drama and theatre - university of kent · 4 drama and theatre did you know? in the national student...

DRAMA ANDTHEATRECanterbury

The UK’s European university

Undergraduatestudy

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ACADEMIC EXCELLENCE ANDINSPIRATIONAL TEACHING

Kent is one of the UK’sleading universities,ranked 23rd in TheGuardian University Guide 2017. In theResearch ExcellenceFramework (REF) 2014,Kent is ranked 17th* forresearch intensity,outperforming 11 of the 24Russell Group universities.

Kent’s School of Arts has one of themost exciting and innovative dramadepartments in the country.

Inspirational teachingThe School has a proven recordof excellence in teaching andis ranked 16th in the UK in TheComplete University Guide 2017.Combining the study of traditionaltheatre with cutting-edgeperformance practice, we allow you to develop a wide range of skills as well as your creativity.

You benefit from our academics’diverse range of knowledge, both interms of their research interests andprofessional backgrounds. We alsouse a wealth of teaching strategiesincluding seminars, lectures,practical workshops, supervisedrehearsals, screenings and one-to-one tuition. Many modules includetheatre visits, screenings, and guestlectures or masterclasses fromtheatre practitioners and industryexperts.

World-leading researchDrama and Theatre students at Kentbenefit from being part of a highlycreative research environment withmany staff producing research ofworld-class significance. In the 2014REF, arts at Kent was ranked 1st forresearch power, with 98% of artsresearch judged to be ofinternational quality.

Within the department we havethree specialist research centres,the European Theatre ResearchNetwork, the Centre for Cognition,Kinesthetics and Performance, andPopular and Comic Performance.Another distinctive feature of thedepartment is our focus on ‘practiceas research’, which allows a rangeof theatre practitioners to developtheir creative work as part of theiracademic research.

Supportive communityThe atmosphere within the School ofArts is very supportive. The School’sadministration team were highlycommended in the OutstandingDepartmental Administration Teamcategory at the 2015 Times HigherEducation Leadership andManagement Awards. Dramalecturers also have an excellentrecord for winning Kent Union’sstudent-nominated awards.

Within the School, lecturers rangefrom academics, who haveyears of experience in universityteaching and research, to theatreprofessionals who have worked inthe industry, doing everything fromtheatre design to directing, to stand-up comedy, stage management,acting or arts funding. Our technicalteam is equally well qualified, withprofessional experience rangingacross diverse venues, media andcontexts, from local festivals tointernational collaborations in opera,film, music and performance.

Drama and Theatre

*of 122 universities, not includingspecialist institutions.

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A year on placement Our programmes have always givenour students the opportunity todevelop work-related skills as partof their degree; building on this, wenow offer you the opportunity tospend a year on a work placement.For details, see p16.

A global outlookKent is known as the UK’s Europeanuniversity. Our UK locations areclose to the European mainland and we have postgraduate centresin Paris, Rome, Brussels and Athensas well as strong links with othertop-ranking European institutions.

With 37% of our academic staffcoming from overseas, Kent’sinternational community fosters asense of global understanding andcommunication. We attract a highpercentage of European studentsand globally our students represent148 nationalities. There are also

opportunities for our students tospend time studying or workingabroad as part of their degree.

A successful futureAs well as providing a first-rateacademic experience, we wantyou to be in a good position to facethe demands of a competitiveeconomic climate. There is a strongemphasis on employability withinour curriculum and we offer a rangeof employability support.

Our programmes help students todevelop the creative competenceto succeed in a future career in thetheatre profession, or the widercreative industries. The modulesavailable to drama students cover a range of professional practicesand past graduates have gone on to become actors, theatreproducers, directors, scriptwritersand teachers, among many othercareers.

Drama also gives students a rangeof transferable skills which arehighly prized outside the arts,and some graduates have hadsuccessful careers in businessand other professions. For instance,students have the opportunity tobenefit from Kent’s Q-Step Centre,which provides advanced trainingin quantitative methods. Seewww.kent.ac.uk/qstep for details.

For more information on careershelp at Kent, see p10 or visitwww.kent.ac.uk/employability

Choice of programmes At Kent, it’s possible to select adegree programme that is wellsuited to your interests andambitions. Our single honoursdegree in Drama and Theatreprovides a focus on professionalpractice alongside theoreticalgroundwork. Other options includethe opportunity to combine dramawith another subject: we offer a widerange of joint honours degrees.There are also options for aplacement year or to take a yearabroad. See p12 for more details.

A year abroadAnother option available as part of your degree is to apply for an exchange year studying at aforeign university. We have links with partners across Europe and the USA and are continually setting up new exchange programmes withother universities. See p16 for moredetails.

www.kent.ac.uk/arts/drama

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DID YOU KNOW?In the National StudentSurvey 2015, Kent gainedthe 5th highest score forstudent satisfaction.

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SUPERB STUDENT EXPERIENCE

The School of Arts createsa lively interdisciplinaryatmosphere for studentsin our state-of-the-artJarman Building.

Professional facilitiesThere are extensive facilities oncampus, which give you theopportunity to develop yourpractice, whether on stage throughperformance or backstage bygaining experience of lighting,sound or set design. For more on the Jarman Building, see p6.

The University is also home to the340-seat Gulbenkian Theatre, anational touring house, bringingcontemporary theatre and comedyproductions on to campus.

Academic facilitiesThe study resources on campus areexcellent. Recently extended andrefurbished, the University’sTempleman Library provides awealth of resources to supportyour studies. Its extensive printand electronic collections arespecifically aimed at supportingthe courses taught at Kent. It isrenowned for its drama and theatremanuscripts, including collectionsof playbills, prints, programmes andother theatre ephemera, as well astheatrical biography and the historyof the stage in the 19th and 20thcenturies.

It has particular strengths as aresearch resource in EnglishRenaissance drama and Europeantheatre, especially Russian and

French drama, as well as specialistcollections on Jacques Copeau andJerzy Grotowski. It also offers theonline resource, Digital Theatre Plus,providing full-length films of Britishtheatre productions, in addition tointerviews with the cast and thecreative and production teams.

There are over a thousand PCs oncampus and a range of supportservices for help or advice.

Beautiful campusOur campus is set in a stunninglocation. It has plenty of green andtranquil spaces, both lawns andwooded areas, and is on a hill witha view of the city and CanterburyCathedral. For entertainment, thecampus has its own theatre, cinemaand nightclub, as well as a concerthall and music rehearsal spaces.Everything you need on campus iswithin walking distance, includingcafés, a sports centre, a generalstore, a bookshop, banks, a medical

centre and a pharmacy. Canterburycity centre is only a 25-minute walkor a short bus-ride away.

Kent ExtraKent Extra is an excellent way to getmore from your time at university. Itprovides opportunities to enhanceyour knowledge, learn new skillsand improve your CV. You cando this in many ways, for exampleby attending one of our summerschools; by volunteering; or bytaking a Study Plus course in anarea that interests you. For details,see www.kent.ac.uk/kentextra

Attractive location Canterbury is a lovely city withmedieval buildings, lively bars andatmospheric pubs, as well as a widerange of shops. The coastal town ofWhitstable is close by and there aresandy beaches further down thecoast. London is under an houraway by high-speed train.


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FIRST-CLASS FACILITIES

The School of Arts hasa purpose-built building,with a range of facilities,including two dramastudios, a film studioand editing suite, a largegallery space, staff officesand social spaces.

Designed by award-winningarchitects and named after iconicartist and filmmaker Derek Jarman,the £6.6 million Jarman Building(pictured above) encouragesinterdisciplinary learning, teaching,and research. It includes impressivefacilities for studying drama andtheatre, as well as film and art, all

of which enhances the experiencefor School of Arts students andstaff alike.

The Jarman’s professional facilitiesinclude two adjacent studios withlighting rigs, a shared store and aspacious control box, housing thelatest equipment. In addition tothose facilities based in Jarman,we also have the traditionally-styledAphra Theatre with raked seatingand a capacity of 120, and theflexible Lumley Studio, an adaptableblack-box studio space. (All of thesespaces are licensed performancespaces). Also on campus, thereis a drama studio in Eliot College;a sound studio; flexible seminar

rooms; an art gallery and a fullyequipped construction workshop,which has recently been upgraded.

Studio 3 GalleryThe Jarman Building is also hometo the Studio 3 Gallery, which offersa programme of internationalexhibitions as well as annual studentshows. Since its opening, the galleryhas played host to a series of majorexhibitions including the paintingsof John Blackburn and the work ofAlfred Drury.

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CREATIVE WORK AND STUDENT PRODUCTIONS

At Kent, we challengethe unhelpful distinctionbetween practical andtheoretical study. Weare convinced that asuccessful productioncannot be created withoutcritical thought, and thatyou cannot study theatrewithout doing it.

Therefore, many of our modulesinclude both written and performedassessments. Our students regularlygo to the theatre and write essays,theatre reviews and fundingapplications. They also undertakeother innovative assignments, whilecreating a range of exciting

productions. From the first year,you are introduced to historicallyimportant theatre practitioners,individual performance skills,technical theatre, and ensembletheatre-making, learning how towork creatively, and safely, bothonstage and backstage. All ourproductions are directed, devised,designed and performed bystudents themselves, while tutorsadvise and support them. Laterin the programme, you are giventhe opportunity to undertakeplacements and work experiencein the theatre world, and to establishand work in your own studentcompanies on your own production.

The range of work our studentsproduce is impressive and prolific: itincludes plays, installations, physicaltheatre, stand-up comedy, devisedperformances, applied theatreprojects in schools, museums andcommunity venues, site-specificperformances, rehearsed readingsand many more. The annual SpringSeason event and Summer TermFestival consists of a series ofpublic performances, many ofwhich are staged in theatre andnon-theatre spaces on and offcampus.

Single honours students produce asmall festival of work in the summerterm of Stage 1.


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useful. The city of Canterbury islovely too; quite compact with goodshopping options and obviouslythe cathedral is amazing. I thinkCanterbury looks quite old-fashioned – it looks the way auniversity town should. It’s gorgeous at Christmas.

What next?On this degree, you gain lots ofskills that are useful for any career:teamwork, leadership, presentationskills and communication skills. Yourconfidence in your ability to presentideas improves and ultimately youbecome a lot more creative. Idefinitely want to use the skills and knowledge I have gained and perhaps work as an appliedpractitioner. That would give me theoption of working with all sorts ofpeople, the elderly, schoolchildren,prisoners – I would enjoy takingdrama into the community to helppeople with specific problems. Ata later date I may do a Master’s.

What advice would you giveto prospective students?Make sure the course is right foryou – I think you have to go with yourgut instinct. The biggest change isnot living at home and you can feelpressure to meet people and makefriends. In the end though, it will bealright; you do make friends quiteeasily because there are lots ofopportunities to mix and get toknow people. I have had a greattime at Kent and couldn’t imaginemyself anywhere else.

Alex Barnes is in the finalyear of his Drama andTheatre degree.

What attracted you to Kent? I liked that the course was boththeoretical and practical and wasimpressed by the wide choice ofmodules. I came to an Open Dayand liked the community feel of thecampus and the amazing view fromthe University down to the cathedral.

How is the course going? In the first year, you take twocompulsory modules. They are agood mix of practice and theory.Your understanding of a wholerange of drama practitionersdevelops and your confidence inyour ability to create your own workgrows. It’s a really good foundationfor the rest of your studies.

In your second and third years, you choose your own modules. Inmy second year, I took a modulecalled Victorian and EdwardianTheatre. We were able to use Kent’s unique archive to createan exhibition, which we mountedin the Gulbenkian. We focused onwomen in plays and how they werepresented during that time – it wasa fantastic experience, not justlearning about the subject but alsothinking of how best to present it inthe exhibition.

This year, I took an applied theatremodule, which involved working withchildren with disabilities in a localprimary school. We went in weeklyand created huge environments in

their classroom, Antarctica or aforest, so that they could followa narrative using all their senses.It was very rewarding to see theeffect our work had on them.

What about the lecturers?Their lectures are very engagingand they listen to your ideas andhelp you to expand on them. Theymake time for you and are verysupportive.

And your fellow students?It’s a big course but, even so, youget to know everyone well. We oftenwork in teams; the work is veryenjoyable but can also be quiteintense so you do forge a greatalliance with your classmates. Asthe course progresses, the strengthof those relationships grows andthat all adds to your enjoyment ofthe programme.

What do you think of theacademic facilities?The Jarman Building is the hub ofthe School of Arts where everyonecan mingle and chat; it has a realcommunity feel. We also have aworkshop where you can make setsand props. I am normally rubbish atthe technical side of things but theguy who runs the workshop is veryhelpful and you learn to use yourimagination to get the best out ofthe materials you have.

And the social facilities?There are various restaurants andcafés, a couple of good bars anda nightclub. There are lots of placesto go and the campus shop is

STUDENT PROFILE

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A SUCCESSFUL FUTURE

Kent equips you withessential skills to give youa competitive advantagewhen it comes to getting ajob; more than 95% of Kentstudents who graduatedin 2015 were in work orfurther study within sixmonths.

We expect great things of ourstudents and we hope that ourgraduates will shape the theatreof the future. The School workshard to maintain strong links withprofessionals throughout theindustry and we believe the rangeand quality of the modules we offergives our students an advantagein a competitive field.

We also help nurture students aftergraduation, encouraging them tostay and work in the region throughour Graduate Theatre Companyscheme, which offers advice as wellas support in terms of resources.Successful professional companiesemerging from Kent include theaward-winning national touringcompany Little Bulb Theatre, thepopular Shakespearean troupe The Pantaloons, improvised comedygroup The Noise Next Door, and theslapstick comedy troupe, Three Half Pints, who have had highlysuccessful runs at the EdinburghFringe Festival and are the stars ofa new CBeebies show, Spot Bots,to be broadcast in 2016.

The Drama and Theatre degreeprogramme includes opportunitiesfor work placements to makeprofessional contacts. Manyof our students go directly intoemployment through the contactsthey have made during their timeat Kent.

Graduate career pathsOur graduates have pursuedsuccessful careers as theatreproducers, literary managers,journalists, scriptwriters, directors,event managers, community theatreofficers, theatre technicians, dramateachers and lecturers, performersand actors. Kent graduates havegone on to work for major playersin the West End, such as MarkRubinstein, Sonia Friedman and Bill Kenwright, as well as for theatrecompanies, such as DV8 andComplicite.

Some of our most prominentgraduates include theatre criticLyn Gardner (The Guardian),actors/comedians Jackie Clune and Alan Davies, Claire Marshall ofForced Entertainment, literary agentCharlotte Knight, director RussellBolam (Bristol Old Vic, RoyalShakespeare Company), theatreproducer Matthew Gordon(Associate Producer, CameronMackintosh Ltd), Kevin Walsh(Operations Director at Graeaetheatre company), novelist LouiseArnold, comedians Jimmy McGhieand Tiernan Douieb, scriptwriterMatt Evans (EastEnders, Law &

Order, New Tricks) Adam Brace(playwright) and Julian Woolford(director; Head of PostgraduateMusical Theatre at Guildford Schoolof Acting).

Links with the industryWe have developed links with someof the major players in theatre,including the following:• Bobby Baker• C&T theatre• Gulbenkian Theatre• Little Bulb Theatre• Marlowe Theatre• Oily Cart• Reckless Sleepers• Shakespeare’s Globe.

Careers adviceOur award-winning Careers andEmployability Service can give youadvice on how to choose your futurecareer, how to apply for jobs, howto write a good CV and how toperform well in interviews andaptitude tests. It also providesup-to-date information on graduateopportunities before and after yougraduate. For more details, seewww.kent.ac.uk/employability

Drama and Theatre


Alex Smith graduatedin 2012 and is currentlyworking as a stand-upcomedian. He appearedon BBC Three in Liveat the Electric andperformed at the 2015Edinburgh Festival.

What attracted you to Kent?What I wanted was somethingpractical: I didn’t want to be stuckin a classroom learning aboutGreek theatre. I went to visit otheruniversities but they didn’t exciteme as much. Kent wasn’t stuffy orpretentious; there was somethingquite free about the curriculumand the options it offered.

How did you find your studiesat Kent?You do learn a lot of theory,especially in the first year, butthen you use that theory to makedecisions in the practical work.In the third year I did the comedymodule with Olly Double. I think ithas changed now, but at that timethe module was more theoreticalthan practical. I loved watchingand analysing stand-up and Olly’sa great teacher, but I was neverplanning to do stand-up; I wasleaning towards theatre.

I studied Applied Theatre andbecame very interested in helpingchildren with special needs,specifically autism. Drama teachesyou a lot of ways to interact withchildren and that’s what I wasplanning to specialise in, untilsomeone invited me to perform

comedy at a student show. Instantlyit felt natural. For me it was a no-brainer and I made the decision tospecialise in stand-up. I still use theother aspects of my degree though.A lot of comedians have to surviveby doing awful jobs, waiting fortheir big break, but I have a veryrewarding job. In the evenings Iperform, but during the day I’mworking with a five-year-old autisticboy. When I started, he could onlyspeak or read a few words; nowhe’s in school every morning. That’sa very satisfying thing, watchingchildren progress and find theirplace in the world.

How was the experience ofstudying the art of comedy?Olly was very positive, and whenyou get words of encouragementfrom someone you respect, thatreally helps. But until someonepushes you on to the stage, you’renot sure how you’re going to handleit. I first performed in Monkeyshine –Kent’s student comedy club. Thesame people came to watchMonkeyshine every week, so youcouldn’t even think about doing thesame material.

How were your first stand-upperformances after graduation? Student audiences are kind. Insome ways Monkeyshine makes youslightly cocky because you becomea bit of a campus celebrity! But outin the ‘real world’ you’re performingto London pubs and that meansyou have to graft. Then I did acompetition called Amused Moose,

and met a representative fromAvalon Entertainment. He askedme to audition for Live at the Electricon BBC Three and I appeared in ashow which was hosted by RussellKane. I also supported RussellKane in a live show which was abrilliant experience – I guess that’swhat inspired me in the first place,watching other comedians.

In 2015, I made my debut at theEdinburgh Festival with my show,The Art of Grooming, and was partof the 2015 Best of EdinburghFringe tour.

Any advice to other students? Use the course as an opportunityto figure out what you want todo. You might find that you lovesomething that you’d never evenconsidered before.

For more details, including tourdates, see Alex’s website atwww.alexsmithcomedian.com

GRADUATE PROFILE

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CHOOSING YOUR PROGRAMME

At Kent, we offer anexceptional breadth ofmodules. As your degreeprogresses, you areencouraged to specialise,following your ownpassions or discoveringentirely new interests.

Here’s a guide to our Drama andTheatre degree programmes.

BA (Hons) Drama andTheatreOur single honours degree isstudied full-time over three years,enabling you to take a range ofpractical and theoretical modules,ranging from Greek theatre to stand-up comedy. In your first year, youtake two compulsory modules andtwo optional modules; these lay the foundations for the rest of yourstudies. In your second and thirdyears, you are able to choose themodules that most interest you.

Joint honours A joint honours degree is a three-year full-time programme (or fouryears if your second subject is alanguage) which leads to a BA(Hons). See our list on p23 for thecombinations on offer.

Joint honours students are given thesame choice of drama modules assingle honours students and can dothe same proportion of practicalwork at Stages 2 and 3.

For information on your joint honourssubject, download the leaflet fromwww.kent.ac.uk/courses/leaflets

Other programmesMedia Studies This innovative interdisciplinaryprogramme gives you theopportunity to study contemporaryculture and the ways in which it iscommunicated. We have embeddedpractice-based learning within theprogramme with modules in areassuch as filmmaking, photography,arts criticism, screenwriting andcurating – all designed to deepenunderstanding of contemporarymedia through creative ability.

For further information, go towww.kent.ac.uk/ug

Study abroadAll Drama and Theatre students canapply to spend a term abroad, or ayear abroad between Stages 2 and3. For more information see p16.

Please note that students takinga joint honours in a languageautomatically go abroad to workor study for a year.

Placement yearAll students on a three-yearprogramme are eligible to take aplacement year between Stages 2and 3. This is an opportunity for youto gain workplace experience aspart of your programme of study.For more details, see p16.

International studentsIf you are applying from outside theUK without the necessary Englishlanguage qualifications, you may beable to take the Kent InternationalFoundation Programme (IFP). TheKent IFP can provide progressionon to the Drama and Theatre degreeprogramme. For more details, seewww.kent.ac.uk/ifp

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Director’s TheatreThe role and function of theatredirection is a hotly contested field.What is its relation to the play-text?Is the director the playwright’s bestfriend or worst enemy? And why didtheatre directing only emerge at aspecific point in theatre history, inthe course of the 19th century? Inthis module, you are introduced tokey theatre directors, their work, andtheir writings. You also examine therelation between a play-text and itsproduction on stage. We explore,through the lens of these directors,some very fundamental questions:what is theatre, and what is it therefor?

Introduction to MaskDuring this module, you developan understanding of a variety ofpractices, theories and historicalcontexts of mask in performance.You develop a sense of thefunction and potential of mask inperformance and performer training,and develop your own performanceskills through the medium of mask.Taught through practical workshops,lectures and screenings, you movebeyond your assumptions andperformance experience and areintroduced to the idea of play andrisk as key components of therehearsal process. You areintroduced to a range of mask andassociated techniques (for example:neutral/noble mask, character mask,Commedia).

History of Comedy on Stageand ScreenThroughout this module you learnabout the history of comedy onstage from Ancient Greece to theturn of the 20th century by lookingat different periods and genresincluding Shakespearean comedyand Commedia dell’arte. You alsolearn about the history of comedyon screen from early silent film tocontemporary television comedyincluding 1960s romantic comedyand 21st-century animated comedy.

Behind the PerformerTheatre is often focused on the endperformance, what happens onstage. Here, you look at the manyand varied roles that bring theperformance into being, analysingthe different professional roles inthe theatre and looking at currentproductions and companies. Weinvestigate the roles of the maincreative teams, the technical teams,the backstage roles, front of houseroles and the administrative,organisational, artistic andproduction roles.

Stage 1 represents thefirst year of your degree.The modules studied laythe foundations for morein-depth study later in theprogramme.

Please note: the module lists beloware not fixed as new modules arealways in development and choicesare updated yearly. Please seewww.kent.ac.uk/ug for the mostup-to-date information.

Stage 1 modules cover theoreticaland practical approaches; thereare two compulsory modules: • Empty Space 1 and 2.

You then choose another twomodules from those listed below:• Director’s Theatre• Introduction to Mask• History of Comedy on Stage

and Screen• Behind the Performer.

Modules: Stage 1Empty Space 1 and 2In these compulsory modules, youare invited to see beyond your ownassumptions about theatre and areintroduced to a diverse range ofmethods of making performance.You learn about warming up, studya variety of performance skills, andexperience collaborative groupwork. You explore the possibilities ofcreating performance from a rangeof starting points, for examplespace, body, voice, text, characteror a visual stimulus.


STUDYING AT STAGE 1

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STUDYING AT STAGE 2

Building on the essentialskills and knowledge youacquired in your firstyear, Stage 2 exploresthe history and creativityof theatre.


Single honours students choosefour modules, typically from the listbelow, and joint honours studentsnormally take two modules inDrama, and the rest in their othersubject:• Acting• Costume and Fashion• European Naturalist Theatre

and its Legacy• European Theatre from 1945• Introduction to Musical Theatre

Dance• Media and Performance Art• Physical Theatre 1• Popular Performance• Puppet and Object Theatre• Site-Specific Theatre• Shakespeare’s Theatre• Theatre and Adaptation• Theatres of the Past 1: the

Classics• Victorian and Edwardian Theatre.

Joint honours students in Dramaand Film take:• Filmmaking: Improvisation for

Screen

Modules: Stage 2ActingYou study the actor’s skills,collaborative production processesand dominant styles. Acting theoryis examined in practical workshopsand lectures, covering Stanislavski,Brecht, the American Method,director’s theatre andpostmodernism. You performmonologues and short scenesand produce an essay.

Costume and FashionYou explore the roles of costumeand fashion in drama, film andthe visual arts. The social valuesencoded by clothes, their relationto class or sexual identity, arediscussed. You also look at howthese assumptions inform the useof costume in adaptations of texts,or colour our view of a character,or of a director’s interpretation.

European Naturalist Theatreand its LegacyDramatists such as Zola, Ibsen,Hauptmann and Chekhov soughtto represent life in more accurateand convincing ways, and hereyou explore the historical contextin which naturalism as a literary andtheatrical movement developed. Anunderstanding of the key debatesof the period illuminates a numberof naturalist theatre texts, and youexamine the movement’s legacy inselected contemporary British plays.

European Theatre from 1945As the avant-garde movementsextended and broke away fromnaturalist conventions, more

emphasis was put upon significanttexts, landmark productions andthe view of the director as themajor interpretive role in theatreproduction. This module examinesthe avant-garde movements, keypractitioners and the momentousproductions across Europe thatdeveloped new theatre languagesand modes of expression.

Filmmaking: Improvisationfor Screen Practical workshops providetechnical instruction and creativefocus on improvisation in rehearsals,screenplay development, andperformance during filming.Lectures are used to explorehistorical contexts and you areintroduced to film artists’ use ofaleatory techniques in productionand post-production, live cinema,and the use of ‘real’ or improviseddialogue and verbatim accounts indocumentary and animated films.

Introduction to Musical TheatreDanceYou explore the historical andcultural contexts of the developmentof musical theatre dance. You focuson particular areas including its link with popular dance forms in the 1920s and the emergence of variety and vaudeville theatre; theintegration of Latin, Indian andAfrican influences through the1940s, 1950s and 1960s; thestandardisation of jazz in the 1970s; and the influences of ballet,cabaret, and burlesque theatre. Youlearn a section of musical theatredance repertory, analyse filmedmusicals and other performances,

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Puppet and Object TheatreThis module offers a creativeexploration of puppetry and objecttheatre. It includes scenic elementsand staging. Elements used includepuppets, objects, visible/invisiblepuppeteers and set, light,projection, motion and sound.Lectures provide theoreticalperspectives while practicalworkshops explore performance.You develop your skills as maker,performer, puppeteer, manipulator,musician and technician.

Site-Specific TheatreFocusing on the emergence anddevelopment of site-specificperformance through the 20thcentury and into the 21st, youinvestigate theatre and performanceforms that embrace the ‘site’. Inexploring the context in which alocation becomes the determiningfeature in the creation of artistic and theatrical works, you considerthe development of site/land art,installation art and communitytheatre, and look at the influenceof this work on the emergenceof a broad genre of practice.

Shakespeare’s TheatreExamining the beginnings of themodern theatre, this module askssome fundamental questions aboutthe theatre of Shakespeare’s eraand how it worked. You cover suchtopics as performance spaces,audiences, the economics of theplayhouse, the emergence ofprofessional actors and playwrights,and governmental control. You studythe work of Shakespeare, Jonson,

Beaumont and Middleton, and also look at other historical texts.

Theatre and AdaptationDrawing on the work ofcontemporary theatre-makers, youexplore specific approaches tostage adaptation, study adaptationmethodologies and develop anunderstanding of the implicationsof adaptation. Through seminardiscussions, practical and creativework, you reflect on performance’snear-obsessive desire to return,repeat, rewrite and revisit,establishing a dialogue acrosslanguages and cultural identities.

Theatres of the Past 1:the Classics You explore a specific period oftheatre (for example theatre of theGreat War, or Greek theatre), chosenby the tutor, analysing the work ofkey practitioners of the time. Youlearn about the theatre, drama andperformance of the period and itscultural and social contexts, as wellas the principles and practices ofstudying theatre history. You exploreways of making historical researchaccessible to a modern audience.

Victorian and Edwardian Theatre This module examines the theatre’srelationship with the changinghistorical, social and cultural contextof the Victorian and Edwardian eras.An exciting and important period ofBritish theatre, it laid the foundationsfor the organisation, values andforms of British theatre throughoutmuch of the 20th and 21stcenturies.

and complete a research essay. Attendance at live musicalperformances is required. (Provisionfor zero-cost options is offered.)

Media and Performance Art You explore avant-garde movementssuch as Futurism, Dada, Surrealismand the Bauhaus, and are introducedto concepts such as liveness,remediation, postmodernism,intermediality and posthumanism.You discover the history of audio-visual technologies and their use in art and performance, and learnabout current practices of multimediaperformance, live art, and interactiveand immersive theatre.

Physical Theatre 1You explore different approaches totraining for performance where thefocus is on the body, in particular inrelation to ‘physical theatre’. Thisgenre encompasses the shift awayfrom Naturalism, Stanislavski andtext-based representational drama.Extensive reading on differentpractitioners complements yourdevelopment of performance skillsin your practical workshop sessions.

Popular PerformanceEach year, this module focuseson a different form of popularperformance leading to a practicalreconstruction and a researchportfolio. For instance, researchon mid-20th century British varietytheatre could lead to the publicperformance of a variety show,aiming for historical accuracy andwith students appearing as singers,dancers, comedians, acrobats,ventriloquists and magicians.


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A YEAR ABROAD OR A PLACEMENT YEAR

When studying at Kent,you have the opportunityto enhance your CV notjust academically, butthrough the experience ofliving overseas or gainingskills in the workplace.

All students are eligible to apply totake a year abroad or a placementyear. The year usually takes placebetween the second and final yearsof study. It is not necessary to speakanother language to study abroadsince many of our exchangeuniversities teach in English.

A year abroadYou can apply to spend a year or aterm abroad studying at a universityin Europe, the USA or South Africa.We have contacts with a range ofEuropean partners – universities,theatres and institutions.

Most students can take advantageof a year abroad, a term abroad orplacements in countries such asCanada, Denmark, Germany,Greece, the Netherlands, SouthAfrica and the USA. Joint honoursstudents studying drama with alanguage usually study in a countrythat is appropriate to their chosenlanguage. For more details, seewww.kent.ac.uk/goabroad

A placement yearThe placement year providesthe opportunity for you to gainexperience in the workplace as partof your degree. There are manybenefits to taking a placement year:

it increases your professionalcontacts and gives you the chanceto gain some knowledge of the workenvironment, acquire new skills, anddevelop your confidence. Tuitionfees for the placement year aregreatly reduced and employersoften offer expenses or a salary.

During your placement, you write aregular blog and towards the endyou write a report on the placement.The year is assessed on a pass/failbasis according to feedback fromyour employer and your report/blog.For more information, seewww.kent.ac.uk/humanities/studying/placement

Drama and Theatre

“So many adventuresand opportunities haveemerged from what was anincredible placement withina creative arts institution.I gained a knowledge of allareas within the businessand it opened many doorsfor future employment. Ithas undoubtedly increased myself-confidence and ambition.”

Rebecca ChallonerDrama and Theatre with a Placement Year

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STUDYING AT STAGE 3

Cultural Policies in the BritishTheatreIn the mid-80s theatre had becomea neglected area of policy, survivingon ever-reducing investment. Today,it is recognised not only as apopular art form but as an elementof the glue that binds communitiestogether, attracting the interest ofpolicymakers. Here, you examinethe ways that government affectsthe arts, including the formation ofthe Department for Culture, Media & Sport (DCMS) and the history ofArts Council England. The module isalso an introduction to arts funding.

Dance and Discourse:Dramaturgies of Moving BodiesDance in its various forms hasestablished itself at the forefront of theatrical experimentation: fromcontemporary ballet to postmoderndance, from Tanztheater to NewBody Performances, dance invents,maps out and tests radical theatreand performance concepts. Here,you explore the history and contextsof dance as a theatre genre and ofchoreography as creative method.You also address the methodologiesof analysing dance and itsdramaturgic strategies. You look at the works of contemporarychoreographers, such as WilliamForsythe, Jirí Kylián, Lloyd Newson,Anne Teresa De Keersmaeker, OhadNaharin, and Jérôme Bel. The worksof contemporary choreographersare studied on video, film, andthrough live performance.

At Stage 3, you specialisein areas that inspire you.Knowledge of currenttheatre productions, aswell as funding and policy,are particularly importantat Stage 3.


All single honours students take one of the following modules:• Independent Project• Creative Project.

Single honours students alsochoose two to three modules fromthe list below:• Applied Theatre• Arts Internship• Cultural Policies in the British

Theatre • Dance and Discourse:

Dramaturgies of Moving Bodies• Introduction to Stand-up• Musical Theatre Dance 2• New Directions• Performing Classical Texts• Performing Lives: Theory and

Practice of AutobiographicalTheatre

• Physical Theatre 2• Playwriting 1 for Beginners• The Shakespeare Effect• Theatre and Ideas• Theatre and Journalism• Theatres of the Past 2: the

Moderns.

Joint honours students normally taketwo modules in Drama and Theatre,and the rest in their other subject.

Modules: Stage 3 Applied TheatreThis module gives you theopportunity to understand andapply performance techniques incommunity settings. You examinethe historical development ofapplied performance and gain anunderstanding of the social contextsof this field in areas such as dramain education, radical street theatre,and theatre for development andchange. You learn about planningand management of suchtechniques before moving on topreparing a workshop and testingyour skills on and off campus.

Creative projectYou work on an independentcreative project of your owndevising, which is a culmination ofpractical elements of your degree.Performance, workshop, design,stagecraft, producing or othercreative skills encountered in earlier modules will be developed,extended and explored inautonomous work, which issupported by regular groupsupervision sessions. Projects alsoinvolve research to contextualisethe practical elements.


CONTINUED OVERLEAF

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and composition, and allows you toengage with directing as practicewithin a group performance. Thereare also workshops on: interrogatingthe classics; directing and devising;directing and new technologies.

Musical Theatre Dance 2You explore the historical andcultural contexts of mainstream20th-century musical theatre/jazzdance assessing the influences onjazz and musical theatre dance ofdifferent dance cultures, styles andgenres. You study choreographerssuch as Jack Cole and Bob Fosseand, in weekly workshop sessions,focus on their techniques and styles.To show your understanding of their work, you create your ownchoreography following their style.You view and analyse filmed musicaltheatre dance numbers and arerequired to view or attend two full-length musical performances, atleast one live. (Provision for zero-

cost options is offered.) These taskslead to the performance of studentchoreographies in small groups anda reflective research essay detailinghow the choreography wasdeveloped.

Performing Classical TextsYou are introduced to the specificacting challenges presented by thepre-Restoration texts of the ancientGreeks and Shakespeare. You aretaught how to analyse languagestructure and verse forms, focusingon how such text analysis can directyou as a performer. Initially, youfocus on Greek tragedy, culminatingin a solo performance; you thenexplore text analysis when workingwith Shakespeare.

Performing Lives: Theory andPractice of AutobiographicalTheatre The genre of theatricalautobiography is examined here,within the context of psychoanalyticperformance and gender theory.Examples range from EdwardBond’s Bingo to Rachel Rosenthal’sMy Brazil. Practical workshopsexamine auto/biographicalperformance, with reference to theself as source and the body as text.

Physical Theatre 2You explore the different types ofcreative processes within physicaltheatre. Weekly practical workshopsintroduce a variety of approaches tocreating physical compositions andscores, to theatre-wide concerns,including the staging of theatricaland non-theatrical texts in innovativeways, always emphasising the

Introduction to Stand-upYou are introduced to the practicaland theoretical aspects of stand-upcomedy. Initially, you analyse thework of individual comedians,exploring such issues as comictheory and the traditions of stand-up within their historical context.Later, you work on creating yourown short stand-up acts, generatingoriginal material and developing keyskills such as developing a persona,working an audience, improvisationand characterisation.

Independent Project/CreativeProjectYou choose a research topic of yourchoice and are supported in theconception and realisation of yourproject by an academic supervisor.

New DirectionsA programme of exercises exploresthe relationship between directingand performance, design, writing

Drama and Theatre

STUDYING AT STAGE 3 (CONT)

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culture. You trace the diversity ofShakespearean production on thecontemporary stage and screen.

Theatre and Ideas First, you examine fundamentalquestions within the philosophyof theatre, such as the ethics ofrepresentation, the ontology oflive performance and the extentto which performance can bephilosophy, going on to discusstheir applicability to contemporarypractice. In the second half of themodule, you take part in a series ofthree-hour workshops in which youpractically explore a given text.

Theatre and Journalism A series of lectures, seminardiscussions, presentations andtheatre trips provide scope foranalysis, discussion and writtenreflection. You read theatre reviews,blogs and theatre periodicals

immediacy of the body. Historicaland theoretical research allows youto contextualise the practice, andsupports you in making your ownwork and reflecting on it critically.

Playwriting 1 for BeginnersThe objective of this module is toget you writing and developingoriginal scripts for performance.Weekly lectures and workshopsintroduce some basic concepts andaspects of writing for performance.Some of the practical exercises areindividual; others are collaborative.Exercises include performances ofother students’ work that is thendiscussed and critiqued.

The Shakespeare EffectThis module examines the uniqueresilience of Shakespeare, as abody of plays, a focus of culturalmythology and a source ofinspiration within modern theatrical


regularly and develop skills inarts journalism and writing theatrereviews, including the productionof a theatre blog with a group ofyour peers. You are encouraged toreview a variety of genres and stylesand learn how to tailor your angleand style to a particular publicationor readership. All these practicesenhance your ability to read, speakand write about live performance.On a wider scale, the moduleprompts an engagement withcontemporary British theatre, itscontexts, key institutions, recenthistories and the cultural policieswhich shape the current scene.

Theatres of the Past 2:the ModernsThis module introduces you to afascinating area of theatre largelyignored by historians and theatrepractitioners: the theatre of the FirstWorld War (1914-1918). As well asstudying and practically exploringplays of and about the war, youexamine the social, theatrical, andpolitical context of the war. Askingthe question, ‘How does the theatrerespond to the First World War?’ youexplore the different ways in whichplays represented the trenches forpeople at home and soldiers whohad experienced the real thing;the ways that theatre cultivateda spy hysteria; and the differenttechniques that playwrights usedto criticise the war without beingbanned. You work with a diversity ofarchival sources in exploring theselong-forgotten theatrical works.

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RESEARCH-LED TEACHING

Drama and Theatre

Part of what makes for agreat study experience at Kent are the range ofmodules that allow you to gain knowledge at the cutting edge of yoursubject. Here we talk tothree academics abouttheir own research-ledteaching.

In the School of Arts, you are neverexpected to simply absorb thewisdom of the ‘experts’. Instead,you are seen as an activeparticipant in the research inquiry– analysing materials, debating,thinking critically, questioning andformulating the important questionsfor yourself. Our academics bringthe outcomes of their research,and the processes of knowledgecreation, into the classroom asan integral part of their teaching.

This means that by the end of yourdegree, you will have acquiredexperience and skills as aresearcher and will be ready touse them in the workplace or inpostgraduate study. This is whatresearch-led teaching is all about,and is part of what makes theeducation you receive at Kent sovaluable.

ComedyOliver Double (above), SeniorLecturer in Drama and Theatre‘All my research grows out ofmy former life as a professionalcomedian. I have written widelyabout stand-up, and my secondbook (Getting the Joke) was

originally written to exploreissues raised by my practical andtheoretical teaching on the subject.Two chapters of the second edition(2013) focus on the experiencesof former students learning aboutcomic performance in my modules,and subsequently pursuing careersin comedy after graduating. Theseinclude professional stand-upsJimmy McGhie and Tiernan Douieb,and members of improvisationalcomedy troupe, The Noise NextDoor.

‘In recent years, I have becomeinterested in tracing the origins ofstand-up comedy in the popularperformance of the past.Researching my book Britain HadTalent: A History of Variety Theatreinvolved tracking down rare filmfootage of variety acts, visitingarchives to find reviews and articlesfrom historical newspapers andmagazines, and interviewingsurviving performers – comedians,singers, speciality acts, and even an

89-year-old strongwoman. The booknot only looks into the history ofvariety, tracing its rise and fall,but also explains the performancetechniques that such performersused to amuse and entertainaudiences.

‘All of this is reflected in thenumerous projects on variety thatI’ve carried out with second-yearstudents. They engage in historicalresearch and learn a range ofperformance skills, allowing themto create variety acts of their own.At the end of term, we present avariety show of the type that wouldhave been seen in the middledecades of the 20th century, withstudents performing as dancers,acrobats, comedians, singers,magicians and jugglers.

‘Last time I ran this project, threestudents created a brilliant slapstickact which was so good that theydecided to carry on workingtogether. As the Three Half Pints,they have taken two shows to theEdinburgh Fringe, were the Resident Graduate Company at the Gulbenkian Theatre and are the stars of a new CBeebies show,Spotbots.’

Physical theatre Paul Allain (right), Professorof Theatre and Performance‘Why have I been interested inPolish theatre for over 25 years?One reason is that Polish directorslike Jerzy Grotowski and companies like Gardzienice, about whom I have published several books andarticles, have been fundamental in

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changing the way Europeansconsider acting and the theatre.Their approach is also a deeplypractical one and it informs theway I work with students in rigorousgroup sessions. But it is not enoughto just ‘do’ – a student must alsounderstand what they are doingand why, as well as who might havedone it before and how differentit might have been then.

‘My students become imaginativetheatre-makers, rooted in adisciplined technique and ensembleapproach; but they should also seethe longer historical trajectory ofwhere such work comes from andwhere they fit into this stream.Specifically, I teach movement-based practices and how to have anopen voice, with students learningRussian folk songs alongside basicacrobatics, rhythmical breathingand close partner work. The latteris vital, for it is through workingwith a partner that we get to knowourselves better, a central part ofany acting process.


‘What I do might be called physicaltheatre, though when I explain thisin Japan, Poland and Russia, theylaugh at such a notion. As theysee it, all their theatre is physical.Yet in the text-based Britishtheatrical tradition, physical theatreis an important term for describingcreative performance work thatdoes not necessarily start with ascript. And that is where I begin.Even if it does sometimes take meand the students to Moscow orPoland...’

Puppet and object theatreMelissa Trimingham (belowright), Senior Lecturer in Drama‘I believe that teachers shouldn’t justteach students, they should inspirethem to learn. Teachers do this indifferent ways but, for me, researchis a vital source of inspirationalteaching. In 2001, I completed oneof the first practice-based dramadoctorates in the UK. To do this, Ineeded to evolve a way of findingout through ‘doing’. I created

performances based on discoveringthe underlying principles of theBauhaus art school stage workshopin the 1920s. In many ways, myteaching has developed that lineof research ever since, helpingstudents to integrate objects, light,sound and visual imagery. Currently,my research looks at using applieddrama with autistic children, andintegrating those same highlyvisual and sensory elements.The photograph (below) showsme demonstrating a puppet I usedwith my own autistic son.

‘One student recently wrote in hislog: “Melissa introduced us topuppets that she worked with on theImagining Autism project. She gaveus an example of how she wouldhave used the puppet and askedus to have a go. It was fascinatingfinding out how puppetry had beenable to positively affect children withautism. I felt inspired, as this sort ofwork is something I want to do aftermy time at university.”‘

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VISIT THE UNIVERSITY

Come to an Open Day oran Applicant Day and seefor yourself what it’s liketo be a student at theUniversity of Kent.

Open DaysKent runs Open Days during thesummer and autumn. These providean excellent opportunity for you todiscover what it is like to live andstudy at the University. You canmeet academic staff and currentstudents, find out about ourcourses and attend subjectdisplays, workshops and informallectures. We also offer tours aroundthe campus to view our sportsfacilities, the library and Universityaccommodation. For furtherinformation and details of howto book your place, seewww.kent.ac.uk/opendays

Applicant DaysIf you apply to study at Kent andwe offer you a place (or invite you toattend an interview), you will usuallybe sent an invitation to one of ourApplicant Days. You can book toattend through your online KentApplicant Portal. The Applicant Day includes presentations in yoursubject area, guided tours of thecampus, including Universityaccommodation, and theopportunity to speak with bothacademic staff and currentstudents about your chosen subject. For further information, see www.kent.ac.uk/visit

Informal visitsYou are also welcome to make aninformal visit to our campuses at any time. The University runs toursof the Canterbury and Medwaycampuses throughout the yearfor anyone who is unable to attendan Open Day or Applicant Day.It may also be possible to arrangemeetings with academic staff,although we cannot guarantee this.For more details and to book yourplace, see www.kent.ac.uk/informal

Alternatively, we can provide youwith a self-guided tour leaflet, whichincludes the main points of interest.For more details and to downloada self-guided tour, go towww.kent.ac.uk/informal

Drama and Theatre


LocationCanterbury

AwardBA (Hons)

Degree programme

Single honours• BA (Hons) in Drama and Theatre(W400)

Joint honoursBA (Hons) in Drama and...• Classical & ArchaeologicalStudies (QW84)

• Comparative Literature (QW24)• English and American Literature(QW34)

• English Language andLinguistics (WQ43)

• Film (WW46)• French (RW14)• German (RW24)• Hispanic Studies (WR44)• History (VW14)• Italian (RW34)• Philosophy (VW54)• Religious Studies (VW64)

Year abroadStudents taking a joint honourslanguage degree spend a yearabroad between their second andfinal years of study, studying orworking in their chosen language.Other students have the option tospend a year abroad in Europe,America, or South Africa.

Placement year Students not taking a year abroadcan opt to gain experience of theworkplace by applying to take aplacement year between theirsecond and final years of study.

Offer levels

Single honoursABB at A level, BTEC DDM overall,IB Diploma 34 points or 16 pointsat HL

Joint honours: ABB-BBB at A level, BTEC DDMoverall, IB Diploma 34 points or15-16 points at HL

Required subjects

• QW34: one of the following –A level English Literature orEnglish Language andLiterature grade B; IB HLEnglish A1/A2/B at 5/6/6 orHL English Literature A/EnglishLanguage and LiteratureA (or Literature A/Language andLiterature A of another country)5 at HL or 6 at SL

• RW14, RW24; WR44, RW34: one of the following – A levelgrade B in the relevantlanguage; GCSE grade B in therelevant language; GCSE gradeB (RW24 and WR44)) or grade C(RW14 and RW34) in a modernEuropean language other thanEnglish; IB 4 at HL or 5 at SL ina modern European languageother than English

• VW14: A level History, Classics-Ancient History or Classics-Classical Civilisation grade B;IB History 5 at HL or 6 at SL

Offer levels and entryrequirements are subject tochange. For the latest courseinformation, see:www.kent.ac.uk/ug

This brochure was produced in May 2016.The University of Kent makes every effort toensure that the information contained in itspublicity materials is fair and accurate andto provide educational services asdescribed. However, the courses, servicesand other matters may be subject tochange. For the most up-to-dateinformation, see www.kent.ac.uk/ug and forfull details of our terms and conditions, seewww.kent.ac.uk/termsandconditions

For the University to operate efficiently, itneeds to process information about you foradministrative, academic and health andsafety reasons. Any offer we make to you issubject to your consent to process suchinformation and is a requirement in order foryou to be registered as a student. Allstudents must agree to abide by theUniversity rules and regulations at:www.kent.ac.uk/regulations

Scholarships andbursariesFor details of scholarships andbursaries at Kent, please seewww.kent.ac.uk/ugfunding

More informationIf you would like more informationon Kent’s courses, facilities orservices, or would like to orderanother subject leaflet, pleasecontact us on: T: +44 (0)1227 827272 Freephone (UK only): 0800 975 3777 www.kent.ac.uk/ug

COME ANDVISIT US

University of Kent, The Registry, Canterbury, Kent CT2 7NZ T: +44 (0)1227 764000 www.kent.ac.uk

To find out more about visitingthe University, see our website:

www.kent.ac.uk/visit

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