create perform design learn 2021 Prospectus The Royal Central School of Speech and Drama University of London Eton Avenue At Central, we believe that our world-leading training London NW3 3HY should be accessible to everyone who wishes to develop UK their creativity and positively impact the industry. Telephone: +44 (0)20 7722 8183 Email: [email protected] www.cssd.ac.uk We are a unique and special community and treat all members and visitors with dignity and respect. @CSSDLondon By celebrating and respecting our different cultures, abilities and identities we aim to shape a better future for the arts and society.

Excellence requires diversity, which brings richness, knowledge, innovation, new understanding and skills.

Our differences enrich our learning, insight and wisdom.

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Printed on 100% recycled paper. World Land Trust is an international conservation charity, which protects the world’s most biologically important and threatened habitats. Madeline Samuel Malone MFA Voice Studies: Teaching Charlemagne and Coaching BA (Hons) Acting Musical Theatre ‘I found I had an early affinity for ‘I applied for Central through Open singing and theatre. However, I took Door, who offer a package of support the path well-travelled, obtaining to young people from low income a Bachelor of Commerce degree, backgrounds, which includes free followed by a Master’s in Adult auditions to drama schools, as well Education. I began a corporate career, as practical tutoring, workshops and but I never managed to shake off travel bursaries. my desire to work in theatre and to educate. At the time, I knew almost nothing about Central but it turned out to be I struggled with my identity for years, the perfect fit for me; a course centred specifically my voice, for which I had in acting that also develops my singing been bullied. It was when I attended and dancing skills. Central’s audition the Canadian National Voice Intensive was also the most welcoming I had. that my love of voice was fully realised. All of my mentors had a unanimous The Student Ambassadors were very opinion on the best course, which was helpful and I’m glad to be one of here at Central. them now myself, welcoming others to Central. The training is amazing, The interview experience was less from biomechanics in voice classes to daunting then I thought it would be. I barre work in ballet. It is well-rounded, left feeling that the process was very covering everything we need to much about getting to know me as an perform in plays, musicals, television, individual with potential. film, radio and more. The strength of Central’s courses is Our tutors are wonderful and truly its focus on honing the knowledge, care about our process. Central has critical thinking and research skills many things to be proud of, but needed to develop your own dynamic I would say that the outstanding and responsive pedagogy. teaching is one of the best things about the School. Every day, I feel that I have made contacts and friends I have achieved my goal of coming to during my time here, many of an educational institution: I learn.’ whom I hope to collaborate with professionally. I cannot help but feel blessed as I look at my time at Central.’

2 3 4 5 Contents

70 Postgraduate Courses 8 32 72 Research Degrees (PhD/MPhil) 110

Why Central Courses 74 MA Acting Short Courses

10 Innovating for over 100 years 32 Undergraduate Courses 74 Programme Overview 111 Diplomas 76 MA Acting Classical 113 Saturday Youth Theatre 12 An international community 34 BA (Hons) Acting of creativity 78 MA Acting Contemporary Summer Courses 34 Programme Overview 14 Partnerships and collaboration Evening Courses with industry 36 Acting 80 MA Acting for Screen 38 Acting CDT 16 The broadest range of drama 82 MA/MFA Actor Training and and performing arts courses 40 Acting Musical Theatre Coaching 114 18 First-class facilities in the 84 MA/MFA Advanced Theatre Practice heart of London 42 BA (Hons) Contemporary Performance Practice Next steps 20 Experience Central for yourself 86 MA Applied Theatre 42 Programme Overview 114 How to apply 21 Welcome 88 MA Applied Theatre: Drama in the 44 Drama, Applied Theatre and 115 Further information 22 Supporting your studies Education Community and Drama Education 116 Important information 23 Student support and wellbeing 46 Performance Arts 88 MA Applied Theatre: Drama and 24 Academic support 48 Writing for Performance the Criminal Justice System 25 Technical support 26 International student support 50 BA (Hons) Theatre Practice 90 MA/MFA Creative Producing 28 Accommodation support 50 Programme Overview 92 MA Drama and Movement Therapy 29 Financial support 52 Costume Construction 94 MA/MFA Movement: Directing and Teaching 30 Beyond Central 54 Design for Performance 56 Lighting Design 96 MA Music Theatre 58 Production Lighting 98 MA/MFA Performance Practice 60 Prop Making as Research 62 Scenic Painting for Stage 100 MA/MFA Scenography and Screen 102 MA Theatre Criticism and 64 Set Construction for Stage Dramaturgy and Screen 66 Stage Management and 104 MA/MFA Voice Studies: Teaching Technical Theatre and Coaching 68 Theatre Sound 106 MA/MFA Writing for Stage and Broadcast Media 109 PG Certificate Applied Theatre with Young People

6 7 Why Central? An Partnership international and collaboration community with of creativity industry

The broadest Innovating range of drama for over and performing 100 arts courses years

First-class facilities in the heart of London

8 9 Dr Nicola Abraham and a team from the NHS Imperial Innovating for Hospital Trust, working with a cohort of Central students and alumni, were recognised for Outstanding Arts and Creativity in Dementia Care at the 2019 National over 100 years Dementia Care Awards for the team’s intergenerational project work with the NHS and four schools in London. Central has been developing the leaders Find out more at www.cssd.ac.uk/news/win-at- and innovators who shape the future national-dementia-care-awards. of the performing arts and society since 1906, when Elsie Fogerty founded the Central School of Speech Training and Dramatic Arts in rooms at the Royal Albert Hall. Through her innovative approach to voice training, Elsie was instrumental in changing the way theatre was heard, but she also had a deep commitment to social justice and drama as a force for change. She was an active campaigner for a national theatre for Great Britain and in 1923 gained recognition for Central’s drama diplomas by the University of London. The Royal Central School of Speech and Drama now offers University of London degrees and remains a progressive conservatoire, nurturing innovation in all aspects of contemporary performance practice and research.

Our staff are practitioners, researchers and writers, inspiring each generation of new students who come to train with us. Staff have undertaken cutting-edge research in countries across the world while our PhD candidates continue to create and impart new knowledge to inform industry practice.

We challenge students to be original thinkers, inventive and effective collaborators, and creative entrepreneurs who go on to make a difference.

Sarah McBriar, graduated from MA Creative Producing in 2014, is the Creative Producer and Founder of both AVA Festival and Up Productions Ltd. In 2014, she won the Commercial Education Trust (CET) Entrepreneurs Award. Watch her story at www.cssd.ac.uk/ma-creative-producing.

10 11 In 2018, Dr Katharine Low began a collaboration with the Hillbrow Theatre Project at the Outreach Foundation in South Africa, funded An international by the Global Challenges Research Fund. The project addresses some of the issues of urban living by using performance-based work and digital storytelling to question, provoke and extend community understandings of health rights, access to healthcare and support and the experiences of urban living. Find out more about this of creativity project and other research by Dr Katharine Low at www.cssd. ac.uk/staff/dr-katharine-low-ma-hons-ma-phd. Central is known around the globe for the impact of its graduates, teachers and researchers – both on and off the screen and stage, as well as in community and applied theatre. Students from all over the world come to study at Central, not only to train in their chosen discipline, but also to learn about all the others and how they interrelate. Making theatre and performance brings people together and helps them find common ground while celebrating their differences, and Central’s international and cultural diversity is one of its key artistic and learning resources.

Graduates form a life-long, international peer support network, frequently working together in creative and production teams around the world after they graduate. Our alumni community is exactly that: a community. Our graduates from across the globe stay in touch and share the work they are undertaking, with many still attending Central productions and reunions. This closeness also results in inspirational experiences for current students through alumni mentoring and networking opportunities.

A group of Central staff, students and alumni took part in the 2019 Prague Quadrennial, the largest international festival of theatre and stage design. Staff, including Dr Kathrine Sandys, Dr David Shearing and Andreas Skourtis, were key players in the UK’s national entry for the event with this work commencing an eight- month residency at the Victoria and Albert (V&A) Museum immediately after. Find out more at www.cssd.ac.uk/news/2019- prague-quadrennial.

12 13 The public production of Boudica in November 2019, performed both at Central Partnerships and and the Curve Theatre Leicester, was a collaboration between BA (Hons) Acting collaboration Musical Theatre, BA (Hons) Theatre Practice, BA (Hons) Contemporary Performance with industry Practice and MA Scenography students.

Central has an unrivalled range of international partners and collaborators, from world-leading theatre companies like Complicité and Graeae, to the United States Institute of Theatre Technology (USITT) or the Harry Potter Experience in London.

Placement opportunities range from the Glastonbury Festival and the set of Star Wars to community drama projects as far afield as New York, Mumbai and South Africa. Students are regularly placed on projects within specialist production departments at the National Theatre, Royal Shakespeare Company, in the West End, at Elstree Studios, Pinewood Studios and literally hundreds of other arts and cultural organisations.

As a leading conservatoire, Central enjoys the support of professional employers and works hand-in-hand with the people and organisations in the performing arts sector. We work closely with casting agencies and directors to ensure the best possible exposure for our Acting students. Employers and industry professionals are invited to over 20 public productions and industry showcases each year, in addition to annual design and craft exhibitions, open scenography studio showcases, screenings and more.

14 15 The broadest range of drama and performing arts courses

With 15 courses at undergraduate level and 14 Master’s programmes, we offer Europe’s most comprehensive choice of specialist higher education drama, theatre and performance training. At Central, you will focus on your chosen subject and will also see how all these specialist roles interrelate. You will be surrounded by other equally passionate students, as well as teachers, researchers and industry professionals from all departments and aspects of the broad performing arts ecosystem. Many of our courses collaborate with each other on projects and productions, preparing students for professional work in the industry when they graduate.

16 17 Central’s new £16.7 million North Block building houses the Courtyard Theatre, a sound stage for supporting television and film- based projects, two double-height rehearsal spaces, new dressing rooms and a two-storey movement studio. See our virtual tour at www.cssd.ac.uk/tour.

First-class facilities in the heart of London

Our campus is in London’s NW3 postcode, right by Swiss Cottage tube station and near to such landmarks as Regent’s Park, Hampstead Heath, Abbey Road Studios, the Hampstead Theatre and Camden Market. It has six fully-functioning performance spaces, with the iconic 234-seat Embassy Theatre at its centre. Within those walls, Gordon Craig, Paul Robeson and Joan Littlewood, to name but a few, made historically significant theatre and we continue to use the space to train the next generation. Surrounded by purpose-built workshops, rehearsal rooms, a wardrobe department, dressing rooms, design studios and more, students can excel in their area of specialism.

18 19 Experience Central for yourself Welcome

It is my privilege to introduce you to The Royal Central School Open days We do not currently hold open Campus tours of Speech and Drama – the University of London’s drama days for the BA (Hons) Acting These take place most Wednesday conservatoire and one of the world’s leading centres of training, BA (Hons) Contemporary programme; we recommend afternoons for all courses except Performance Practice accessing the wealth of online advanced study and research in theatre and the performing arts. BA (Hons) Acting. You can book at 2 July 2020 information on our website and 30 September 2020 the virtual tour below. www.cssd.ac.uk/book-campus- tour. BA (Hons) Theatre Practice At a BA (Hons) Acting audition in 3 July 2020 London, you will receive a tour Virtual tour 30 April 2020 of the School and meet current 2 October 2020 students from the course. See a selection of the extensive 28 October 2020 facilities on our campus, including You may be eligible for a free the new North Block, at Postgraduate audition for BA (Hons) Acting, www.cssd.ac.uk/tour. We are a community of specialists, a ‘technical’ departments have given way a key role in stimulating public debate, 7 May 2020 please check the criteria at hive of collaborative creativity and a to a new, more collaborative ethos of shaping opinion and making complex 5 November 2020 www.cssd.ac.uk/freeauditions. See a show, exhibition or place where academics, artists and creative teamwork. Film, television and issues accessible. Drama is experiencing 28 January 2021 industry professionals come together theatre productions are now creative a new golden age on screen as modes 13 May 2021 festival to shape the future through making art collaborations between visual and of audience change with the advent We have over 20 public productions and exchanging knowledge. audio artists and makers, performers, of on-demand streaming. Through Book your place at and industry showcases that take technical specialists, dramaturgs and applied theatre, collaborative outreach Everyone is welcome at Central. We www.cssd.ac.uk/events. place every year, ranging from small- stage and production managers. Many and knowledge exchange projects, are driven by a passionate belief in art, and large-scale productions, to design of the leaders of this paradigm change our graduates, students and staff are and are committed to creating a safe festivals, screenings and research have been Central graduates. involved in projects that empower space for you to experiment, make events. You can see what’s on and people, heal communities, uncover mistakes, learn from them, work hard Throughout, Central has sustained its suppressed or underrepresented buy tickets at www.cssd.ac.uk/ and (importantly) have fun as you train traditional conservatoire ethos of small histories and imagine new possibilities events. for your chosen career. class sizes, practical learning and high and brighter futures. contact hours, while also ensuring that Follow us on social media for an I joined Central from a career in theatre students can reflect critically on what I very much hope that you find the insight into what goes on at the and film twenty-five years ago, and they do, with a firm grasp of history course that is right for you in these School. during that time have witnessed theatre and current theory and scholarship. pages, and that you will consider making transform and diversify. The digital As graduates, they go on to become an application. To get a fuller sense of revolution, the aesthetic influences of the change-makers who keep the field who we are and what we do, please also film, media, and forms of performance @CSSDLondon moving forward. see our website and, if you can, come from all over the globe have made and visit us for one of our open days or theatre one of the most varied and vital I believe Central’s work is important many public performances. art forms of our times. The number because the performing arts are of specialist professional roles and important. As the world addresses Professor Ross Brown career options has multiplied. The climate change, social justice, the rise Dean of School hierarchical structures of production of populist political extremism and that used to divide ‘creatives’ from the other vexing issues, performance plays

20 21 Student support and wellbeing

www.cssd.ac.uk/content/counselling

We are dedicated to ensuring students have access to the services they require to make their time at Central as welcoming and rewarding as possible, allowing them to focus fully on their training.

Short-term individual Disability and dyslexia Care leaver support counselling www.cssd.ac.uk/content/ www.cssd.ac.uk/content/ www.cssd.ac.uk/content/ disability-and-dyslexia care-leavers counselling The Disability and Dyslexia Service As one of the first drama schools Undertaking a course at Central can offers a range of information, to be signed up to the Care Leaver often mean the need to move to a new guidance and support to students Covenant, we are committed to city, perhaps even a new country, away with disabilities and specific learning increasing the number of care leavers from family and the security of ‘home’. differences including: accessing higher education and have Intensive professional training can a bespoke support package available n support during the audition/ sometimes be demanding as you learn which includes: interview process to develop new skills. Changes and n a nominated member of staff who adjustments can lead us to consider n free dyslexia screening acts as a key point of contact for wider questions about ourselves, appointments with specialist tutors You can find out more care leavers and is able to refer our relationships and the world in n dyslexia diagnostic appointments applicants to our various support about support services Supporting your studies which we live. Counselling sessions (at the student’s cost) services for the duration of their on the next few pages provide an opportunity to talk with a www.cssd.ac.uk/student-support n dyslexia diagnostic feedback studies and do visit us for an practitioner in confidence about any appointments issues that may be causing concern. n a bursary for care leavers totalling open day, campus n assistance to students with £1000 per student for each tour or see Central’s Central is a unique place to study and we want every student to have applications for Disabled Students’ All our counsellors are members of academic year, which contributes web pages for more Allowance an equally exciting and inspiring experience, as well as feeling well the British Association for Counselling to living costs and any other costs information. supported from day one. and Psychotherapy (BACP), or the UK n Disabled Students’ Allowance associated with studying. Council for Psychotherapy (UKCP). funded needs assessments Counsellors have regular clinical We want you to feel comfortable and n 1:1 specialist study-skills support To help achieve this, we have recently supervision of client work and practise Students’ Union opened our new Student Centre, empowered in addressing any concerns n 1:1 enabling and assistive in accordance with the BACP’s Code of www.centralsu.com that arise on your student journey and we technology training which focuses on providing accessible, Ethics. The service is free for students. professional and compassionate work closely with the Students’ Union to n 1:1 in-house mentoring All students automatically become a support in a one-stop hub, offering the ensure the student experience remains at n disseminating information School- member of the Students’ Union, which convenience of meeting student support the heart of everything that we do. Mental health mentoring wide and to relevant academic means you have access to everything needs in one place. that is on offer. The Union is led We provide, free of charge: We offer one-to-one mentoring for departments. by 20 officers who run year-round Central is a distinctively energetic students with mental health conditions campaigns, societies and social events, learning environment, where the practical n counselling including: Dyslexia and neuro-diverse including our Freshers’ Fortnight. intensity of conservatoire training and n mental health advice n assistance with pastoral matters learners innovation and enquiry of a university n wellbeing advice and workshops Central’s Students’ Union works to give meet. This can be thrilling, but at times which may cause anxiety or stress n disability and neurodiversity support About 18% of students at Central are a voice to underrepresented students it can also be emotionally and physically n support with motivation and morale n doctor registration information dyslexic or dyspraxic learners. The and is committed to enhancing the challenging for some. n help with organisation, planning Dyslexia Service actively encourages student experience for all. n induction events and problem-solving tailored to the understanding of neuro-diversity Our diverse team of expert wellbeing and n international student support individual needs across the School and is involved disability staff provide a safe, confidential n accommodation guidance n in promoting teaching, learning and non-judgemental space, in which guidance on how to better manage n funding advice and assessment strategies that are you can discuss any issue that may be irregular behaviour and improve inclusive at point of design. Central affecting your ability to study so that you n consent training self-awareness. acknowledges and is committed to a are able to remain on track. n specialist bullying and harassment School-wide approach to supporting advice. neuro-diverse students.

22 23 Technical support

As part of our commitment to supporting students studying at Central, we have a range of dedicated technical support for students studying at all degree levels.

Technical and production and Juki, steam presses, a Comel fusing IT support press and Miele laundry equipment. www.cssd.ac.uk/content/ www.cssd.ac.uk/content/it- technical-support Extensive Scenic and Props Workshops department-helpdesk provide facilities for the construction The excellent facilities on our Swiss Central provides students with a and painting of scenery on public Cottage campus are managed by teams wide variety of tools and services to productions, alongside spaces to create of expert industry professionals who support students in their studies. props and effects using both traditional offer inductions, clinics and general These range from dedicated computer and digital techniques. support on a variety of subjects rooms with the latest Windows and and skills. They also manage stock The Media Team maintains a broad Mac environments, all of which have equipment which reflects that used in range of audio-visual equipment for industry-standard software that the professions and work with industry Central’s community of students and are specifically installed to prepare partners to ensure all students have faculty provides advice and training and students after their studies. the most current equipment available. works alongside students in support of In addition, students have access Industry partners include ETC, course-based projects. GrandMA, Chauvet, DiGiCo, Yamaha, to ‘follow-me’ printing, allowing Academic support d&b audiotechnik and many more. Equipment and software is available the flexibility to print on any of the for students to explore and develop networked printing and scanning In the Costume Workshops, in addition skills within the areas of photography, devices that are situated in different We offer a wealth of academic support to enable and empower to the facilities for making, dyeing and filmmaking, content creation and video areas of the building. Students with students to make the most of their degree. We are also able to support altering costumes as required on shows projection, including editing suites with their own devices can also benefit from and other projects, the department accessing internet-based services over different learning styles through practices that include personal specialised computer workstations provides high-quality haberdashery offering applications such as Final Cut the extensive WiFi network available tutoring, as well as the Learning Skills Programme. and materials for selected projects and Pro, a training suite with a selection throughout the campus. offers constant advice and support. of applications for Computer-Aided The IT department is also available Equipment available includes sewing Design (CAD) and image manipulation. machines and interlockers by Bernina during certain periods between Learning Skills Services Library Monday and Friday to provide support that is specifically related to the IT www.cssd.ac.uk/content/ Our on-campus library offers a specialist services that Central provides. Issues learning-skills collection of drama and theatre practice can also be raised via telephone, email resources. It holds a comprehensive and As a Central student, you can access the or through MyCentral (online portal). unique specialist collection of over 38,000 Learning Skills Programme in a range of well-organised, relevant, up-to-date books, different ways to suit your learning style journals and eResources covering all and availability; this ranges from one- aspects of the performing arts and related to-one or group sessions, to accessing disciplines, together with performance learning materials on Central’s Virtual DVDs, feature films, sound effects, musical Learning Environment. Our dedicated theatre CDs and scores. academic team of learning development experts specialises in a range of disciplines, Students are also entitled to join the including research skills, academic writing University of London’s Senate House and English for academic purpose. Library which houses a nationally recognised collection of books and The ethos of the Learning Skills Programme eResources. is firmly centred on strengthening the student’s independent learning identities, so that you can use the tools and learning that we offer to approach your course and assessments proactively.

24 25 International student support Before you arrive After you arrive Auditions and interviews International pre-course www.cssd.ac.uk/international-students Central hosts international auditions www.cssd.ac.uk/content/ and interviews for many of its international-pre-course One of the great benefits of studying at Central is undoubtedly its courses. In the past, auditions and The Learning Skills Programme location in the heart of London. As a student, you will be encouraged interviews have taken place in offers a pre-course for international Singapore, Hong Kong, Toronto, to experience the richness and diversity of performance that is on offer students, which runs in September. New York, Chicago, Los Angeles, San The course is for all non-UK students in the capital. We recommend that you make yourself aware of what to Francisco, Bangkok, Sydney, Santiago and will prepare you for UK academic and Bogotá. Dates and locations for anticipate in a UK university – modes of study and ways of life might be study, so that you can embark on auditions and interviews vary and different from what you might expect in your own country. your degree fully prepared. information can be found at www.cssd.ac.uk. International Student English language Welcome Event requirements Our Student Advice Service hosts an International Student Welcome All of Central’s courses are taught in Event which brings international English and normally have a stated students together and provides key International English Language information on Central and living in Testing System (IELTS) requirement of London. It is also an opportunity for 7.0. Further information can be found students to meet members of the on page 115. Student Advice Service who are on hand to help with any queries you Student visa applications may have during your time at Central.

Many international students require a visa in order to study in the UK. Students’ Union If you are accepted onto a course, International Officer we will send you information and paperwork for making your student The Students’ Union has a dedicated visa application. Full information on International Officer whose role visa applications can be found at is to ensure that the views of www.gov.uk/check-uk-visa. international students are heard and communicated to the School. This officer helps organise events specifically for international students and acts as a useful point of contact for students during their time training at Central.

Academic support for learning skills

Once enrolled, you will be able to access a range of free academic support through the Learning Skills Programme, including, but not limited to, one-to-one sessions focusing on English with academic purpose and themed short courses on other learning skills.

26 27 Accommodation support Financial support www.cssd.ac.uk/accommodation www.cssd.ac.uk/student-finance-and-funding

Finding the right accommodation is an important part of helping the transition into university life. The At Central, we are committed to supporting as many students as we can to help ease the financial Student Advice Service offers year-round accommodation support by providing help and guidance to worries of studying. We have a number of awards available for which prospective students can apply both current and prospective students. Central students have a wealth of options available in regards and we also encourage you to seek out external funding opportunities that might be available. to the types of accommodation they can explore, in different locations and at a range of prices. Scholarships, bursaries External funding Private rented University of London University of London and awards opportunities

accommodation Intercollegiate Halls Housing Services Central aims to be accessible to all Prospective students who are seeking extra funds to support their studies The majority of Central students Central receives an annual allocation This service is available for Central potential students regardless of their background and to support them to are also encouraged to use online choose to live in private rented of rooms in the University of London’s students seeking further assistance resources where external grants can accommodation in north west London Intercollegiate Halls across two central with any accommodation issues, achieve their full potential. The School provides a number of scholarships and be secured directly by the student; for with other students from the School. London locations. This accommodation including legal advice and contract instance, there may be scholarship This can be a cost-effective way of is usually catered and the application checking. The Housing Services also bursaries each year for both new and existing students. Details on how to opportunities based within the being closer to Central’s Swiss Cottage process begins in late spring each have a database of houses, flats and applicant’s country of origin. campus. The Student Advice Service academic year. rooms across London. apply for scholarships, bursaries and awards, as well as the latest list of holds two Sharers’ Days before These include, but are not limited to, what is available, can be found at the start of term to assist students The Marshall Scholarship, see www. Private halls of residence University of London www.cssd.ac.uk/scholarships- in finding a suitable property and marshallscholarship.org, for US Student Homes bursaries-awards. potential housemates. Some students choose to live in private students who wish to study at graduate halls of residence either near to Central University of London Student Homes level, or the BECAS Chile Scholarship, Fulbright – Central award or within a short commute. These works in partnership with trusted see www.becaschile.cl, for Chilean privately managed student halls are private landlords to provide good students who wish to undertake not owned by universities: most are Central also offers a specific award graduate study in the UK. quality housing for UoL students; through the Fulbright Commission owned by commercial companies and Central postgraduate students have which covers the first year of any MA or Central also nominates students for some are run by charitable institutions. the option to use this service. MFA course offered by the School for a number of other external funding a US student. Details can be found at opportunities. We will inform offered www.fulbright.org.uk. applicants and enrolled students of any awards for which they may be eligible to apply.

28 29 Kit Harington as Jon Snow Beyond Central in Game Of Thrones on Sky Atlantic, image courtesy www.cssd.ac.uk/alumni of Sky Press ©HBO.

‘Central has been For over 100 years, Central has trained many of the most distinguished instrumental in sustaining theatre practitioners and performers working across the world. my career. I often look back on the fond memories, Central’s graduates continue to make Our graduates can also be found using experiences and exceptional their mark in every avenue of the creative applied theatre techniques to support training that I encountered.’ industries; they are actors, writers, and strengthen communities across artistic directors, scenic artists, lighting, the globe; working in prisons, schools, Karl Queensborough, sound, set, video and costume designers, hospitals and arts organisations utilising currently starring as prop makers, teachers, voice coaches, drama and the arts to change lives, or Alumni awards and Alumni theatre companies Recent alumni news Alexander Hamilton in interdisciplinary artists, movement conducting cutting-edge research to recognition and enterprises In addition to the graduate stories Hamilton at Victoria Palace directors, venue and stage managers, continue to influence industry practice. profiled on each of the individual Theatre, London. drama therapists and dramaturgs. Central graduates are at the forefront Many of Central’s courses encourage of the arts and entertainment and support students to collaborate course pages that follow, below is a industries, and have been recognised and produce their own work, often small selection of the alumni news we with accolades including Oscars, leading to the formation of their own have recently celebrated: Golden Globes, BAFTAs, Tony and companies once they have graduated. > Naomi Ackie played Jannah in Star Olivier Awards, in addition to specialist Last year, we had over 117 active Wars 9: The Rise Of Skywalker, which awards recognising the work of graduate theatre companies, many of included special effects from Miles particular disciplines. For example, which have produced work that has Ascough recently: been performed in almost 300 venues worldwide. Examples include: > Polly Bennett was the Movement > Carolyn Downing co-won a UK Coach on feature film Bohemian Theatre Award in the category of > Dante or Die produce site-specific Rhapsody, which starred Ben Hardy, Best Design for her work providing work that transforms ordinary and Netflix’s The Crown, which included sound design for Life Of Pi at Sheffield spaces to create unique and intimate dialect coaching from Nick Trumble Theatre theatrical experiences. Their recent show User Not Found, set in a café, > Christian Clark is Deputy Head > Sami Fendall won the 2019 Linbury undertook an international tour of Lighting and Video for the UK Prize, the UK’s most prestigious including shows in New York and and Ireland Tour of Sir Cameron award for Stage Design Tel Aviv Mackintosh’s production of > Sonia Friedman was named Les Misérables, which includes > Phosphoros Theatre devise performance from Felix Mosse Producer of the Year for a record- productions with refugees that breaking fourth time at The Stage enable and empower them to tell > Rory Evans and Daniel Hughes’ Awards 2019 their own stories through the use of company, Illusion Design and > Kit Harington was recognised for his theatre. Their first show Dear Home Construct, built the set for Secret performance as Jon Snow in Game Officewas shortlisted for the Amnesty Cinema’s Stranger Things, an of Thrones with both an Emmy and a Freedom of Expression Award in 2016 immersive experience based on the hit Netflix show Golden Globe Award nomination > Engineer Theatre Collective are a > Johanne Jensen won The ETC Award group of devisers creating visually > Gareth Fry, Pete Malkin, Finn Ross, for Excellence in Lighting Design striking, ensemble-led theatre, and Gary Beestone were all members and Bethany Gupwell was the exploring new and challenging of the creative team of Harry Potter recipient of The Francis Reid Award, storytelling forms And The Cursed Child, produced by Sonia Friedman, providing sound, both awarded by the Association of > Unlock Drama work with Lighting Designers video design and technical direction marginalised groups, including young respectively. The West End cast also > David Jubb won a special award at and homeless people, ex-offenders includes Thomas Gilbey, Emma May- and those with a history of drug or Cast of Pizza Shop Heroes the Off West End Theatre Awards Uden and Lucy Mangan substance abuse, to deliver drama produced by Phosphoros for his work as Artistic Director at projects that help unlock life skills that > Jack Loxton now stars in the West Theatre, ©Charlie Ensor. Battersea Arts Centre. can support them in day-to-day life. End’s transfer of the Tony Award- winning musical Dear Evan Hansen.

30 31 Undergraduate Courses

32 33 Nonso Anozie Graduated 2002, recent film credits includeCinderella , directed by Kenneth Branagh with Cate Blanchett and Derek Jacobi, Pan with Hugh Jackman, and BA (Hons) Acting television credits include Game Of Thrones, Dracula, Doctor Who, Zoo and 7 Days In Entebbe with Rosamund Pike. ‘Central didn’t force-feed me about what to be. Central gave me infinite options so that Programme Overview I could choose which ones to take on board and build my craft. Everyone at drama school had talent. At Central, you are given time and the tools so you can improve your skill. With skill, your talent can shine.’

A professional intensive actor training During your training, you will be taught by both resident programme offering three very distinctive staff and a range of leading professional practitioners from the cultural industries – including theatre, film and professional courses for those wanting television. a career in theatre, television, film and Upon completion, you will graduate not only with the radio: professional skills and practical knowledge necessary to build a career in the industry, but also have developed > Acting confidence and belief in yourself as an artist in the 21st > Acting Collaborative & Devised century. Theatre (CDT) We audition in London, regionally and internationally. > Acting Musical Theatre (MT). Please check the auditions section on page 114 for more information on how to apply. The BA (Hons) Acting Programme at Central continues to address the inclusivity BA (Hons) Acting award-winning graduates include Cush agenda and is currently involved in several national Jumbo, Zoë Tapper, Claire Bloom, Judi Dench, Rupert initiatives in this area. We are delighted to offer free Everett, Kevin Whately, Joss Ackland, Martin Freeman, Zoë auditions to eligible applicants – please check details and Wanamaker, Gael García Bernal, James Purefoy, Andrew other information on scholarships, bursaries and awards at Garfield, Kit Harington, Julie Christie, Laurence Olivier, the back of this prospectus and see www.cssd.ac.uk. Carrie Fisher, Harold Pinter, Graham Norton, Catherine Tate, Vanessa Redgrave, Alex Hassell, Natasha Richardson, The Acting Programme is very well-established, connected Naomi Ackie, Tom Brittney, Fisayo Akinade, Ben Hardy, to the performance industry and through alumni, industry Hannah John-Kamen, Kadiff Kirwan, Audrey Brisson and contacts, visiting professionals and staff who are active Cherrelle Skeete. practitioners. The commitment required to be part of it is huge – but in return, we will create the enabling conditions You will study for three years within a thriving conservatoire for you to develop your future career. environment that is home to a dynamic range of other related specialist performance disciplines at both undergraduate and postgraduate level.

Joe Alwyn Graduated 2015, first professional job was the title role in Ang Lee’s Billy Lynn’s Long Halftime Walk, subsequently filmedThe Sense Of An Ending with Charlotte Rampling, Mary Queen Of Scots with Margot Robbie, The Favourite with Emma Stone and Boy Erased with Russell Crowe. ‘Central provided me with an environment that gave me the confidence and permission to go for something I’d always really wanted. It was hard work but I loved the level and the intensity of the training. It’s a place where you can play around and make mistakes and grow, alongside a small class of people you’ll see almost every day for three years. It felt unique and exciting and unlike anything I’d experienced. The training is brilliant. You just have to jump in and give it your all: be bold in your own way, be hungry to soak everything up and find out what works for you.’

34 | Undergraduate Courses | 35 Year 1 Professional Focus Andrew Garfield Discovery – freeing and Central employs professional Graduated 2004, recent film credits include The Amazing Spider-Man 2, 99 Homes, discovering: an environment directors from the second year, Breathe, Martin Scorsese’s Silence with Liam Neeson and Under The Silver Lake, and was of active learning is carefully and invites a range of industry nurtured, with particular professionals to deliver talks nominated for an Oscar for Best Actor in Hacksaw Ridge directed by Mel Gibson; theatre Acting emphasis placed on the and workshops on subjects credits include Tony Kushner’s Angels In America at the National Theatre. individual actor’s aptitude from audition technique to ‘It can be a playground. The core teachers inspire and can reveal parts of yourself that you www.cssd.ac.uk/ba-acting for self-expression within a rehearsing Shakespeare. Recent might not know existed – if you allow them that trust and openness, you can experience true collaborative class, rehearsal guests include acclaimed creativity. It can be testing and a struggle, but that’s where most of the learning happens. I feel and production setting. You directors Michael Grandage and that my training at Central ultimately showed me how generous you can be in this profession. will learn to open up the body, Lindsay Posner, and well-known You definitely get out of it what you put in. You are your own master. The teachers’ expertise is Comprehensive classical and voice and imagination and to actors such as James Purefoy sacred. If you’re lucky enough to be in a creative environment with them, give all of yourself to it, contemporary actor training embrace methodologies that and Kit Harington. Acting but never lose who you are. It all ultimately comes from within you. And just play.’ promote professional discipline students gain professional work Prepares actors who aim to become and self-discovery alongside the while still on the course and development of techniques that there are regular visits by major world-leading artists in theatre, film, lead to a psychologically-rooted, theatre companies, such as the television and radio physically-embodied character. Royal Shakespeare Company Lindsey Campbell and the Almeida Theatre, who Graduated 2013, professional London stage debut was in The Harvest at the Soho Theatre, Focuses on new thinking in response Year 2 give talks and hold workshops. subsequently filmed The Holly Kane Experiment, a British feature directed by Tom Sands Mastery – expanding form Other recent directors and and played the lead in Right Now at the Bush Theatre. Television credits include Silent to the rapidly evolving world of the arts and meaning: building on visiting professionals include Witness, Casualty, Comedy Feeds and Endeavour and she is a regular on the BBC’s River City. and culture core training, you will take Auriol Smith (Orange Tree, Lindsey won an Off West End Award for Best Supporting Female Performance in The Open what you have learned into Royal Exchange), Richard House at The Coronet Theatre in 2018. The course has strong links with the new and intensified theatrical Beecham (Crucible Sheffield), contexts, expanding your own Dugald Bruce-Lockhart ‘My time at Central gave me the essential training and knowledge I needed to develop as an actor industry physical, vocal and emotional (Propeller), Bill Buckhurst at the start of my career. The course offers a wide variety of teaching that nurtures and liberates range to meet the demands (Shakespeare’s Globe), your creativity. I have also gained a huge support network that I know will always be there, inside Alumni have achieved notable success of classical and contemporary Sarah Berger (Casualty), and outside of Central.’ throughout theatre, film, television performance styles. You will Rolf Saxon (Woman In Gold), encounter a wide range of Simon Dormandy (Liverpool and radio and received numerous high complex texts, exploring a Playhouse, Complicité), profile awards heightened use of physicality, Jonathan O’Boyle (Chichester voice and speech and the Festival Theatre), Irina Brown dramatic imagination. You will (National Theatre), Ian Brener also learn to transfer skills to (Theatre Royal Haymarket, The course has four key principles: both television and radio. Sadler’s Wells), Paul Harris (Harry Potter), Nick DiCola Self-discovery – we encourage you to investigate and Year 3 (Billy Elliot), Peta Lily (Théâtre interrogate your world, challenging your own habits and Independence – applying the du Mouvement), Mark Street preconceptions and opening yourself to the journey of the craft of acting: focusing on the (Forbidden Theatre Company), training. You will learn to accept uncertainty and failure ‘industry-ready’ actor. You will Chris Pavlo (BBC Radio) and as part of the process of change and growth, and make perform in productions that Philip Foster (Thriller Live). curiosity, originality and artistic courage the cornerstones aim to consolidate your skills of your professional and artistic life. in acting, voice and movement, Duration and you will embrace a broad Three years, full-time, Artistry – we offer you the skills you need to build your range of industry-specific skills October start craft as an actor, so that your imagination and creativity as part of a rigorous transition can find expression in truthful characterisation and in the from personal development to Application telling of complex and profound stories that offer insights career-orientation, including Via UCAS, www.ucas.com the presentation of an into our world and the human condition. Institution Code industry-targeted showcase. Empowerment – within the safety of the creative space You will meet with industry C35 and the integrity of the acting ensemble, we promote professionals and acquire Course Code the honest exchange of thoughts and ideas, the sharing skills in auditioning, television W410 of creative inspiration and the generosity of spirit which castings, self-taping and the should always characterise a true actor. production of showreels and voice reels. Course Leader Tradition and innovation – intrinsic to this course is Nick Moseley a commitment to studying longstanding theories and practices while welcoming innovation and new vision. Award BA (Hons) Acting Students are entitled to full Equity status upon graduation. (360 credits/Level 6)

36 | Undergraduate Courses | 37 Acting CDT

www.cssd.ac.uk/ba-acting-cdt Year 1 Professional Focus Acting and devising practice: In recent years, students have through progressive work had workshops and created Innovative and rigorous actor training, on acting, script analysis, performances with Complicité, voice, movement, devising, Engineer Theatre Collective, emphasising the creation of new work ensemble, singing, dance and Prodigal Theatre, Filter Theatre, improvisation, you will begin to Lucy Porter (actress, writer, Embraces a multidisciplinary and undo physical and vocal habits. comedian), Marcello Magni You will develop openness (director), Ridiculusmus Theatre psychophysical methodology and sensitivity to space, image Company, Justin Edwards (actor, and impulse, and cultivate writer), Pooja Ghai (director), Celebrates the creative potential of psychophysical connectivity. Nancy Meckler (director), Declan collaborative processes alongside You will apply these approaches Donnellan OBE (Cheek by Jowl), to work on poetry, verbatim, Robin Soans (actor, playwright development of the individual actor observation and storytelling, specialising in verbatim and studio work on three plays. plays), Tanika Gupta MBE Students graduate with the skills to (playwright), Toplar Campbell, Year 2 Action Transport Theatre, Blind work in classical and contemporary Summit, The TEAM (New York), Transforming through acting out of Inc. and Quiconque. theatre, film, radio and television and devising: by continued and extended work, you will move Film and theatre professionals, Works developed in creative towards greater expressivity and such as Imogen Knight and Ng partnership with Complicité transformation across a broad Choon Png, are often invited to range of characters and genres. hold research and development This is applied to a full-length workshops with students, who devised performance, American may go on to work on those The core actor training includes the psychophysical scenes, radio drama, comedy of productions. techniques of Jacques Lecoq, Michael Chekhov, Konstantin manners and classical tragedy. Stanislavsky, Kristin Linklater and Moshe Feldenkrais and Uniquely, the process includes Duration emphasises an embodied and experiential approach. As the full integration of design Three years, full-time, well as developing rehearsal techniques for script-based (sound, lighting, video, set) in October start work, the course will encourage you to explore the most the autumn term. Training concludes with a three-week Application up-to-date forms of theatre and filmmaking and to have a clown intensive and a series Via UCAS, www.ucas.com full creative and political engagement with your work. of professional preparation Institution Code workshops. Permanent members of the Acting CDT staff regularly work C35 on professional theatre projects and, from the outset, you will work closely with professional theatre companies and Year 3 Course Code emergent and professionally active directors. Testing creativity and actor W410 processes: through producing NAOMI ACKIE Students are entitled to full Equity status upon graduation. public performances for Course Leader audiences, agents, casting Catherine Alexander Graduated 2012, played Jannah in Star Wars 9: The Rise Of Skywalker and the prequel directors and industry cast of Game Of Thrones. Her film debut in 2017’s Lady Macbeth won the Most professionals, you will develop Promising Newcomer from the British Independent Film Awards and was named as your artistry and independence. Award one of Screen International’s Stars of Tomorrow. She also appeared in the Idris Elba You will work on at least two BA (Hons) Acting film Yardie and The Bisexual on Channel 4, as well as playing Bonnie in the series plays and one devised theatre (360 credits/Level 6) The End Of The F***ing World. piece, as well as undertaking ‘My three years at Central studying Acting CDT allowed me to decide what kind of actor I radio and screen training (including recording voice clips wanted to be. With such a wide variety of practices, tutors and directors, I was given the space and showreels, and writing, to make mistakes and be triumphant, sometimes all in the same day! The course pushed shooting and editing a short me to be experimental and bold with my acting choices, while still relaying the importance of film). One performance is usually being smart, disciplined and, most importantly, a team player. When I left the course, I felt well performed at a professional equipped with tools that would allow me to learn with every opportunity given to me and push London theatre venue, as is the the boundaries of what I thought was possible in storytelling. This course gave me permission annual showcase. to take ownership of my craft and for that I will always be grateful.’

38 | Undergraduate Courses | 39 Acting Musical Theatre

www.cssd.ac.uk/ba-acting-musical-theatre Year 1 Professional Focus Classes and workshops: you All students on the course will have a full-time schedule engage with industry in acting fundamentals, acting professionals on a daily basis. World-leading acting-focused musical through song, spoken and Recent visiting professionals theatre training sung voice (including one-to- include directors Maria one weekly singing lessons), Friedman (award-winning Outstanding graduate destinations ballet, jazz, ballroom and actress and director), Anthony contemporary dance, clowning, Banks (National Theatre), Petra in international film, musical theatre, text analysis, musical theatre Siniawski (UK Director, Wicked), classical and contemporary theatre, repertoire and ensemble Jamie Armitage (Co-Director, Six) singing. You will undertake and Sue Dunderdale; and actors television, radio and the games industry performance projects that may Bette Midler, Emma Cunniffe include Chekhov, Dostoyevsky, and David Hounslow. Predominantly taught by leading Pinter and Shakespeare Recent industry collaborations comedy. industry practitioners include the National Theatre (NT Connections and NT Studio for Regular collaboration with industry Year 2 producers’ showcases), Andrew Continuing practical Lloyd Webber and The Really producers to develop new work training in all disciplines: Useful Group for development performance projects will of The Woman In White, Bryony Opportunities to perform newly include contemporary Kimmings (development of A commissioned work from prominent American scenes, Restoration Pacifist’s Guide To The War On comedy, Sondheim musical Cancer at the National Theatre), writers and Shakespeare tragedy, Complicité and Pink Floyd (for stage combat and professional the producers’ showcase of The preparation. Additional projects Wall) and Arden Productions You will graduate with the skills to work in classical and may include Brecht, Orton and and Covent Garden Productions Greek Theatre. Second-year contemporary theatre, musicals, feature film, television (producers’ showcases). students perform in the public The course enjoys a close and radio. As an actor, you will interrogate both musical production musical alongside collaboration with the Andrew and non-musical settings ranging from Shakespeare, final-year students. Restoration comedy and American Realism to Sondheim Lloyd Webber Foundation which and the contemporary musical. generously supports the post Year 3 of the Andrew Lloyd Webber We encourage and support students from a broad range Focus on professional Associate Musical Director. of backgrounds. The BA (Hons) Acting Musical Theatre development: you will has a variety of scholarships and bursaries to help with undertake acting for camera Duration (including a professional living expenses and fees, including an Andrew Lloyd Three years, full-time, showreel), radio training October start Webber Foundation Scholarship, Pilkington Trust Hardship (including a professional Bursaries, Clare Rich Scholarship and the Chimera voice reel) and recording a Application Scholarship. professional sung voice reel. Via UCAS, www.ucas.com Michael Elcock Public productions include plays, Students are entitled to full Equity status upon graduation. Graduated 2018, appeared in the television series Queens Of Mystery showing in the book musicals and a newly- Institution Code US, recently starred in A Midsummer Night’s Dream at the Regent’s Park Open Air commissioned musical. Recent C35 Theatre, in a word at the Young Vic and is currently rehearsing for The Visit by Tony play commissions have included Kushner, directed by Jeremy Herrin, at the National Theatre. #DR@CULA by Bryony Lavery Course Code and the world premiere of the W410 ‘Central made me trust my instrument as an artist. Which is very important. Anyone stage adaptation of JB Priestley’s can be talented, but the tutors here provide you with the toolbox, which aids that talent novel Lost Empires. Examples of Course Leader and transforms it into a craft that can be exercised, practised and moulded to fit any recent musical commissions are Wendy Gadian character. Central’s training made me a professional actor, without me having to sacrifice I’m Afraid Of Amerikans by Joshua the joy of theatre making. If anything, it has only enhanced it and put me in a position Val Martin, Em by Benjamin Award to be surrounded by professionals, who share that passion and have also given me a Till and Through The Wire by growing empathy to connect and champion all stories told on the stage. A training that is Catherine Johnson. BA (Hons) Acting invaluable and life changing!’ (360 credits/Level 6)

40 | Undergraduate Courses | 41 BA (Hons) Contemporary Performance Practice Programme Overview

A programme of courses that will develop you as a performance maker. Through specialising in experimental performance, writing or applied performance you will learn to express and nurture your creative voice. If you have something to say, want to make a difference and make performance, these courses are for you.

Central’s Contemporary Performance Practice programme The programme has excellent industry links and offers comprises three undergraduate courses: Drama, Applied experience working with industry professionals in real-life Theatre and Education, Performance Arts and Writing settings. Because of our demanding training and the deep for Performance. The programme offers high-level connection with industry, graduates are well-placed to work performance making skills, rigorous intellectual training in their chosen field after graduation. Alongside setting and professional expertise in preparation for your chosen up companies and working as independent artists and area of the industry after graduation. practitioners, graduates have gone on to work as theatre directors and producers (The Egg, Bristol Old Vic, National The programme offers you the opportunity to specialise in Theatre, Young Vic, Curve Theatre Leicester), in a multitude one of its three expert areas: applied theatre, experimental of applied theatre settings (Royal Court Theatre, Access performance or writing. You will focus on collaboration, your All Areas, Historic Royal Palaces, Prime Theatre Swindon). development as a practitioner and come to understand Graduates also work as freelance artists and practitioners how the performance you make means something, changes and have formed their own companies (Haranczak/ something or works on a social issue in wider society. Navarre, Milk Presents, Full House).

With a focus on skills alongside the development of your Recently, students have worked at the Camden People’s intellectual and critical expertise, you will take part in Theatre, Venice Biennale, Duckie Nightclub, HAU Berlin, classes, workshops and projects designed to develop you Victoria and Albert Museum (V&A), Forest Fringe, Live Art as a performance maker. You will also have the opportunity Development Agency and with Tim Etchells, Tim Crouch, to work with in-house staff and visiting professionals and Bobby Baker and Action Hero. They have undertaken a collaborate with students from other courses at Central. wide range of projects including: a series of explorations Alongside sharing of work in development during sessions, of re-enactment and the archive in the digital era; writer- you will show your work to a public audience through in-residence on a London housing estate; a series of full-scale productions, festivals, rehearsed readings and text-based experiments in and through performance, Bhavik Parmar community projects, as appropriate to your specialism and drawing on live writing, automatic writing and algorithms Graduated 2014, Senior Education Officer at the Birmingham Repertory Theatre interests. focused on borders, migration and territories; curatorial where he directs youth theatre plays, develops learning programmes and facilitates collaborations with performance space; practice-led Students on the programme have developed and produced workshops in schools. He is also Director of Panorama Drama, providing themed performance on live art and magic; working with the elderly birthday parties and workshops in schools and communities, using shadow projects in London and further afield, such as site-specific in dementia care; a campaign on HIV with NAZ, a BAME- performing and theatrical storytelling. work in found spaces in London and beyond, touring focused charity addressing stigma and understanding productions in the UK and applied theatre projects in ‘The Drama, Applied Theatre and Education course made me realise that I wanted to make of HIV in London; and running a national playwriting New York, South Africa and India, and experimental competition with finals in regional theatres. work that has a meaningful impact on both participants and audiences. During the course, I performances and placements in Copenhagen, Sydney, directed immersive theatre, created curriculum-supporting workshops with schools, directed Berlin, Brussels, The Hague, Amsterdam and Stockholm. a children’s theatre piece at Doncaster Prison and more. Now I am a facilitator who intends Dr Stephen Farrier to lead every workshop with a fireball of excitement and an ear that listens to the ticking Head of Contemporary Performance Practice imaginations and questions of those I have the opportunity of connecting with.’

42 | Undergraduate Courses | 43 Shereen Jasmin Phillips Drama, Applied Theatre Graduated 2010, playwright and community arts producer. ‘Throughout my degree, I had amazing placement opportunities ranging from month-long and Education school tours in New Zealand to a three-month placement at Theatre Royal Stratford East, which in turn propelled my career in theatre. Whilst at Central, I was introduced to industry professionals who have since become mentors and colleagues. The training I received www.cssd.ac.uk/ba-date Year 1 Professional Focus successfully prepared me for a career within community arts by equipping me with the Set the groundwork and You will work alongside Central’s tools necessary to become an applied theatre practitioner. Since then, I have gone on to explore skills: practically expert staff – all of whom are work in the creative learning departments of the Lyric Hammersmith, Hampstead Theatre, explore theatre making and practising performance makers Ovalhouse and Hackney Empire.’ Train as a highly adaptable study concepts and ideas and applied performance performance maker relating to drama, applied practitioners – visiting theatre and performance. professional practitioners, Make theatre to change lives and Develop your creative playwrights, filmmakers and performance making and applied theatre specialists from inspire change in communities community engagement skills. organisations which have, in the Be involved in a full-scale past, included Tamasha Theatre Perform, direct and devise innovative production and understand Company, Royal Court Theatre, performance outside traditional theatre how drama works in a range Complicité, Talawa Theatre of community and educational Company, London Bubble environments contexts. Theatre Company, Greenwich and Lewisham Young People’s Work in the industry as part of your Year 2 Theatre and Synergy Theatre Project. You may have the Develop your ideas and learning through placements and opportunity to travel and practices: work on an outreach projects innovative production in explore the use of drama in Central’s studio theatres or diverse community settings. Research, think, discuss and write about choose to focus on playwriting Students have undertaken projects in places such as New the role of performance in society or filmmaking using Central’s facilities. Develop your York, Johannesburg, Bulawayo, intellectual skills by studying Hong Kong, Santiago de Chile units based on playtexts and and Mumbai. Applied Theatre at Central is highly regarded the role of drama as a force All students participating in internationally. On the course, you will focus on for change in contemporary placements will be required performance making in diverse settings. For instance, society. Design and deliver a to complete a Disclosure students in the past have worked in community centres, collaborative outreach project, and Barring Service (DBS) parks, prisons, pupil referral units, refugee camps, working creatively as a group check. This is a mandatory in London or beyond, including hospitals, playgrounds, schools and nursing homes, around government safeguarding overseas. scheme for all those seeking the UK and abroad. Through innovative performance, to work in any capacity with the work aims to bring about change in communities and Year 3 minors or vulnerable adults. participants from all walks of life. Professional development: We believe that excellent professional applied theatre pursue your own specialist Duration makers are skilled practically and intellectually, and come interests further as a creative Three years, full-time, from a diverse set of backgrounds themselves. Our expert professional. You will work in October start course team helps you meet the challenge of developing a professional organisation for a term, collaborate one-to-one Application your practice and your intellectual abilities, as a resilient, with a tutor on an extended Via UCAS, www.ucas.com ambitious and ethical creative artist. piece of writing, and pitch, Institution code devise, perform and evaluate You will develop skills in areas such as facilitating, devising, C35 directing, performing, playwriting and filmmaking as well as a final student-led practical project. The degree concludes taking part in fully-realised productions, for example, site- Course code with a specialist lecture series W490 specific and touring ensemble works. Working alongside delivered by artists, academics industry professionals, you are offered an unparalleled and researchers, who are breadth of experience, tailored to your developing pioneers in the field of applied Course Leader aspirations. theatre. Dr Gareth White

Students have access to funding for projects outside Award London from the Leverhulme Trust. BA (Hons) Contemporary Performance Practice (360 credits/Level 6)

44 | Undergraduate Courses | 45 Sophie Grodin Graduated 2013, performer and director, worked with Karen Christopher/ Haranczak/Navarre performance projects; credits also include Marathon at the Barbican, miles & miles at The Yard Theatre and Chisenhale Dance Space, and Performance Arts Folds!, a durational performance as part of the Formations Festival at the Prague Quadrennial. She is a member of ROOM and part of the collective FUKK. www.cssd.ac.uk/ba-performance-arts Year 1 Professional Focus ‘I chose Performance Arts because it allowed me to experiment. I was challenged, pushed Developing foundation skills: You will be involved in and encouraged to try out the things that might have seemed alien to me in the beginning, building on historical, theoretical collaborative projects with and practical foundations only to discover that those were the areas that came to mean the most for my future Train as an experimental performance- national and international arts work. This course teaches you how to make your own work, to think for yourself, to make of theatre performance and organisations and practitioners. live art, acquiring key skills decisions, to take ownership and collaborate; it was like an adventure that led me down maker In previous years, these have in dramaturgy and writing avenues I would have never found myself. I met my current collaborators at Central and that included Tim Crouch, Simon for and about performance, became the root of a network that keeps growing.’ Vincenzi, Deborah Pearson Experiment, explore and create contemporary movement and Tim Etchells. The course practices and performance- innovative new forms of performance has also worked with the making. You will produce Roundhouse, Battersea Arts work across collaborative Acquire critical skills to investigate, Centre, ]performance s p projects, involving installation, a c e[, Digital Theatre Plus, theorise and make new performance textual practices, immersive Goat and Monkey, the Live and traditional performance Challenge assumptions about what techniques. Skills sessions in Art Development Agency, applying research methods, Punchdrunk and the Victoria performance is and how it is made reflective practices and and Albert Museum. processes of documentation Students have taken their work Produce work in professional and criticism. (while studying) to Los Angeles, environments and undertake projects New York, Prague, Montenegro, with national and international arts Year 2 Slovakia, Denmark, Brazil and Focus on further developing Singapore. organisations and practitioners creative practice: you Several students have secured will undertake projects scholarships and grants to to engage and develop develop their work, for example strategies for working across from the Fulbright Commission, Aimed at aspiring practitioners who want to develop new artistic disciplines. You will and challenging performance forms, this course is rooted Arts Council and the British develop skills and knowledge Council, and undertaken in a rigorous engagement with the skills, theories and in producing, project placements with Seabright management, curation and histories of theatre, dramaturgy, performance and live Productions, BBC, the Victoria programming, and organise art. The course integrates your artistic development with and Albert Museum (V&A) and a festival at a public venue producing, curatorial and administrative skills to enable you the Soho Theatre. to become an independent practitioner, able to work in key with professional curators and producers. It is possible artistic and institutional positions across the arts sector. for you to pursue a small Duration The course brings together the theoretical and practical independent research project Three years, full-time, foundations of Performance and Theatre Studies, and including shadowing or a short October start professional placement and/ focuses on developing skills across creative disciplines or to develop your writing Application of contemporary performance and related art practices. practice by taking optional units Via UCAS, www.ucas.com Current and former students have developed a range of shared with the Writing for Institution code specialist practices, including live art and body-based work, Performance course. site-specific performance and performance photography, C35 as well as engaging with scenography and textual and Year 3 Course code visual dramaturgy. Refining your practice in W440 a range of professional Alongside your development as a performance-maker, contexts: apply specialist skills Course Leader you are trained in the role of producer, acquiring skills in creative practice through Dr Duška Radosavljević in programming, marketing, finance, fundraising and negotiated tasks, where you administration to ensure that you are ready to create your might work in a vocational own work and help others to produce performances. setting beyond Central, and/ Award or undertake a practice-based, BA (Hons) Contemporary written dissertation. Curated Performance Practice sessions and workshops (360 credits/Level 6) enable you to further develop and articulate your individual creative practice and within the professional sector.

46 | Undergraduate Courses | 47 Azania-Marley Hammond-Dallas Graduated 2018, working at Wac Arts, London, an organisation empowering people through the arts. ‘The visiting lecturers were very helpful – we met artists who are creating work in applied Writing for Performance theatre and learnt about what we could do after we graduate. We were in a small group during the first year learning the theory and techniques of writing. In the second year we www.cssd.ac.uk/ba-writing-for-performance Year 1 Professional Focus started to do more creative writing, developing our style and discovering what kind of writing Explore concepts and ideas: Students have opportunities we could bring to the applied theatre world.’ through lectures and practical to work in collaboration with workshops you will work on industry professionals and Develop skills for writing for ideas central to writing for academics in the field to create performance practices and socially- performance and applied projects with professional theatre. You are introduced companies and artists. The engaged theatre to playwriting and the role course nurtures relationships of the writer in devised with local, national and Create new performance texts and performance contexts and international community and explore innovative forms of solo will study practical writing, educational arts organisations, alongside the critical study of from Synergy Theatre Project performance, writing in community contemporary theatre. You will in London (which uses drama contexts and for devised theatre work as writers and creators and playwriting to rehabilitate on projects such as a major prisoners and ex-prisoners) Work in industry or heritage contexts devised performance practice to Stage Left, supporting both over the entire summer term. teachers and slum dwellers in as part of your learning India. Professional companies Year 2 are invited to create new practice, either at Central, on Collaborate with award-winning Develop your skills: through playwrights, arts practitioners and workshops, masterclasses and tour, or at theatre venues and study units, you will engage with performance spaces. Students directors professional playwrights and have worked with the V&A theatre makers. You will write Museum, Arcola Theatre and and show a script extract and the Tate, amongst others. This course develops your skills as a writer for a solo performance. Lectures Because the course involves performance, introducing you to a wide range of different are based around writing for work with children and practices and new writing approaches. During the performance, playtexts and vulnerable groups, all students course you explore a broad curriculum centred around the role of drama as a force will be required to complete a socially-engaged performance practices and the practical for change in contemporary Disclosure and Barring Service dramaturgical skills of writing. You participate in drama and society. You will experience the (DBS) check. This is a mandatory writing projects in different community contexts in the UK writer’s role in an applied theatre government safeguarding and possibly abroad. While on the Writing for Performance context through study units and scheme for all those seeking a collaborative outreach project, course, you will join students from other courses on to work in any capacity with working in London or beyond, minors or vulnerable adults. Contemporary Performance Practice, offering a vibrant including overseas. learning experience that brings together writing, socially- Duration engaged practice and live performance arts. Year 3 Three years, full-time, You will work with a variety of high-profile writers, arts Professional development: October start you will pursue your specialist practitioners and directors, and encounter a diverse range of Application innovative performance practices using writing in different interests further. Units include Via UCAS, www.ucas.com ways. Starting with classical dramaturgical approaches to working one-to-one with a tutor on a dissertation or writing, and moving on to explore practices such as solo Institution Code a writing-focused research C35 performance and writing for communities, you interrogate project, a project where you the role of the writer within the creative process. You work as a writer within a Course Code examine how the role of the writer is historically constructed community arts or museum W470 and how it changes in different eras and contexts. context and a final student-led performance and a writing- Course Leader Through a series of practical writing projects, where you focused practical project. You have the opportunity to see your work presented at will attend specialist lecture Dr Amanda Stuart Fisher rehearsed readings, you will learn about different genres series delivered by artists, of writing for performance. These will explore areas such academics and researchers, Award as collaborative approaches to writing, political theatre, who are pioneers in the field of BA (Hons) Contemporary verbatim and testimonial theatre, and writing for live art drama, theatre, performance Performance Practice and digital media, with many of the projects including a and applied theatre. (360 credits/Level 6) strong practical element. Students have access to funding for projects outside 48 | London from the Leverhulme Trust. Undergraduate Courses | 49 BA (Hons) Theatre Practice Programme Overview

A degree programme offering a deep understanding of the collaborative process of performance design, interpretation and production, with intensive training in design, craft or production practices in one of nine specialisms.

You will learn traditional and contemporary theatre and We invite and select highly motivated students who already performance making skills, combined with critical thinking have a commitment to a specialist area of theatre practice to gain a rigorous understanding of production processes, on entry. The programme equips students with a higher applicable to theatre, film, television, events, installations level of specialist practice and advanced interdisciplinary and audience experiences across the cultural industries. collaboration. Theatre Practice graduates are prepared not Throughout your training, you will collaborate with a range only for the current industry, but also to develop careers as of professional practitioners and companies. leaders in their field and innovate the future landscape of the industry. BA (Hons) Theatre Practice graduates qualify with the professional and reflective skills and knowledge necessary Specialising in one principal subject, you will work in mixed to continually develop, innovate and, eventually, lead. groups with students from other specialisms on practical They know the importance of successful collaboration, and experimental projects and productions, gaining a communication, enquiry and the exploration that finds them breadth of knowledge. You will also benefit from working shaping and developing the creative industries in the 21st with fellow Central students of acting, musical theatre, century. applied theatre and devised performance, experiencing a variety of models of theatre and performance practice. Theatre Practice students learn how experimentation and demonstration drive ideas and challenge thinking and how Alongside well-established techniques and methods, you their creativity and practical skills are the basis of their future have opportunities to engage with current digital practices, career. They gain a thorough, practical understanding of including computer-aided drafting, rendering and modelling, taking ideas from inception to realized production. Across tooling, image manipulation, digital sound production and the programme, you will learn core lessons in collaboration, design, show control and new, entirely digital performance/ communication, effective planning and resource rehearsal spaces and sound stage. management through practical projects, while undertaking The programme has a well-established performance and in-depth specialist training in one of the following disciplines: entertainment industry network, through alumni, industry n Costume Construction contacts and course tutors who are industry practitioners. Through this network, you may have opportunities n  Design for Performance to work with a variety of scales of theatre, film and n  Lighting Design television companies, museums and galleries, immersive n  Production Lighting theatre, devised theatre, dance, music and festivals or visual merchandising projects. Recent collaborators and Ben Jacobs n  Prop Making Graduated 2016, was associate to Paule Constable on Les Misérables placement hosts have included Harry Potter And The Cursed n  Scenic Painting for Stage and Screen in Tokyo and more recently received three nominations in the Best Child, Disney, Royal Shakespeare Company, National Lighting Design category of the Off West End Theatre Awards. n  Set Construction for Stage and Screen Theatre, Glastonbury Festival, English National Opera, Little ‘Central was invaluable in providing me with the support to discover n  Stage Management and Technical Theatre Angel Theatre, Goat and Monkey, Parrot in the Tank, Blind Summit Theatre, Pinewood Studios, Liberty, Harvey Nichols, and hone my practice. I was able to build vital, risk-free experience in all n  Theatre Sound. aspects of the profession, with opportunities to work alongside industry Victoria and Albert Museum (V&A), Roundhouse, Border professionals, graduates and other students who soon became part of my Crossings, Robert Lepage, the Ellie Goulding tour, Shunt professional network. The course gave me the confidence and ability to and Emergency Exit Arts. work creatively and collaboratively at a professional level and has provided Dr Kathrine Sandys a fantastic springboard into the industry.’ Head of Theatre Practice

50 | Undergraduate Courses | 51 Costume Construction

www.cssd.ac.uk/ba-costume-construction Year 1 Professional Focus Projects and workshops to Previous work placements understand the role of the include: the costume costume interpreter: including departments of the Royal Develop high-level and varied skills in pattern drafting, sewing Opera House, National costume interpretation and creation techniques, dyeing and costume Theatre, Shakespeare’s Globe, breaking down skills. You Royal Shakespeare Company Learn pattern drafting, women’s and will work with a professional and Southwark Playhouse; designer to produce costumes costume companies including men’s costume making, hat making and for a tableau vivant, adapting Will Skeet Costume, Webb accessories a modern pattern block to Costumiers and Jane Law make period underwear, such Costumes. Others include the Work with contemporary and historical as corsetry and petticoats. You Channel 5 documentary Inside will work as part of a team on Holloway, costume trainees body shapes and silhouettes a public production, dressing on the Disney film Cruella, the and undertaking wardrobe Netflix series Bridgerton and the Undertake costume supervision and/ maintenance. Colonial Williamsburg in the US. or placements with professional Professional associates include Year 2 Simon Kenny on Babette’s Feast at the Print Room and Sweeney companies and designers Further skills development: making a more complex corset, Todd at Tooting Arts Club and Work closely with students across boned bodice and bustle, New York off-Broadway, Diego Pitarch on 20th Century Boy at disciplines to contribute to the overall pattern cutting for men and women, cutting and draping on the Belgrade Theatre and Sweet understanding of performance the mannequin, and tailoring Charity at the English Theatre production techniques. You will make Frankfurt. costumes for Central’s public productions and costumes Duration chosen based on your personal Three years, full-time, Technically skilled, creatively inventive ‘makers’ are essential interests, such as a tutu, frock October start to any production team, sensitive to the stylistic intentions coat or prop costume. You of the designer and director. Training will principally be in will have the opportunity to Application theatre, but these skills are transferable to different undertake a placement with a Via UCAS, www.ucas.com environments, including television, film and major live professional company, or assist Institution Code a costume supervisor on a events. C35 Georgia Smithers professional production. Costume constructors interpret the given costume designs, Graduated 2019, recent television and film work includes Trainee Costume Embellisher for Course Code whether period or modern, abstract or representational. Year 3 the Netflix production of Bridgerton and Junior Costume Embellisher for Fox’s production W460 As part of a production team, you will work closely with of Cinderella. Additional work in theatre as Design Assistant for the Fairy Queen at the Focus on professional the designer to interpret the brief, creating costumes and development: through Course Leader Waterperry Opera Festival and Costume Maker for Les Misérables in London. accessories to the level of finish for contemporary negotiation with your tutors, Caroline Townsend ‘Studying Costume Construction at Central has helped me grow as a costume maker and feel audiences. You will develop skills in time management, you choose roles and projects confident when leaving to work in the industry. The structure of the course allowed for us resource management, budgeting and scheduling. You to support your future career. Award students to work collaboratively and independently on public productions and placements, will learn to research and understand scripts and creative This might include placements, BA (Hons) Theatre Practice working with a professional gaining a true understanding of working in real time and allowing me to gain a variety of concepts and the time, place and narrative of the (360 credits/Level 6) experiences. Personal projects gave me the creative freedom to develop specific skills that I could company or costume production. apply to future career goals. The course focuses on the development of all areas, helping me to supervisor. You could choose be fully prepared for the industry in both theatre and screen.’ Costume construction is a craft that requires making to be Head of Department on garments suited to the modern body, while achieving a full-scale realised production in our theatres, or undertake correct silhouettes for particular eras and designs. You the role of wardrobe supervisor will learn to produce garments that are appropriate for managing the costumes and the character and comfortable for the performer to use students in the dressing teams. costume to enhance their performance. The course focuses You will showcase your work in on a range of historical and contemporary projects. a public exhibition for invited industry employers and others.

52 | Undergraduate Courses | 53 Design for Performance www.cssd.ac.uk/ba-design-for-performance

Intensive set and costume design Year 1 Professional Focus training with industry-wide interaction Exploring and learning Typically in your second or key skills: allowing the third year, you will have the Create a vision for the environment in development of core possibility to further develop techniques, experimentation and extend your work and which performance happens: theatre, and a clear understanding specialisms in live performance dance, opera, musicals, devised and of what performance and and other associated fields performance design are through industry placement. immersive theatre, installations, video/ through a series of taught Previous students have film, applied theatre, performance art classes, workshops and realised collaborated with, or had and puppetry projects, as well as contact placements at companies with the professional world. including Improbable, Andy You will work on a number Hillman Studio, Complicité, Experiment with concepts and ideas of collaborative projects Victoria and Albert Museum through speculative and realised that encompass installation, (V&A), Opera North, Scottish immersive and traditional Opera, National Theatre, Shunt, performances contexts in which to design. Arcola Theatre, Thin Man Films and National Film & Television Collaborate with directors, performers, Year 2 School and have assisted or worked alongside professional other designers, constructors, makers Developing individual design designers and other industry and production teams processes: a near-professional level is attained through a series professionals, both within the of studio projects, during which UK and abroad. you will work with directors This course prepares you to work creatively and on speculative design projects Duration professionally as a set and costume designer. You will learn using a variety of possibilities Three years, full-time, through collaboration with other design and production across texts and opera. Projects October start can also include completing a courses, developing an understanding of the specialist Application practitioners with whom you are likely to work in your professional placement with a practitioner or company, or Via UCAS, www.ucas.com career, such as lighting and sound designers, puppeteers, designing a public production Institution Code constructors, stage managers and technical production within our theatres. teams. C35 You will develop fundamental skills, including model Year 3 Course Code making, technical drawing with AutoCAD, costume drawing Focus on professional W461 and storyboarding using Adobe Photoshop, and the use of development: applying and projected media. You will have the opportunity to put these refining design practice on Course Leader Central’s public productions, skills into practice on public productions in our theatres. Aldona Cunningham as well as smaller-scale The course develops practitioners with a strong sense of Khadija Raza professional productions, as Graduated 2017, currently designing a show at the Jerwood Theatre direction and identity, and an ability to experiment and appropriate. You will develop Award Upstairs, Royal Court. think conceptually. a professional portfolio and BA (Hons) Theatre Practice identity and participate in a (360 credits/Level 6) ‘Studying at Central gave me the practical skills I needed to work as a designer From the first year, you undertake speculative design public exhibition presenting as well as help me develop an artistic voice. Collaborating with all the different projects that will challenge and test ideas in a broad your work to invited industry courses at Central gives a real sense of what it is like to work in the industry and range of performance contexts, under the guidance of employers and others. helps you make connections with people you will work with in the future. Since professional directors, designers and choreographers. graduating, I have worked in a range of theatres including the Young Vic, Almeida Through collaboration, you will share some workshops with Theatre, The Yard and the Royal Exchange Manchester. I was one of the winners students from other courses, enabling a deeper mutual of the Linbury Prize 2017 and the winner of the Stage Debut Awards for Best insight into each other’s practices and methodologies. Designer 2018.’

54 | Undergraduate Courses | 55 Lighting Design

www.cssd.ac.uk/ba-lighting-design Year 1 experience of the creative We start with a solid and other challenges faced by grounding in ‘the tools of the professional lighting designers, trade’: building your confidence while placements offer in the practical side of creating opportunities to further expand Learn the art of lighting design for live stage lighting. Then you will your experience and contacts. performance learn techniques to help you develop creative responses Professional Focus to play texts and music. You Major industry partners support Develop creative and technical will be guided to develop ways Central’s lighting courses, expertise on a specialist course, in of successfully collaborating including White Light, PRG collaboration with specialists in other as part of multidisciplinary UK, Static Lighting, TSL, 59 creative and technical teams. By Productions and Really Creative disciplines the summer term, you will be Media. We also have strong ready to take on a lead role on links with companies that have Learn practical skills such as rigging and a smaller show, or an assistant been started by graduates, role on a larger production. including Liteup Events, concert focusing to a professional standard lighting design partnership Year 2 Cassius Creative and video Work in role as a lighting designer on Continuing to develop your designer partnership FRAY a range of projects and productions, practice: through realised Studio. The course has excellent links with the Association collaborating with students and productions and projects, you will develop your ability of Lighting Designers (ALD) professionals to communicate, negotiate and many London venues. and solve problems in a team You can use these to find Build your professional contacts and a environment. You will learn ideal placements and/or job more practical skills too, for opportunities.Each year, a panel portfolio of work in readiness for entry example: working at height, of industry experts helps you into an exciting career in lighting programming, video design launch your professional career. and event lighting. By the end of this year you will normally Duration have completed at least one Three years, full-time, You will develop as a creative lighting design practitioner realised lighting or video October start through taught sessions and practical exercises, but mostly design, and have worked with through making work. You will be supported in this by a professional practitioner on Application experienced tutors, visiting professionals and our excellent at least one speculative project. Via UCAS, www.ucas.com You will also be confident in technical and production staff. You will also work with Institution Code Central’s extensive industry networks: manufacturers, the practical skills you need to C35 service providers, hire companies, and freelance lighting work as a lighting technician: and video professionals working in theatre and beyond. planning, rigging, focusing and Course Code plotting lighting. W450 Throughout the training, you are introduced to professional practitioners, including many successful graduates of the Year 3 Joshua Gadsby Course Leader course. You may find them working alongside you in role, Focus on professional Nick Moran Graduated 2015, freelance lighting designer working across theatre, dance as your mentor, or as a project leader. Together with your development: you will be able and live art. Credits include new plays directed by Nadia Fall and Simon tutors, they will help to ensure you are as well prepared to take advantage of Central’s Evans for Hampstead Theatre, A Kettle Of Fish at The Yard Theatre, Trap Street Award as possible to enter the world of work as a lighting exceptional relationships with at the New Diorama Theatre, Returning To Haifa at Finborough Theatre and professional in your chosen field. the lighting industry, including BA (Hons) Theatre Practice Rendezvous In Bratislava at Battersea Arts Centre. numerous alumni and leading (360 credits/Level 6) ‘Central helped me interrogate what it means to be a valuable collaborator and In the final year, there are opportunities to showcase your international designers, as understand how my specialism can enhance the process of theatre making. Being design work in the annual graduate exhibition. you focus on your preferred career pathway and build your part of such an eclectic community of theatre makers, enablers and facilitators professional portfolio. On-site fostered a safe space for creative risk taking. Overwhelmingly, the course has helped projects offer ‘real world’ me find my voice and encouraged me to be bold in my approach.’

56 | Undergraduate Courses | 57 Lars Davidson Graduated 2017, has toured internationally as the Stage Manager with the Akram Khan Company. She was also the Relighter and Technical Manager on the UK tour with the Jose Agudo Dance company. Production Lighting ‘During my time at Central, I was allowed to explore a variety of roles and challenges which helped me decide what I wanted to work on today. I was always encouraged to www.cssd.ac.uk/ba-production-lighting Year 1 Professional Focus pursue the topics which interested me and gave access to excellent resources to learn, Introduction to professional Central’s lighting courses are even if the topics deviated from what were typically offered on the course. I felt that lighting practice: through generously supported by major at Central I could really be myself and explore what kind of industry professional I was taught sessions and exercises industry partners, including going to be, something I could not have done without the amazing support of my tutors Learn how to rig and focus professional in Central’s studio and White Light, SLX, PRG UK and and the opportunities to make mistakes.’ lighting and video equipment to theatre spaces, you will TSL, ETC, Static Light and industry standards build your confidence and Ambersphere (who help to ability to plan, rig, focus and train some of our students on programme lighting, and their MA desks.) The School Develop techniques to manage complex to work collaboratively with has strong links with a range lighting and video systems lighting students and with of started by graduates, other specialists. You will gain a including Liteup Events (Kris Learn what it takes to manage a crew foundation in health and safety Box and Marc Callaghan), management, safe working Cassius Creative (concert through an entire production process, with electricity and working at designers Chris ‘Squib’ Swain from planning, through fit-up, tech, height. Collaborative projects and Dan Hill) and video design further develop technical partnership FRAY Studio. From running shows, get-out and beyond and management skills in the video industry, regular preparation for work in the role visitors and placement hosts Work alongside professionals on of lighting crew and/or lighting include Disguise (formerly D3 realised projects within Central and in programmer. Technologies), Really Creative Media, 59 Productions and industry settings Year 2 Green Hippo. Each year, a panel of industry experts helps Continuing to build practical final-year students launch Develop a high level of technical and management skills: proficiency and expertise through taught sessions their professional careers. and opportunities to work in Many opportunities for lighting key roles on Central’s public students come from these productions, you will rig and panels and from the ever- You will learn to plan, rig, focus, programme and maintain troubleshoot lighting and video expanding network of Central lighting and video rigs for theatre and other live shows. You systems, programme them graduates. will also have opportunities to develop management skills and manage fellow students that (along with your practical skills) will help you position through the production Duration yourself at the forefront of the industry on graduation. process. You will also research Three years, full-time, and explore areas of practice October start As you progress through the course, you will have beyond conventional theatre, opportunities to develop specialist skills in the areas including events and festivals. Application of most interest to you, such as lighting and/or video Via UCAS, www.ucas.com programming, power distribution, digital networking and Year 3 Institution Code the developing field of ‘smart’ practicals. You will also Focus on professional C35 manage or co-manage projects that will include Central’s development: you will continue public productions, with support from tutors and visiting to research specific industry Course Code professionals. You will be mentored by tutors, technical sectors that interest you, and W451 staff and visiting professionals, and have the opportunity to build on your experience through taking on senior roles develop projects with fellow students. Course Leader in larger projects at Central, Nick Moran There are also opportunities to develop and negotiate your and/or through individually negotiated placements. You will own projects, which have previously included programming Award for music, conference and event lighting, site-specific work, benefit from Central’s unrivalled relationships with the lighting BA (Hons) Theatre Practice festival planning and architectural projection. Towards industry, including numerous (360 credits/Level 6) the end of your final year, you will have the opportunity to alumni and other practitioners take part in a curated exhibition, to which you can invite working in the theatre, live practising professionals. event and concert touring/ festival sectors.

58 | Undergraduate Courses | 59 Year 1 Professional Focus Prop Making Exploring and learning Students benefit from the specific skills: design established links the course interpretation, technical has with prop making and www.cssd.ac.uk/ba-prop-making drawing, sculpting, mould associated companies and making, casting, fibreglass and entertainment practitioners plaster work, vacuum forming, in the UK and beyond, such 3D printing, CNC, paint effects, as English National Opera, Intensive training in creating props, construction, welding and Glyndebourne Festival three-dimensional structures and polystyrene carving. Working Opera, Royal Opera House, with professional designers Madame Tussauds, Endemol elements of the set using a broad range as part of a production team, Productions, Pinewood Studios, of materials and techniques you will produce props for a Artem, FBFX Ltd, Emergency public show at Central, or for Exit Arts, Kinetica and Asylum Plan and build props for a range of external industry events. You Models & Effects. Students have will also develop text analysis engaged in placements and spaces such as theatre, film, television, and research skills, and an worked for festivals and events, events and advertising understanding of the wider including the Glastonbury context of your practice. Festival, Rio Carnival, WOMAD, Undertake work in professional and at Circus Space and the Year 2 Roundhouse, as well as on contexts within the industry museum installations in the Further skills development: body padding, advanced mould UK, Sweden, Italy, the USA, Develop skills in research, analysis, making, silicone and resin work, the United Arab Emirates and collaboration and design interpretation advanced sculpting, fabrication Egypt. Film and television and model making. You will production work has been undertaken by students on Work independently or as part of a team continue to develop your skills in design interpretation, time productions such as Jurassic management, self-management World: Fallen Kingdom, Doctor Manage a team on a production in the and budgeting and lead a Strange, Fantastic Mr Fox, Thor, public domain team in order to develop Snow White And The Huntsman, management skills. You will Blade Runner 2049, Dunkirk and also undertake further industry Star Wars. Additionally, students placements and continue to have worked on window Prop Making reaches into all areas of the entertainment develop research skills. You displays at stores including industry – theatre, film, television, window display, model will take on the role of Head Fortnum & Mason, John Lewis and Harvey Nichols. animation, community arts, museum installation and of Department, managing replication work. The Prop Maker will work with designers fellow students and producing and directors to produce bespoke items for individual props for productions, and Duration requirements. It is rare to make the same thing twice, coordinating with other Three years, full-time, members of the creative and October start so the Prop Maker has to be ingenious, quick-thinking, production teams. explorative, dexterous, enjoy problem-solving and have a Application love of materials and all things three dimensional. The work Year 3 Via UCAS, www.ucas.com can range from small, intricate, hand-held reproduction Focus on professional Institution Code items, to large-scale, articulated structures, but will always Miles Ascough development: you will spend C35 require excellent artistic and creative skills. the first term working on an Graduated 2017, has his own prop making business designing and creating for exhibition project developing Course Code theatre, television, film, corporate clients and undertakes private commissions. You will gain experience and high technical competence your specialist skills further. W462 Recent clients include BBC, Lucas Film, Warner Bros., Andrex, The Body Shop and and develop strong technical drawing skills, manual and You will extend links with the Haig Whisky. CAD, and an understanding of colour theories, design industry through placement Course Leader interpretation and working to scale. You will also cultivate a work and focus on developing ‘The course provided me with a fantastic toolkit of making skills. More importantly, it allowed Dot Young me to develop my ability to collaborate successfully with peers and professionals through broad understanding of period styles and aesthetics. specialist skills to inform strategies for future practice live briefs and work experience. I discovered that the “making” aspect of the job is just the You will work closely with students of other theatre Award tip of the iceberg. This course has improved my self-awareness and, as a result, I am a more beyond Central, which include disciplines on Central’s public productions and develop BA (Hons) Theatre Practice intelligent problem solver, collaborator and manager. I have been able to put my newly- developing a strong media an overall understanding of performance and theatre profile. You will participate in (360 credits/Level 6) acquired theory into practice and transition seamlessly into a steady stream of weird and production. You will have the opportunity to arrange wonderful opportunities that continue to grace my inbox with semi-regularity. Prop making is a public exhibition presenting placements across a variety of genres, such as live arts, your work to invited industry a magical world, thank you for getting me here, Central!’ devised and collaborative works, text/character-based employers and others. play productions, film, large-scale community arts events, museum installation and television.

60 | Undergraduate Courses | 61 Scenic Painting for Stage

and Screen Year 1 Professional Focus Workshops and classes: Students benefit from the www.cssd.ac.uk/ba-scenic-painting-for- painting as a team, colour established links the course theory, colour mixing, scaling- has with leading London-based stage-and-screen up, drawing, scenic art painting freelance scenic artists and techniques, marbling, stained painters. Through placements glass, hand-painted wallpaper, in the second and third years, wood graining, trompe l’oeil past students have worked and lettering. You will work with freelance scenic painters Develop scenic painting techniques with a professional designer on West End productions for transferable to theatre, film, television, to produce samples for a Rocket Scenery, Souvenir, reproduction of an existing Scott Fleary, Scenic Projects, festivals, theme parks, murals and texture or fine art painting, and A Construction Production, major live events as part of a public production Footprint Scenery, Elstree team. Studios, Dragon Smoke Learn to interpret designs – period or Construction, Illusion Design Year 2 and Construct, English modern, abstract or representational – Developing skills: in spray National Ballet and ENO, as using your artistic skills and knowledge painting, perspective, texture, well as regularly undertaking architectural and figurative placements on productions at gained on the course painting, life drawing, trompe the National Theatre, Salisbury l’oeil painting and signwriting, Playhouse, Watford Palace Undertake the realisation of production as well as learning and Theatre, TV Studios, Channel designs to professional standards applying advanced painting 4, BBC, ITV, Netflix, HBO, techniques. You will paint a Pinewood Studios, The National cloth and/or gauze for a public Television Awards and the Work with a range of materials, production at Central, or at a Olivier Awards. Further afield, textures, finishes and effects to prepare professional theatre. You will students have broadened work in a professional context their skills and expertise on you for industry careers within the industry and have a diverse range of projects the opportunity to develop in other industries, such as Establish a high level of technical personal projects to explore window display, festivals, events competence and skills in research, techniques not covered by and theme parks. Examples production work. include painting the display analysis and interpretation ‘live’ in the windows of London’s Year 3 Conran Shop, Harvey Nichols, Focus on professional The Bar of Ideas Glastonbury, Scenic painters are artists responsible for painting development: you will work Boomtown Fair, Alton Towers, Thorpe Park and other Merlin backdrops and creating textures and faux finishes for set as head of department on a full-scale realised production in attractions. pieces within theatre, film, television and other modes of our two theatres, managing the display. The role of scenic painter requires excellent artistic department of Scenic Painting Duration skills, combined with the ability to work independently, or students. With the guidance Three years, full-time, as part of a team, meeting design specifications. of staff and professionals, October start you will be liaising with the You will develop skills in research, analysis and production team and painting Application Robyn Kahn-Cleland interpretation, working on both large and small-scale scenery, textured floors and Via UCAS, www.ucas.com Graduated 2013, freelance scenic and mural artist. Recent commissions elements on a variety of surfaces and materials. You will walls, and finishes on furniture as scenic artist include Capital Scenery, the Contemporary American learn to work accurately and to deadline, learning a range or specific props. You will Institution Code Theater Festival, Cleveland Play House, Indiana Repertory Theatre and of techniques, as well as gaining a good understanding of undertake a personal project C35 Utah Shakespeare Festival. art history, period styles and architecture. You will cultivate and placements focused on Course Code ‘Lectures, such as Gender in Theatre and Race in Theatre, introduce you to excellent and comprehensive artistic and scenic skills as your personal area of interest, W463 many aspects of the industry on an intellectual level, while sessions on how to part of a scenic art team on public productions, working working in professional create CVs and portfolios, be self-employed or start your own business help closely with students on other courses, to contribute to the contexts, e.g. painting scenery Course Leader to prepare you for the nitty-gritty of becoming a professional. Undertaking overall understanding of performance and theatre. for a West End show, television, film, festivals and visual work placements on the course gave me many opportunities to network with Carla Mardle merchandising. You will professionals and production companies.’ Many opportunities arise through the network of graduates already well placed in the industry and contacts made showcase your work in a public Award exhibition for invited industry with the professional designers who work on public BA (Hons) Theatre Practice employers, alumni, family and productions at Central. (360 credits/Level 6) friends.

62 | Undergraduate Courses | 63 Set Construction for Stage

and Screen Year 1 Professional Focus Exploring and learning Through the links the course www.cssd.ac.uk/ba-set-construction-for- specific skills: primarily has established with renowned traditional and contemporary scenic workshops and other stage-and-screen scenic carpentry using hand- industries, such as festivals, held tools, power tools and events and theme parks, machinery. You will build students have been able to specific elements of scenery, broaden their scope of skills working to a professional and expertise by working on Learn traditional construction skills and designer’s specifications and a diverse range of projects, experiment with newer materials and work to plan how scenery might including with Theatre Royal be installed to fit different Stratford East, Hampstead techniques spaces. You will collaborate Theatre, Young Vic, Scott Fleary, as part of a wider team to Shape Construction, All Scene Plan and build sets for a variety of create public productions. You All Props, Royal Shakespeare contexts and scales including theatre, will also learn AutoCAD and Company, English National technical drawing. Opera, Blackfriars Scenery, film or broader areas of the industry Clockwork Scenery and on Year 2 Britain’s Got Talent, The Curious Incident Of The Dog In The Night- Learn different staging and rigging Further skills development: technologies appropriate to a range you will continue to develop Time, Closer, Kinky Boots, Who’s AutoCAD skills and learn about Afraid Of Virginia Woolf and the of production work industry standards in health recent Star Wars films. and safety legislation. You Alumni have also successfully Develop drafting and planning through will learn about rigging and started their own companies computer software, realised through flying scenery and build metal which offer opportunities for structures using techniques graduating students, such as built and machine-generated CNC such as MIG welding and Illusion Design and Construct, techniques plasma cutting. You will as well as working on The experiment and explore Sherlock Holmes Experience Work in professional settings within working with automated installation at Madame scenery. You will construct sets Tussauds and the David Bowie the industry with many of our for public productions, either Is exhibition for the Victoria and graduates individually or as part of a team. Albert Museum (V&A) and for a Martin Smith You will have the opportunity world tour. to work in a professional Graduated 2016, freelance scenic constructor. He has worked at Park context within the industry, on Duration Theatre, Edinburgh Festival Fringe, as Chief Carpenter at Millfield Scenic constructors are creative problem solvers who use placement. Arts Centre on their pantomime Aladdin, and The Bubbly Black Girl ideas and solutions drawn from engineering and industrial Three years, full-time, Sheds Her Chameleon Skin, Theatre Royal Stratford East. October start practice to create sets and staging. The course is ideal if you Year 3 are seeking a creative arts-based career, with an interest in ‘The course at Central was really helpful to show us all the various Focus on professional Application aspects of scenic construction, as well as enabling us to learn skills in building with wood and metal. The training will principally development: you will Via UCAS, www.ucas.com budgeting, scheduling and working closely with other departments on be in theatre, but these skills are widely transferable to undertake the role of head Institution Code public productions. The hands-on approach to learning benefits you in different environments, including television, film, trade of department on a full-scale the industry, along with the skills learnt whilst undertaking professional shows and major live events. realised production, managing C35 placements.’ other students, building Course Code You will learn to work independently and be resourceful, scenery and coordinating with W464 developing specific scenic construction skills to the high members of the creative and professional level required to meet design briefs and the production team. You will select requirements of the industry. You will have opportunities and work on a personal project Course Leader to develop skills in new technologies, working with CAD or placement focused on your Francis Johnson and machining software to create drawing through to CNC individual expertise. You will cutting, profiling and routing. present your work to invited Award industry employers and others BA (Hons) Theatre Practice From the second year of the course, you will have the in a public exhibition. (360 credits/Level 6) opportunity to work in professional contexts, for example, constructing scenery for a professional venue, working with a major scenery building company, or with companies working in events, television or advertising.

64 | Undergraduate Courses | 65 Stage Management and Technical Theatre*

www.cssd.ac.uk/ba-stage-technical Year 1 professional life, advised by Introduction to professional leading industry figures who theatre making: learning will offer suggestions to support core technical theatre skills, your chosen path into the Intensive training in stage management risk management, lighting, industry. and theatre technology sound, construction, text analysis, technical drawings Professional Focus Career preparation for backstage work and prop sourcing. You will be Graduates have progressed working on projects with your into a wide variety of in theatre, with extensive transferable immediate peers on the course professional careers in the skills for the live events industry and at other times with your creative industries, such wider year group of students as stage management at Collaborate with teams of designers, across the Theatre Practice all scales of performance, programme. This presents you technical and production makers, performers, technicians, with the opportunity to begin management, pyrotechnics, engineers and artists exploring and honing your technical drawing, automation communication skills with a engineering and producing. diverse range of practitioners; Students have undertaken Discover the theories, processes and experimenting with problem- a variety of placements in practices that underpin contemporary solving techniques in different many areas of the performing performance and production arts situations to help you manage arts industry, including the the professional challenges you National Theatre, English will encounter. National Opera, the Young Vic, Hampstead Theatre, Unicorn As a Stage Management and Technical Theatre student, you Year 2 Theatre, Sadler’s Wells, Hackney will learn hands-on skills and techniques that will prepare Bespoke year in consultation Empire, the Pleasance Theatre you for a career in theatre production; whether you are with your tutor: enabling you and many West End theatres. aspiring to become a multi-skilled theatre maker, or build a more in-depth exploration Touring theatre companies include Matthew Bourne’s New specialist abilities such as rigging, prop sourcing, technical of the areas of theatre making you are interested in, alongside Adventures, English Touring drawing or show-calling. Building on core knowledge of Opera, Kneehigh Theatre, stage management, stage technologies, lighting, and sound, developing further technical skills: pyrotechnics and stage Ambassador Theatre Group, the flexible course structure then enables you to tailor your weaponry, for example. Options dreamthinkspeak, Shunt, learning experiences to suit your ambitions. to undertake positions on Goat and Monkey, Walk the Central’s public productions Plank, The World Famous and Throughout the course, you will expand your contextual Emergency Exit Arts. and critical understanding of performance making, through and collaborative projects. Alternatively, an in-depth examining and challenging ideas, theories and issues within specialist skill-building project Duration contemporary society and the creative industries. can be undertaken in areas that Three years, full-time, In the final year, you have opportunity to undertake include event rigging, digital October start placements to further build your network of contacts, as technologies and construction processes. Application well as exploring and understanding up-to-the-minute Via UCAS, www.ucas.com challenges, projects and developments in the sector. Gary Beestone Year 3 Institution Code Graduated 2002, established Gary Beestone Events & Theatre providing production You will be encouraged to make strong connections within Focus on professional C35 and project management for world-class theatre and events for clients such as Disney, the industry, which will expand your learning and support development: preparation Sonia Friedman Productions, Hull UK City of Culture and the Rugby World Cup, as well your transition from education to full-time employment. for entry into the industry with Course Code as working as the Worldwide Technical Director for Harry Potter And The Cursed Child. Throughout the course, you will engage with professional the opportunity to undertake a W491 senior role on one of Central’s ‘My time at Central taught me how to work with a wide range of people and disciplines networks and our alumni community. This will help you public productions. You will focus your learning towards the areas of the entertainment Course Leader and opened my mind to the full spectrum of theatre genres. It was there that I was able to work with a diverse team of Peter Maccoy transition into working on real live projects. It was an amazing opportunity to explore the industry that interest you. fellow students and visiting areas that I enjoyed, and those that I didn’t, to set the foundations for an exciting career professional practitioners. working in technical theatre. Working on projects within Central with fellow students and You will be able to undertake Award later with the freedom to develop my own work and contacts outside, gave me opportunities industry placements. You will BA (Hons) Theatre Practice that shaped my future development.’ develop a career plan, setting (360 credits/Level 6) * Subject to confirmation. out the next steps in your

66 | Undergraduate Courses | 67 Theatre Sound

www.cssd.ac.uk/ba-theatre-sound Year 1 Professional Focus Develop and extend your Theatre Sound incorporates skill base: examine the core industry partnerships at aesthetic and technical ideas Central, looking at ways A fully rounded education in all aspects that underpin sound design in which collaboration of current theatre sound practice and engineering. You will learn between audio and theatre about current professional industries can be mutually Training in technical production and practice and begin to develop beneficial. The programme is your individual process, identity generously supported by major delivery, underpinned by an and design aesthetic as a sound international industry partners understanding of current technical practitioner. You will undertake including d&b audiotechnik, practical exercises, including Yamaha, Autograph Sound theory and supported by state-of-the- speculative projects, and look and the Association of Sound art equipment at the link between theory Designers (ASD) who all provide and practice while expanding a platform for continuing Fundamental teaching of all creative your understanding of working professional development and collaboratively in cross- community support. Many sound design elements, creating sonic disciplinary groups. exciting opportunities for sound worlds for live performance students come through the Year 2 network of graduates already well-placed in the industry. Collaborating with fellow design and Identify the particular career production members across a range of path that interests you: for example, content design or Duration live performance styles composition, or system design Three years, full-time, and production engineering. October start Exploring the possibilities of one of Engaging with this principal area of practice, you will work ‘in role’ Application the most rapidly evolving specialist across a variety of productions, Via UCAS, www.ucas.com performances disciplines, working with under the guidance of tutors, Institution Code tutors who are practising professionals staff and outside professionals. You will take responsibility for C35 design and/or production Course Code elements of public shows, WW34 Working practically with sound in the studio, the rehearsal working collaboratively as part of the company. room and the theatre, this course explores the creative and Course Leader technical elements constituting theatre sound in all areas of Peter Rice performance today. Year 3 Focus on professional You will work with the newest professional performance development: you will Award technologies, acquiring core technical understanding undertake senior sound design BA (Hons) Theatre Practice and independent thinking to carry you forward into your and/or production roles across (360 credits/Level 6) professional career. a variety of public productions Harry Johnson at Central, including the Graduated 2017, credits include Associate Sound Designer for Anatomy Of A Throughout the course, you will learn artistic, technical, management of sound teams Suicide at Deutsches Schauspielhaus, Hamburg, Parakeet at Paines Plough, communication and problem-solving skills as part of a and budgets. You will continue World’s End at the Kings Head Theatre, Orlando at Schaubühne, Berlin, Norma collaborative company of performance makers. In the to research industry Jeane Baker Of Troy at The Shed, New York. final year, there are opportunities to gain professional practitioners and practice, as placements in industry-leading organisations and showcase well as strengthening your ‘The course really opened my eyes to what is possible in the world of theatre sound and relationship with the sound design generally. With a combination of practical learning in a variety of roles on your design work in public productions and the annual graduate exhibition. professional industry outside professional-level shows and support from the industry’s top practitioners both as tutors Central through placements and visiting lecturers, I really couldn’t have asked for a better environment to experiment and/or off-site projects. and expand my knowledge of a constantly evolving industry.’

68 | Undergraduate Courses | 69 Postgraduate Courses

70 71 Research Degrees (PhD/MPhil) www.cssd.ac.uk/research-degrees Duration Three years, full-time minimum registration period Engage with pioneering ideas and practices in theatre and Four years, normal performance maximum (excluding agreed interruptions) Work with expert supervisors across Central’s specialist Six years, part-time minimum registration period, with areas eight years as the normal maximum Meet visiting artists, research fellows and leading scholars To transfer a PhD from another institution, the minimum length Develop a doctoral thesis through practice-based methods of study at Central is one year, or book-based research full-time/two years, part-time. Application Train in research methodologies, including fieldwork, You will normally have a good documentation and experimental practice first degree and Master’s degree in relevant subjects. In exceptional circumstances, Central is renowned for its strong record in producing both practice- and text-based you may have significant academic research. We support all aspects of research into the disciplines of theatre, and relevant professional drama and performance. Our academic staff are experts in drawing connections experience in place of a between experimental practice methodologies, processes and product; making and Master’s qualification. For proposals to undertake doing; thinking and articulating. Your eventual PhD submission may either be a single research that includes and sustained written thesis, or it may feature practice-based projects submitted practice-based elements, alongside a written component. you will normally be able to demonstrate appropriate Central is pre-eminent in the UK with regard to research through practice. At the last experience and proficiency Research Excellence Framework (2014), over two-thirds of the research submitted by in relevant areas of practice. Central was judged to be ‘internationally excellent’ or ‘world-leading’. The School was Central offers PhD studentships Dr Lazlo Pearlman described as an example of ‘the emergence of a new kind of research institution in through the AHRC-funded Graduated 2019, currently a Senior Lecturer and the Undergraduate Programme the performing arts, bridging the creative industries and the academy’, and as ‘world- London Arts and Humanities Leader in Drama in the Department of Arts, Design and Social Science at leading in practice as research’. With industry-specific facilities able to support practice Partnership scheme, of which Northumbria University, Newcastle upon Tyne. As a live and digital performance research, Central is at the forefront of what is available in the university sector. It is it is a member. maker, Lazlo makes research-engaged performance works that explore an obvious home for such research and has extensive connections with all aspects of See page 114. the potential of the non-normative body as a sociopolitical tool beyond its the theatre industry, hosting an annual lecture series and public events, which have autobiographical properties. featured prominent writer and director, Robert Icke and Visiting Research Fellow, Programme Convenor ‘After more than 20 years as a professional arts practitioner, undertaking my doctoral Nike Jonah. Central is also committed to enhancing the professional development Dr Tony Fisher research at Central gave me exactly what I was looking for: the rigorous encouragement, of its researchers as future academics, researchers and practitioners in the field. In push and support to expand my thinking and making processes far beyond what I could addition to seminars on research skills and methods, students participate in a series Award imagine in my pre-academic career. The supervision by highly accomplished research of professional development sessions and a pedagogies unit that teaches the core PhD (Level 8) staff in my field and the resources that Central provided were instrumental in allowing skills needed for careers in higher education, as well as developing opportunities for MPhil (Level 7) me to reach my potential as a maker, thinker and academic. Central was able to meet teaching on Central’s MA and BA courses. me where I am as a mature arts professional and to support my journey to becoming an accomplished academic researcher.’ Benefits of PhD study For further information on areas of staff research and The opportunity to participate in Collisions, Central’s annual practice-based research supervision, see www.cssd. festival, presenting work in a variety of formats to peers and our annual PGR-led ac.uk/staff-profiles. conference, Intersections; support for attendance at national and international research conferences; training opportunities made available to PhD students through Central’s membership of the AHRC-funded London Arts and Humanities Partnership; being located close to the British Library and the University of London’s Senate House Library, to which Central students have access; having easy access to the cultural centre of London with its performance venues, archives, museums and theatres. 72 | Postgraduate Courses | 73 Postgraduate Taught Degrees Lucy Mangan Graduated 2016, having received the Embassy Postgraduate Scholarship – after studying Literature and Drama at UEA. Lucy took Moonface by Guttersnipe Theatre to the Edinburgh Fringe, played Eli in the National Theatre of Scotland’s US tour of Let The Right One In, Joan of Arc in Queen Margaret at The Royal Exchange, Manchester and Moaning MA Acting Programme Overview Myrtle in Harry Potter And The Cursed Child in London’s West End. For the BBC, she has appeared in Get Carter: The Christchurch Murder and Vampirella, as well as the soap Doctors. ‘MA Acting encouraged me to confront and find success through vulnerability and failure. Every day was challenging and every day I learnt something. It opened doors and provided me with the time I needed to grow, reflect and acknowledge habits that were preventing me from doing so.’ Intensive, advanced-level conservatoire acting training, Professional Focus with a choice of specialism in either Classical or The programme team trained and work as professional Contemporary work theatre makers. In recent years, Riz Ahmed masterclasses have been given Graduated 2006, has appeared in films such Sound Of Metal as Ruben, Nightcrawler as Rick, Teaching from a team of expert theatre practitioners by significant theatre artists, Jason Bourne as Aaron Kalloor, Rogue One: A Star Wars Story as Bodhi Rook, City Of Tiny including Anne Bogart, Dame Lights as Tommy Akhtar, Venom as Carlton Drake/Riot, The Sisters Brothers as Hermann Two public productions and an industry showcase Janet Suzman, Mike Alfreds, Kermit Warm and most recently on television as Paul-Louis in Girls (HBO), Rahim in The John Caird, Ian Rickson, Anna OA (Plan B) and received an Emmy Award for Best Actor as Naz in HBO’s The Night Of. Morrissey, Ned Bennett, Sergei Students form a small ensemble company (typically Tcherkasski and Robert Icke; ‘When I came to Central, I was passionate about acting, but I was yet to understand the necessary 14-16 actors) and we maintain close links with rigour and discipline needed to pursue a career in it. Central guided me from a place of blind casting directors and theatre enthusiasm to one of diligent craft, providing me with the solid foundations I needed over the companies internationally. coming years. It wasn’t always easy to make that transition; at times the process was painful, and MA Acting is a creatively, physically and intellectually demanding one-year I fought against it. But my course leaders showed such belief and patience towards us, and built Assessment such trust, that I ultimately followed them into this unknown territory. I grew more in that one programme designed primarily for students with professional acting experience or training. The programme aims to hone your craft and skills as an individual actor, and Assessment is through a variety year than I could have ever imagined.’ of practical modes, including to release your collaborative and imaginative creativity within an ensemble. scene studies and public In addition to training in acting, voice and movement, classes in stage combat and production work. There is a screen acting, practical sessions with industry professionals and masterclasses with strong emphasis on continual assessment. Additionally, major theatre artists prepare the actor for the demands and opportunities of a varied formative feedback occurs career; the Sustained Independent Project (SIP) encourages self-reliance, develops within classwork and rehearsal. research skills and teaches approaches to solo creation. To complete the MA Acting, Both courses offer rigorous actor training preparing you to enter the acting you will submit a Sustained Independent Project (SIP), profession, as well as incorporating collaborative projects with major theatre which may include elements of institutions. In the past few years, Classical students have worked with the RSC, solo performance and critical Shakespeare’s Globe, Illuminations Media, Out of the Wings and the Almeida Theatre; writing. Contemporary students have worked with the Royal Court, Hampstead Theatre, The Yard and The Factory. Students from Ireland and the USA have participated in Duration showcases in Dublin, New York and Los Angeles, and all students participate in the One year, full-time, MA Acting showcase in a theatre in London’s West End. September start Our alumni appear as actors in major theatre, film, television, new media and video game productions in the UK and internationally; others write, direct, produce, curate, Application See page 114. compose and teach worldwide. MA Acting Programme Leader Martin Wylde

Award MA Acting (180 credits/Level 7)

74 | Postgraduate Courses | 75 Paula Rodríguez Graduated 2014, works as an actor, theatre maker and playwright internationally, including the National Classical Theatre Company in Madrid, Corral de Alcala, Festival de Almagro, Bridge Theatre, Young Vic and Orange Tree in London and Chichester Festival Acting Classical Theatre. She has worked with Flute Theatre and Dash Arts and is Artistic Director of Teatro Inverso, touring in the USA and throughout Europe and Latin America. www.cssd.ac.uk/ma-acting-classical ‘I had already been acting in Spain for a few years when I made the decision to take the next step in my career, to work on international stages. The course enabled me to develop my craft considerably and gave me very specific and useful tools to grow as an artist. It helped me unlock new creative skills such as writing and devising my own work, as well as supporting me in the The structure of the training embodies the development of the theatrical art from its Acting Classical Course process of entering the industry in the UK. The expertise of the teaching team is outstanding, ritual and political roots to the modern era. Leader and my fellow students were an inspiration.’ Ben Naylor The course combines the pedagogic theories and practice of Konstantin Stanislavsky and Michel Saint-Denis, training the expressive body, voice and imagination. Working with some of the greatest dramatic texts ever written, you are asked to consider what they mean now, and how their 21st century reinterpretation and reimagining still hold a ‘mirror up to nature’.

You are encouraged to understand the demands of both art and craft, as participants in and practitioners of European theatrical traditions, by exploring and embodying the styles and ideas of key moments of dramatic innovation and transition, and the connections between them:

n Greek tragic chorus: physicality, musicality and experimentalism n European comic tradition: commedia and clown n Shakespeare and Early Modern drama n Stanislavsky, Chekhov and the Method: realism and naturalism n Expressionism and physical theatre: improvisation, neutral mask, animal study and Laban/Malmgren.

Over 40 weeks of intensive training, you will form an ensemble and be taught acting through voice, movement and acting classes. There will be an expectation for you to study outside the taught timetable and to prepare speeches, monologues and duologues as rehearsed scene studies to be brought into class. You will be both an active participant and have the opportunity to watch and learn from your fellow actors. You will receive constant personal feedback from your tutors in class, as well as through tutorials and feedback meetings with the staff team. You will create your own work, perform in a showcase for industry professionals and participate in two periods of five-week rehearsals for two public productions. These opportunities allow you to bring all your skills together to complete your actor training.

The Classical course incorporates one of the most in-depth and intensive practical encounters with Shakespeare’s plays of any UK actor training programme. Playwrights whose work has been performed in public productions include Shakespeare, Chekhov, Sophocles, Euripides, Behn, Gogol, Ford, Middleton, Gorky and Bond, as well as new, specially-commissioned translations and adaptations of plays by Schiller, Erdman and Whiting.

The members of our award-winning teaching team have worked with theatres and companies internationally, including the National Theatre, National Theatre of Scotland, Royal Shakespeare Company, Shakespeare’s Globe, Cheek by Jowl, Complicité, Young Vic, The Old Vic, Donmar Warehouse, Almeida Theatre, Sonia Friedman Productions, Moscow Arts Theatre, American Repertory Theatre, Song of the Goat, Teatr ZAR, Mischief Theatre, Pop-up Globe, NIE, Teatr Kamikaze and Habima Theatre.

76 | Postgraduate Courses | 77 Enyi Okoronkwo Acting Contemporary Graduated 2014, credits include wonder.land at the National Theatre, Boy With Beer at the King’s Head Theatre, Junkyard, a musical at Bristol Old Vic, The Cherry Orchard www.cssd.ac.uk/ma-acting-contemporary at Bristol Old Vic and Manchester Royal Exchange and appeared in Tartuffe at the National Theatre. ‘I was aware that it would be a considerable jump coming straight from the BA (Hons) Drama at Queen Mary to the MA Acting at Central, but throughout I have found that the intensity of The structure of the training brings together a number of different approaches with Acting Contemporary this course – being taught by industry professionals, and being given unique opportunities an emphasis on the creation of new theatre. This is all underpinned by training in Course Leader and constant support, including one-to-one voice and movement tutorials – has given me Stanislavsky-derived acting methodologies. Sarah Davey-Hull incomparable training.’ You will have the opportunity to investigate the relationship between the actor and the writer, as well as to collaborate and experiment with devising processes. You will leave the course with the skills and ability to work with text and scripts in a variety of contexts, studying some of the finest plays written in the 20th and 21st centuries, in order to develop psychologically evolved and embodied characters on stage as a creative artist.

One of the public productions is usually commissioned for the specific group by an established playwright.

You will explore:

n Stanislavsky and contemporary acting techniques n Observation, imagination and transformation in creating character n Neutral mask, storytelling, clown n New writing and the development of new work, including working with the professional playwright n Collaborative processes alongside your development as an actor and creative artist.

Over 40 weeks of intensive training, you will form an ensemble and be taught acting through voice, movement and acting classes. There will be an expectation for you to study outside the taught timetable and to prepare speeches, monologues and duologues as rehearsed scene studies to be brought into class. You will be both an active participant and have the opportunity to watch and learn from your fellow actors. You will receive constant personal feedback from your tutors in class, as well as through tutorials and feedback meetings with the staff team. You will create your own work, perform in a showcase for industry professionals and participate in two periods of five-week rehearsals for two public productions. These opportunities allow you to bring all your skills together to complete your actor training.

Unusually for any UK actor training programme, the Contemporary course explores the relationship between the actor and the writer in one of the most in-depth and intensive practical encounters with new writing. Plays are developed in collaboration between actors and writers, sometimes directly and sometimes with a director. Actors have the opportunity to be involved with the creation, development, rehearsal and performance of specifically commissioned work. Playwrights whose work has recently been premiered in our public productions include Chris Bush, Tanika Gupta MBE, Anna Jordan, Rebecca Lenkiewicz and Sabrina Mahfouz.

The members of our award-winning teaching team have worked with theatres and companies internationally, including the National Theatre, National Theatre of Scotland, Royal Shakespeare Company, Shakespeare’s Globe, Cheek by Jowl, Complicité, Young Vic, The Old Vic, Donmar Warehouse, Almeida Theatre, Sonia Friedman Productions, Moscow Arts Theatre, American Repertory Theatre, Song of the Goat, Orange Tree, Theatre503, The Yard and Pop-up Globe.

78 | Postgraduate Courses | 79 Ben Tavassoli Graduated 2014, television and film credits include Overlord, Tomorrow, New Blood, Silent Witness, No Offence, Tyrant, An Acceptable Loss, Moving On and Real. Professional Focus ‘l’ll always look back at the moment I was accepted on to Central’s MA Acting for Screen as Acting for Screen Films made for the Short Drama the turning point in my career. I was given an opportunity to learn everything I needed to Project are screened in London’s know about the craft, receive invaluable training and, most importantly, showcase my work www.cssd.ac.uk/ma-acting-screen West End as a showcase in to core industry professionals. I was picked up by an agent straight off the back of my end-of- the summer. Previous films year showcase and within two months found myself filming in a new Channel 4 drama from have been entered for, and the makers of Shameless. Since then, I have had roles in a feature film produced by Martin received awards at, national and Scorsese and four television shows, including the lead in a BBC drama by Anthony Horowitz.’ Professional training that focuses on acting in film, international film festivals such as Underwire (2019), Liverpool television and screen-related media (2019), Sundance (2017), London Urban (2019), Monaco Primarily for those with previous training or professional International Film Festival (2017) experience and Raindance (Winner 2016). Victoria Emslie Professional preparation will Graduated 2012, television and film credits include Amy, Ticking Boxes, The Christmas involve guidance on selecting Candle, The Theory Of Everything, Downton Abbey, The Danish Girl, Lotty’s War, 12 You will explore the expressive potential of performance photographs, writing CVs, Monkeys, Run It Off, Love Type D, Settlers and I’m Not In Love. and the relationship between performers and camera self-marketing and online promotion. Recent visiting ‘Acting for Screen opened so many doors for me (both inside and out) and it is hard to put professionals include James into words exactly how beneficial this course actually is. Personally, it marked the beginning Kent, Daniel Edwards, Sharon of a better understanding of myself and of my craft, both of which will continue indefinitely. Drawing on the expertise of Central’s permanent staff team and specialist Sorrentino, Jennifer Withers, All the tools learnt and the hours of practice have led to a point where now, years after professionals from the industry, the course aims to encourage your development Janis Pugh, Alison Steadman graduating, I can still breathe a sigh of relief and smile to myself, thinking this is what my as a creative artist with the flexibility to work across all performance mediums, OBE, Lesley Sharp, Riz training has given me: confidence, grounding and the tools for executing the carefully specialising in screen performance. Ahmed, Rob Savage, Jonny considered details that bring a performance to life. You are limited only by your imagination; Campbell (The Last Post, The not by what others think of you.’ You will follow rigorous training in acting, which will concentrate on the core skills Casual Vacancy) and Philippa of voice, body, acting and creative interpretation. The principles of study derive Lowthorpe (Three Girls, The from psychophysical methods, particularly the techniques of Michael Chekhov and Crown). Stanislavsky. Assessment Classes include screen technique, examining the distinction between screen and live Modes of assessment include performance, visual storytelling, working in – and adapting to - shot size, cheating, practical assignments, reflective hitting the mark, shooting contemporary scenes from television and film, and the writing, presentations, and preparation of different styles of work, including soap, drama and comedy. Acting written and practice-based classes will interrogate the body and provide you with a toolbox of exercises; voice research. For the Sustained and dialect classes will encourage an understanding of the voice as an instrument Independent Project (SIP) there and will work with a variety of texts including poetry, verbatim, classical and is an option to make a film, contemporary material; and for movement, there is exposure to various styles, which write a dissertation or compile may include jazz and historical dance, yoga and chi kung. Other classes include sight- a portfolio, which would include reading, textual analysis, casting and mock auditions led by casting directors, actors a case study of a filmmaker and and directors. an extended research enquiry. Performance Projects are designed to put classwork into practice, enabling you Duration to develop and hone your acting skills on screen and learn the fundamentals of One year, full-time, filmmaking. There is a short drama project which is commissioned for Central and October start written by professional writers/filmmakers and is shot on location by a professional Full-time, on-site attendance crew. between July and October is not mandatory. You will complete your degree with the Sustained Independent Project (SIP), which must be original, and partnerships with graduates from film schools are encouraged. Application In previous years, films have been accepted at festivals, including the London Short See page 114. Film Festival and Aesthetica Short Film Festival. Course Leader Amanda Brennan

Award MA Acting for Screen (180 credits/Level 7)

80 | Postgraduate Courses | 81 Matthew Gordon-Martin Graduated 2013, is an actor trainer, director, movement director and life/ performance coach, and has taught movement and acting at Rose Bruford College, Mountview Academy of Theatre Arts and MetFilm School. He is also a visiting Actor Training and Coaching lecturer at Central. www.cssd.ac.uk/ma-actor-training-coaching ‘The MA played a pivotal role in my development as a practitioner and pedagogue. It was Professional Focus on this journey that I was given the opportunity to interrogate who I was as an artist versus Students have benefitted who I wanted to become. My praxis was enriched by me having to engage with the diversity from working both on other of culture, philosophical thought, experience and approach that serves as a hallmark of the Develop approaches to Actor Training through research courses at Central and at course. Through it, I developed a deeper and more articulate understanding of acting and my and practice external institutions. These own practice, culminating in me being a more assured, confident practitioner aware of the have included various roles at value I bring to the field.’ the Royal Academy of Dramatic Learn and reflect upon pedagogical frameworks for Art, Arts Educational Schools, coaching and teaching actors East 15 Acting School, Guildford School of Acting, Mountview Academy of Theatre Arts, Rose Experience a wide variety of training methods, taught by Bruford College, Royal Holloway recognised experts in the field University of London, Kiln Theatre, The Actors Centre, Benefit from wide-reaching placement opportunities Shakespeare’s Globe and London Bubble. Work independently and collaboratively with peers Assessment Assessment during the first three terms of both courses Actor Training and Coaching exposes you to high-level training practice. The course does is through written work, not train actors, but cultivates a practical understanding of what it is to act, enabling you presentation and teaching to work as an actor trainer, coach, theatre practitioner or director. practice. In the MA fourth term (part-time second year), you will Past students have experienced work associated with Stanislavsky, Chekhov, Bogart, work towards a final dissertation Lecoq, Grotowski and Meisner, and methods appropriate for coaching screen actors. or portfolio. In the MFA second Past visiting professionals have included Anne Bogart, Brigid Panet, Bella Merlin, John year, assessment is by means Gillett, Phillip Zarrilli, Ian Morgan and Mel Churcher. of an extended dissertation, artefact or portfolio. Through seminars, workshops and taught classes, you will develop advanced interpersonal, facilitation, coaching, teaching and directing skills. You will cultivate an Duration ability to research, plan, conduct and reflect critically upon your own practice as an actor MA: one year, full-time/two trainer/practitioner. years, part-time, October In the MA and the MFA first year, there is the opportunity for you to undertake a start teaching/assistant directing/coaching or observational placement, ranging in duration MFA: two years, full-time, from eight hours to three months. These opportunities will enable you to hone skills as October start a pedagogue/practitioner. If you are pursuing the course part-time, you will undertake Full-time, on-site attendance placements in the second year of the course. between July and October is not mandatory. The MFA second year widens your opportunity to articulate knowledge within a professional context. You will undertake one or two workplace attachments, as well as Application participating in tutorials and seminars throughout the year leading to the submission of See page 114. a final professional body of work. An MFA top-up year for those with an existing MA in this subject is also available. Course Leader Dr Jessica Hartley

Award MA Actor Training and Coaching (180 credits/Level 7) MFA Actor Training and Coaching (240 credits/Level 7)

82 | Postgraduate Courses | 83 Professional Focus Aruna Ganesh Ram Advanced Recent visiting theatre arts Graduated 2013, is a performance maker in Bangalore, India. She is the professionals to the courses Artistic Director of Visual Respiration. include Toby Jones (actor) RashDash (theatre-makers), Joe ‘The MA Advanced Theatre Practice nurtured my artistic sensibilities towards devised Theatre Practice Hill-Gibbins (Director, National work. It allowed me a way to bring myself into the work while questioning larger www.cssd.ac.uk/ma-advanced-theatre-practice Theatre), Hannah Ringham and socio-political contexts. The course asks you to question everything, unlearn your Mischa Twitchin (Shunt), Duncan beliefs about theatre and find new beginnings, newer possibilities and to create Macmillan (playwright, director), your own vocabulary for your work. My year in London was filled with pleasant Selina Cartmell (Director, discoveries, challenging conversations and inconvenient truths and I believe those Engage in a collaborative laboratory for practical Abbey Theatre), Mark Down were building blocks for the work that I make today.’ (Artistic Director, Blind Summit), experimentation and create new work Liam Steel (choreographer), Tim Crouch (writer and Learn approaches to performer practices, performance performer), Daphna Attias composition or scenography and Terry O’Donovan (Dante or Die), Sophie De Somere (Ontroerend Goed, Belgium), Critically engage in the practice and research of Lucy McCormick (Performer, contemporary cultures of theatre and performance Triple Threat), Katie Mitchell OBE (director) and Melanie Wilson Encounter established and new theatre making techniques (Sound Designer, Schaubühne Theatre, Berlin). and interdisciplinary performance processes Assessment Play a leading role in tomorrow’s performance and theatre Practice is evaluated through worlds continuous assessment of the rehearsal/development process and documentation, combined with essays reflecting on this The renowned MA/MFAs are experimental theatre making courses which focus on work in the broader context of contemporary collaborative practice through the model of ‘the company’. You will contemporary theatre practice. extend your practice through learning a range of processes and techniques from Peer assessment also forms a experienced staff, leading professionals and emerging artists through workshops, part of the evaluation process. residencies, lectures, seminars, tutoring and mentoring. The course is designed to explore, challenge and reimagine the roles of performer, director, writer, designer, Duration dramaturg, musician, puppeteer and creative thinker in new and unexpected ways MA: one year, full-time, within a supportive environment of discovery and innovation. In past years, students October start have encountered cutting-edge technologies, including digital media and virtual MFA: two years, full time, techniques, and have explored their impact on the structure, form and meaning of October start theatre. Advanced Theatre Practice places an emphasis on the creation of new work Full-time, on-site attendance with fellow artists, fuelled by the thorough exploration of each other’s practice and between July and October is not founded in research. mandatory; MA students are required to show work outside There are a number of opportunities to form companies (some curated by staff) Central during this period. and to produce new work at venues or festivals beyond Central. Previous students have launched their work at The Pleasance Theatre and Camden People’s Theatre Application (London), Istropolitana Projekt (Slovakia), Zlomvaz Festival (Prague), Marathon Festival See page 114. (Jerusalem), Bialystok Festival (Poland), Edinburgh Festival Fringe and at The Prague Quadrennial. Course Leader Dr Lynne Kendrick MFA students follow the MA curriculum in their first year; the second year is dedicated to independent practice and research with opportunities to connect with a range of Award professional companies and theatre artists. Previously, MFA students have undertaken MA Advanced Theatre attachments with Dante or Die and at the National Theatre. Practice By studying on the Advanced Theatre Practice courses, you will join a network of (180 credits/Level 7) distinguished alumni, including winners of Olivier, Total Theatre, Irish Times, Deutsche MFA Advanced Theatre Bank, Rolex Mentor and Protégé, JMK, Allen Wright, Linbury and Evening Standard Practice (240 credits/Level 7) Theatre awards, who are changing the way we practise and think about theatre.

84 | Postgraduate Courses | 85 Applied Theatre www.cssd.ac.uk/ma-applied-theatre Professional Focus Based in London, Central can offer optional industry support Provides knowledge of theatre in extensive applied, in the first two terms with an community and drama education settings in the UK and extensive choice of placement opportunities. globally Recent previous examples: Combines theory and practice in exploring how theatre MA Applied Theatre > Drama in the Community and Drama can change lives Education > Theatre and Disability – Offers industry placements worldwide Graeae Theatre Company, Kazzum Arts, Corali Dance Develops current or emerging practice into theatre for Company, Extant Theatre change or education Company > Young People’s Theatre – Explores and problematises a range of key practical and previous placement hosts include Unicorn Theatre, Big theoretical concepts for using drama in non-traditional Fish Theatre Company, Half contexts Moon Theatre, Covenant House New York, Fringe Benefits Los Angeles Applied Theatre at Central is highly regarded internationally as a world leader with > Drama in the Community – the largest number of specialist teaching staff in the field. This course is aimed at Spare Tyre Theatre Company, those interested in developing the current practice of using theatre and drama London Bubble Theatre Company, Shakespeare’s in community and education settings, or of using theatre and drama with people Globe Education, The Old whose lives have been affected by the criminal justice system. It encourages Vic, Cornerstone Theater Los investigation into the possibilities and contradictions of drama and theatre practice Angeles as transformative and rehabilitative, and engages practically and critically with a > Drama Education – specific range of theories and current practices. drama departments within Core features of the MA Applied Theatre are: exploration of theatre work in specific schools and further education settings; key practices in applied theatre; a theoretical engagement with new ideas colleges, pupil referral units in in the field; project-based study examining specific professional work with a varied London, India and the USA. range of client groups including the criminal justice system. MA Applied Theatre > Drama and the Criminal Justice The course develops knowledge of the ways in which drama and theatre are used to System benefit a range of distinct groups that are key to today’s evolving cultural landscape. It offers two specialist pathways:Drama in the Community and Drama Education > Clean Break, Only Connect, Paradise Park PRU, National Sonya Curle and Drama and the Criminal Justice System. Youth Theatre Playing Up Graduated 2019, Course Leader of the BTEC Level 3 Acting, Film and TV Production Arts Project, prisons in the UK, at Stockton Riverside College. Each pathway is specifically designed to support current practice at work, or a particular field of interest in the developing landscape of applied theatre and Malta, Canada and the USA. ‘As a part-time MA student, living and teaching full-time in the UK’s North East, the course drama in the UK. You will have the opportunity to develop your own practice and All students participating in structure, content and accessibility was incredible, not only for supporting me in achieving my scholarship. Central has the only applied theatre courses where students have placements will be required goals, but for also making me feel informed, included, and connected to my studies, full-time access to funding from the Leverhulme Trust to support distant placements (see to complete a Disclosure peers and the Central community. The dynamic diversity of lecturer expertise, weekly session www.cssd.ac.uk). and Barring Service (DBS) content, visiting practitioners, placement opportunities and my peers’ experiences developed check. This is a mandatory my critical cultural literacy, whilst equipping me with invaluable and unlimited tools to be Recent visiting staff include Anna Herrmann (Clean Break), Esther Baker (Synergy government safeguarding a cointentional agent for change within a wide variety of participant contexts and settings. Theatre Project), Amit Sharma (Graeae Theatre Company), Ali Godfrey (Generation scheme for all those seeking Central’s incomparable reputation, access to funding, and relationship with international Arts) and Divya Bhatia (Stage Left, India). to work in any capacity with practitioners also afforded me the life-changing opportunity to undertake an extended minors or vulnerable adults. placement in New York; which was something I could only previously have dreamed of.’

86 | Postgraduate Courses | 87 Ameer Choudrie Graduated 2019, actor, visiting lecturer for widening participation and outreach, and Freelance Facilitator for The Old Vic and other companies. ‘On this course, I have been able to underpin parts of my practice, as well as experiencing completely new aspects, including taking part in a placement at a prison working with prisoners for a week co-facilitating drama workshops for rehabilitation purposes. I have looked deeper into pedagogy and theory to help my understanding and played with different workshop practices that are accessible for all. It has provided an avenue for me to try and explore different styles and themes of workshops and a way to incorporate these into traditional forms of lecturing and running drama/performing arts workshops, as well as actor training sessions.’ Drama in the Community and Drama Assessment Each unit has a written and/ Education or practical assessment. At This pathway is for individuals wishing to develop a current or new practice of the end of the year, you will using theatre and drama with people in a range of settings that may include consolidate your knowledge and understanding through a schools, theatres, outreach departments, hospitals and prisons. Concerned with Sustained Independent Project advanced enquiry into theatre for change or education, it enables you to situate (SIP), a dissertation addressing your own emergent and developing practice within a wider understanding of the your specialist area of interest. applied theatre field. Delivery of the pathway involves contributions and placement opportunities from prestigious UK organisations. Duration You may work individually, or as part of a small group, on a practical project, such as One year, full-time/two years, part-time, October start an arts residency in a primary or special needs school, a devised play and workshops for refugee children in the UK or abroad, creative playwriting workshops with Full-time, on-site attendance selected client groups, or a performance and workshop on Bertolt Brecht’s theatre between July and October is not mandatory; part-time classes practice for post-16 students in schools and colleges in and around London. take place on Fridays.

Application Drama and the Criminal Justice System See page 114. On this pathway, you will develop a current or new practice of using theatre and drama with people whose lives have been affected by the criminal justice system. Course Leader Through advanced enquiry into prison theatre, it enables you to situate your own Dr Selina Busby emergent/developing practice within a wider understanding of the applied theatre field. There will also be contributions and placement opportunities from key UK Award organisations. MA Applied Theatre: Drama in the Community and Drama You may work individually, or as part of a small group, on a practical project which Education might include a residency in a prison or young offenders’ institution, a devised (180 credits/Level 7) play and workshops with fathers in prison for their children, or creative playwriting MA Applied Theatre: Drama workshops with prisoners or ex-prisoners. and the Criminal Justice System On both pathways, you will investigate applied theatre in a variety of contexts, (180 credits/Level 7) communities and settings. You will explore the field’s diverse practices and engage creatively with the forms and aesthetics of applied theatre, the transformative potential of theatre and the ethics of intervention and notions of inclusive practice when working with specific groups. You will participate in workshops and seminars to explore practices that make a difference to people by engaging with issues, dramatising relevant stories, representing role models or possibilities for action, and involving participants in processes that they find useful, informative or exciting. This will also develop an understanding of the social and cultural contexts of applied theatre. Study is undertaken through traditional academic means, as well as hands-on learning in the form of industry placements. You will have the opportunity to engage with relevant research methods in your field, usually presenting your work at Central’s annual postgraduate conference. On either pathway, you may also work alongside a professional host or in one of Central’s partner placement institutions in the third term, or use your own work-based practice. In addition, you may have the opportunity to join one of Central’s many cross-School optional courses. On both pathways, you will theorise this work, interrogating its relationship within current and seminal discourses in the field. 88 | Postgraduate Courses | 89 Creative Producing www.cssd.ac.uk/ma-creative-producing Professional Focus Recent professional hosts include the Southbank Centre, Real-world creative producing opportunities to develop London International Festival knowledge and skills of Theatre, Roundhouse, Battersea Arts Centre, Hampstead Theatre, Lyric Networking through placements and masterclasses with Hammersmith, Les Enfants leading theatre and arts organisations Terribles, Donmar Warehouse, Improbable, Complicité, The Old Vic, Shoreditch Town Hall, Opportunities for student-led collaboration with writers, Emma Brünjes Productions, actors and designers on other Central MA/MFA courses Headlong, Fuel, The Vaults, Bunker Theatre, The Other Individual industry mentors for your final project Palace, James Seabright, Orange Tree Theatre, Selladoor, Kenny Wax, The Place, Mimbre, Dance Balance of independent and group work Umbrella, English National Opera and Opera Holland Park.

There is an increasing demand for the entrepreneurially skilled and culturally literate Assessment producer who can work in dialogue with creative teams to create performances and Assessment is through formats festivals, run venues and companies, manage projects, raise funds and investment, used in relevant industries and and negotiate commissions. The courses offer real-world creative producing in academia, e.g. individual opportunities, not only within Central’s production activity and with extensive and group pitches to industry industry partners, but also on student-led practical projects, enabling you to develop panels, business plans, your personal and creative leadership skills. online presentations, group conference presentations, This is a course taught through masterclasses with key industry leaders and productions, case studies, innovators, helping you to build a vital network of industry and peer contacts. In reflective essays, reports, addition to Central’s own production activity and commercial theatre connections, reviews and written submissions, as well as a its pioneering work in circus and site-specific theatre means excellent connections substantial personal portfolio to a wide range of alternative theatre forms. Embracing the challenges of creating or dissertation. a sustainable business is a core part of the course and Central is proud to have been recognised by the prestigious London Chamber of Commerce’s Commercial Duration Education Trust (CET) for its entrepreneurial activity. MA: one year, full-time, On the MA and MFA, you will engage with the same core subject matter in the October start first three terms, undertaking projects to develop your understanding of publicity, MFA: two years, full-time, marketing and fundraising; business modelling and innovation; authentic leadership October start Esmee West-Agboola and effective teamwork; audience development and engagement; theatre Graduated 2018, worked as a freelance producer/assistant producer with production, programming and tour management; festival curation and organisation; Application organisations such as China Plate Theatre Company, Camden People’s Theatre and and digital producing. See page 114. with tiata fahodzi, is now in the Producing Office at London’s Southbank Centre. The MFA extends into a second year, normally in the form of an attachment with a Course Leader ‘Aside from guiding the development of my practical skill set, Creative Producing has been professional organisation. An MFA top-up year for those with an existing MA in this Jessica Bowles fantastic in opening my eyes to the variety within producing and, importantly, refining my subject is also available. professional identity. With a wide exposure to active industry professionals, the course gives a Award well-informed knowledge of what is currently happening in a constantly evolving sector. This has made my transition from study to professional work much smoother than expected! For MA Creative Producing (180 credits/Level 7) example, during my study, I was assistant producer on projects at Finborough Theatre and at the Vault Festival 2018. Ultimately, studying at Central not only matured the way I think about MFA Creative Producing producing theatre, but it also exposed the possibilities of what I can do. It has given me both (240 credits/Level 7) the tools and confidence to step into a world that can be busy, fast-paced and highly saturated.’

90 | Postgraduate Courses | 91 Chance Marshall Drama and Graduated 2018, working as a dramatherapist across adult mental health with unaccompanied minor refugees and asylum seekers, at schools and an addiction centre. Movement Therapy ‘My time on the course was transformative, challenging and stimulating. In braiding embodied, experiential and academic learning, the course allowed for a process of both www.cssd.ac.uk/ma-drama-movement-therapy inward and outward reflection. It aided me in becoming more culturally attuned; in having Professional Focus an awareness of (and an aliveness to) the world around me and in understanding the role The course has links with dramatherapy can play in affecting positive change and growth. Each module provided rich many institutions that offer and fertile ground for me to test, explore and to take risks in order to develop my craft as a Train in the Sesame approach to drama and movement placements, including NHS dramatherapist and prepare me for work as a professional.’ Trusts (e.g. Camden and therapy Islington, West London, Bethlem Royal Hospital, The Study Jungian psychology and a mythopoetic approach to Maudsley Hospital); individual psyche charities (including Mind, The Westminster Drug and Alcohol Foundation, Barnardo’s); Study contemporary theories in intersubjectivity and education (including EBD developmental psychology schools, PRUs); and institutions that provide care for older Experience a movement-based approach to dramatherapy adults. The course has delivered Learn from apprenticeship model placements within NHS projects and conferences in association with: institutions and voluntary and education sectors > The Independent Group of Analytical Psychologists (IGAP) > European Consortium for Arts The course offers a particular approach to learning the craft of dramatherapy and a Therapies Education (ECArTE). unique combination of drama and movement within experiential training. The Sesame approach, informed by Jungian psychology, draws together movement, Peter Slade’s Assessment play theory and Billy Lindkvist’s work on movement with touch and sound. Storytelling This is by a range of methods, and an image-based pedagogy reflect a mythopoetic approach to the psyche. The including written assignments, combination of movement-based studio practice, collaborative facilitations, seminars assessment of clinical practice and a research unit create a learning environment that encourages personal and facilitation practice. exploration, collaboration and critical reflection. There is ongoing tutor, peer and self-assessment. The first year introduces immersive practice in the subject areas of movement, Assessment on placement is a myth, movement with touch and sound, and drama. This is alongside studies key indicator of progress and in developmental and analytical psychology – specifically combining emergent standards of proficiency. The knowledge of intersubjectivity and the work of Jung. The group process is central to final assessment comprises your learning experience and supported by a weekly session in the first year, which a portfolio of 12,000 words explores interpersonal dynamics and draws from group analytic theory. including an extended essay and clinical study. The final Placements are at the heart of the training. In the first year, they follow an assessment is a viva. apprenticeship model in the spring and summer terms. This offers supported clinical practice with a specialist supervisor working alongside you. Central organises all Duration apprenticeship placements. Client groups will include adults with mental health Two years, full-time, problems, elderly clients with dementia, people with learning disabilities and children October start on the autistic spectrum. In the second year, the Sustained Independent Project (SIP) unit combines further Application See page 114. placement practice, alongside individual and group supervision. The Performing Research unit takes place in the second year and is an opportunity to research a Course Leader particular area of practice. Preparation for professional practice sessions cultivates a professional profile in advance of the final assessment of a viva and the submission of Richard Hougham a 12,000-word portfolio. Award Upon receiving the Master’s award, you are eligible to apply to the Health and Care MA Drama and Professions Council for membership as an arts therapist (drama). Movement Therapy (180 credits/Level 7)

92 | Postgraduate Courses | 93 Movement: Directing

and Teaching Professional Focus Students have undertaken placements in conservatoires www.cssd.ac.uk/ma-movement-directing-teaching and colleges including East 15, Guildford School of Acting, Rose Bruford College, Central Saint Martins (Animation MA), Specialist, practical courses for movement and Royal Academy of Dramatic Art performance practitioners and Trinity Laban. Placements in companies have included Welsh National Opera, Young Creatively develop expertise in movement teaching and Vic, Peut-Être Theatre, National movement directing of the actor Youth Theatre, Royal Court, Almeida Theatre and the Bespoke learning and development through studio-based Royal Shakespeare Company. Further afield, placements have exploration and personal research included university settings in Greece and Norway. Taught by leading professionals in the fields of movement pedagogy, movement direction and movement research Assessment Assessment is through practical projects, written assignments and placements. In the last Central has a long-standing and well-recognised reputation for the dissemination of term of the MA, students write actor movement disciplines within British theatre; these pioneering courses were the a research enquiry, emerging first of their kind in Europe. Tradition, experience, eclecticism, diversity and innovation from work undertaken during epitomise our understanding of movement training for the theatre and underpin the the year. The MFA extends into teaching you will receive. You will have the opportunity to develop your individual a second year and is assessed movement specialisms and apply them to the work of actors. through a substantial written task. You will be offered practical teaching in the fields of movement for actors, production practice for movement directors and bespoke movement placements at Central Duration and in other settings, such as conservatoires or theatre companies, opera or film MA: one year, full-time/two organisations. years, part-time, October start The courses provide a rich and diverse landscape within which to address movement Full-time, on-site attendance between July and October is practices in relation to a range of established theatre processes, as well as innovative not mandatory. developments in the field. Practical movement teaching and movement directing on projects offer you a range of potential applications in the fields of theatre production, MFA: two years, full-time, October start contemporary and devised work, animation, puppetry, classical theatre and film acting. Year One on-site attendance between July and October is Polly Bennett You are given the opportunity to develop your own practice as a movement specialist not mandatory. according to your interests in this dynamic and innovative field, and you will Graduated 2011, a movement director and choreographer working internationally undertake potentially ground-breaking research into movement. You will undergo Application across the broadest applications of movement. Recent theatre credits include The a formalised and systematic actor movement education that will reimagine your See page 114. Lehman Trilogy, Three Sisters (National Theatre), The Village (Stratford East) and Travesties (Menier Chocolate Factory, West End and Broadway). Film credits include movement skills for new creative challenges. There is a firm emphasis on Laban’s Bohemian Rhapsody, No Time To Die (for Rami Malek) and Killing Eve, The Great and movement philosophy and Lecoq’s spatial and physical techniques, but the overall Course Leaders Ayse Tashkiran The Crown for television. Polly is Co-Founder of The Mono Box. approach is eclectic and celebrates a variety of methods. Vanessa Ewan ‘I had always been involved in dance and choreography in some way at school, but it was only when I graduated from university that I started listening to my urge to move. By enrolling Award on the course, I acknowledged my deep-seated passion for making theatre and celebrated MA Movement: Directing my interest in bodies and the stories they tell. My year at Central provided me with the and Teaching space and time to understand what made me unique as a practitioner; I was challenged (180 credits/Level 7) to think further than what I knew. It enabled me to share space with like-minded people MFA Movement: Directing and I was encouraged to pursue a creativity I had been holding back. The course increased and Teaching my awareness of different actor movement practices and lay the foundations of my own (240 credits/Level 7) methods that I continue to develop today.’

94 | Postgraduate Courses | 95 Molly Lynch Graduated 2014, credits include Chava in Grange Park Opera’s Fiddler On The Roof starring Bryn Terfel, which was also part of the BBC Proms 2015, as Julie Jordan and stand-in to Katherine Jenkins in ENO’s Carousel, ENO’s Sweeney Todd, Anne Brontë in Wasted Music Theatre and the UK tour of Sunset Boulevard. Other credits include workshop performances at the National Theatre, Corcadorca, Theatre Royal Stratford East and as a soloist with www.cssd.ac.uk/ma-music-theatre orchestras such as The RTÉ Concert Orchestra and the Oxford Philharmonic. Professional Focus ‘Central offered me the perfect opportunity to combine my love of music and theatre of all The core teaching team reflects genres. The course emphasised the importance of being an artist in your own right and gave diverse performing and me unique ownership of what it is that I do. In an industry that is increasingly multidisciplinary, Rigorous performer training with an emphasis on new creative practice across a varied Central made me feel empowered in my own abilities and equipped to work in many forms of work cultural stage: from musical music theatre.’ theatre through to opera; from television to film; from classic Focus on performers as creators with a view to career acting to actor-musicians; sustainability from West End franchises to innovative exploration; from Oliver Lidert creating new companies Graduated 2008, credits include The Lion King, and the original casts of The Book Of Encourages and develops a wide range of skills across to new media. The course Mormon, Porgy And Bess at Regent’s Park Open Air Theatre, Beautiful – The Carole King many genres and styles: core skills of acting, singing, plus encourages self-motivation Musical, Aladdin at London’s Prince Edward Theatre and The Prince Of Egypt at the composing, writing, choreography and actor-musicianship and entrepreneurship and Dominion Theatre. He is the Founder and Artistic Director of the West End Cabaret brings students into contact Company. with agents and visiting Students experience a diversity of music theatre forms in professionals. Our alumni ‘I had an amazing time on the MA Music Theatre course. It opened my mind to new possibilities public productions and a showcase work internationally and in the field of performance and provided me with a springboard for my career in the West End. variously in film, television, The staff are caring, informative professionals and the environment they create allows you to opera, musicals and across the grow. Many of the lessons I learnt I still use today and pass on to my own students.’ media, as singers, composers, The course is conservatoire-based, intense and demanding across four extended actors, dancers, comedians, terms, with an established team of specialist lecturers and professional artists instrumentalists, writers, delivering classes, workshops and performances. Our approach is a shared vision of producers, choreographers what a performer requires to sustain a career: flexibility and sustainability are core and directors. and collaborative teamwork is the model. There are opportunities to create original work and pursue related activities, such as composing, writing, choreography and Assessment acting with instruments. Assessment is by public performances, process, Term One provides acting, dance and movement classes, alongside individual singing practical examination and lessons and song performance. Conditioning classes underpin health and well-being. written submissions. Performance workshops, actor-musicianship and choral ensemble work are activities which synthesise skills. Duration One year, full-time, Term Two includes a devised ensemble production in a studio theatre directed by a September start professional team, exploiting the creativity of the students. Skills learnt in Term One Full time, on-site attendance are targeted towards specialised performance requirements. An industry day brings between July and August is students into dialogue with agents and casting directors. Term Two concludes with an not mandatory. Industry Showcase. Term Three comprises a full-scale public production of a contemporary work and the Application course frequently commissions and premieres new work. Acting, singing and dance/ See page 114. movement continue as part of preparation for that performance. The term ends with a unit that will prepare you for industry-standard audition techniques. Course Leader Professor Paul Barker Term Four is devoted to the Sustained Independent Project (SIP), the character of which will reflect your strengths in research, writing, performing or creating. Award MA Music Theatre is for performers as creators. It aims to create a sustainable basis MA Music Theatre for a career which demands flexibility and diversity. (180 credits/Level 7)

96 | Postgraduate Courses | 97 Michael Burditt Norton Performance Practice Graduated 2018, producer, researcher and practitioner based in London, committed to inclusive, empowering spaces, developing critical discourse and exploring creative problem-solving strategies. Recent clients in the independent arts sector include The as Research Total Theatre Awards, Cambridge Junction, Circumference and Parallel 45 Theatre. ‘This course is for ambitious, curious artists who thrive on freedom and want to develop a www.cssd.ac.uk/ma-performance-practice-research Professional Focus practice in the arts. As someone who came in having already started a performance career, I Visiting and industry was able to step out for a year and consider what drives me and my work. Unlike most other professionals to the courses conservatoire programmes, at Central I was never celebrated for virtuosity or skill; instead, include R Justin Hunt (Arts value was placed on my ability to think, read, activate something in a studio and then speak Taught courses for performance innovators who wish to Council England, Live Art clearly about how it all works together. More than anything else, I’m leaving Central with the investigate and interrogate concepts and practices within Development Agency, Theatre start of a sustainable arts practice.’ contemporary performance Deli), Michael Norton and Cecilia Wee (Artist Development, Arts Admin), Connie Joseph Aimed at those working across disciplinary boundaries (Decolonizing the Archive/ John Kurzynowski Black Cultural Archive, Take your work to the edges of your specialism(s), Brixton), Thomas John Bacon Graduating 2020, performance writer, practitioner and facilitator researching and Hellen Burrough (Tempting the practice of practising a practice as it relates to mastery and expertise. He exploring untouched ground Failure and Matthews Yard/ currently works as the Assistant Producer of Tempting Failure, London’s Biennial of Turfs Project). Dr Luis Campos International Performance Art. Establish new ways of thinking about and doing (lecturer in European Theatre ‘Having found myself at a crossroads in my artistic career, this course enabled me to unearth performance, while pushing the boundaries of your Arts), Louise Orwin (live the practice beneath the artistic practice I had previously developed. It provided me with the discipline(s) artist, researcher, writer language and theoretical framework with which to further develop this practice, resulting and performer) and Ruthie in a newfound confidence and sense of artistic maturity and clarity. I was encouraged to Osterman (theatre director, playwright and performer). challenge myself artistically and intellectually, to take risks that would push my practice into unknown territory with the understanding that it would always be held with care by my You will become part of a thriving community of postgraduate scholars and tutors and members of the cohort.’ practitioners working within a School-wide framework for research and Assessment experimentation. You will interrogate, test and apply the most recent thinking Assessment is through and practices within your particular field, which may include any combination presentations, performances, of performance practice(s), directing, scenography, composition, or live and process work and written submissions, as well as a performance art. Emphasis is placed on a reciprocal relationship between theory personal documentation project and practice, where one feeds into and enlivens the other. You will be encouraged or dissertation. to experiment and innovate by developing your own work, which will be shown as a public presentation. A second MFA year can be undertaken, deepening the work Duration of your first year, while you gain critical expertise in a wider array of Practice as MA: one year, full-time, Research models. October start, some classes During the MA/MFA Performance Practice as Research, you might expect to: take place in the evening MFA: two years, full-time, n participate in workshops and seminars to investigate the relationship between the October start, some classes concepts and materials of performance take place in the evening Full-time, on-site attendance n analyse making, performing and spectatorship as interrelated activities between July and September is n engage and apply critical contexts and concepts not mandatory.

n explore different strategies and methods for conducting research and Application disseminating the findings, leading towards a conference presentation See page 114. n undertake laboratory exploration of performance practice as a way of testing ideas Award n develop work towards a public presentation MA Performance Practice as Research n undertake a Sustained Independent Project (SIP) culminating in a dissertation or a (180 credits/Level 7) portfolio documenting practice-based research. MFA Performance An MFA top-up year for those with an existing MA in this subject is also available. Practice as Research (240 credits/Level 7)

98 | Postgraduate Courses | 99 Scenography www.cssd.ac.uk/ma-scenography Professional Focus Professional hosts, mentors and industry partners include Develop your creative authorship through performance Lizzie Clachan, Hauke Berheide, design Mauricio Elorriaga, Antony McDonald, Pete Gomes (mutantfilm), Dick Bird, Dr Challenge, extend and refine your existing skills and Dani Ploeger (Research practices Fellow), Sophie Jump (Seven Sisters Group), Helen Pynor (GV Art), Dan Scott (creative Undertake a balance of independent and collaborative work research into sound arts practice), Phoebe von Held, Investigate dynamic interplays of practice and theory Mauricio Elorriaga (ETO/Opera North), Tobias Hoheisel, David Work with professional mentors and tutors from various Shearing, Whitechapel Gallery, Victoria and Albert Museum disciplines (V&A), Clerkenwell Design Week, English Touring Opera and National Theatre Opera. The Scenography courses offer dynamic interplays of practices and theories related to performance design for the development of creative authorship. On these courses, Assessment your existing skills and practices are challenged, extended and refined as you explore Assessment is by practical the use/misuse of processes and tools found in set, costume and lighting design, as conceptions and realisations, well as film, sculpture, sound, digital media, puppetry and movement. written assignments and verbal presentations (individual and As such, the courses are suitable for designers, directors, live artists, architects, visual collaborative). Final assessment is by dissertation or portfolio. Ana Inés Jabares-Pita artists and other creative practitioners with an interest in investigating innovative relations between the body, space and time, in and out of the theatre. Graduated 2012, her work crosses the genres of ballet, theatre, installation and film. Duration Examples of her work include The Lover and Cockpit at the Edinburgh Lyceum, As an MA/MFA Scenography student, you research and create new work both MA: one year, full-time, Manipulate Festival at the Traverse Theatre, The Lovely Bones UK tour and the world independently and collaboratively with your class peers, as well as with students from October start premiere of To See The Invisible at the Aldeburgh Festival. She has worked at the Royal other courses within Central. To support your practice, the courses include regular MFA: two years, full-time, Court Theatre, Young Vic and the Victoria and Albert Museum (V&A). workshops, lectures, seminars and tutorials with professional mentors and tutors October start ‘Having a background in painting and music, the course challenged and broadened my from various disciplines. Practical workshops in skills such as model making, technical Full-time, on-site attendance creativity and, in particular, my understanding of space. The diverse range of students’ drawing, film editing, sensor technologies, casting, photography and interactive media between July and October is are complemented by academic presentations and guest artist talks. backgrounds on the course was also very enriching. After graduating, I assisted on and not mandatory. designed for over 20 productions including theatre, opera, film, exhibitions and events and in In the first year, students of the MA and MFA work together for Terms One to Three of 2013, I received the Best Design Award at Ottawa Fringe Festival and was the Overall Winner of their course. The MFA second year extends the final project initiated at the end of the Application the Linbury Prize for Stage Design.’ first year, with support from seminars and tutorials with the course team and with the See page 114. possibility of undertaking workplace/professional attachments. Course Leader An MFA top-up year for those with an existing MA in this area is also available. Alice Helps Dr Simon Donger Graduated 2014, designs and fabricates interactive artefacts and installations for Award performance, exhibitions and events, currently undertaking a practice-based PhD. She has exhibited at the London Art Biennale. MA Scenography (180 credits/Level 7) ‘After 10 years of working in performance design, I sought to deconstruct my working practices, MFA Scenography in order to expand my creative potential. The course exceeded expectations, challenging me (240 credits/Level 7) to rigorously interrogate my process and question my creative habits, which opened up vital and exciting new pathways in my creative thinking, both as a researcher and practitioner. This allowed me to develop a new body of conceptual work leading to doctoral studies.’

100 | Postgraduate Courses | 101 Mehreen Odho Theatre Criticism Graduated 2017, currently studying at PhD level. ‘The course is an opportunity for anyone passionate about theatre, not just to gain knowledge about theatre, but to really understand how texts work in performance. I was able to receive and Dramaturgy invaluable guidance on how to critique theatre from some of the best theatre critics in the UK. The excellent support offered by tutors and the opportunity to learn from theatre professionals www.cssd.ac.uk/ma-theatre-criticism-dramaturgy in a highly creative environment made the course an overall rewarding experience. I believe Professional Focus that just being part of the Central ethos is inspiring and makes one believe in the possibility Invited guests and venues of achieving even greater goals. The research undertaken by me at Central has become the visited have included Michael means of pointing me in the direction of a more extensive research project.’ A unique MA offering routes to dramaturgy and criticism Billington, representatives from Equity, Ambassador Theatre Critical practice and scholarship are central to the course Group, Shakespeare’s Globe, National Theatre and the Live Art Development Agency. Engages with its London context and the city’s diverse Projects have taken place at theatre offerings the Volksbühne Berlin and the Théâtre de l’Opprimé, Encourages collective work with students from across Paris. Opportunities exist for participation in the wider Central’s postgraduate cohorts academic community and you are encouraged to develop Allows the development of each student’s interests awareness of contemporary academic scholarship.

Assessment The international cultural hub of London is the venue for the MA Theatre Criticism Assessment submissions and Dramaturgy (MA TCD). The course balances theoretical study of theatre with the take forms appropriate to development of diverse skills for dramaturgy and criticism, applicable for scholarship sector practice in dramaturgy and across the creative sectors. and theatre criticism, for Engaging with theatre and performance practice of the past and the present, and example, visual presentations, conference presentations, attuned to the ecology and economy of the landscapes in which it takes place, MA TCD reports and reviews of shows. embraces Central’s unique status as a conservatoire and University of London college. You will also be required to Each taught unit of study is self-contained, addressing a specific aspect of theatre and produce scholarly essays performance. These combine critical reflection and the development of skills relevant and present group work. The Sustained Independent Project to theatre criticism and dramaturgy with a focus on producing appropriate outputs. (SIP) should take the form of a Units are often delivered through participation with relevant experts, e.g. theatre portfolio or dissertation. journalists, arts managers, or in partnership with cultural organisations. In the third term, you will normally take an ‘Option’ unit hosted by another MA. Duration At points, MA TCD students work collectively with students from across Central’s One year, full-time, postgraduate portfolio, who are emerging specialised theatre practitioners. October start Full-time, on-site attendance Learning opportunities generally include seminars, lectures, classwork, independent between July and August is not research, group work and study in and around London or other cities. You develop mandatory. your research interests and professional focus with the final unit, the Sustained Independent Project (SIP). This will give you the opportunity to work intensively on a Application Kate Danbury research topic. The SIP’s focus will be determined by you in conjunction with tutors; it See page 114. Graduated 2010, currently Artistic Director and Theatre Manager of the Old Red Lion may take the form, for example, of a dissertation or a critical report. Theatre, and Producer and Curator of the London Horror Festival. Formerly Assistant Course Leader Manager of the Etcetera Theatre, Archivist Intern at the Victoria and Albert Museum Dr Joel Anderson (V&A) Theatre Department and the Young Vic Theatre. She is also a freelance actor and producer. Award ‘I’m fascinated by history. This course offered a deeper understanding of theatre’s roots and MA Theatre Criticism its impact on the metropolis. Through field trips around London and Paris, I saw theatre in and Dramaturgy a variety of contexts and spaces. One trip resulted in me regularly volunteering at a theatre (180 credits/Level 7) archive. This led to my work setting up the Young Vic’s archive at the V&A. Whilst seeking out potential artefacts in each department, I saw first-hand how a theatre fully operates. Thanks to those introductions from Central, I found my path.’

102 | Postgraduate Courses | 103 Voice Studies: Teaching and Coaching Professional Focus www.cssd.ac.uk/ma-voice-studies Placement activity at UK conservatoires, schools, colleges and theatres has included Royal Academy of Study with internationally renowned voice tutors and Dramatic Art, Rose Bruford professionals College, Bristol Old Vic Theatre School, Royal Welsh College of Music & Drama, Trinity Laban Learn pedagogical skills for the teaching of voice on this and Goldsmiths University world-leading course of London. MFA professional and placement experience Network with actors, accent coaches, speech therapists has included the University of Cincinnati College-Conservatory and singers of Music USA, London College of Music, Eton College and the Undertake education and industry placements London production of Matilda The Musical.

Assessment These courses are for graduates of appropriate disciplines who wish to follow a During the first three terms of career in voice teaching and coaching and who seek specialised study and practice both courses, assessment is in voice and speech. through written work, practical The first three terms of the MA and MFA are taught together and the MFA then projects and teaching practice. extends into a second year. In the fourth term of the MA, you complete a dissertation or Term One develops awareness of personal and professional needs and gives a portfolio focusing on a specialist foundation in practical skills, related academic disciplines, vocal pedagogy and area of enquiry arising from the research methods for the more applied work that follows. work of the course. In the MFA second year, assessment is by Term Two builds on knowledge and experience, towards a greater understanding means of documents based on of both vocal pedagogy and vocal self-reflexivity. This term begins with practical field experience and related experience of teaching, both of groups and of individuals in institutions where research. voice work is relevant. Duration Term Three consolidates the work already done, extending the teaching MA: one year, full-time, experience in a variety of contexts, and allows for a deepening of thought about October start voice as a field of study. It includes advice on preparation for a professional career. MFA: two years, full-time, Term Four of the MA is focused entirely on the preparation and submission of a October start portfolio or dissertation. Full-time, on-site attendance between July and October is The MFA second year widens your opportunities to develop voice knowledge not mandatory. within a variety of professional contexts on an independent basis. This involves a Deelee Dubé combination of workplace attachments, mentorships and reflective observation Application Graduated 2018, performing and working with an array of private clients, recent where appropriate. You are expected to attend tutorials and occasional seminars See page 114. credits include becoming the first British and non-American recipient of the Sassy as part of an ongoing process of pedagogical reflection and engagement leading to Award 2016 (Sarah Vaughan International Jazz Vocal Competition) with reviews of the submission of a final dissertation and reflective pedagogical documentation. Course Leader ‘A Beguiling Soulfulness’, Jazz Times; ‘A voice of deep grainy power ... Dubé has a Jane Boston quick-witted musicality’, Daily Telegraph. ‘The course has been a transformational experience that has enriched my being. It has Award contributed towards my growth as an artist and practitioner in my understanding of MA Voice Studies: embodied voice and also unveiled important aspects of my authentic vocal qualities. Certain Teaching and Coaching challenging moments have enabled me to learn, grow and develop and I feel that my training (180 credits/Level 7) has broadened my perception of vocal pedagogy and research through personal reflection MFA Voice Studies: and teaching. I now have an additional wealth of invaluable tools and knowledge to integrate Teaching and Coaching into my performance and voice practice.’ (240 credits/Level 7)

104 | Postgraduate Courses | 105 Katherine Soper Writing for Stage and Graduated 2014, her play Wish List (Sustained Independent Project at Central) won the Bruntwood Prize for Playwriting 2015. It premiered at the Royal Exchange Theatre, Manchester before Broadcast Media transferring to the Royal Court Theatre. Her play The Small Hours was part of the National Theatre Connections Playwrights 2019. www.cssd.ac.uk/ma-writing-stage-media ‘It’s safe to say that without Central’s support I would never have written Professional Focus Wish List. Having that year gave me the space to experiment with my There is an informal series of writing without feeling exposed and helped me not only to see a play talks by guest speakers for both through from start to finish, but to be disciplined about elements like Train to write drama for different media including theatre, courses. Past speakers have plot structure and dramatic action that I’d previously found difficult to film, television and radio included scriptwriters, agents, literary managers and other navigate on my own.’ industry professionals. The Develop at least one full-length script MFA course encourages you to develop your professional Study the history of dramatic writing and explore its network and gain experience in professional contexts. future Previously, students have independently undertaken Reflect on your practice as a writer a range of professional development activities, Work with actors and be taught by industry professionals including interning with production companies, script reading and producing their own work. The MA/MFA Writing for Stage and Broadcast Media offers vocational training in writing drama across a range of different media contexts. Assessment Both the MA and MFA courses provide the opportunity for you to develop the You will be assessed through core competencies and skills of the dramatist, to explore your ‘voice’, to develop scriptwriting assignments, confidence in your own writing and to understand the different media contexts essays, presentations, critical reflection on your own writing within which you might work as a professional scriptwriter. practice and, for the MFA Key features are: a practice-based enquiry into techniques and processes for writing only, the submission of a for stage and screen; a series of writing projects engaging with different styles professional development and media formats; and research into dramatic writing techniques and issues of portfolio. performance in relation to theatre, cinema, television, radio and other relevant contexts. Duration MA: one year, full-time/two You will be taught in group sessions and through individual tutorials. You will also years, part-time, October start have the opportunity to be part of a writers’ group, providing peer support in MFA: two years, full-time, developing each other’s writing. October start The MA ends with a Sustained Independent Project (SIP) where you are able to Full-time, on-site attendance focus on developing a full-length ‘calling card’ script for a specific dramatic medium between July and October is not mandatory. (theatre, film, television or radio) under the guidance of a professional writer or other industry professional. Application The MFA extends into a second year that engages you with further specialist subject See page 114. skills. You will be expected to produce two ‘calling card’ scripts and to develop a plan for your professional development. Course Leader Dr Sarah Grochala An MFA top-up year for those with an existing MA in this subject is also available. Award MA Writing for Stage and Broadcast Media (180 credits/Level 7) MFA Writing for Stage and Broadcast Media (240 credits/Level 7)

106 | Postgraduate Courses | 107 Hayley Holt PG Certificate Applied Graduated 2015, progressed to Central’s MA Applied Theatre. ‘The PG Certificate was a year packed with invaluable practical experience, which has given Theatre with Young People me both an array of devising techniques and an extensive toolkit for my own practice. This practical experience has created opportunities for me in the field of Applied Theatre www.cssd.ac.uk/pg-cert-applied-theatre-young-people as well as mainstream theatre. Central has encouraged me to explore different practices and experiment with my own in order to push boundaries. Central is such a creative and vibrant place that it attracts globally like-minded individuals with whom you can collaborate whilst learning from those at the forefront of their field.’ Combines the National Theatre Connections Scheme with Professional Focus / academic study Assessment The work is likely to be Integrates theory and practical work in directing young challenging and creative and it calls for artistic and strategic people decisions geared to the selection of a particular piece Students gain knowledge of theatre in extensive applied, for a specific context. You will community and drama education settings in the UK and make choices about rehearsal techniques and staging globally possibilities, and will oversee the pragmatics of production, A range of key practical and theoretical concepts are continually interacting with explored and problematised for using drama as part of a the members of the company to ensure that they are transformative or educational process developing both as young artists and as responsible members of a project for a Central offers a Postgraduate Certificate in Applied Theatre with Young People (PGATYP) public performance. Together in Directing Text in association with the National Theatre, as part of their Connections with an accompanying portfolio, Scheme. The PGATYP is designed to provide a qualification based on work undertaken in this forms the content of the partnership with the National in directing theatre and drama with young people (young larger of two units in the PG Certificate. For the second unit people are usually interpreted as up to the age of 25 years). of the PGATYP, you will join As part of the Connections programme, you will select a new play and produce it with a Central’s MA Applied Theatre youth company. You may also transfer it to another venue. students for ‘Critical Contexts’, a theoretical unit engaging you The National Theatre Connections Scheme is one of the world’s largest celebrations of with contemporary issues in Youth Theatre. Produced by the National Theatre Learning Department, Connections applied theatre discourses. was established in the mid-1990s as a response to a demand for new plays by highly respected contemporary writers for young people to perform. Duration One year, part-time, In each cycle of Connections, the National Theatre commissions a number of new plays. October start. Playwrights previously featured in the project include Dario Fo, Jackie Kay CBE, Judy Upton, Andy Hamilton, Sarah Daniels, Sharman Macdonald, Bryony Lavery, Ali Clark and Application Mark Ravenhill. Apply directly to the National The course offers direct entry to Central’s MA Applied Theatre on successful completion Theatre of the PGATYP. www.nationaltheatre.org.uk/ learning/connections

Course Leader Dr Selina Busby

Award PG Certificate Applied Theatre with Young People (60 credits/Level 7)

108 | Postgraduate Courses | 109

Short Courses www.cssd.ac.uk

We are constantly developing the Short Course portfolio in response to demand and to remain at the forefront of world-leading drama training. As well as the short courses listed here and on the next page, we offer one-day and taster courses. See Central’s website for up-to-date information.

Diplomas The Acting Diploma is for anyone actors and performance makers. The aged over 18 who wants to embark course is for adults with a learning www.cssd.ac.uk/diplomas on the start of their actor training. disability or autism who want to You will work with subject specialists, develop professional contemporary Whether you are beginning your playfully exploring practical actor performance skills. Delivered in acting journey, preparing to apply for training classes. Classes are on Monday partnership with theatre company drama school or looking to improve and Wednesday evenings through the Access All Areas, you will undertake your acting skills, these practical spring and summer terms, with a final professional performance training. part-time diplomas develop a broad two week intensive in the summer. During this practical course, you acting vocabulary, providing the You will develop your skills as an will work collaboratively, looking at ideal springboard to further training. actor with specific classes on acting physicality, voice, acting fundamentals, Students who have taken the courses fundamentals, text analysis, voice, performance art and screen acting. have progressed to Central’s BA (Hons) movement, devising and character Students from the course have gone Acting and MA Acting degrees, as well development. Working alongside a on to create with companies across as to other leading drama schools and diverse and interesting group of student the creative arts industry, including at have performed across the industry on actors, you will have the chance to make the Soho Theatre, Edinburgh Fringe both stage and screen, including at the connections and learn with people who and tours with the British Council. The National Theatre, Royal Court Theatre, are also passionate about acting. The course is initially a year with an option and on television with the BBC and ITV. course culminates in a studio-based to apply for a second year. Central’s diplomas are challenging, performance project to an invited Creative Arts Supervision Training stimulating and enlightening. Courses audience. is a one year, part-time course which last between eight and 24 months, and The is for offers experienced arts therapists, all places are allocated via auditions Musical Theatre Diploma anyone aged over 18 who wants to psychotherapists, counsellors, play which take place throughout the year. embark on the start of their musical therapists and dance movement Limited bursaries are available for the theatre actor training. The course therapists a training in creative, Phillip Olagoke Gap Year, Acting and Musical Theatre develops skills as a musical theatre clinical supervision. The course, Diplomas. Acting Diploma student, now studying on Central’s BA (Hons) Acting course. performer with specific classes on acting recognised by the British Association ‘The Gap Year Course was a fundamental part of my journey into becoming the The Gap Year Diploma is for fundamentals, singing, movement, of Dramatherapists (BADth), offers a actor I am today, and gave me a strong foundation of tools that I was able to use 18-25-year-olds who are passionate dance, text analysis, voice, text and sound theoretical base and a unique for drama school auditions and beyond. The core staff were also a great support about acting and who are seriously character development. Sessions take combination of experiential and system with a wealth of knowledge.’ considering applying for an acting course place on Monday and Wednesday theoretical modules to fully support at higher education level. Through evenings through the spring and the creative approach to supervision. playful practical actor training sessions, summer terms, with a final two-week CAST is a long-established supervision students work with subject specialists intensive in the summer. Working with training designed by a dynamic team to develop audition techniques, voice, skilled teachers and a small company of HCPC registered creative therapists. movement and acting skills. The Gap of other students, you will develop a The programme is designed to allow Year Diploma takes place on Saturdays working practice culminating in a studio- time for reflection and integration. throughout term time and culminates based performance project to an invited Students are required to be in personal in an intensive rehearsal process with audience. therapy for the duration of the training. a studio-based performance project. If The you want practical experience of drama Performance Making Diploma for learning disabled and autistic adults training with passionate teachers and is an award-winning and innovative like-minded students, this is the course course that is producing exciting new 110110 | for you. Short Courses | 111

Short Courses

Saturday Youth Theatre Summer Courses Evening Courses www.cssd.ac.uk/saturday-youth- www.cssd.ac.uk/summer-short- www.cssd.ac.uk/evening-courses theatre courses From acting to playwriting, our eight- Central’s Saturday Youth Theatre allows Central’s summer courses are ideal for week evening courses provide an young people to experience fun and those who wish to enhance their skills opportunity to develop skills and meet collaborative drama classes in the in a particular area of training, and like-minded people. inspiring and creative environment of wish to do so over a more condensed Designed to work around busy our rehearsal studios. period. schedules, participants engage with We welcome young people of all These intensive courses are specifically techniques from industry specialists. abilities and only ask that they bring designed for a range of ages and The courses are: enthusiasm and commitment to each abilities, whether it be your first time session. in a rehearsal room, or you are a n short practical training developing working practitioner wishing to focus specialist skills and techniques Recent themes have included Inventors on developing a specific skill. and Explorers, Shakespeare, plays from n taught on up to two evenings a week the Royal Court Theatre and celebrating While the majority of summer courses n bookable online on a first-come, first- difference. Each term culminates in a are for those aged over 18, we have served basis. sharing of the students’ work to carers, a selection of programmes that are family and friends. tailored for younger participants. Recent evening courses include: n Acting – An Introduction Many young people attend for a n Course length ranges between two number of years and some go on days and three weeks, focusing on n Acting – Working with Text to study full-time at undergraduate key techniques and skills used by n Acting – The Play level, eventually making careers in the actors n Acting – For Camera profession. n Courses take place in July and August n Acting - Shakespeare n Drama classes exploring from 10.00am - 4.30pm. n Audition Techniques improvisation, voice, movement and Courses running in Summer 2020 n working with text Voice for Performance n Acting for Beginners n Playwriting – An Introduction n Build confidence, teamwork and cooperation whilst developing n Acting for Camera for Beginners n Playwriting - Intermediate cultural literacy n Acting with Text n Directing – An Introduction.

n For ages 6-17-years (students are n Actors’ Audition Pieces grouped by age) n Directed Scenes Book your place n n Musical Theatre Will Forester Places are allocated on a first-come, You can book online by following Evening Courses and Acting Diploma student, his work includes first-served basis n Stage Combat the ‘Book Now’ link on the individual independent film and contemporary and classical stage. His credits include n n Summer Shakespeare course pages on Central’s website. playing Leontes in the European tour of The Winter’s Tale with the Tower Sessions take place on Saturday You can also contact us by email Theatre Company and Orsino in Twelfth Night with the OVO Theatre during term time, with a break during n Summer Theatre Company [email protected], or by Company at the Rose Playhouse Bankside. half-term week n Voice Fundamentals calling +44 (0)20 7559 3960 or ‘I keep going back to Central as I’ve had such consistently good teaching on both n You will devise and perform a short n Youth Theatre for Actors (6-17-years) +44 (0)20 7722 8183. the short courses and the diploma. The teaching brings together a hard-nosed sharing at the end of each term n Preparing for Higher Education: focus on technique with respect for the magic and self-discovery of performance. n Studying Drama (ages 15+). It’s a great place to take risks and enjoy being an actor.’ 10% discount available for siblings.

112112 | Short Courses | 113 Next steps

How to apply Postgraduate courses Distance auditions and Further information to be paid in order to secure your place. your course fee. You may prefer to pay by interviews Undergraduate students may also be debit or credit card. All applications must be made directly to requested to pay a deposit if they are Admissions policy Central using the online application form English language proficiency If you live abroad and are unable to attend not eligible for a student loan. Details Student finance and funding available on the School’s website www. an audition/interview in person, you may, Most courses at Central prepare students Students for whom English is not their will be listed in the offer. All deposits are cssd.ac.uk/postgraduate-applications. at the discretion of the Admissions Tutor, When financing your living and other for a higher education qualification and first language must prove their English deductible from the full course tuition fee. be offered the opportunity of a distance costs, in addition to tuition fees, you professional practice: knowledge and We have to consider applications in the language proficiency by taking an This deposit aims to avoid the situation audition/interview. This option is not should also take into consideration analysis are integrated with practical order they are received, so it is advisable approved English language test. There are where an applicant accepts a place on available for any of the acting courses, the cost of living in London, including skills training, so that graduates will to apply early. We begin accepting a number of organisations that offer these a course and subsequently withdraws for which candidates must attend a live accommodation. You must make sure you be informed by insight and reflection. applications in October in the year prior to tests. For details of the tests that Central late in the application process, thereby audition. have sufficient financial resources to meet Central’s policies and procedures for the start of the course. Applications made accepts, see www.cssd.ac.uk/content/ preventing an offer being made to another the maintenance and other expenses admission aim to identify applicants who from Easter onwards may be too late to be english-language-requirements. applicant. that may be incurred throughout your can benefit from this combination of considered, as many courses become full Audition and interview fees Students do not need to pass an English course. However, you may be eligible for intellectual engagement and professional very quickly. When a course becomes full How to pay your tuition fees For the BA (Hons) Acting, MA Acting, language test prior to making an assistance with living costs through loans. training and to ensure a good match and is no longer accepting applications, MA Acting for Screen, MA Drama and application, or even prior to audition/ Fees due in any academic year are payable between ability and the demands of the this will be stated on the individual course Movement Therapy and MA Music Theatre interview. If we wish to make an offer of in a single lump sum no later than 1 August course, in order that those who begin a page. For admissions criteria, see www. Financial aid and student loans programmes there is a non-returnable a place on a course, we can make passing before the start of that academic year. course can reasonably expect to succeed cssd.ac.uk/postgraduate-applications. audition/interview fee. If Central invites an English language test a condition of the There are three options available: Students can apply for a number of and achieve a qualification. you to an audition or interview for one offer. Students must have met Central’s government-funded loans. See www.cssd. 1. Most home/EU undergraduate students Central is committed to offering Research degrees/ of these courses, details of payment will English language requirements one month ac.uk/student-finance-and-funding for are not required to pay the tuition fees in opportunities to applicants from varied Doctoral study be in your invitation email. Candidates prior to the start of their course. We are not further information. advance, as they are eligible for a student educational backgrounds who can attending auditions or interviews outside able to issue Confirmation of Acceptance All applications must be made directly to loan from the Student Loans Company Sources of financial information, including demonstrate that they have the capacity the UK must also pay this fee, although for Study (CAS) for international visa Central using the online application form (SLC) www.gov.uk/student-finance to other websites and publications are: to study in this way, to benefit from that this may be paid in the equivalent local students unless they have first met our available on Central’s website, www.cssd. cover the cost of fees. If you take out a www.gov.uk/student-finance study and to succeed. The selection currency amount. Details will be included English language requirements. ac.uk/how-to-apply/phd. student loan for fees, these will be paid www.gov.uk/extra-money-pay-university. process considers not only educational in your invitation email. directly to Central on your behalf. Applicants will need to register initially International students will often need qualifications, but also evidence of Central offers free auditions for a large Accreditation of Prior Learning aptitude and motivation. for the MPhil (unless transferring 2. You can pay your tuition fees on or to seek funding from their country of number of applicants in order to ensure Accreditation of Prior Learning (APL) is a research begun for a PhD elsewhere). For before the 1 August deadline in a single origin. There is useful information on the Central values learning from prior as many people as possible are able process that can, exceptionally, allow a information on how to upgrade to the lump sum. following websites: to audition for our BA (Hons) Acting student to join a course at an advanced experience and particularly welcomes PhD, see www.cssd.ac.uk/how-to-apply/ programme. Last year, Central awarded stage and be given credit for the section(s) n UK Council for International Student mature students who return to formal phd. 3. You can pay your tuition fees in study. The School’s Single Equality Policy over 1,200 free audition vouchers which of the course they have missed. The first instalments. A scheme is available to assist Affairswww.ukcisa.org.uk applies to the admission process and the enabled more applicants to attend stage for APL is making a formal application self-financing students (those who are n Auditions and interviews British Council www.britishcouncil.org. same criteria for selection for each course auditions and access specialist actor for the course (i.e. through UCAS or not eligible for a student loan), which will applies to all applicants. training. We take into account a number of through direct postgraduate application). permit you to pay your tuition fees in two Once we have received your application, US Federal Loans we will review the information you have different factors when assessing eligibility, instalments. Under the scheme, half the which allows us to offer more free fees must be paid by 1 August and the Undergraduate courses provided and decide whether or not to Tuition fees Central participates in the US Department invite you to attend an audition/interview. auditions than many other conservatoires. balance by 2 December. An extra charge of Education’s Direct Loan Program (our For each academic year, or for part of an All applications must be made online There is no alternative to admission by See www.cssd.ac.uk/undergraduate- of £250 must be paid for this facility, and is Federal School code is G10089). Detailed academic year in which you are enrolled, via the UK’s nationwide Universities and audition/interview. If you are selected, you applications/audition-fee-waivers. payable along with your first instalment. information on how to apply for US Central will charge you a tuition fee. This Colleges Admissions Service (UCAS) www. will be contacted by email to inform you Student Loans can be found on Central’s We also encourage prospective applicants covers all elements of your registration, Home/EU postgraduate students with SLC ucas.com. The UCAS code for Central how to secure your audition/interview, website www.cssd.ac.uk/student- to research external organisations who tuition and supervision. A complete guide loans should clear any shortfall between is C35 (a campus code is not needed) along with any requirements and tasks finance-and-funding. provide support for those interested in to fees and paying your fees will be sent the fees due and loan by 1 August or and individual course codes are listed you must prepare. The majority of drama training. These include initiatives along with your offer. The following is a before the start of the course. Failure to To begin the process, you will need to on the undergraduate course pages of auditions/interviews are held at Central’s such as Open Door, which provide an summary of this information: pay the full tuition fees or an instalment by complete a Free Application for Federal this prospectus. Applications should be Swiss Cottage site in London, however extensive support package for those the due date may result in deregistration. Student Aid (FAFSA) on the US Department made by the UCAS 15 January deadline auditions/interviews are also hosted at a n from low-income backgrounds who wish Tuition Fee Levels (including ‘Frequently of Education website www.fafsa. to ensure that they are considered. For number of international venues. For a full to undertake actor training at a leading Asked Questions’) www.cssd.ac.uk/ ed.gov or contact the US Department admissions criteria, see www.cssd.ac.uk/ list of international auditions/interviews, Bank charges drama school in the UK. You can find content/tuition-fees. of Education’s Federal Student Aid undergraduate-applications. see www.cssd.ac.uk/content/how- information about Open Door at There may be substantial charges on bank Information Centre at 1-800-4FED-AID apply-international-students. www.opendoor.org.uk. transfers, both within the UK and the Deposits (1-800-433-3243). country of origin, if paying from abroad. All postgraduate course offers include You must ensure the transfer of adequate a request for a non-refundable deposit funds to cover both these charges and

114 Next steps | 115 Important information

This prospectus was printed in February n combine courses or programmes of If Central invokes its right to make 2020 for the purposes of the September study; changes in accordance with the above, 2021 onwards intake. It has therefore it shall take reasonable steps to notify been printed in advance of course n suspend, discontinue or not provide and (where it considers appropriate in starting dates. For this reason, course programmes of study; the circumstances) to consult with the information (including, for example, n make changes to support services affected students and minimise any in relation to course content, module provided. disruption to their studies. availability, etc.) may be amended Where enhancements to a programme, prior to you applying for a place on a Central may be required to take the course or module content are made, programme of study. actions outlined above for any one or more of the following reasons: and you feel the programme as Central makes all reasonable efforts delivered varies significantly from to deliver the programmes of study, n if Central reasonably considers this to what you expected, you are able to research opportunities and other be necessary in order to appropriately make a complaint through our internal services and facilities described in manage its resources and/or pursue procedures and may be able to seek these terms and conditions, and other its policy of continuous improvement recourse under consumer or contract Central documents. There are a number in the best interests of students; law. of reasons why changes to course n because a key member of staff is Prospective students are therefore information and/or published term unwell or leaves Central and/or reminded that they are responsible for dates may need to be made prior to you because too few students apply to ensuring, prior to applying to study on applying for a place on a course. These join a programme for it to be viable a course at The Royal Central School of may include, but are not limited to, the (minimum cohort numbers will be Speech and Drama (‘Central’), that they following: made clear where relevant); review up-to-date course information, n make reasonable variations to including short courses, which is n due to developments in theories or the content and/or syllabus of available on Central’s website www.cssd. practices in academic, professional programmes of study: Central ac.uk or by contacting us by telephone and/or research areas, which will be in annually reviews its programmes, on +44 (0)20 7722 8183. the best interests of students; taking into account the feedback of Further documents describing the students, external examiners, industry n to comply with changes in law and/ teaching, examination, assessment professionals, and the staff who or to comply with the instructions and other educational, pastoral and deliver our programmes. As a result of of Central’s regulators and/or a student support services offered by this feedback, variations to the content professional body; Central are available, see Terms and and curriculum of programmes Conditions www.cssd.ac.uk/terms-and- of study may be made to improve n in order to implement enhancements conditionscourses-central. the quality of the student learning recommended by Central’s External experience; Examiners or identified through These documents contain important quality assurance processes, contractual information. Prospective n alter the timetable, location, number for example periodic review or students should therefore fully of classes and/or method of delivery revalidation; familiarise themselves with these of programmes of study and methods documents prior to applying to study on and timings of assessments, provided n to respond to any changes in external a course at Central. such alterations are reasonable and funding arrangements; necessary; n to ensure compliance with best n make reasonable changes to its practice in the sector in the interests of Articles of Association, regulations, students. policies and procedures; Acknowledgements n make reasonable changes to placements; Photography: Patrick Baldwin, Dr Kathrine Sandys, Andreas Skourtis, Dot Young, James Hewett, Sherry Huang, Tracey Anderson, Stan Kujawa, Dr Selina Busby, Cam Harle, Pavel Dousek, Helen Murray, Jonathan Keena, Frenetic Entropy, The Two Ma’am Show. Creative direction: Susan Emanuel. Design: nimbuscreative.co.uk. Print: printingideas.co.uk. ©2020 The Royal Central School of Speech and Drama, University of London.

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