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Student Guide to Drama Education 2016–17

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STUDENT GUIDE TO DRAMA EDUCATION 2016–17 622315 ISBN 9781910622315 781910 9> SGDE1617-OL_001_Covers B01.indd 1 03/08/2016 16:33:12 SGDE2016 ONLINE.indd 2 04/08/2016 10:45:31 Student Guide to Drama Education 2016–17 Welcome to the Student Guide real-life graduates’ experiences on four very different to Drama Education. This guide courses. is designed to answer many of the questions you might have Don’t forget while going through the scary in approaching the daunting application process, though, that it’s important to task of applying to study or continue enjoying theatre as well, both practically train in drama. and as an audience member: we offer advice on both in this guide. Finally, with some extracts and We look at the logistical issues some essentials lists, we advise on how to stack your of choosing between university, drama school or shelves with really useful books to help you through alternative forms of training, and how to pay for your your applications, training, and the early stages of courses once you embark on them. The majority your career. of students wish to apply to acting courses, and therefore we have a three-page feature on the all- Break a leg! important task of choosing audition monologues and delivering them well. However, there are many other Sarah Lambie varied courses for those interested in pursuing drama Editor careers, which is why we begin with a roundup of Performance Contents Learn by watching 45 Learn by doing it yourself: Setting up a theatre company 48 Education & Administration Performance listing 52 What it’s like to study… 5 Drama school or university? 13 Suppliers & Services Other ways to train 15 Becoming an actor 95 Tuition fees: the facts 17 Theatre design: Education or training? 96 Applying to drama school 18 Training to work with costume 97 Education & Administration listings 22 Books to read 99 Plays to read 101 Suppliers & Services listings 104 Editor Sarah Lambie Designer Hal Bannister Editorial assistant Rebecca Pizzey Production controller James Taggart Directories manager Ana Peralta Advertising executive Ed Croome Marketing manager Alfred Jahn STUDENT GUIDE TO DRAMA EDUCATION 2016–17 3 SGDE1617-OL_003 Intro_Contents.indd 3 05/08/2016 11:11:02 BRITISH PERFORMING ARTS YEARBOOK 2016 –17 The ESSENTIAL guide to the performing arts industry Our new edition is packed with thousands of listings to help you with everything from finding performers for an event, getting an agent or sourcing a venue for your show, to finding theatre groups and courses for your students. Find information on: Performers Organisations Youth arts Agents Education Venues Suppliers & services Festivals DIGITAL EDITION – £19.95 PRINT EDITION – FROM £34.95 ORDER NOW AT WWW.RHINEGOLD.CO.UK/BPAY17 SGDE2016 ONLINE.indd 4 04/08/2016 10:45:39 Education & Administration What’s it like to study … …Acting in Musical Theatre Conor O’Kane Education & Administration What did you enjoy most created a real sense of duty, retention, about the course and why? structure and, most importantly, self- Acting was always the top priority for reliance. If I take a break from performing me so my fondest memories are mainly for a while, I have always been able to in that realm of the course. My favourite retrain my body and voice to get back What course did you study at module was ‘Realism’. It was the first one into shape with ease. That’s something I what institution? and we read so many plays and delved into wouldn’t have been able to do without the I studied the BA in Musical Theatre at some really challenging characters and rigour of Mountview’s training. Mountview Academy of Theatre Arts. contexts – the likes of Mark Ravenhill, There was a lot of real emphasis made Carol Churchill, Simon Stephens, Sarah on the difficulty of the industry, but I feel Why did you choose that Kane and Dennis Kelly – all really gritty like it was more of a scare tactic to keep particular course? texts. The late Joss Bennathan was our the students working hard. I do wish there At the risk of sounding like a Harry Potter director, and I’ll never forget his incredible had been more classes on the intricacies of character, I didn’t choose the course. The ability to challenge young minds without theatre business. Very important stuff. course chose me. making them fearful. That was a very I started looking at drama schools important lesson for me to take into the Did you know what you with the general intent of being an ‘actor’. next three years. wanted to do as an Musical Theatre came to me by accident. occupation before you The decent youth theatre scene is mainly What did you find most started the course? Did that musical theatre where I’m from, so my challenging? change during the course? mum told me if I wanted to take drama My loyalties to the disciplines of singing Being an actor was always a childhood school seriously I should start singing and and dancing varied over the three years – dream of mine, but my back-up plan was get a role. I worked really hard on my voice mainly because they are skills limited by to be a photo-journalist. I gave acting and it turned out that I wasn’t bad. After your biology, so improvement requires a a chance first though, and I’ve never conquering the am-dram scene came the lot of patience. looked back! application process. I applied for Mountview and Central What did you like about the What is it that you do now, for Musical Theatre as they were the only institution? and what are your plans for two schools my friends had heard of. Then I liked how grounded Mountview is. It’s the future? I heeded advice from my drama teacher in the back end of Wood Green, and as I’m producing and performing. Since at school and applied for LIPA, RADA and such it feels a little bit segregated from the graduating, I’ve moved into acting in LAMDA for Acting. regular hustle and bustle of London. Very straight theatre and film. However, I’ve I was extremely lucky, but limited by age. industrial and self-made. I feel because of done my fair share of pantos and just RADA, LAMDA and Central gave me a lot of that, there’s a palpable sense of stripping finished a tour of an actor-musician/ consideration and brought me to the final back any sense of entitlement. It’s just musical theatre show. auditions, but as I was just 17 they didn’t you, a room and the work (although I’m think I was ready. Mountview, on the other very aware that whether a student applies What advice would you give hand, offered me a place and I seized the that sort of notion is entirely up to them). to someone when picking a opportunity. I thought (rather rashly) that I also love the staff. They have been course? it was best to strike when the iron was hot. so supportive to alumni, especially those Take your bloody time. The courses will trying to make their own work. always be there, and it’s a big investment. What were the entry Know what you’re buying into and really requirements? Do you feel that the course consider what it is that you want to do As far as I’m aware, basic grades at has equipped you with the with your life. GCSE were required, and some form of appropriate skills to work in theatre experience. I remember they were the theatre industry? very open to people from all sorts of Yes. The nature of Musical Theatre training educational backgrounds applying. can be slightly militaristic. For me, that STUDENT GUIDE TO DRAMA EDUCATION 2016–17 5 SGDE1617-OL_005-011 What's it like.indd 5 03/08/2016 16:37:26 > full-time undergraduate degree courses STUDY AT CENTRAL acting, creative & production practices for theatre, applied theatre, writing for performance Information/application: www.cssd.ac.uk/studentguide > part-time short courses CSSDLondon diplomas, summer school, youth theatre COURSES FOR 2017 ENTRY UNDERGRADUATE COURSES • BA (HONS) ACTING • BA (HONS) ACTOR MUSICIAN • BA (HONS) MUSICAL THEATRE • BA (HONS) PROFESSIONAL PRODUCTION SKILLS • BA (HONS) THEATRE (CONVERSION BY DISTANCE LEARNING) POSTGRADUATE COURSES • MA ACTING • MA MUSICAL THEATRE • MA CREATIVE PRACTICES & DIRECTION WE ALSO OFFER • FOUNDATION COURSE • PART-TIME COURSE • EASTER/SUMMER SCHOOLS • SATURDAY SCHOOL For an application form/further details contact: t: +44 (0)1483 684040 Guildford School of Acting f: +44 (0)1483 684070 Stag Hill Campus, e: [email protected] Guildford, Surrey w: www.gsauk.org GU2 7XH, UK SGDE2016 ONLINE.indd 6 04/08/2016 10:45:45 WHAT’S IT LIKE TO STUDY … …Stage Management Gareth Newcombe Education & Administration What course did you study at theatre school, it is good to have basic What is it that you do now, what institution? knowledge and understanding into how and what are your plans for Two Year Foundation Degree in these departments work now that I am a the future? Professional Stage Management at Bristol professional within the industry. I am currently working as assistant stage Old Vic Theatre School. manager on the UK and Ireland tour of the What did you like about the musical Chitty Chitty Bang Bang. I hope in Why did you choose that institution? the next few years to progress to the role particular course? I really enjoyed having the opportunity of deputy stage manager and eventually I wanted to have training from one of the to work in professional theatre venues become a resident stage manager or accredited theatre schools.
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