre, conflict resolution. The work often moves across art forms. This is not a definitive list, as it is a field that is dynamic and changing.
The MA considers case studies from the UK and from across the globe. Central to this investigation are: questions of identity; representation; discrimination; health; equality; human rights; opportunity; access; social inclusion/exclusion; participation; ethics; evaluation and documentation; aesthetics and the role of the artist.
The course is structured so that practice and theory constantly respond to one another, through practical classes and seminars. All students undertake a placement in a recognised host organisation where you'll work with experienced practitioners, and learn from the inside how participatory arts organisations function.
We have active partnerships with many companies, and the majority of the tutors, including the convenor, are active artists, with a variety of arts practices in performance, community and social settings.
In the autumn term we look at the roots of Applied Theatre in Education, in Social and Political Change, and in Community. Classes include work with Geese Theatre on their use of mask in Prisons, Drama and Theatre in Education techniques with Gail Babb of Talawa Theatre, intergenerational arts practices with Convenor Sue Mayo, and the use of Drama to explore Domestic Violence, with Tender. Throughout this term students are also engaged in skills-sharing sessions in order to pool their knowledge and expertise.
In the Spring Term Tutor Raj Bhari, from Talk for Change, leads a module on creative approaches to Community Cohesion, Conflict Resolution, and the artist as activist. We have a short festival of art forms, with classes in song, puppetry and dance- and a residency shared with students of the MA in performance making, working across modules with artists of distinction from within the Goldsmith’s staff and beyond.
Throughout the practical sessions we work with students to develop their facilitation, devising,- project planning and management skills with attention to issues such as group dynamics; power and leadership; inclusion; accessibility; equality; conflict; intercultural practice; safe space and the ethics of touch.
In the summer term students design and lead a weekend of workshops for a public audience.
Histories, Theories and Contexts seminars
This contextual strand enables us consider the thinking behind our embodied knowledge. Through a series of seminars, we consider: the development of applied methods from political theatre; radical and celebratory arts; drama and theatre-in-education; community theatre; prison theatre; therapeutic creative practices and the legacy of Augusto Boal. We study the growing body of writing on applied theatre and its practitioners, and theatre theory. We consider local and international case studies; we read, discuss, watch videos and experience live performances.
Complementary Contextual lectures
Students also choose a lecture based Option module from one of the other exciting MA programmes. Previous modules have included, African Theatre, Performance Praxis, Radical Performance, and The Reflecxtive Practitioner. Our students can also take a specialist applied module led by Danny Braverman, on Disability Theatre, examining the scope and radical nature of disability theatre.
The Convenor, Sue Mayo, supports students to locate and develop a placement in a recognised host organisation. On the placement students further the skills they have practiced on the programme, whilst dealing with the challenges of a professional context. Placement hosts include London Bubble, Magic Me, Resonate. Greenwich & Lewisham Young People's Theatre, Talawa Theatre, Pan-arts, Crisis, Ovalhouse, Green Shoes Arts, The Young Vic, MIND, CEN8, Lewisham Youth Theatre and Spare Tyre.
As part of our commitment to student’s employability, we offer up to five workshops covering various areas directly relevant to workplaces where drama may be applied; for example: planning and managing projects, child protection and working with vulnerable adults, ethics, evaluation, setting up a theatre company or working as an independent artist.
The MA Applied Theatre has five points of assessment:
These assessments count towards 80% of the final mark.
The remaining 20% is derived from assessment of the two shared complementary/contextual modules, which include Disability Theatre, Performance Praxis, African Theatre, Musical Theatre and Cultural Theory.
This new and unique Masters importantly addresses black writing as a continuum. Its heritage in British culture is considered along a trajectory marked by historical presences as connecting with migratory, indigenous and global perspectives.
Introducing the MA Black British Writing - “It’s a story that hasn’t really been told”
The MA draws upon the expertise of literary, drama and theatre specialists from the Departments of Theatre and Performance and the Centre for Caribbean Studies.
The degree is made up of:
Full-time students study both compulsory modules and two options and write their dissertation across one year of study.
Part-time students select one compulsory module and one option per year across two years and write their dissertation in their second year of study.
You choose two options from those available in the Department of Theatre and Performance and the Department of English and Comparative Literature.
This could include:
Intermediate exit points
It's possible to exit the programme early with a Postgraduate Diploma or Postgraduate Certificate if specific learning outcomes have been achieved. These options can be discussed with the course convenor.
You will develop transferable writing and oral skills at a high academic level, demonstrating the ability to think and work in an interdisciplinary manner using a range of methodologies. Your ability to work collaboratively and to facilitate and participate in group discussions will be enhanced. You will also develop skills in identifying the socio-cultural, historical, political and literary issues that shape and impact upon contemporary literary and performance texts.
We are oriented towards serving your individual goals and aspirations for self-development; it will generate an articulable body of transferable knowledge and skills.
Besides developing your knowledge of best current research methods and of facts and concepts specific to the featured field of study, the proposed programme will offer training in:
The MA’s design allows for a diverse range of applications of its contents to careers including education, counselling, community arts, arts practice, social services, cultural organisations, or towards research degrees (MPhil; PhD).
Our courses consolidate the influential presence of contemporary Black British writing. It is recognised as both intrinsic to conceptions of British cultural heritage but also distinctive within the body of British writing.
Find out more about employability at Goldsmiths.
Covering historical and philosophical bases of theatre and performance practices from different parts of the world, on this degree you'll investigate indigenous and contemporary performance and theatre traditions from a variety of cultural contexts. The MA in World Theatres is one of the few freestanding taught Masters programmes in world theatres and performance in the UK and globally.
The programme aims to train graduates for professional employment in a range of positions in theatre, in government settings, in the culture sector and in HE internationally that require solid intellectual preparation and knowledge of the field. Practitioners who come on the programme can use knowledge acquired to extend the articulation of their career.
This one-year full‐time or two-year part-time programme of study aims to cover the historical contexts and philosophical bases of theatre and performance practices from different parts of the world, some of which are rarely introduced in UK HE. It will thus involve the student in a study of indigenous and contemporary performance and theatre traditions from a variety of cultural, national and international contexts. From this vantage context, students will be able to compare and contrast such work critically, within and beyond a European perspective, and in turn use this perspective to consider contemporary theatre in multicultural Britain.
The main aims of the programme are:
All students on the programme will undertake four taught modules and a research project. The programme may be taken full-time or part-time for the duration of one year or two years, respectively. For full-time students, the programme runs over three terms, of which Term One is devoted to two modules and students will also be required to undertake training for research and academic writing in preparation for the Research Project. Term Two comprises two modules and the Research Project, while Term Three is devoted entirely to the Research Project.
Part‐time students have two terms in their first year of study and three terms in their second year.
Term 1 (Autumn) - World Theatre: Contexts and Practices + Contemporary African Theatre and Research Project (training for research and academic writing)
Term 2 (Spring) - Asian Theatre: From Bharata to Brecht and Eastern European Theatres and Research Project
Term 3 (Summer) - Research Project
Term 1 (Autumn) ‐ World Theatre: Contexts and Practices or/and Contemporary African Theatre
Term 2 (Spring) - Asian Theatre: from Bharata to Brecht and/or Eastern European Theatres
Term 1 (Autumn) - World Theatres: Contexts and Practices and/or Contemporary African Theatre (depending on how many were taken in Year One) and the Research Project
Term 2 (Spring) - Asian Theatre: From Bharata to Brecht and/or Eastern European Theatres (depending on how many were taken in Year One) and the Research Project
Term 3 (Summer) - Research Project
Teaching is via lectures, seminars, workshops and practice sessions with our resident teaching team alongside guest lecturers and theatre companies. A mixed mode of assessments are used which can either be in the form of a written assignment or PaR submission.
The department is home to the African Theatre Association (AfTA) and its bi-annual journal, African Performance Review. The Department of Theatre and Performance has close links with two research centres: The Pinter Centre for Performance and Creative Writing and The Centre for the Body, that each generate learning opportunities via programmes of talks, conferences and workshops. The Department runs regular extramural activities, including hosting international practitioners in the Performance Research Forum (Dis-Play) series. The department’s special relationship with the Goldsmiths Confucius Institute and its association to the Beijing Dance Academy, also contributes to the global performance practice opportunities offered. Together, these organisations provide a unique research and professional resource for students on Theatre and Performance programmes.
Expertise is provided by the Department's resident staff, most of who are not only dedicated and experienced teachers, but are also distinguished practitioners and researchers in their own right, working in national and international contexts. The Department also draws on a large pool of visiting practitioners and academics to provide a breadth of expertise and contact with current practice.
The broad range of interests combined in this programme will prepare you for a diverse range of employment and/or a portfolio of careers in theatre and performance as well as the arts industry as a whole in different socio-cultural environments:
In addition, you can use this programme as a springboard for further study, either vocational or intellectual (including entry into MPhil/PhD programmes).
In short, the multiple skills – intellectual, critical and creative – developed by this programme will provide you with the flexibility of thought and approach necessary for creative insertion into the global job market.
Find out more about employability at Goldsmiths.
If you want to be a filmmaker this is the place to learn, gain experience and make films you will be proud to have on your show reel.
As a student on one of the six pathways you'll develop your specialist skill. In addition, you'll also have a range of short optional modules in other production areas of your choosing to give you the kind of flexibility that the industry now expects. The options include script and project development, web drama, online content, and social activist filmmaking, alongside more traditional media such as camera and editing skills.
Our filmmaking facilities and scheduling are geared around fiction production, as this is a major opportunity that the learning on the programme provides. The ethos of the course is “form follows function.” Your study and practice throughout the year will equip you with the most appropriate means of telling your story in order to connect with an audience.
Filmmaking is a team activity. Every student is required to work closely with others as part of a creative team to produce their final project. All the programmes also have good contacts and connections with students in the other specialist areas your productions might require, such as music composition, hair and makeup, set design, scriptwriting and of course acting talent.
Filmmaking is very demanding; it requires a lot of commitment, imagination and teamwork. You will be fully stretched on these programmes.
This MA has six pathways you can follow:
The programmes also retain close links with MA Scriptwriting.
The filmmaking programmes are located within a large and very lively Media and Communications Department that is also home for a range of practice MA programmes in radio, journalism and scriptwriting for example.
There is also a range of theory MAs and strong research tradition, with the Department coming top in the entire country on research intensity. This makes for a very stimulating and creative environment.
Where is cinema going? Where is TV heading? How and where are people going to watch moving images? What do new audiences want these to look and sound like? What new platforms are on the horizon? How are the traditional craft skills relevant to the digital age?
These are the kinds of questions we’re interested in. And we don’t explore them alone. Our annual Olive Till Memorial debate features world-renowned industry speakers including directors Danny Boyle, Gurinder Chadha and Paul Greengrass, and producers Tessa Ross and Tim Bevan, so you get the best kind of insight while you’re here.
We offer advanced skills training to film school standards. You will work within a building with studio and rehearsal spaces, screening rooms and up-to-date camera, lighting and sound equipment, plus sound and edit suites. And we now have the Curzon Goldsmiths as our on-site cinema so you can showcase your work to the public.
We encourage you to meet filmmakers, work with others, and exchange ideas. The programme includes regular Master classes where students from all the programmes and others come together to learn about current industry trends, new opportunities and ideas with leading figures of the UK film and television industries. But filmmaking is not only about these industries, it also offers a wealth of transferable skills for students interested in all media platforms, including web drama, video games, art gallery installations of all types, interactive mixed media and live performance and music videos.
All programmes include:
You will also have a variety of research projects to undertake, as well as other module options. The third term will be taken up with your final substantive project, and in writing up a process paper on your work and research over the year.
There is also a choice of short modules, such as:
In addition students are encouraged to “audit,” (that is, attend but not be assessed on) any other lecture course in the Department – in so far as their timetable allows.
For full module information, refer to the individual pathways.
From Steve McQueen to Sam Taylor-Wood, Goldsmiths graduates go on to shift the public perception of what makes film matter. And our MA filmmaking graduates are creating award-winning work including Best Cinematography at the NAHEMI Encounters International Film Festival and Best Documentary at the Exposures Film Festival.
The best advice we can give you is to make the most of your time with us. For a whole year you have access to the best in the field: highly qualified, industry-active and award-winning staff and guest speakers.
Find out more about employability at Goldsmiths.
This Masters gives artists, practitioners, teachers and educators, in informal and formal learning environments, the opportunity to extend, enrich and consolidate the overlapping practices and theories of contemporary art and learning and teaching through individual and collaborative research.
The MAAT can be a pathway before or after the completion of a UK QTS (Qualified Teacher Status) programme, such as the PGCE (Secondary): Art & Design.
The programme places a strong emphasis on student-centred and directed learning, where teaching sessions and personal tutorials draw on the critical reflection and development of your artist teacher practices: including artistic, theoretical, political and learning and teaching concerns.
The modules of the programme are all underpinned with theories of contemporary art, learning and critical and dialectical pedagogical theories and philosophies.
You'll attend all lectures, seminars, workshops and tutorials where you'll engage in questioning the political, ideas, practices, theory and philosophy related to the specific topics of: contemporary art practice, teaching and learning, identity and place/space construction, dialectical pedagogical theories and practice, social-engagement, and research led practices where you'll be encouraged and expected to critically discuss and debate the issues raised.
But this is just a small proportion of what we expect you to do on the degree. Independent learning/research (practice with theory) is expected throughout the MAAT, this typically involves critical reflection and development of your practices as artist teacher including: additional readings, preparing topics for discussion/presentations, working with fellow students, producing essays, artist teacher statements, research, planning, organising and producing practice-based work and/or projects, curating exhibitions and presentations, both individually and collaboratively.
This emphasis on independent learning is very important at Goldsmiths. We don't just want you to accept what we tell you without question. We want you to be deeply engaged with theory and practice to develop and sustain your own ideas and practices as artist teachers.
To enable greater flexibility for you and a more equitable experience for full-time and part-time students, the MAAT programme has a modular structure, with the majority of teaching sessions usually conducted in the evenings.
This also enables part time and full-time students to attend the same evening teaching sessions and therefore form a collaborative and supportive learning environment.
For you to obtain the postgraduate degree of MAAT you will need to complete 180 CATS at Masters level.
The MAAT comprises five core modules (150 CATS) and one option module (30 CATS).
The MA Artist Teacher and Contemporary Practices utilises a number of complementary assessment strategies. These have been devised to appropriately assess the range of learning outcomes and are underpinned by the ethos of the programme these include, exhibition/presentation/performance, essay, viva voce.
Please note that due to staff research commitments not all of these modules may be available every year.
Through the programme, you’ll develop independent thinking, understand theoretical underpinning, and the ability to question and have confidence in your ideas and practice - skills that will benefit you throughout your chosen career. You'll also develop:
As a MAAT alumna, you’ll continue to research and engage in the presentation of your practices through practice, exhibitions, socially-engaged projects, international conferences and international journals.
Our graduates have an outstanding employment record in the fields of education, galleries/museums, social work/charity, health, public administration and welfare with the majority of graduates gaining full-time employment in a variety of careers including:
Find out more about employability at Goldsmiths.
This unique MA will enhance your critical understanding of the musical theatre as a popular entertainment genre.
It will help you to sharpen your practical skills as a creative artist. On a practical level, it will assist you in working as a freelance writer, composer or producer of musical theatre.
The MA focuses on the dramaturgy of the musical as a key factor in the future development of the genre.
Expert professionals are regularly employed as visiting tutors, to maintain direct links with the industry.
You follow one of the two pathways as either:
You undertake an analytic case study of a musical or production, a placement project and dissertation (producers), and a creative project involving either book and lyrics or music for a short original musical (writers and composers). Producers share some classes with students on the MA in Arts Administration and Cultural Policy.
You undertake an analytic case study of a musical or production, a placement project and dissertation (producers), and a creative project involving either book and lyrics or music for a short original musical (writers and composers). Producers share some classes with the MA in Arts Administration and Cultural Policy.
You elect to follow one of two pathways on the programme – Producers, or Writers and Composers. In each case, the programme involves five separate modules:
1. Genre study – autumn and spring terms, both pathways.
This module runs for 20 weeks. It begins in autumn with an historical survey of the development of the American musical, from ‘Showboat’ (1927) to ‘Sweeney Todd’ (1979). It continues in the spring term with a look at new forms of musical theatre that have resulted from the fragmentation of the classic tradition of ‘book’ musicals, with the innovation of the ‘concept’ musical, the impact of rock musicals, the ‘invasion’ of Broadway by the British ‘megamusical’ and the subsequent globalisation of the market by Cameron Macintosh and Disney.
2. Case study – autumn and spring terms, both pathways.
This module involves a 15-week introduction to the different structural components (book, music, lyrics, choreography, scenography) and industrial factors (producers, marketing, technology, conomics)
determining the production of musicals today. The module is taught by a range of professional and academic experts with a variety of different perspectives on the subject.
3. Shared complementary/contextual module 1 – autumn term.
Students choose one of these modules:
4. Shared complementary/contextual module 2, - ‘Musical Theatre and Society’
5. Creative project/dissertation – spring and summer terms, both pathways.
Genre study is assessed by two 3,000-word essays; the case study is assessed by means of a 4,000-word essay. The nature and form of creative projects, dissertations and research/placement projects are agreed with the Module Convenor during the programme.
You will develop a critical understanding of the collaborative processes involved in the creation of musical theatre in the UK and USA.
Composers and librettists/lyricists will achieve an enhanced ability to engage with the integration of dramaturgical and musical components of musical theatre writing, and a comprehension of the various factors involved in working within the industry.
Producers will acquire an overall perspective on the industrial and organisational factors involved in musical theatre production, including methods of theatre marketing, systems of arts funding and policy, and a working knowledge of the strategies involved in producing a small-scale musical.
Producers will also develop skills of leadership and teamwork and the ability to develop and critique their own approaches to working in musical theatre production.
Typical careers for graduates of this MA include:
Find out more about employability at Goldsmiths.
This unique international laboratory programme brings diverse individuals into collaborative research, acknowledging the challenges of creating original, performer-driven theatre in today's complex, globalised culture.
In over 3 decades there has been a creative surge in hybrid live performance worldwide. This has been the work of solo artists, ensembles, auteurs and performer-directors across creative fields, who have redefined boundaries and stretched the artistic and social imagination into new spaces, both literally and figuratively.
Within the vibrant environment of Goldsmiths, and with all the stimulus that London offers culturally, practising or emerging practitioners develop compositional, critical, technical and management skills and strategies for forging independent and self-motivated careers. Our graduates work as practitioners, teachers and cultural leaders worldwide.
On the programme you will conceive, research, construct and deliver your ideas and articulate what motivates these. Teaching is rigorous and interdisciplinary. You study with distinguished international artists as well as scholars within a praxis ethos where theory informs creativity and vice versa. The emphasis throughout is on encouraging collaboration across disciplines and cultures, and on contextualising practice within its social, political and architectural environment.
Physical training, scenographic/environmental exploration and hands-on introduction to technologies (lighting, video and sound) support composition and artistic experimentation. You identify your own practice within the historical and contemporary field, and write critically and creatively. You archive your practice digitally, and on graduation will have developed a portfolio of projects. You are guided on professional development by the Live Art Development Agency (LADA) and the Institute for Cultural and Creative Entrepreneurship (ICCE) at Goldsmiths.
The programme enjoys a wide international professional network of organisations, commissions, venues and festivals of benefit to students. You study both at Goldsmiths and ArtsAdmin. Click here for a full list of artists associated with the programme as permanent and guest tutors.
This is a praxis programme on which you gain 180 CATS (credits).
You will become conversant, confident and skilled in a range of methodological practices as well as compositional strategies for independent theatrical, dance theatre and live art creation.
Your critical and analytical skills in interpreting artistic practice will be tested in a range of verbal, written and oral ways. Your study of your own body as a creative instrument will be complemented by learning the principles of scenography and film narrative.
You will research intellectually and produce theoretically informed writing. You will learn to contextualise your own practice and interests in the contemporary field of performance both in the UK and internationally, and to articulate such practice.
Overall you will learn how to research, construct and deliver your ideas performatively and how to advocate your own projects to producers, venues, funders and other agencies.
Graduates work in a wide variety of professional contexts globally as commissioned performance makers, directors, project leaders, programmers, teachers and academic researchers.
This pioneering MA offers interdisciplinary perspectives on international performance, and aims to understand performance in relation to the culture to which it contributes.
The Masters takes in diverse forms of theatre, including multicultural and street theatre, and such practices as:
It leads you to explore performance as sociocultural process by using analytical principles from sociology, the sociology of culture, cultural theory, anthropology, history, philosophy, politics and theatre and performance.
We have numerous links, locally and internationally, with a wide variety of theatres, companies and performers, all of which enhance your research possibilities.
There are three compulsory core modules which focus on a range of issues concerning performance as a sociocultural practice. They involve:
A choice of options or independent study constitutes the fourth component, and a dissertation on your individual research completes your programme of study.
The three core modules consist of:
Each compulsory module and the option module carry equal weight, each representing 15% of the overall mark. The dissertation is worth 40%.
You will develop writing and oral skills at a high academic level, demonstrating the ability to think and work in an interdisciplinary manner using a range of methodologies. your ability to work collaboratively and to facilitate and participate in group discussions will be enhanced.
You will also develop skills in identifying the socio-cultural, historical and political issues and pressures specific to varied types of performance.
This programme provides a strong grounding in the principles of research and of learning through independent research. It is particularly suitable if you wish to pursue further academic work in creative, performative fields.
Find out more about employability at Goldsmiths.
This highly successful programme offers specialist pathways in Playwriting and Dramaturgy. We concentrate on the process of writing for live performance, together with an ongoing evaluation of the work in process. Through practice and reflection, we enable you to establish a distinctive, individual approach as both a writer and dramaturge. Projects include site-specific work, writing for a specific audience, verbatim theatre and interdisciplinary collaboration.
We support the development of texts for performance, alongside intellectual understanding of the diverse forms and contexts in which live performance can be made and the writer/dramaturge’s role in this. We examine texts from a wide range of periods and cultures. We engage with work that is innovative, or which challenges established notions of practice.
Dramaturgs and playwrights study side by side, and examine creative and dramaturgical issues from various perspectives as writers, spectators and creative collaborators. There are opportunities to collaborate on an Interdisciplinary Project with MA Performance Makers and composers from the Department of Music. Final project texts, performed and directed by industry professionals, are presented at the Soho Theatre in London, attended by key industry representatives. Graduates are highly successful in obtaining commissions, dramaturgy posts and artistic directorships. Recent successes include:
All students receive Professional Orientation and support towards career development.
All students take the Writing Projects module: you will work on three diverse, short playwriting projects. Each addresses particular generic issues that relate to writing for live performance, and you will engage with the specific challenges and demands of differing circumstances of text development and production. These will vary from year to year, but they are likely to be selected from the following:
You will also take the Dramaturgy module, which has two main elements: analysis of dramatic text (these will include classics and modern classics, as well as new plays); and analysis of live performance seen by the group (including some visual, environmental or non-text-based work). During the module you will assemble a portfolio of critical analyses and creative writing projects for assessment.
You will also take one contextual module alongside students from other Masters programmes, to be selected from a list of options that will vary from session to session.
You will develop your work on Dramaturgy with the term-long practical workshop module Creative Intervention in Text. This will examine: translation; adaptation of work from other media for live performance; and the re-writing and/or adaptation of extant plays; planning and curating seasons of performance work. You will assemble a portfolio of creative projects for assessment.
You also start work on your Final Project the personal Dissertation-equivalent project that will be the core of your work for the next six months). Weekly seminars and workshops will examine themes relevant to the range of projects chosen, and a first draft or outline will be produced. Each project will be the focus of individual tutorials, and then a class workshop led by a guest dramaturg, director or playwright as appropriate. You will then plan the next phase of the research or development of your project.
You also take another option from the list of contextual modules shared with students from other Masters programmes.
You will present the second draft of your project for another phase of tutorials and group workshops.
Playwriting projects will then be prepared for some form of public rehearsed reading or scratch performance, in extract form – with the writers involved in all aspects of the work.
Dramaturgy projects will be given practical support of an appropriate, equivalent kind. You will further develop your work, with tutorials and workshops and public presentation of work as appropriate, before writing and submitting the finished project.
Throughout the year, various seminars and workshops will examine diverse issues that affect writers today, and these will be led by visiting professionals as appropriate.
We deploy a range of assessment approaches, each appropriate to the module taken. Students taking Writing Projects will submit three short playtexts for assessment. Dramaturgy is assessed by a portfolio of analytic reviews, and Creative Intervention in Text by a series of short creative writing projects and writing exercises. Each of the contextual option modules is assessed by a 4,000 word essay. Final Project leads to the production of a playtext (Playwriting), or a Dissertation or equivalent practical project (Dramaturgy).
Numerous playwrights completing this programme receive high-level professional development opportunities, commissions, awards and full-scale productions of their work at major new writing centres in the UK, USA and in continental Europe. Many also work for at least part of the time in the fields of script development (for theatre and television), and in theatre publication.
Recent playwriting alumni include:
In each of these cases the award-winning play was the writer’s Final Project from this programme.
Dramaturgy alumni work in professional literary management for mainstream and fringe building-based companies, as well as on freelance script development programmes in the UK and internationally. These include:
This programme is designed to meet the needs of committed students who are interested in exploring and exploiting their own possibilities as writers, and in critically examining their own writing. It is unique in combining creative and life writing in a stimulating and enriching programme.
We examine relevant literary and cultural theory as well as the politics and practicalities of language and writing from the point of view of the writer.
Practitioner-led, the programme offers you the opportunity to work with a range of published writers who visit the College to give readings and lead workshops.
Visiting writers have included William Fiennes, Jackie Kay and Aminatta Forna. Poetry Masterclasses have been led by Sharon Olds, Les Murray, Derek Walcott and C K Williams. We also expect to draw fully upon London’s rich tradition as a converging point for culturally diverse literary practices.
Our graduates have gone on to have successful careers as writers and have won awards including the Guardian First Book Award, the Eric Gregory Award, the Sunday Times Young Writer of the Year Award, and the Dylan Thomas Prize. Two of our graduates (Ross Raisin and Evie Wyld) were recognised in Granta's Best of Young British Novelists 2013 list.
Explore the work of students currently enrolled on the programme in the Goldfish online journal.
There are three main components of the Masters:
There will be two core modules: a two-term workshop in creative and life writing, and a one-term Contemporary Contexts for Creative and Life Writing seminar module.
Workshop in Creative and Life Writing
All students attend this two and-a-half-hour compulsory workshop – part-time students attend in their first year. In the first term you will be encouraged to experiment with a variety of genres in creative and life writing, and then in the second term to develop your individual interests in poetry, fiction, autobiography and biography, or perhaps a fusion of those genres.
Each term you submit a piece of your own writing together with a critical account of how you have structured and developed it. Presentations of your work to other students with an account of your aims and approaches form an additional important element.
Some workshops will be taken by visiting writers, introducing you to a range of practices, concerns and techniques. The workshop also enables you to debate issues raised in the Contemporary Contexts module in relation to your own practice.
Contemporary Contexts for Creative and Life Writing
This is a two-hour seminar module, made up of informal talks by visiting speakers, followed by a seminar. These talks might be by practising writers, biographers, critics or philosophers (from both outside and inside Goldsmiths).
Our notable visitors have included Ali Smith, A L Kennedy, Daljit Nagra and Jon McGregor. Wide-ranging topics have included: the role of the writer and politics; writing the self; the relationship between contemporary fiction and biography; the relationship between fictional and non-fictional autobiography; writers and their readers; the publishing world; contemporary ideas about language; gender and writing.
In both the Contemporary Contexts module and the workshops you will be asked to consider works by significant contemporary writers in relation to your own writing practice. Assessment is by a critical essay on a writer or literary issue. Full-time students take the Contemporary Contexts module in their first term and part-time students in their second year.
Tutorials will be offered at regular intervals during the year (12 in all).
You also choose an option module lasting one term. Full-time students take the module in the second term, while part-time students take it in the second year (second term). You can choose from a specialist workshop in fiction, poetry or life writing, or an option from the list of MA options offered by ECL including topics such as European Avant-Garde, Postmodernist Fiction or Re-writing Sexualities.
Assessment is by the submission of four pieces of writing of 5,000 words each – either an essay, or, for workshops, a piece or pieces of creative or life-writing – plus a critical account of how you have structured and developed your work. You will also be assessed on a portfolio (maximum of 20,000 words) containing a piece or pieces of creative or life-writing together with a critical account of how you have structured and developed your work. In all cases, the number of words applies to prose.
Graduates of this programme include Tom Lee, Lucy Caldwell, Ross Raisin, Amy Sackville, Rohan Kriwaczek, Evie Wyld, Sara Grant, Naomi Foyle, Bronia Kita, Lijia Zhang, Ashley Dartnell and Suzanne Joinson and the poets Emily Berry, Andy Spragg, Kate Potts, Jack Underwood, Abigail Parry, Anthony Joseph, Katrina Naomi and Matthew Gregory.
Among them they've won or been shortlisted for awards including The Sunday Times/EFG Private Bank Short Story Award 2012, the Rooney Prize for Literature 2011, the 2008 and 2011 Dylan Thomas Prize, several Eric Gregory Awards, The Sunday Times Young Writer of the Year Award 2009, the John Llewellyn Rhys Prize 2009 and 2010, the Guardian First Book Award, the New Writing Ventures Prize, and several Betty Trask Awards.
Other graduates have gone on to work in publishing (for example, as senior commissioning editors), journalism, public relations, teaching, advertising, the civil service, business, industry, and the media.
The MA will enable you to develop transferable skills, including: enhanced communication and discussion skills in written and oral contexts; the ability to analyse and evaluate different textual materials; the ability to organise information, and to assimilate and evaluate competing arguments.
Find out more about employability at Goldsmiths.
This programme provides you with a broad understanding of the theories and practices of dance movement therapy necessary for safe and effective clinical work, and enables you to practise as a dance movement therapist.
This programme is accredited by the Association for Dance Movement Psychotherapy.
Your learning will be underpinned by the principles and practices of psychodynamic psychotherapy within the social, political and multicultural context of mental health care and educational settings. Study is informed by contemporary dance practice, Laban Movement Analysis (LMA) and somatic bodywork.
Through theoretical studies, movement observation studies, dance practice workshops, clinical work and experiential learning, you integrate cognitive understanding and practical experience with a developing awareness of self and other.
The nature of the therapeutic relationship is explored in depth through movement and dance and you have the opportunity to put your learning into practice through at least 90 days of supervised placements. This gives you the opportunity to relate your practical experience to your theoretical studies.
You'll be encouraged to develop your own dance/movement practice and to situate your work in relation to your development as a therapist, to contemporary dance and movement practice. You're required to be in personal therapy throughout the programme.
On graduation you are eligible to become a registered professional member of the Association for Dance Movement Psychotherapy (ADMP UK).
The MA in Dance Movement Psychotherapy programme is made up of 240 credits and provides you with a broad understanding of the theories and practices of Dance Movement Psychotherapy necessary for safe and effective clinical work as a Dance Movement Psychotherapist.
It aims to enhance your self-knowledge and interpersonal relationships and to promote your psychodynamic understanding of individuals, groups and society; working with questions of difference, equality and diversity.
Your learning is underpinned by the principles and practices of psychodynamic psychotherapy within the social, political and multicultural context of mental health care and educational settings, and informed by contemporary dance practice and Laban Movement Analysis (LMA). On successful completion of the MA you will be able to apply to the Association of Dance Movement Psychotherapists UK for registration.
Assessed by coursework, film, portfolio, case study, dissertation, log and reports
During their training students will gain clinical experience in both child and adult placement settings. Please visit the website for more information.
Key employability skills developed on the course include:
Examples of places that DMP MA graduates are currently working:
Find out more about employability at Goldsmiths.
Explore the creative interplay between urban theory and the visual representation of urban cultures and places.
This programme has been developed by the Centre for Urban and Community Research to encourage creative interplay between practice and theory. You'll have the chance to consider cutting-edge debates in cultural and social theory in a research setting that actively encourages the development of photographic practice.
The programme offers working photographers, visual artists and media practitioners space to reflect critically on their practice.
It also offers those with a background in sociology, urban and cultural geography, cultural studies or anthropology the opportunity to combine visual forms of representation with standard forms of research techniques in investigating urban life and the physical environments of the city.
As well as these modules, you will complete a Dissertation and Major Visual Project (60 credits).
The Dissertation can comprise two parts: a portfolio and a 5-6,000-word Dissertation, or you may submit a 10-12,000-word written Dissertation. The Dissertation will consist of: an account of the rationale of the photographic project; a critical evaluation of photographic practice and issues of reflectivity and knowledge production. In combination with the written part you will be expected to provide evidence of a sustained and coherent body of photographic work focusing on an aspect of urban culture for assessment. Previously, work from Final Visual Projects has been shown on a virtual gallery space linked to the CUCR website.
Assessment consists of coursework, extended essays, reports, presentations, practice based projects or essays/logs, group projects, reflective essays, and seen and unseen written examinations.
This MA develops skills in urban photography, visual ethnography and urban research, communications for urban planning, community arts and visual arts practice.
Graduates of the programme have progressed to the following areas and careers:
Find out more about employability at Goldsmiths.
This MFA, described as one of the most influential MFA programmes in the world, subjects art-making to critical scrutiny. Artists on the programme strengthen the motivation, self-reflection and ambition of their practice and its leading ideas.
While on the programme you will continually engage with what it means to practise as an artist today and the position taken by an art-practice in relation to art's complex history and its currency in wider social and cultural processes.
Given the wide international breadth of artists on the programme and the open range of media welcomed in it, a primary concern in discussion is how a particular artist's work and ideas are understood in and across different social, artistic and intellectual contexts.
Our primary emphasis is on how artists look to shift prevalent expectations and whether their work does so – perhaps then transforming what art might be. We place a strong emphasis on student-centred learning, particularly in the studio seminars and personal tutorials based on your art-making, its key concerns and ideas and their mutual interdevelopment. A lecture programme will in addition contribute to your understanding of concerns relating to contemporary art in broader contexts.
The degree has been described as one of the most influential MFA programmes in the world.
The programme is divided into two parts:
Year One (Diploma stage) can be taken either full-time for one year (until late July) or part-time for two years (until late July in both years). This year seeks to establish the core concerns and ambitions of your art.
Year Two (MFA stage) can be taken either full-time for one year (until late August) or part-time for two years (until late July, and then until late August in the final year). This stage of the programme enables you to address your ambitions for your art with an awareness of how it is situated.
Applicants who are already in possession of 120 grade credits for postgraduate study from another programme are able to apply for direct entry into Year Two of the programme on either a full or part-time basis. You may also take advantage of an exit point at the end of Year One of the programme and graduate with the Postgraduate Diploma in Fine Art.
This two-stage programme is designed to subject the making of art work, the ideas and concepts involved, and the works of art themselves, to artistic and critical scrutiny. This will include individually directed research to review, consolidate and strengthen your individual position as an artist. Students accepted onto the programme work in media areas including painting, sculpture, printmaking, installation, performance, art writing, textiles, digital media and video. The programme places a strong emphasis on student-centred learning – especially on your individual response to the divergent views you will experience in relation to your practice.
Among other qualities, you are expected to: contribute actively in tutorial and seminar discussions; to welcome and encourage sustained analysis of your practice by tutors and fellow students; to understand that the production of contemporary art takes place in a demanding and testing environment; and to take an independent path in developing your practice and its concerns.
Learning on the programme is primarily achieved through an appropriate combination of self-initiated and directed work in studio-practice and Critical Studies. Individual tutorials, seminars, lectures, workshops and research laboratories support this work. All parts of the programme are mandatory for all students. There are no optional modules on the programme. Modules and assessments are structured similarly on both parts of the programme.
The three examination elements for both Year One and Year Two are: Collection of Tutorial Reports, Exhibition, and Critical Studies Essay. All three elements must be passed to successfully complete each part of the programme. Each element of examination has both progression and final points of assessment.
Graduates from the MFA in Fine Art Goldsmiths go on to success in a range of fields. As well as the many internationally reknown artists who have studied at Goldsmiths, others have gone onto become gallerists or curators or have entered the fields of art administration, education and other cultural industries.
The course at Goldsmiths enables you to focus on the development of your own skills and aspirations and to equip you with the resources to succeed in your chosen profession.
See our full MFA art alumni list.